In magic, it is imperative that one be able to narrow down his various awareness to one compelling desire towards which a ritual is performed. When the use of drugs has allowed the mind to run rampant over such "narrow-minded" traits, something very meaningful is lost. The ideal witch must be able to be singular of purpose, when the need arises, and dogged narrow-mindedness has its just place in the ritual chamber where stubborn emotion must hold forth. Any soma-producing chemical or device negates such an "up-tight" quality. In reality, the more uptight one is when he enters the ritual chamber, the better.
With a lack of hang ups, comes a lack of strong emotional response to the very situations often needed to generate the force necessary to throw your spell. The "free," dreamy -eyed, "beautiful person" type is often the first to call herself a witch but actually is the antithesis of the real thing. An argument might be given that it is okay to use drugs but not when one is casting spells. This is like commenting on the problem of drunkenness and alcoholism by saying it's all right to drink but not when you're driving. There are many people who are rotten drivers who never touch a drop, and, conversely, many whose lives are ruined by booze who ride buses.
The effects of drugs upon the witch are only definable by the success shown by a witch outside her drug-oriented peer group. A common phenomenon nowadays is the prevalence of "witches" involved in the drug scene. The prowess claimed by such would-be sorceresses centers around their in-group activities and not the outside world. One such witch approached me recently, saying she had just performed a great magical working.
It seems she had driven her car on the freeway after taking a rather large dose of LSD. Feeling very "magical," she drove across an oncoming six lanes of traffic with sufficient "magical power" to bring each of the speeding cars to a halt! She was totally convinced that her abilities as a witch were responsible for her immunity.
When I told her that her safety had been insured by the quick reflexes and sound brakes of the other drivers, it went one ear and out the other. Another young "witch" had been at a social gathering where marijuana in conjunction with various drugs was being used. My informant stated emphatically that during the course of the evening's activities she had seen someone who glowed with such a "radiant aura" that she approached him with the "magical" intention of lighting her "joint" from his "radiance. Now I have heard all the old gags about one drunk lighting his cigarette from the glow of the other drunk's nose, but never thought I'd hear its contemporary parallel told with a straight face and as a portentously serious account of the powers of witchcraft!
The confusing thing about all this is that we are now living in a climate of occult popularity where such experiences are not relegated to the wards of mental institutions. For those whose mental imbalance is drug induced and even temporary, a fertile environment for such periodic "miracles" exists. It is but a short step to the employment of such "magical" experiences towards a pedigree for witchery. Combine the effects of drugs with the search for a religion to supplant one which has never held much meaning, and you will arrive at a need to believe, which is strengthened by readily obtainable miracles which can ultimately fulfill that need.
Hence, an unswerving faith in magic can be readily manufactured even as it was accomplished by the same means by the shamans of primitive societies but not a proficiency in the practice of magic. I you are to be a successful witch, faith helps, but it takes a good deal more.
Books by Ifeanyi C. Oshun
If, however, you do not plan on practicing witchcraft but only believing in it, use all the drugs you like. The Married Witch versus the Single Witch It would be assumed that to be a witch, one would function better in an unmarried capacity. After all, who ever heard of a witch who was married, before a certain television show came into being. Not so, state all the rules of witchery. There is no reason why a successful witch cannot be married--some of the must seductive enchantresses have both husbands and well behaved offspring.
Aside from the security a sound marriage can provide, it is obvious that a married woman exerts a much greater fascination than her single sister. The reason for this is The Law of the Forbidden, which will be discussed later and is, after all, the reason you are reading this book. Unless a witch wishes to appeal through the use of virginal image, the more "experienced" she appears, the more desirable she becomes.
Very few men will be compelled towards virginity in a woman, except as a fillip to the ego. The concept of virginity as a desirable value is viable when one thinks of sacred love and enduring romance. The average male, however, is an animal first and a romanticist second. For this reason, he will always be tempted by the woman whom he considers to be of easy virtue.
Whether or not a woman is of easy virtue is unimportant when stating the requirements for the witchhood. What is important resides in the hope, the assumption, the promise of sexual availability and experience. If the woman who is known to be single can be assumed to have indulged in sex, then the married woman surely must know what it's like! It is precisely this "advertising" of one's sexual knowledge that gives the married witch a certain appeal often lacking in the single witch.
Inasmuch as there are very few virgins around nowadays, we can virtually forget the attraction that such a witch could exert. Even the trappings of the virgin that are used in witchery, such as white and pink colors in clothing, must be combined with certain suggestive tricks that will lead to the impression that the wearer is sexually available.
The fertile deities of the Pagans were all transformed, by one name or another, into scarlet woman, witches and she-devils by the good Christians, who wished to make it clear that chastity was a virtue. Therefore, it became the assumption that any woman who exuded sex was of the Devil. Sex and the Devil must therefore be extended to exemplify the witch, as well.
For centuries, we have associated the single girl with chastity and the married, divorced or widowed woman with carnal knowledge. Such associations will not easily leave the mainstream of the unconscious. All of the traditional wedding pranks are directed toward one common goal, and that is the blatant proclamation that the demure young lady in the lacy white gown will soon be bouncing about in sexual abandon. No wonder the expression, "blushing bride" was once such an apt description!
