the Grimoire of Armadel
S. L. MacGregor Mathers intRODUCTION BY William Keith
Armadel 的魔法书 S. L. MacGregor Mathers 威廉-基思的介绍

AS REGARDETH THE PLANETS. THE SANHEDRIN p23
关于行星。桑海德林》第 23 页

THE CIRCUMCISION OF JESUS AT NAZARETH p24
耶稣在拿撒勒的受难 第 24 页

BY THE FLOWING OF JORDAN p25
约旦河流》第 25 页

THE SON OF ZACHARIAS IN THE DESERT p26
沙漠中的撒迦利亚之子》第 26 页

IN THE FIELDS OF BABYLON p27
在巴比伦的田野上》第 27 页

THE SPIRIT OF ELISHA p28
埃利沙的精神》第 28 页

OF THE LIFE OF ELIJAH p29
以利亚的生活》第 29 页

THE WISDOM OF SOLOMON p30
索罗门的智慧》第 30 页

THE EXPLORER AND LEADER JOSHUA p31
探索者和领导者约书亚》第 31 页

THE VISION OF 'MAN' p32
人 "的愿景》第 32 页

THE ROD OF MOSES p33
摩西神杖》第 33 页

MOSES IN THE INTERIOR OF THE DESERT p34
沙漠内部的摩西》第 34 页

THE CAVE OF EPHRON p35
埃普隆洞穴》第 35 页

THE GOING-FORTH OF ABRAHAM FROM UR OF THE CHALDEES
亚伯拉罕从迦勒底的乌尔出发

AND FROM HARAN p36
和来自哈兰的第 36 页

THE WISDOM OF OUR FOREFATHER ADAM p37
我们先祖亚当的智慧》第 37 页

THE BEHOLDING OF THE SERPENT p38
蛇的拥抱》第 38 页

THE VISION OF FORMATION - ADAM p39
塑造的愿景》--亚当 第 39 页

THE VISION OF EDEN, OR OF THE TERRESTRIAL PARADISE p40 CONCERNING PHITONE OR THE ABUSES OF NECROMANCY p41 CONCERNING THE COMMUNICATION OF THE GENII p42 CONCERNING THE TRANSFORMATION OF THE GENII p43 CONCERNING THE NATURE OF THE GENII p44
伊甸园的幻象，或陆地天堂的幻象》 p40 《关于电话或蛊惑人心的滥用》 p41 《关于创世纪的传播》 p42 《关于创世纪的变革》 p43 《关于创世纪的本质》 p44

THE SACRO-MYSTIC THEOLOGY OF OUR FATHERS 447
我们祖先的神圣神秘神学 447

CONCERNING THE SCIENCE OF THE REGENERATION OF ADAM AND HIS CHILDREN BY PELECH p47
关于亚当及其子孙由佩莱克再生的科学 第 47 页

CONCERNING THE DEVILS AND HOW THEY MAY BE BOUND AND COMPELLED TO VISIBLE APPEARANCE p48
关于魔鬼及其如何被束缚和强迫显现的问题 第 48 页

CONCERNING THE DEVILS AND HOW THEY CAN BECOME VISIBLE p50 CONCERNING THE DEVILS AND HOW THEY MAY BE BOUND AND BECOME VISIBLE p51 CONCERNING THE WAYS OF KNOWING THE DEVILS AND OF BANISHING THEM p52
关于魔鬼和魔鬼如何显形 p50 关于魔鬼和魔鬼如何被束缚和显形 p51 关于认识魔鬼和禁止魔鬼的方法 p52

CONCERNING THE DEVILS AND THEIR LIFE
关于魔鬼及其生活

CONCERNING THE WAYS OF KNOWING THE GOOD ANGELS,
关于认识善良天使的方法、

AND OF CONSULTING THEM p54
以及咨询他们的问题 p54

CONCERNING THE LIFE OF MAN p55
关于人的生活》第 55 页

CONCERNING THE CREATION OF THE SOULS OF MEN p56 CONCERNING THE EVANGELIC REBELLION AND EXPULSION p57 CONCERNING THE LIFE OF THE ANGELS BEFORE THE FALL p58 CONCERNING THE CREATION OF ALL THE ANGELS p59 CONCERNING GOD, THE PRESERVER, THE DESTROYER, AND THE CREATOR p60
关于人类灵魂的创造 p56 关于圣灵的反抗和驱逐 p57 关于天使堕落前的生活 p58 关于所有天使的创造 p59 关于上帝--保护者、毁灭者和创造者 p60

