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ADVANCBD
SBX MACJIC
 ADVANCBD
SBX MACJIC
THB HAN�IN� MYSTBRY
INITIATION

MARIA DE NAGLOWSKA

Translated from the French with an

Introduction and Notes
by Donald Traxler

Inner
rim·
I I
Traditions
Rochester, Vermont • Toronto, Canada
 CONTENTS

Introduction: Maria de Naglowska, "A Riddle

Wrapped in a Mystery" by Donald Traxler ix

�
Preface: The lnitiatic Rite of the Third Degree 1

I The Human Tree 5

2, Jesus of Nazareth 14

3 The Woman of the Unknown 21

4 Judas lscariot 24

5 After Death 34

6 The Magnificent Invisible Knights 40

7 The Last Oral Examination before the Great Test 50

8 The Priestesses of Love 55

9 The Rite of Hanging 68

'� �
I 0 The Neutralization of the Black Fire 83

I I To Conclude 90

Append ix A. The New Religion:

Excerpts from La Fleche 92

Append ix B. Open Letter to Pope Pius XI from

Maria de Naglowska 96

Appendix C. The New Commandments and the

Golden Mass: Excerpts from LaFleche 101

Appendix D. Maria's Last Words to Us:

Her Prediction of the Second World War 1OS

Notes 108

Bibliography 112

Index 114
 INTRODUCTION
MARIA DE NAGLOWSKA, "A RIDDLE
WRAPPED IN A MYSTERY/I

Donald Traxler

W
hen Winston C h u rch il l called Russ ia "a riddle
wra pped in a mystery inside an enigma," he cou l d
as well have be en describing a daughter of Russia n amed Maria
de Naglowska. She was a poet, a journalist, a tr an s lator, an

author, an o cc u ltis t , and a mystic (the latter perhaps m ost of all),

but few know anyth i ng about her. Those who have ever heard

of her probably know her as the tra ns lat o r of P. B. Randolph's

Magia Sexualis1 (which she did far more than translate) .*" Others,
who have shown more c ur iosity about her, wi ll say that she was a
Satanist (not true, though it is an impression that she fostered).t

*[ lvfagia Sexualis has survived only in Naglowska's French translation. It is com­

posed of several works written by Randolph (notably The lvfpteries ofEulis a nd
Seership) plus material from other sources, probably including Naglowska's o wn
ideas. Naglowska greatly improved the style and organization of Randolph's
material. -Trans.]
t[This question has been well covered in Appendix B of The Light ofSex,Z previ­
ously published in this s e ries . -Trans.]

ix
 X Introduction

It h a s taken many years to get any reliable facts about her life,
partly because she told different stories about herself.3 Her mo s t
important writings, including the book on which the pres­
ent book is based, were p ubl i shed in very small editions (now
almost impossible to get) and never translate d i nto English .
Consequently, this woman whose works should occupy a signifi­
cant place in the history of Western religion, is now prac tically
unk now n , especially in English.
Maria de Naglowska was born in St. Petersburg in 1883,

the d aughte r of a p romine nt Czarist family.* She went to the

best schools , and got the best education that a young woman of
the time could get. She fell in love with a young Jewish musi ­
c ian , Moise H openko , and married him against the wishes of
her family. The ri ft with Maria's family caused the young cou­
ple to leave Russia, going to Germ any and then to Switzerland.
After Maria had given birth to three children, her young hus­
band, a Zionist, decided to leave his family and go to Palestine.
This m ade things very difficult for Naglowsk a, who was forced
to rake various jobs as a journalist to make ends meet. While
she was living in Geneva she also wrote a French grammar for
Russian immigrants to Switzerland. Unfortunately, Naglowska's
libertarian ideas tended to get her i n to trouble with governments
wherever she went. She spent most of the 1920s in Rome, and at
the end of that decade she moved on to Paris.