The prurient stares of those who ogled the young woman as she would alight from the dusty Ford coupe with the "Just Married" sign and string of tin cans were bound to produce a crimson face, which, of course, only added even more to the lascivious effect! It is for this reason that the married woman, or one who has been married, possesses a sensual edge over the unmarried witch.
The disadvantages of being married are obvious. A single witch is freer to engage in success-oriented enchantments whereas the married witch must watch her step. The witch with a husband who is either agreeable or out of the running may, of course, use her witchery towards sexual ends. The siren who is content with her husband, sexually speaking, but is career minded has a vast field of opportunity in which to employ her powers.
The witch who is, as the last mentioned, sexually content with her spouse but not inclined towards a career for herself can become as the legendary sorceress behind the throne of her husband, the king. In this way, she can enchant those whom her husband could not emotionally reach. So, you see, marriage is no handicap to witchery. In fact, there are examples that will be shown later in this book of how it actually pays to say you are married, even if you are not.
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Probably the greatest single disadvantage of the single witch is the often-encountered "desperation vibrations" she throws off. No matter how smug and complacent she may appear to be in her unmarried role, she still carries the underlying stigma of the woman who "hasn't been able to catch a man. Whether a witch is married or single, she should discover the image that she most naturally and effortlessly represents as a sort of "home base. You owe it to yourself to ride on the coattails of the established visual image that most resembles you.
We see this game played every time a popular female personality is emulated by multitudes of women, who can find similarity in their own appearance, however slight. The knowing witch always capitalizes on the physical typing that has been set up for her or chooses one she feels she can throw herself into.
There is an old saying, "If you have the Devil's name, you should play the Devil's game," and if people constantly give you clues to your proper image by telling you who or what you resemble, take it form there. If you are thin, with raven hair and dark eyes and your face is rather long and angular, you should capitalize on the vampire theme and do all you can to hint at that image.
If you find people always wanting to help you and taking a protective attitude towards you, utilize a naive and innocent appearance and bearing to your advantage. If you have a "mean" look and attract meek men, then do all you can to look meaner!
Be a veritable whip and leather type. If you're getting on in years and have a nose like a potato with a body to match, don't kid yourself into thinking that a facial vacuum and losing forty pounds will turn you into a seductress. Instead, get yourself a couple of cats, fill your house full of weird bric-a-brac, learn to make cookies, and let it be known you're a witch!
Soon you'll have more worthwhile male friends than you ever would have in your personality-less attempt at rejuvenation. If you're truly grotesque, with a fact that would stop ten clocks and a voice like a klaxon, turn yourself into a real hag-monster and have fun scaring the Hell out of people! In many instances stereotypes are based on very real personality traits that are relevant to the appearance presented.
Consequently, a witch who chooses an image most conducive to her ready-made appearance is likely to find herself revelling in a very comfortable role. This doesn't mean that a witch must go through life playing only one role simply because she has been stereotyped into it. It all depends on your acting ability, especially when it comes to make-up and facial mannerisms.
Any successful witch must be a good actress. Unfortunately, too many would-be witches who consider themselves to be good actresses wind up playing all the wrong parts! The role that is the most appealing is often the one that is represented by the "inner" or "hidden" side of one's nature. We see this all the time in the large, dominant looking, glamorous "Amazon" type who tries to act the part of a demure and naive little girl--especially when drunk! We also observe this in the frail looking, helpless appearing, wide-eyed little creature who always seems to be yelling the loudest and stirring up the most trouble.
These are both common examples of unsuccessful witches whose lack of opportunity lies in their refusal to "feed back," even temporarily, what their appearance implies. The general rule is to become a "package deal," thereby allowing the person you are bewitching to think that they have you all figured out.
This may seem a bit dismal to you who have assumed that a "witchy" type must always appear enigmatic, but I have observed that the most frustrated, unsuccessful witches are those who work at ambiguity rather than "type-casting" themselves. The only type of witch that can get away with an enigmatic image is the "femme fatale" who has a naturally strange or unusual appearance. Needless to say, the type usually attempting the most mysterious image is the most unmysterious looking to start with!
Choose an image that goes easiest with your outward appearance and take full advantage of all that has gone before to further establish that image. There is nothing wrong with being type-cast if you can make it work for you! Looks mean everything, despite delusions to the contrary. A naturally good-looking girl has the best requirement possible for enchantment.
This does not mean that an ordinary or even homely girl cannot be a successful witch--it simply implies that if a girl is pretty, she doesn't have to try as hard. This can be many a beautiful girl's downfall, though, as the plain girl has to learn to compensate for her lack of beauty by developing other talents. The most beautiful girls are seldom the stars of any show but are relegated to the chorus. This is simply because the pretty girl sits back, being used to getting by on her looks, and takes advantage of only what comes along, and, as is often the case, winds up more taken advantage of!
The plainer girl, who depends on her wile, guile, artificial glamour and assertiveness, invariably winds up in the spot-light. Whenever an accurate description has been able to be given of famous and legendary spell-binders through history, these women turn out to be something slightly removed from the stereotyped standards of beauty, and in many cases, they were downright homely. If you are possessed of the kind of appearance that causes men to stop in their tracks, beware of the tendency to coast along witchcraft-wise on your astrological sign, latest Ouija revelation and neck pendant.