CONCERNING GOD IN HIS TRINE PERSONALITY p61
关于上帝的三位一体人格》第 61 页

CONCERNING GOD THE UNIVERSALLY ONE p62
关于 "万有的神 "第 62 页

CONCERNING THE PATHS OF WISDOM p64
关于智慧之路》第 64 页

THE RATIONAL TABLE p67
理性表》第 67 页

THE FIRST CHARACTERS p67 THE VISION OF ANOINTING p69
首批人物》第 67 页 《圣膏的愿景》第 69 页

THE VISION OF DUST p70
尘埃的幻象》第 70 页

THE PREPARATION OF THE SOUL (I) p74
灵魂的预备》（I）第 74 页

THE PREPARATION OF THE SOUL (II) p75
灵魂的预备》（二）第 75 页

THE CHARACTERS OF MICHAEL p77
迈克尔的性格》第 77 页

ORIGINAL LATIN TITLE PAGE p79
原版拉丁文标题第 79 页

A. OPERATION OF THE URIEL SERAPHIM
A.乌瑞尔-撒拉弗的运作

1 THE SIGIL OF ZADKIEL p23
1 《撒基尔的西吉尔》第 23 页

2 THE SIGIL OF THAVAEL p24
2 《泰阿维尔的西格尔》第 24 页

3 THE SIGIL OF CAPHAEL p25
3 《卡夫卡之歌》第 25 页

4 THE SIGIL OF SAMAEL p26 5 THE SIGIL OF URIEL p27
4 《撒玛利亚的标志》第 26 页 5 《乌列尔的标志》第 27 页

6 THE SIGIL OF MICHAEL p28
6 《米歇尔之歌》 第 28 页

7 THE SIGIL OF GABRIEL p29
7 《加百列的西吉尔》 第 29 页

8 THE SIGIL OF RAPHAEL P30
8 拉斐尔的徽章 P30

9 THE SIGILS OF HETAEL p31
9 《希伯来书》第 31 页

10 THE SIGILS OF VAU-AEL p32
10 《瓦乌埃勒之歌》第 32 页

11 THE SIGILS OF ZAINAEL p33
11 《撒尼尔的西吉尔》 第 33 页

12 THE SIGILS OF HETHATIA p34
12 《赫提哈提亚的西吉尔斯》第 34 页

13 THE SIGILS OF TETAHATIA p35
13 《泰塔哈提亚的标志》第 35 页

14 THE SIGILS OF ALEPTA p36 15 THE SIGILS OF BETEL p37
14 《阿勒帕塔之兆》第 36 页 15 《贝特尔之兆》第 37 页

16 THE SIGILS OF GIMELA p38
16 《吉美拉的西吉尔斯》 第 38 页

17 THE SIGILS OF DALÉTÉ p39
17 《达累斯萨拉姆》第 39 页

18 THE SIGILS OF PHALET p40
18 《法莱特的标志》 第 40 页

19 THE SIGILS OF SAMAEL p41
19 《撒玛利亚的西吉尔》第 41 页

20 THE SIGILS OF CAMAEL p42
20 卡梅尔的西吉尔斯第 42 页

21 THE SIGILS OF HANIEL p43
21 《哈尼尔的故事》第 43 页

22 THE SIGILS OF ANAEL p44
22 亚伯拉罕的西吉尔第 44 页

23 THE SIGILS OF OPHIEL p47
23 《奥菲尔的西吉尔》 第 47 页

24, 25 THE SIGILS OF ASMODÉ AND LEVIATAN p49
24、25 《阿斯莫德和利维坦的标志》 p49

26 THE SIGILS OF HEMOSTOPILÉ p50
26 埃莫斯托皮莱的标志 p50

27 THE SIGILS OF BRUFOR p51
27 布鲁福尔的西吉尔斯 第 51 页

28 THE SIGILS OF LAUNÉ p52
28 拉乌内的西吉尔斯 第 52 页

29 THE SIGILS OF BETOR p53
29 BETOR 的标志 p53

30,31 THE SIGILS OF ZADKIEL AND SACHIEL p54
30,31 《撒基尔和萨希耶的标志》第 54 页

32, 33 THE SIGILS OF PHUL AND GABRIEL p55
32、33 《普尔和加百列的寓言》第 55 页

34 THE SIGILS OF ARATRON p56
34 阿拉特龙的西吉尔斯第 56 页

THE SIGILS OF LUCIFER, BELZEBUT AND ASTAROT p57
路西弗、贝尔泽布和阿斯塔罗的西吉尔斯第 57 页

38 THE SIGILS OF ZAPHKIEL p58
38 《撒普吉利尔之歌》第 58 页

39 THE SIGILS OF OCH p59
39 《奥赫的标志》 p59

40 THE SIGILS OF GABRIEL p60
40 《加百列的标志》第 60 页

41 THE SIGILS OF MICHAEL p61
41 《米歇尔的标志》第 61 页

42 THE SIGILS OF CASSIEL p62
42 《卡西尔之歌》第 62 页

43 THE SIGILS OF THE SPIRITS OF FORCE AND COUNSEL p64
43 力量与智慧的象征 第 64 页