*[I have drawn most of the details about Naglowska's life from the short biogra­
phy titled La Sopbiale, written by her favorite student, Marc Pluquet. It is, by far,
the most reliable source.4- Trans.)
 Introduction xi ------

While in Rome Maria de Naglowska met Julius Evola, a

pagan traditionalist who wanted to reinstate the pan t heon of
ancient Rome. Evola was also an occultist, being a memb e r of
the Group of Ur and counting among his associates some of the
followers of Giuliano Kremmerz. It is said that Naglowska and
Evola were lovers It is known, at least, that they were associates
.

for a long ti me She translated one of his poems into French (the
.

only form in which it has survived), and he translated some of

her work into Italian.
While occultists give a great deal of weight to Naglowska's
relationship with Evola, it is dear that t here must have been
other influences. Some believe that she was influenced by the
Russian sect of the K hlysti , and some believe that she knew
Rasputin (who se biography she translated) Maria, though, gave
.

the credit for some of her unusual ideas to an old Catholic monk
whom she met in Rome. A l though Maria said that he was quite
well known there , he has never been identified.5
Maria said that the old m onk gave her a piece of cardboard,
on wh ic h was drawn a t riangle , to represent the Trinity. The
first two apexes of the triangle were clearly labeled to indicate
the Father and the Son. The third, left more indistinct, was
intended to represent the Holy Spirit. To Maria, the Holy Spirit
was feminine. We don t know how much was the monk's
'

teaching and how much was hers, but Maria taught that the
Father represented Judaism and reason , while the Son represented
Christianity, the hea rt , and an era whose en d was app roaching.

To Maria, the femi ni ne Spirit represented a new era, sex, and

 xii Introduction

the reconciliation of the light and dark forces in nature.

It is mostly this idea of the reconciliation of the light and
dark forces that has gotten Maria into trouble, and caused her
to be thought of as a Satanist. Maria herself is partly responsible
for this, having referred to herself as a "satanic woman" and used
the name also in other ways in her writings. Evola, in his book
The Afetaphysics of Sex, mentioned her "deliberate intention to
scandalize the reader."6 Here is what Naglowska herself had to
say about it:

Nous difendons a nos disciples de s'imaginer Satan (=/'esprit

du mal ou /'esprit de Ia destruction} comme vivant en dehors de

nous, car une telle imagintztion est le propre des idoldtres; mais

nous reconnaissons que ce nom est vrai.

We forbid our disciples to imagine Satan (= the spirit of evil

or the spirit of destruction) as living outside of us, for such

imagining is proper to idolaters; but we recognize that this

name is true.

In 1929, Naglowska moved to Paris, where she got the

unwelcome news that she would not be given a work permit.
Deprived of the ability to be employed in a regular job, she
would have to depend on her own very considerable survival
skills. She began work on the book for which she is best known
today, her "translation" of Magia Sexualis, 7 by Paschal Beverly
Randolph. This work by the American hermetic and sex the-
 Introduction
r orist is known only in Naglowska's "translation." I ha e put �
xiii

the word " translation" in quotation marks because it is really a

compilation. Only about two-thirds of the work can be iden-
tified as being from Randolph . The rest is from sources only
beginning to be identified, or from Naglowska herself, and the
organizat ion of the material is clearly her contribution as well.
While N aglowska was working on Magia Sexttalis, she
began giving lectures or "conferenc es " on an original teaching
of her own . She called it the Doctrine of the Third Term of
the Trinity. Her "conferences" were at first often held in cafes.
The proprietors of these venues were pleased with the influx of
patrons and often gave Maria free food and coffee. In a short
time her following grew to the point where she could afford to
rent a large, bare room, which held thirty to forty people* for
her private meetings.8 It was thus that Maria survived.
Maria's income was supplemented by her publishing endeav-
ors. After the 1931 publication of Magia Sexttalis, Naglowska
turned to writing original works. One of the se , Le Rite sacri de
/amour magique, a metaphysical novelette apparently containing

*[According to Pluquet in Ll Sophiale, there were only 30-40 people in the hall
when it was full, and the overflow stood in a baie vitrle, or glassed-in bay, which
separated the hall from the entrance. The hall in question was the old Studio
Raspail at 46 Rue Vavin (not to be confused with the present cinema on Bd.
Raspail). The buildin g now houses an Italian restaurant that has a capacity of
120 se ats . The space may have been enlarged, or it may not. The low divider that
formed the baie vim!e is still there, but it no longer seems to have gl as s over it.
It would take a sizable crowd to fill the space and still have overflow standing
in the entryway. On page 14, Pluquet states that all of these "conferences" were
taken down in shorthand by a certain Mr. Dufour. Unfortunately, these short-
hand notes have not yet surfaced . -Trans.]