You could ver likely spend most of your life talking about what a great witch you are, having many bug-eyed male listeners and accomplishing absolutely nothing other than an occasional fling in the sack with some guy who is going to do "great things" for you. You may be sure of being. Naturally, an attractive woman will find doors open to her that her more dowdy sisters must pay through the nose to enter. Every pretty girl is used to receiving favors, and if we are to be honest in recognizing the Satanic laws of indulgence, it is understandable that she should receive favors.
After all, by her very existence, she is bringing beauty of a visual nature into the life of the beholder--the type of beauty that, if it is accompanied by an undercurrent of sexual excitement, doubly adds to the pleasure reaction. In a sense, she is giving, without even trying.
So long as anything pleasant constitutes an indulgence, the viewer of the pretty girl will be indulged. Small wonder, then, that he reacts consciously by having to do something for the girl! This factor of physical appeal, then, is very important in bewitching.
If it is at all possible to indulge whoever looks upon you with a treat that will obviate a reward, you must do so. In practical witchery you must first command attention by your looks. Then, you should be able to create an enticement. If you can't entice the viewer into doing what you want, you must scare him into doing it. We'll cover that aspect in a later chapter. Right now we'll concentrate on the importance of a pleasing appearance.
Since life is a give-and-take proposition, we must play the game as such; but, as you know, there is often a lot more "take" than there is "give. In her often-limited mind she assumes her enchantment to then be complete, not realizing that now it is her turn to give for a second time. Completely off guard because of the smugness engendered by her temporary conquest, she then is thrown into a situation where she is unmercifully taken advantage of by the "nice man.
The relative ingredient of what constitutes a pretty girl are seen in many forms. So long as beauty is in the eye of the beholder, we must ascertain a little about the beholder and his particular likes. The universally accepted standards of beauty are those based on certain curves, metric proportions and contours. These are the standards which constitute the "naturally pretty" girl. Through modification, using make-up, clothing, fetishistic devices, etc.
A girl who is less than "perfect" can sometimes "out-perfect" the natural beauty. The extent of which you exploit your womanliness must always be in perfect balance with the lack of womanliness of the man you have chosen to bewitch! How will you know this balance? The next chapter will show you. Knowing Yourself and Others The Real You In order to properly analyze or size up an individual you plan to bewitch, it is impressive that you understand certain rules. For the purposes of witchcraft, one should conceive of each person having two personalities--the one everyone sees, and the one he carries within him.
Actually, these two personalities can be broken down into three layers--the outer layer being the "cover" by which others often "tell the book" and the inner layer, however, that is sadly neglected--always there and always apparent. The reason it is not readily noticed is because it is too see the forest for the trees.
This third personality represents the inner core, the "reversion to type," and is a direct reflection of the characterization which is seen on the surface, or first layer. Let us, therefore, consider the first and third layers to be the same, with a big layer of padding between them which makes up the second.
This second layer is the "other side" of our nature, the woman within the man, the alter-ego, the "dark side" of our nature, etc. It is also the part of the personality you must learn to recognize in every person you plan to bewitch. Figure 1 shows what it can be likened to, for example, in a short, fat, man. As you can se from the diagram, layer number two takes the form of a tall, slender, slim-hipped woman.
If our short, fat man were to have a best friend, it would be another man who was tall and slender with a personality totally unlike his own. Put a wig and a dress on the tall skinny friend and you'll get a pretty good hint at what the wife or girl friend of the fat man will be like.
Have you ever noticed how a man's best friend will always be his opposite in appearance? The woman you have always had as your best friends have been opposites of your own appearance, haven't they? If you are extremely pretty, your best friend was always the one you found yourself trying to convince others of accepting as beautiful even though they couldn't see it.
If you are an active type, you will attract quiet people. If you are quiet, you will gravitate towards energetic types. In short, the reason opposites attract is because we need those opposites to make ourselves whole. However badly we might need this opposite of ourselves though, there will always be a two-to-one victory for the outer and inner, the numbers one and three layers of our personality.
This great overbalance, which I shall call the "Majority Self," is the one that will always come through when the chips are down. This is the "reversion to type" and the appearance, personality and general impression we present to others at first glance. In the practice of witchery, however, you must appeal to the other's need to express and exercise the second layer of his personality.
This is the side of his nature that is seldom fulfilled and, therefore, always hungry. An old phrase, once popular in underworld circles is, "Treat a slut like a lady, and a lady like a slut. The reason this vulgarism is only half true is because in the final analysis, the lady will regain her decorum and become mawkishly indignant, and the slut will be discovered in one of the upstairs bedrooms away from the rest of the elegant revelers--her Dior gown up around her hips, one guest on top, and two more waiting outside the door.
When you begin your enchantment, always approach your quarry with his second, or "Minority Self" in mind. This means that you can approach him as an "outsider," who will treat him in the manner that his Minority Self craves, or you can be his Minority Self, in a female form! Returning to our previous formula, instead of treating the bum like a prince and worrying about holding his ego down to its proper level for control, leave his Majority Self as it is and you appear as a princess. If your subject is a captain of industry, a leading financier, a big newspaper publisher--you should come on like a domestic, a counter girl, a dancer in the chorus.