44 THE SIGILS OF THE SPIRITS OF JOY p64
44 欢乐精灵的标志 第 64 页

45 THE SIGILS OF THE ANGELS OF LOVE AND CHARITY p65
45 爱与慈善天使的标志 第 65 页

46 THE SIGIL OF GOOD FORTUNE p67
46 好运的徽章 第 67 页

Operation of URIEL SERAPHIM
URIEL SERAPHIM 的行动

The Grimoire of Armadel-whose original title is Liber Armadel seu totius cabalae perfectissima brevissima et infallabilis scientia tam speculativa quam practiqua-was translated by Samuel Liddell MacGregor Mathers (1854-1918) from the original French and Latin of a manuscript in the Bibliothèque l'Arsenal in Paris (MS 88). Mathers is well known as a cofounder and leader of the Hermetic Order of the Golden Dawn, and produced editions of several important magical texts and grimoires including the (Greater) Key of Solomon the King, the Lesser Key of Solomon (The Goetia), and The Book of the Sacred Magic of AbraMelin the Mage. The Grimoire of Armadel is more recent than these works, comparatively obscure, and was never published in his lifetime. A manuscript copy of Mathers' translation was later acquired by the British collector Gerald Yorke and published by Routledge & Kegan Paul in 1980 in an edition prepared by the late Francis X. King.
Armadel 魔法书》的原名是 Liber Armadel seu totius cabalae perfectissima brevissima et infallabilis scientia tam speculativa quam practiqua，由塞缪尔-利德尔-马瑟斯（Samuel Liddell MacGregor Mathers，1854-1918 年）根据巴黎阿森纳图书馆（Bibliothèque l'Arsenal）的一份手稿（MS 88）的法文和拉丁文原文翻译而成。马瑟斯是众所周知的金色黎明隐修士会的共同创始人和领导人，他曾出版过多部重要的魔法书和魔法书，包括《所罗门王的（大）钥匙》、《所罗门的小钥匙》（《歌提亚》）和《法师阿布拉梅林的神圣魔法书》。与这些作品相比，《阿玛德尔魔法书》是最新的作品，比较晦涩难懂，在他生前从未出版过。马瑟斯的译本手稿后来被英国收藏家杰拉尔德-约克（Gerald Yorke）获得，并于 1980 年由已故的弗朗西斯-金（Francis X. King）编写版本，由 Routledge & Kegan Paul 出版。

Since late antiquity, magical texts that claim great antiquity and authority have been viewed with a measure of scepticism by many serious students of magic. Other branches
自古代晚期以来，许多认真研究魔法的学生都对那些声称非常古老和权威的魔法书持怀疑态度。其他分支
of literature feature works of dubious authorship-even Aristotle was bootlegged-but the problem is particularly acute with magical books. The religious and legal proscription of magic in Europe kept many works in manuscript, or when published, in editions bearing fictitious authors and places of publication that circulated on the black market. Inability to reliably ascribe authorship is the rule rather than the exception in this genre.
文学作品的特点是作者身份可疑--甚至亚里士多德的作品也曾被盗版，但魔法书的问题尤为严重。在欧洲，由于宗教和法律对魔法的禁止，许多作品都是手抄本，或者在出版时采用虚构作者和出版地的版本，在黑市上流通。在这种类型的书籍中，无法可靠地确定作者是谁是普遍现象，而不是例外。

