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“Climb the ladder of lights and appeal to the gods for their protection and for the destruction of the enemy and all evil-doers, wicked witches and warlocks of the world…”
–Necronomicon Anunnaki Bible

How often we have heard of the “Dark Arts” born of a ‘polarized’ and often ‘dualistic’ view of the universe – and the forces that occupy it. For every ‘white witch’ there is a ‘black spell’ and to every system of Order, there is a Chaos factor; for no fragmented experience of reality can ever actually find “balance”, but the pendulum swing – the tidal ebb and flow of universal currents will always seek it.

This mardukite.com blog post is extracted officially from Mardukite Liber M, available as either MAQLU MAGIC or NECRONOMICON SPELLBOOK II, in addition to the Year-3 anthologies either MESOPOTAMIAN MAGIC or NECRONOMICON WORKBOOK and the mega-anthology NECRONOMICON GNOSIS.

…So, too is movement possible in the physical world – or at least one’s perception of the ‘3-D’ reality experienced. As such, with the once united ‘crystal’ being cracked into the varied refractions of human experience, language and culture, a ‘dualistic’ world emerged in consciousness; right before the very eyes of ancient Mesopotamians – at the heart and cradle of human civilization.

WHAT IS THE MAQLU CUNEIFORM TABLET SERIES?

Before approaching the more ‘colorful’ elements of the tradition – those that could most appropriately be given classifications as ‘Dark Arts’, ‘Sumerian Sorcery’, ‘Babylonian Witchcraft’, ‘magickal warfare’ or ‘wizards duels’ – it is important that the context for which such exists, a background screen onto which to express the story of the MAQLU in its projected spectrum of rainbow lights and kaleidoscope glory.

The name MAQLU can be interpreted differently as with most things – such variegated perceptions are not even restricted to foreign languages for even a shared one is not free of semantic issues in its own vocabulary. Most typically, MAQLU is translated to mean “the Burnings” by ‘Sumeriologists’ and such. This is a good ‘base’ for our context, as we do indeed find the origins of a community bonded for ‘burning evil in effigy’.

The Simonian work, in regards to a Babylonian Necronomicon practice, interprets the tablets as ‘Rites of Burnt Offering’ or else a ‘Book of Burnings’ for literary purposes. As with most of the work ‘restored’ by the Mardukite Chamberlains, a surface interpretation is never accepted and a ‘deeper mystery’ can often be uncovered in the very ‘literal’ meanings behind these very old words that do not appear to have had the same ‘metaphorical’ meaning that modern language users often take for granted – for the Mardukites have interpreted the MAQLU more appropriately – and not without its other diverse cultural parallels – as Burning Man [maq-lu].

Though it seems that the MAQLU operation was once a much more simple, internalized, meditative and solitary application used by early priests and magicians in Mesopotamia, it later developed more dramatically as a public Fire Festival in Sumer and Babylonia, involving the entire population of the community who gathered together in a ‘combined’ and ‘harmonic’ effort of intention to ‘drive out’ or ‘dispel’ the “evil” and “evil-doers” of the land.

As “ridiculous” as this might sound to the naïve skeptic or right-wing fundamentalist, it can and should be noted that more recent public scientific studies all over the globe have now shown the effective abilities of consciousness moving energies when large groups, or better, the majority of the population is focused on a single emotional event.

These types of ‘quantum’ effects appear to have very real ramifications for the population of the planet and the greater cosmos as a whole in this entangled universe whether or not people are aware of this phenomenon taking place in their environment and even internal ‘spirito-mental’ being (which are self-honestly All-as-One).

In the instance of the MAQLU, the Burning Man is the representation of the ‘evildoers’ of the world – those who ‘plagued’ humanity with their wickedness and thereby upsetting the ‘world order’ of the gods, in addition to the gods themselves. Upsetting such a balance was usually felt in the community as ‘illness’ and ‘pestilence’, ‘disease’ and ‘famine’. Such could prove devastating to still developing human civilizations, and as such they were considered ‘evil’, the most wicked of ‘demons’ and anything that might lead to them – mostly uncleanliness and misappropriated living – were considered taboo (the original non-moral tribal sins) and for good reason.

Eating from an unclean plate was taboo (a sin) because it could lead to the spread of disease. Ancient humans were far from primitive in their understanding of the natural world and their relationship with
it. Before the wrongful use of authority in classical times, the taboos and sins were not given from dogma, but from medicinal necessity.

Representative images are often used in ‘idol magic’ or ‘sympathetic magic’, but not as a result of worship – as some mythographers have repeatedly put forth – but to actually embody the ‘energetic current’ that is universally entangled to ‘focal object’ and its form.

WICKER MAN OF THE DRUIDS

The representation of a ‘demon’, like the ‘plague-god’ Namtaru, was not to worship the deity with homage or to glorify the ‘daemonology’ of the Babylonian priests. Such statuary was typically constructed only to be ‘ceremonially’ annihilated or buried as a ‘ward’ against what the statue (deity) was representative of. In making such an object, the magicians show their understanding of the ‘entanglement’ of the universe in its mystical oneness and the interconnection of all things.

Certainly not primitive.

It is almost impossible to bring up the topic of the Burning Man without conjuring to mind a much more geographical and time-recent example made popular in the images of motion pictures and familiar Roman-inspired writings of the Celtic Druids – and that is the Wicker Man, also called ‘Burning Man’ by some neopagans.

Far removed in time and space we see evidence for the same rite being conducted and for similar reasons – the preservation of the early agricultural civilizations that were ‘guided’ by Sky God traditions – called the Anunnaki on Mesopotamian tablets or the Tuatha de Dannan (Tuatha d’Anu) in European Celtic and Druidic sources.

“Fire” is a very common element to the early ‘magical’ and ‘shamanic’ systems, and its mastery in correlation to the development of modern humans is certainly indisputable. Any connection to the Fire Festivals of Europe is going to be difficult for one to understand without having been familiarized to the rigorous research found in other Mardukite materials that gives Mesopotamia as the birthplace of the Druidic Tradition.

Sir Francis Frazer (Golden Bough) mentions both a ‘solar’ alignment and ‘purification’ style to these types of operations. The later European Wicker Giants appear to be more ‘agricultural’ in nature then the MAQLU version that targets actual ‘practitioners’ of the ‘Dark Arts’ that negatively affect the well-being of the greater population, the community at large and by extension the “moral balance” perceived of ‘universal forces’.

The ancient Sumerians and Babylonians were no less dependent on the ‘agricultural’ fertility then the Celts – far from it. Thriving of a human numbers in the lands of Mesopotamia were so heavily dependent on the skilled use of arid land and the redirection of water from the Tigris and Euphrates rivers in a skillful way since lost to the Arabs and other occupiers of the land since.

In Europe, we find the appearance of the Burning Man during the fertile and seed-sowing and nurturing ‘spring’ seasons, particularly the Equinox (Easter) observation, Beltane (a notorious ‘Fire Festival’) and finally Midsummer. The annual survival of the agricultural Celts was wholly dependent on the success of this season above all others.

IN CONCLUSION…

One of which does correlate with Europe is an esoteric observation of Beltane – opposite it, Samhain (modern-day Halloween) is also significant. The Sumerio-Babylonian AKITU festival is concurrent with the Spring Equinox. So, regardless of where we turn, there is a unifying (universal) picture forming to define the ceremonial observation of the Burnings.