If he is a Casper Milquetoast who holds a petty clerical job, appear as an efficient business woman and give the impression that everything revolves around you in the office. If your target is a highly intellectual academician, present yourself as a rather brassy, flashy filly with more heart than brains. If he happens to be a real swinger, with Italian silk suits and a fat address book, appear as an intrigued, but naive, small-town librarian.
Get the idea? That Minority Self, which you must represent, doesn't stop at personality types but is readily observable in the very physique and movements of your quarry. To be a successful witch, one must learn how to recognize these things, but first she must know herself. So that you may know yourself, and others as well, we must establish a guide. I have devised a system of character analysis, utilizing the best gleanings from many sources. Researchers such as Sheldon and Kretschmer have helped a great deal by their classifications of body and personality types.
Sheldon defined human physique into three basic categories-Ectomorph, or thin, cerbral, and straight up and down; Mesomorph, or wedge-shaped, practical and broad-shouldered; and Endomorph, or roly-poly, social and broad-hipped. From these basic classifications, Sheldon defined literally hundreds of sub-classifications, all variants of the three types. Kretschmer used the same fundamental typing, except he called them "Leptosome," "Athletic" and "Pyknic.
A Feeling for Magic
Aside from the previously mentioned researchers, I have observed most of my "subjects" in their natural habitat. My gleanings have been obtained, not as an accredited psychologist or sociologist, but rather as a Devil's advocate, who has spent the better part of his professional life in concert halls, barrooms, police work, carnivals, wild animal training, photography, clinical hypnosis, ghost chasing, burlesque shows, amusement parks, art studios, revival meetings, advancing the cause of Satanism, and just plain looking! I have conducted what sociologists might call an "unfunded research project.
Much is based on the scientific evaluation of others. Perhaps even more will be condemned as having "no known or accredited scientific basis. All I know is it works. And if it works, I don't knock it. If some of my "nutty" theories you read in this book work for you, you're ahead of the game. I only present them for what I have found they can do when applied. Every human type has its corresponding personality traits, and, as you can see, occupies a position on the circle that can approximate the numbers on the clock.
In order to simplify things, we will use this clock numbering system when referring to the types we will be discussing throughout this book.
See the endpapers of the book for a diagram of the synthesizer. Therefore, if mention is made of a "two-clock type," you will know that the person is halfway between a mesomorph and an ectomorph type. I am not adhering to the typing system of Kretschmer and Sheldon completely, because to do so would eliminate much of the far-reaching opportunities for quick and easy analysis this method will allow. Before we go farther, the most important rule in using this method of analysis must be stated: the demonic element in everyone is manifested in their choice of a mate. You can test the authenticity of the chart by simply observing people you know and their choice of a mate.
Wherever people you find a difficult relationship between two people--especially of opposite sexes--you will notice they are close together on the chart rather than opposite each other. The classifications that can be defined are limited only by the shortsightedness of the witch. Using this typing system, more can be told about a given person than with any other method ever devised.
Twelve o'clock represents the pure masculine counterpart to the six o'clock feminine. Inasmuch as these types can be likened to Adam and Eve, the satyr and the nymph, etc. As will be seen, we will not judge so much by three basic classifications, but rather by gradations closer related to four quarters of the circle: twelve, three, six and nine. These four points have personality affinities with the elements of fire, water and earth, and their colors: red, blue, green and yellow.
Like the color wheel, which we shall employ in conjunction with it, the clock allows for subtle yet readily recognizable gradations. Predominantly Masculine Types in Female Bodies and Vice-Versa If you have been born a woman and happen to be in the top extreme of the clock, it indicates you are dominant in your nature and your "Core" takes the form of a male rather than a female person. Here is where we run into a problem if we allow it to exist. The same situation, in reverse, occurs in men who fall into the extreme lower half of the clock.
Let us say that the upper half represents the "ideal" masculine Core, while the lower half represents the "ideal" Core in a female. Thus, the three layers of personality in a twelve o'clock woman would look like Figure 2. To simplify matters, we can say that the twelve o'clock woman will search for or rather be searched for by a six o'clock man, and will invariably wind up with one, whether she wants him or not. The fact that she is still carrying about with her a woman's body necessitates an even greater search for a man who is stronger than she, so that she can really "feel like a woman.
If a twelve o'clock female, who is used to passive men fawning all over her selects an extremely dominant man--one who is even more dominant than herself--she cannot expect such a man to fall in love with her, despite her temporal needs for such a man, because in order for that very temporal passivity need to be fulfilled, the dominant man would, by nature, reject her!
Then, the twelve o'clock gal moans and wails that the more-dominant-than-herself man is. She is often too stupid to realize that his very rejection of her indicates his dominance over her, without which, there could be no attraction towards him in the first place. Thus, she would no longer be dependent upon her stronger man, but in control of the situation--as is her usual standard when dealing with her panting suitors.