It is possible that some books were ascribed to legendary authorities in order to disguise the true author, who might have taken credit for the work in a more tolerant climate. But there is little doubt that many grimoires were fabricated to satisfy a commercial demand for works bearing the authorship or title of a legendary book; this still goes on in France, where several fabricated books by "Aleister Crowley" have appeared. Some of these works were probably newly-written, but others were created by borrowing parts from other works; some of these sources were themselves originally fabrications or composites. Scholars only began to collect these works and establish a tentative chronology in the mid-nineteenth century, beginning with Scheible, and frequently disagree on the provenance of particular works.
有些书可能是传说中的作者所著，以掩盖真正的作者。但毫无疑问的是，许多魔法书都是为了满足商业需求而编造的，这些作品的作者或书名都是传说中的人物；这种情况在法国依然存在，在那里出现了几本编造的 "阿莱斯特-克劳利 "的书。其中一些作品可能是新写的，但另一些则是借用其他作品的部分内容创作的；其中一些来源本身最初就是杜撰或合成的。学者们从十九世纪中叶才开始收集这些作品，并从谢布里开始建立一个暂定的年表，而且经常对特定作品的出处产生分歧。

There is another approach beside the textual that is close to one adopted by some anthropologists and folklorists in studying semiliterate cultures, and is well expressed by Sayed Idries Shah. In his discussion of the Grimoirium Verum, he expresses his opinion that this work
除了文本方法外，还有一种方法与一些人类学家和民俗学家在研究半文盲文化时所采用的方法相近，赛义德-伊德里斯-沙阿（Sayed Idries Shah）对此作了很好的阐述。在讨论《Grimoirium Verum》时， ，他表达了自己的观点，即这部作品

has gone through innumerable hands, been edited and reedited, and translated in many cases two to three times between different languages. Hence, when for example we find that some of the processes in the present work are closely allied to or are identical with some part of the Key
这本著作辗转过无数人的手，经过编辑和重新编辑，在许多情况下还在不同语言之间翻译了两到三次。因此，举例来说，当我们发现本作品中的某些过程与《关键》的某些部分密切相关或完全相同时

of Solomon as we know it, we are not justified in saying: 'Here is something interpolated from the Key of Solomon, a later addition; this is a composite ritual.' In the present state of magical knowledge we would be equally at liberty-and even more justified-in saying that for all we know the Grimoirium Verum is more original than the Key: or that it is one of the original books of the Library of Hermes, or even the magical libraries of the Babylonians. No, the Grimoires should be studied from any point of view but that of bibliographical criticism: for here we have absolutely no criteria to apply, and the confused attempts by various commentators to judge the Grimoires from a semi-scientific standpoint serve only to make their work more ridiculous than they believe the Grimoires themselves to be.
我们没有理由说：'这是插自《所罗门之钥》的东西，是后来添加的；这是一个复合仪式'。在目前的魔法知识水平下，我们同样有自由，甚至更有理由说，就我们所知，《真理之书》比《所罗门之钥》更具原创性，或者说它是赫尔墨斯图书馆，甚至是巴比伦人魔法图书馆的原始书籍之一。不，除了书目批评之外，我们还应该从其他任何角度来研究《格林童话》：因为在这里我们完全没有标准可循，而各种评论家试图从半科学的角度来评判《格林童话》的混乱做法只会让他们的作品比他们认为的《格林童话》本身更加荒谬。

There is some truth in what Shah says. Ceremonial magic as a field of inquiry seems to have been studiously avoided by serious scholars for over five centuries. Its practitioners were persecuted, and even its sympathizers sometimes felt obliged to issue denunciations in order to reaffirm their orthodoxy, which of course meant the end of meaningful scholarly discourse. Magical manuscripts and books were at times seized and destroyed, rarely collected by the early libraries of Europe, and eventually vigorously suppressed by the Inquisition, making a meaningful bibliographic survey a chancy business due to the small sampling of surviving examples. Vastly different books going by similar or identical titles have proliferated, the originals probably long lost, which makes it very difficult for scholars to reliably establish which version, if any, gave rise to the others. Even Shah's suggestion that ancient Greek or Babylonian magical material may have survived in this literature is possible, although very likely
沙赫的话有一定道理。五个多世纪以来，礼仪魔术作为一个研究领域似乎一直被严肃的学者们刻意回避。它的实践者受到迫害，甚至它的同情者有时也不得不发出谴责，以重申其正统性，这当然意味着有意义的学术讨论的终结。魔法手稿和书籍有时会被没收和销毁，很少被欧洲早期图书馆收藏，最终遭到宗教裁判所的严厉镇压。题名相似或相同但内容大相径庭的书籍大量涌现，而原书可能早已失传，这使得学者们很难可靠地确定哪个版本（如果有的话）是其他版本的源头。甚至沙赫提出的古希腊或巴比伦的魔法材料也有可能存留在这些文献中，尽管可能性非常大