� �
------ xiv Introduction

elements of her own life, was published as a supplement to her

street newspaper in early 1932, having earlier been serialized
there.9 The little newspaper, to which she and other occultists
contributed, was called La Fleche, Organe d:Action Magique. It
was the public voice of her magical group, La Confrerie de la
Fleche d'Or.
Later in Naglowska published La Lumiere du Sexe,
1932,

published in English in the current series as The Light of Sex. 10

In 1934, she published Le Mystere de la Pendaison, or The
Hanging Mystery,* on which the current book is based. These
two books were required reading for e ven First Degree initia­
tion into Naglowska's magical group,11 and contained all of the
doctrine of her new religion, the Third Term of the Trinity, and
much of its ritual. They are thus of paramount importance for
understanding Maria de N aglowska and her teaching. They are
also, unfortunately, quite rare, having been originally published
in small editions of about fi ve hundred copies. To my knowl­
edge, the translations in the present series are the first that have
been made of any of Naglowska's original works into English.
N aglowska is said to have been very psychic. She predicted the
catastrophe of the Second World War,12 and in 1935 she foresaw
her own death.13 Knowing that she was going to die, she refused
to reprint The Light ofSex and The Hanging Mystery, which had

*[The title of this edition is Advanced Sex Magic: The Hanging Mystery Initia­
tion. In remaining true to the translation from French, we will refer to it as The
Hanging Mystery throughout this text. -Ed.]
 Introduction XV

r both sold out. She told her followers that nothing would be able
�
to be done to spread her teachings for two or three generations .

She went to live with her daughter in Zurich, and it was there
that she died at the age of fifty-two, on Aprill7,
, 1936.

Maria was influential among the Surrealists, and they seem

to have influenced her own writing. Naglowska s sessions are '

said to have been attended by the avant garde and the notori--

ous of the time, including Man Ray William Seabrook, Michel

,

Leiris, Georges B ataille , and Andre Breton. Jean Paulhan, for

whom L'Histoire d'O was written, is also said to have attended.
I have not yet been able to trace these often made claims to reli- -

able original sources, so for the present they should be regarded

,

as hearsay We know, however, that surrealist poet and painter

.

Camille Bryen was a member of Naglowska's group,l4 as the

writer Ernest Gengenbach appears to have been, and it seems
significant that one of the best studies of Naglowska was done
by another surrealist, Sarane Alexandrian . 15 Maria's French was
impeccable and her style clean and powerful, but she used words
in a symbolic, highly idiosyncratic way. Shortly before she left
Paris, she told her disciples that her teachings would need to "

be translated into clear and accessible language for awakened

women and men who would not necessarily be symbolists."16
Taking this as my directive, I have added extensive explanatory
footnotes to the texts of The Light ofSex and this Advanced Sex
Magic.

Due to the small editions and her refusal to reprint them,

plus her early death and the unfortunate arrival of World War

� �
------- xvi introduction

II, Maria's influence seems hardly to have extended beyond

Montparnasse. This needs to change. With the pe rsp e c t ive
gra nted by time, we can now see that Naglowska was an impor­
tant mystic of the twentieth century. At the very least she deserves
a place in the history of religion for having achieve d within the
Western tradition the full, non-dualistic real i z ation typified by
the major Upanishads. In so doing, she has bequeathed to us a
vision that, whi l e idiosyncratic, is also powerful and uplifting.

DONALD TRAXLER began working as a professional t ra nsla t o r

(Benemann Translation Service, Berlitz Translation Service) in 1963.

Later, he did translations for several institutions in the financial sec­

tor. On his own time he translated poetry and did his first met ap hys i­

cal translations in the early 1980s. He later combined the s e interests,

embarking on an ambitious, mult i -yea r project to translate the works

of Lalla (also known as L alleshva r i , or Lal De d), a beloved fourteenth­

century poet of K ashm i r Shaivism. That project is still not complete ,

but many of the translations have become favorites of contemporary

leaders of the sect. He is currently fo c u si ng on Western mysticism,

and is halfway through a four-book series on Maria de N aglowska

for Inner Traditions. He is co nt e mpl atin g a major proj ect on an o ther

European mystic and an eventual return to and co mplet i on of the

Lalla proj ec t . Except for Lalla, he translates from Sp a ni sh , French,

and Italian. All of his projects are labors of love.

 WARNING

The tide of this book refers to a practice that is

extremely dangerous, especially when done alone.
Every year thousands of individuals die from the
practice of solitary autoerotic strangulation through
hanging. The approaches and techniques described
herein should not be seen as an endorsement of
this practice.
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