If, however, she can step aside temporarily from her blind desires and realize her needs to "suffer" run concurrent with the rejection she experiences from her "brutal" and "callous" love object--then, and only then, will she become self-realized. The parallel to this situation is the six o'clock man see Figure 3 , who secretly desires a woman he can boss around. When he finally finds such a dormouse, she is so totally like himself in personality and physical typing that he cannot become enthusiastic about her but continues to long for dominion over a "girl of his dreams," who, as you might suspect, is of a type totally unprepared to see any dominant qualities in such a man!
On the contrary, his "dream girl" will always be that most dominant woman who holds him in thrall--not a type who is identical to himself but even more subservient! Then he finds himself tied up in knots and enslaved, as usual, by the kind of woman he bemoans not being able to boss about. Little does this unknowing man realize that is is his very pattern to dominate a woman, and when that woman ceases to dominate him he will automatically drift to a new whip-mistress who can!
Here we have discussed two types of human beings, who, being usually unaware of their true nature, go through life complaining about their unrequited love--invariably to none other than those individuals who become the sometimesdisdainful objects of their desires. Unfortunately, if their caterwaulings are long and loud enough, and their love objects are nice enough, even though dominant in nature, a very curious phenomenon develops. The dominant love object, in attempting to "keep peace" and divert grave traumas on the part of his or her suitor, becomes literally vampirized by the "weaker" person!
Thus, it becomes a situations wherein the master finds himself fast becoming the slave--but without the benefits of such an arrangement, as the newly developed "slave" has not based his or her choice of a "master" upon any natural sexual or mental attractions! Temperament Going back to the synthesizer clock as we start at one o'clock, we find the person who is dominant by nature, didactic, and with an inquiring mind, becoming even more mental as two o'clock approaches.
With two, however, some of the social affabilities diminish, and by the time three is reached, we find an inclination towards haughtiness and cynicism. These people are the least agreeable when it comes to accepting anything at face value and are seldom "joiners. Consequently, these three and four o'clock types are the most mystical and abstract in their thoughts. If their Demonic element is allowed to express itself, however, through a non-human vehicle, such as poetry, music, art--great works can be accomplished often than any other, and the typical "egghead" is a pure four o'clock.
Five o'clock types are less abstract and more practical and have the quality of being able to stick with things providing the going doesn't get too rough. For this reason they are admirably suited to office roles and clerical work. Steady and dependable, they have the flexibility necessary to keep going day after day.
Even more consistent is the six o'clock person. In fact, he is the most consistent on the clock. Devotion to cause and duty is the hallmark of the six o'clock type, and he takes great pride in his promptness. These are the men who stay on a job for so long that everything in the firm depends on their presence. These are the women who stay with husbands that other women on the clock would discard. If a six o'clock man strays from his wife, you may be sure it is another woman's fault--invariably one from the tope of the clock.
Seven o'clock persons retain much of the qualities of the six, but with more social inclination, and by the time eight is reached, the emphasis is on doing rather than thinking. The eight and nine o'clock types have little use for hairsplitting debate and will most likely interject a humorous comment whenever the going gets too serious.
The most agreeable and socially likeable eights and nines give up some of these qualities to the ten o'clock type but still have the monopoly. By the time then is reached, the assertive temperament of the top half of the clock is brought to bear. The need to dominate presents itself, and affability is often sacrificed. The ten o'clock type has no use for "eggheads," but ironically his best buddy is probably a slightly sallow four o'clock, whose introspection is "overlooked" by the ten o'clock.
Likewise, his wife is probably a not-too-domestic slender four o'clock girl, who does his thinking for him. Eleven o'clocks are the stereotyped "he-men" whose authoritarian natures are only excelled by the twelve o'clock, who must be the head man in whatever he does, either constantly or at least periodically.
Therefore, authority positions are filled by twelve o'clocks who, because of their needs to be noticed, are always the pioneers in any new undertaking. Whatever they start, it is up to good six o'clock men to keep it running. Skin and Flesh Tone Insofar as skin and flesh texture are concerned, the firmest and most dense tone is found between then and two o'clock. Proceeding towards three, we encounter greater translucency of skin and sinewy muscle development covered by softer flesh. As we move downwards towards five, we find, increasing with six and seven, the extremely soft marshmallow flesh which is characterized in women by small lumps and dimples on the buttocks and thighs even when young.
Moving round to eight. As nine o'clock "Teddy bear" qualities toughen up to ten o'clock, we find ourselves back where we started, observing girls with tawny, firm flesh and oft-times huge bosoms. It is the slim-hipped, big breasted and seemingly unattainable yet compelling to great numbers of men girl of this category that is most often seen in the centerfold of a certain men's magazine not particularly noted for the yielding sexual propensities of its female employees.
General Properties Starting at twelve, we find broad shoulders and back, large rib cage, but not necessarily large breasts in women. If the breasts are large, the chest will be also. In a woman who is 5'8" one may find a forty-two inch bust with a "B" cup, whereas the three o'clock girl might have a thirty-five inch bust with a "D" cup. This is because the basic frame of the twelve o'clock woman is wedge shaped, while the three o'clock straightens out. Slim hips will be seen on both men and women of this category, in fact, the slimmest on the clock.