unprovable, as Arabic magical literature drew on earlier sources and may well have entered mediaeval Europe via Spain. Certainly the legends of Solomon and other magicians who evoked and controlled the genii made their influence felt. Many modern Christians who think nothing of taking their children to see Disney's Aladdin would doubtlessly recoil with horror on reading a Solomonic grimoire, but they share common origins in legend.
这一点无法证实，因为阿拉伯魔法文学借鉴了更早的来源，很可能是通过西班牙进入中世纪欧洲的。当然，所罗门和其他唤醒并控制精灵的魔法师的传说也产生了影响。许多现代基督徒不屑于带孩子去看迪斯尼的《阿拉丁》，他们在读到所罗门魔法书时无疑会惊恐万分，但它们在传说中有着共同的起源。

The Grimoire of Armadel should not be confused with the Almadel, one of the few examples in this confused class of literature that may be reliably dated to the mediaeval period through references by early students and critics of magic like Roger Bacon. Nor should it be confused with the Arbatel of Magic, although both belong to the same class of so-called "transcendental" or "white-magical" texts-Christian grimoires that eschew the frank demonology of their black magical cousins by invoking only beneficient spirits, even when doing so under the names of Beelzebub, et al. Like The Grimoire of Armadel, the Arbatel was almost certainly a fabrication. Armadel even borrows its opening conjuration and license to depart from the Arbatel of Magic, unless (as is possible) both borrowed from another work.
Armadel 魔法书》不应与《Almadel 魔法书》（ ）相混淆，《Almadel 魔法书》是这类混乱的文学作品中为数不多的例子之一，通过罗杰-培根（Roger Bacon）等早期魔法学生和评论家的引用，可以可靠地确定其创作年代为中世纪。尽管两者同属于所谓的 "超验 "或 "白魔法 "类文献--基督教魔法书，但不应将其与《阿尔巴特尔魔法书》（ ）混为一谈，后者避开了黑魔法类文献中直白的恶魔论，只召唤有益的神灵，即使是以别西卜等人的名义召唤。阿玛德尔》甚至借用了《阿巴泰尔魔法书》的开篇变魔术和离去许可，除非（可能）两者都借用了另一部作品。

Whether or not a person by the name Armadel ever existed, or whether any of the several works issued under that name are authentic, will probably never be established. The name itself may be a corruption of Almadel or Arbatel. Several unrelated works dating to the seventeenth century are attributed by their anonymous authors to Armadel. This suggests that the name enjoyed a brief celebrity as an authority
阿马代尔这个名字是否存在过，或者以这个名字发表的几部作品中是否有一部是真实的，可能永远都无法确定。这个名字本身可能是 Almadel 或 Arbatel 的音译。17 世纪的几部无关作品的匿名作者都将其归于阿马代尔。这表明这个名字曾作为权威人士短暂地享有盛名

Introduction 导言

on magic, and that the manuscript workshops that then existed issued material under that name. It may even be an early example of that modern phenomenon-the written-toorder book relating to sensational news or notorious criminal trials. The Grimoire of Armadel seems to have flourished at the height of the French religious devil-possession trials, beginning in 1610 with Gauffridi and the Ursulines, and culminating with the nuns of Loudun and the burning of Urbain Grandier in 1639, when all France was talking of sorcererous priests and devil-possessed nuns. This climate could easily have created a demand for grimoires like Armadel that show a pronounced Christian orientation.
当时存在的手稿作坊以这个名称发行材料。它甚至可能是有关轰动性新闻或臭名昭著的刑事审判的订书这一现代现象的早期范例。从 1610 年高夫里迪（Gauffridi）和乌苏里派（Ursulines）案开始，到 1639 年卢敦（Loudun）修女案和乌尔班-格兰迪耶（Urbain Grandier）被烧死，整个法国都在谈论巫师和被魔鬼附身的修女。在这种氛围下，人们很容易对像《阿玛德尔》这样具有明显基督教倾向的魔法书产生需求。