In keeping with the wedge shape, the proportions will be overbalanced on the top half of the body, so that if the person is seated, he will always appear taller than he is. Seen from the waist down, they will always appear shorter. They are often extremely long waisted and short-legged. The reason it is easy to assume them to be athletic types is because especially in men they have the facility of always being able to pull their stomachs in and look as though they have been exercising very rigorously!
Actually, the majority of real athletes fall into the two to four and eight to ten positions, depending on their choice of sport. To the right of twelve, we find the chest becomes narrower but just as deep. To the left of twelve, the chest becomes shallower but sometimes wider. If twelve o'clock people gain weight, it will show first in the torso, rather than the legs, the gain manifested itself in the belly and gluteal region but not readily noticeable except in profile. As we move towards one o'clock, and the chest narrows, by the time three is reached the torso has shortened proportionately and the legs lengthened.
The field of fashion modeling draws from this category, as the women occupying it are almost straight up and down with a slight tendency to be slimmer below than above. Weight is not easily gained, and the nervous temperament burns up calories fast. If any weight should be gained or lost, it will be immediately noticed in the face, with a few scant pounds making the difference between a sunken, drawn look or a puffy appearance.
The four o'clock has virtually no waist and when tall is the traditional beanpole. Short four o'clocks, if inclined at all towards stoutnes s in later years, resemble little fat tree trunks. Three and four o'clock men who wish to develop their physiques must engage in a strict muscle-building regimen. They will probably never get fat but certainly must work to put on weight and it must be in the form of muscle. If the shoulders are to be broadened, the chest enlarged, the biceps developed, it must be through exercise in those particular areas, for the frame itself is not conducive to such enlargement.
Hence, the compensation of the "ninety-seven pound weakling" stigma often results in some very grotesque muscle development resembling balloon-like appendages. The solitary nature of most three and four o'clocks is certainly conducive to the needed hours spent in gymnasiums, on teeter boards, jogging, rowing, cycling, etc. As we round the bottom of the clock, weight starts to develop without trying, and at five o'clock care must be taken to keep weight off! By this point of the clock, the stick-like verticals have bulged at the sides forming an ellipse with the ideal Lunar or Vensuian form at the sex o'clock position.
Narrow shoulders, wide hips and thighs, long legs and short torso characterize the perfect six o'clock. If mermaids lived, they would all be six o'clocks, for they are as much synonymo us with the fluidic quality of the six as the twelve is forged in fire. Crab-like, the six o'clock is flat and wide, the abdomen and buttocks often disproportionately flat in comparison to the width of the pelvic area.
Astrologers would be quick to call this the pure Cancerian type. The first place to gain weight and the last place to lose it are the outer upper thighs. Even with excess weight however, the waist can still be sucked in disproportionately owing to natural tendency towards abdominal flatness, which is a holdover from the beanpole four o'clocks, or if you prefer to come round from the other direction, a loss of stuffing from the sausage eight o'clocks. As seven o'clock approaches, we see a bit more protruding from the rear end and tummy, and by eight o'clock, the torso has thickened, the waist lengthened, the legs shortened, until we see our "Teddy bear" nine o'clock.
His solid body is usually accompanied by a face which is inclined towards rotundity. In fact, eight and nine o'clocks will always enjoy their food and must fight to stay slim. They gain weight in the legs, torso--in fact, just about all over! And the last place they will ever lose weight will be in the face. If a jovial, round-eight-thirty type man dropped from to pounds, his face would look little changed, even though he now resembled a lollipop.
The solid, husky fullback is often a nine o'clock, and if he can avoid eating his own food when he opens his restaurant after his retirement from football, he might still look good at fifty. The eight and nine o'clock gals are the type Kretschmer used to glorify as the "real woman" Pyknic types. The most "earthly" farm stock, socially gregarious, PTA going, Kewpie doll, with round hips, round breasts, round bottom--in short, round all over--fits this classification. Years ago Esquire magazine published an edifying article attesting to the fact that "Pyknics are more fun.
Sexual Proclivities The woman most prone to stereotyped lesbian activities is the twelve o'clock. The man most likely to fit the established image of the homo sexual is the six o'clock. All types, however, have their respective homosexual counterparts. This simply implies that a twelve woman and a six man are ideally suited for sexual interchange and often are transsexuals.
When a sexchange operation is performed, it is most complete and successful in these individuals. Six o'clock professional female impersonators are the rule, whereas the "closet queen" transvestite usually appears in the secret practices of the eleven o'clock truck driver or twelve o'clock movie idol, who couldn't look more ridiculous in his sequined cocktail dress and spike heels! The most sexually receptive persons fall between five and nine. The most aggressive in their sex drives are between nine and one.
These are also the most openly exhibitionistic in a flagrant and contrived manner. Because they are social by nature, they want to be noticed more than the others on the clock. The least sensual types are between one and five o'clock. The most successful and frigid prostitutes are one and two o'clocks.
Is there anything funnier than tiny cat pants?
The person most likely to perform sex for spiritual enlightenment, protest, or not at all in the three or four o'clock. Here we find the typical hippie, with clothes carefully chosen to either conceal the figure completely or render it as unappealing as possible to all except others in the same peer group. Old beatnik and older bohemian types have always striven to find the latest style in burlap, war-surplus, Indian blankets, etc. Men of this grouping are the least concerned about sexual attraction by way of clothing; yet understandably, people who fall into this category will be the first to show their "freedom" by taking off all their clothes.
Seventy-five percent of the people you see featured in nudist magazines or girlie pictorials showing indelicately exposed genitalia are in this section of the clock. When the five to nine is exposed it is because he is drunk and doesn't know his pants are unzipped. The woman in the five to nine group always seem to have a way of exposing themselves without really trying and are experts in the art covered by the chapter, "Secrets of Indecent Exposure.
Here are some additional pointers: The man who is the typical conventioneer and who seeks out play-for-pay gals is the eight or nine o'clock type and is usually the best salesman. Naturally, the gals who will accommodate him will be pro's from the two or three o'clock grouping, unless he should find a "social-minded" streetwalker from the ten o'clock group.
Of course, she won't be nearly so appealing as she is closer to his own type. As a last resort, the visiting sales manager might even take a tipsy seven o'clock housewife, who is out from Madison, Wisconsin visiting her sister. She is staying at the same hotel as he, and , not tired enough to go to sleep, stepped into the cocktail lounge as she walked through the lobby. After downing one drink, she was well on her way to losing her inhibitions. The next day she felt terribly ashamed of herself, and he felt it was okay, but he could have done better!
The fact that the five to nine o'clock girl is the most submissive sexually gives the long-legged six and seven o'clocks the best swivel-hipped dance movement. Ballerinas, who are on a more esthetic plane, move closer to five o'clock. The stiff and contorted spasms engaged in by "modern" dancers is exemplified by the three and four o'clocks. Their lack of carnal sexuality is shown in their dance movements, which, in keeping with the "air" influence, are of a flying nature. The body remains relatively motionless, while the arms and legs flail about, sometimes resembling attempts to fly, sometimes to thrust away the "attacker," sometimes appearing as violent protest and always implying a "fleeing to freedom.
If three and four wish to repel sexual advances and fly away, not so with eight and nine. These wiggly earthworms will be inclined to hold their arms close to the body, limit their leg-thrashings, and rotate their bodies like mad! The arm and hand movements will imply a "pulling in" and "clutching to" and, in keeping with the "earth" influence, the dancer often resembles a groundhog "digging in. The most "perfect" female sexually-interpretive dance forms have been those best preformed by six o'clocks through the ages.
The Hawaiian hula and the Near Eastern nautch or "belly" dance are prime examples. The most proficient exponents I have ever seen of the grass skirt and finger cymbal school of dance, as well as bump and grind artistry, have been almost "pure" six o'clocks. When we move up to the top half of the clock, we find the spirit is willing but the flesh is weak, when it comes to dance forms as we know the.
Being on the "masculine" half of the circle gives one more of an ability to strut rather than dance. It is for this reason that drum majorettes are usually ten and eleven o'clocks, who do a great job with a baton and "let's give the little lady a big hand. The twelve o'clock witch would best stay off the dance floor but confine her rhythmic motions to jungle priestess routines where her leopard skins and whip will be appreciated! The worst natural dancers who are usually wise enough not to try are the cerebrally inclined, short-legged antisocial one and two o'clocks.
Incidentally, the higher up on the clock you are, the rougher time you will have coping with your periods. Also, the more you will be unfavorably influenced by the full moon. The lower you are on the clock, the better you will function during a full moon! Sense of Humor The degrees and type of humor are governed a great deal by the position one holds on our clock. Those with the highest developed sense of humor dwell within the eight to ten o'clock sector. These people can truly enjoy a funny situation without analyzing it. The most dour and humorless types are the two to fours.
Whenever we see a comedian who uses comedy as a vehicle for bitter social criticism, he falls into this classification. The most responsive audiences are the five to nine types. Nine to ones must be able to identify themselves with the performer before they can appreciate him. And one to fives spend more time analyzing what is before them than experiencing it.
Almost all critics are one to five types. Famous comedy teams like Laurel and Hardy, Abbott and Costello, etc. Alcohol and Drug Use Where booze is concerned, eight to tens consume the most and keep the bars in business. Eleven to twelves like it but most can take it or leave it.
One and two types are most likely to abstain from alcohol or only drink for professional reasons. However, the majority of alcoholics fall into the eight to one grouping. Threes are prone to drugs, and the biggest percentage of drug abusers are the three and four o'clock types, just as the biggest lushes are the first mentioned eight to tens. Interestingly enough, if and when a four o'clock drinks it will be cheap wine, because of its "poetic" connotations.
If the ten o'clock feels "daring" he'll puff a little marijuana, because, being a basically social type, he will choose a social drug. If bourbon dis tilleries had to depend on four o'clocks and LSD pushers had to survive on ten o'clocks, they would both go broke overnight. The folks at the bottom of the clock can take it, but once having taken, find it hard to leave, where alcohol is concerned. In these most easy-going and steady types a few drinks will trigger an oft-times welcome loss of inhibitions more readily than with any other category.
These are the normally consistent and dependable types, who have one drink too many and wind up getting in a fight, taking their clothes off, or wetting their pants. The most important rule to remember, concerning alcohol, is that whatever form it is taken in will have the effect of bringing the qualities of the Demonic to the surface. Thus, a normally jolly nine o'clock, when drunk, will become a morose, dour and cynical person. The dry, technical three o'clock will turn into a sort of arrested development life of the party, who might even sing a ribald song he learned in high school.
The strong assertive twelve o'clock will become sentimental, nostalgic, maudlin over youthful errors and lost romance and might even cry in his good bonded whiskey. The five o'clock bank clerk will relive the beach at Anzio; and the eight o'clock, who is usually bouncing around like a rubber ball, will be found in a darkened corner, morosely serious over what he feels is his lack of accomplishment and how people don't know what he's going through.
When that old-time fundamentalist coined the term, "demon rum," he never knew how right he was! Therefore, positions in which other people are involved as an essential part of the occupation are held by six to twelves. Technical, intellectual and clinical roles are held by twelves to sixes. Of course, the same kind of job may be held by any of the different types on the clock. What we are concerned with, though, is the incidence of certain type persons for certain occupations, and how a person who is a failure at his job is often in a profession totally alien to his typing. His wrinkled suit looks like and is the most unimportant thing in his wardrobe and his dull brown shoes have never been polished.
Of course, the successful extreme of this type is likely to be a successful writer of avant-garde plays. There can be many sub-categories within the same profession. Nurses that care about their patients sometimes too much! The kindly old G. Most attorneys who become judges are eleven to one with the ideal combination of sympathy, analysis and symbolic leadership at high noon. The lower one is on the circle, the more compatible with his own classification he is, e. Consequently, the best spokesmen for someone else are always those directly opposite on the clock.
The best salespeople are eight to tens, providing there is self-gain involved as well as financial. Most blue-collar workers and laborers are also in the eight to ten category, with professional military men and the best career soldiers falling within the ten to twelve grouping. Policemen ten to twelve. We can observe these variants in any occupation or profession that embraces several different skills within a single field. Music is a striking example of this.
Fads for certain musical instruments will produce players and devotees from all categories on the clock, most of whom exhibit dubious degrees of ability. Usually, however, when they keep laughing long after you sit down at the piano, you give up any career you might have envisioned. Assuming that not everyone can be a Paderewski, Segovia, Menuhin or Casals, we must consider the driving emotional force that produces great musicians.
It has been said that a great musician must make love to his instrument, woo it like a mate, and bring out the best it has to offer. This is the secret of any great concert artist. The musical instrument is a substitute for the lust object. The Demonic element of any musician will be exercised in his musical instrument. Small wonder professional musicians exert a strong appeal over women. Here are the instruments which correspond to the numbers on our clock: 1. French horn; 2. Saxophone; 3. Clarinet; 4.
Harp, guitar; 5.
Flute, dulcimer; 6. Violin, viola, cello; 7. Oboe; 8. Piano; 9. Tympani; Snare drum, tom tom, etc. Trumpet; Organ, trombone, tuba. As you can see, the instruments are listed with the most assertive near the top and the most passive, fluidic and pastoral near the bottom. Now, the choice of a musical instrument is much like the choice of a pet. In this way, he is getting to the very Core of his personality. An illustration of this entire concept is thus: There are two excellent professional violinists. Little does Laszlo need any of those women right now, as his heart is taken. He has a couple of young sons, who are his great pride, and holds a respectable position as concert master in a large symphony orchestra.
Occupationally speaking, the most retiring individuals are the academic researchers, critics, technicians, civil service clerks, ivory tower professors and collectors of welfare checks, who all fall in the three to five position. Most craftsmen who deal in delicate or intricate operations fall into the one to three grouping; however, we occasionally see the same phenomenon as pertains to the musician who is in love with his instrument.
In painting and sculpture, we see this Apparent Demonic dichotomy quite frequently. In these cases the situation is easy to spot, because there is visual evidence of it in the product of the artist. It turned out that electronics work was the manifestation of his Demonic self and despite the compulsion he felt towards this field, he half-heartedly undertook many sidelines: real estate sales, boat leasing, vending machines, etc.
His side activities were clearly. After many years of pouring himself into his Demonic pursuits, he started dating girls —and what was the means he used to meet his female companions? An electronically computerized dating service! A good test for personality typing, if the individual who is your subject has any drawing ability, is this: Ask your subject to draw a picture of a woman, assuming your subject is a man. The result you see will be the Demonic Layer of his personality, from which you may take your cue, should you wish to bewitch him. Artists and sculptors of all types show their Demonic side most readily.
If some of you recall the pictures of girls you used to draw when you were in your teens, you will remember how the girl on whom you drew your favorite hair style or eye make-up always looked as you would have like to look—which is always like a girl opposite you one the clock!
When one recognizes certain factors, however, such actions resemble more of a sado-masochistic encounter exercise. Sports, Athletics, Aches and Pains Sports involving teamwork are played by those on the left side of the clock, except for boxers, who are usually around eleven.
All those famous strong-men had to wear stomachers under their leopard skin tunics to keep their sacroiliacs from acting up. The reason for this and the reason most men in the ten to two group have back problems is because they were never meant to walk on two legs as well as the others! Their long torsos and short legs are not equipped for such trained animal shenanigans. Next page.
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