In addition to the Arsenal MS. 88, from which the present book is taken, there is Arsenal MS. 2494, Armadel's Grimoire ou la Cabale, excerpted with an illustration by De Givry. A version of the Key of Solomon in the British Museum (Landsdowne MS. 1202) is titled The True Keys of King Solomon by Armadel. The earliest published notice of the name Armadel seems to be a reference by Gabriel Naudé. In 1625 he published a compendious bibliography of occult works that discusses a work by a contemporary author that was a kind of summary of the magical arts in five parts: for invention, the art of Trithemius; for elocution, theurgy; for disposition, the art of Armadel; for pronunciation, the Pauline art; for memory, the Lullian art. It is curious that all of the arts cited-with the exception of "Armadel"-were established, well-documented classes of magical literature. The Grimoire of Armadel claims to conjure spirits that (judging from their descriptions) affect the disposition of the magician, rather than grant specific powers or perform definite duties, as do spirits in other grimoires. It is therefore possible that this work incorporated material related to or identical with the present work, in theme and intent if not in actual content.
除了本书选自的 Arsenal MS.除了本书摘自的阿森纳 MS.2494, Armadel's Grimoire ou la Cabale，摘自 De Givry 的插图。 大英博物馆收藏的《所罗门之钥》（Landsdowne MS. 1202）被命名为《所罗门王的真钥匙》（The True Keys of King Solomon by Armadel）。最早发表的关于阿马代尔这个名字的文章似乎是加布里埃尔-诺德（Gabriel Naudé）的参考文献。1625 年，他出版了一本详尽的神秘学作品书目，其中讨论了一位当代作家的作品，该作品是对魔法艺术的一种总结，分为五个部分：关于发明，是特里特米乌斯的艺术；关于口才，是神学；关于处置，是阿马代尔的艺术；关于发音，是保罗的艺术；关于记忆，是卢利安的艺术。 奇怪的是，除了 "Armadel "之外，所有被引用的艺术都是有据可查的魔法文学作品。阿玛德尔魔法书》声称可以召唤出影响魔法师性情的精灵（从其描述来看），而不是像其他魔法书中的精灵那样赋予特定的能力或履行特定的职责。因此，这部作品有可能包含了与本作品相关或相同的材料，即使不是在实际内容上，也是在主题和意图上。

The Grimoire of Armadel is a synthetic work. Its signature features are chapter-titles in ecclesiastical Latin, some of which have little discernable relationship to the text. Unlike Solomonic grimoires that draw on Hebrew legend like the Greater Key of Solomon (Clavicula Salamonis) or the Lesser Key of Solomon (Goetia, part 1 of the Lemegeton), The Grimoire of Armadel relies on a mythos and ethos whose tenor is more markedly Christian than other grimoires. For all that, parts of the text are taken from a "black" grimoire, the Grimoirium Verum. Like other works of its type, The Grimoire of Armadel borrows its spirits from earlier sources, without necessarily taking more than their names, and sometimes omitting one or more of a group of spirits, and using them in a peculiar order. It is also difficult to precisely attribute a probable source for some spirits (e.g., Gabriel, Michael, and Raphael), as they appear in more than one system. A tentative sketch of the probable sources for the spirits is given below, although several are unattributable and others are attributed to a particular source more on the strength of their location in the text than on their usage, which seldom bears any clear correspondence to their usual meaning.
阿玛德尔魔法书》是一部合成作品。它的标志性特征是以教会拉丁文书写的章节标题，其中一些与正文的关系并不明显。与《所罗门的大钥匙》（Clavicula Salamonis）或《所罗门的小钥匙》（Goetia，Lemegeton 的第一部分）等借鉴希伯来传说的所罗门魔法书不同，《阿玛德尔魔法书》所依赖的神话和精神的基调比其他魔法书更明显地带有基督教色彩。尽管如此，该书的部分内容还是取自 "黑色 "魔法书《Grimoirium Verum》。与其他同类作品一样，《阿玛德尔魔法书》借用了早期作品中的精灵，但并不一定只借用了它们的名字，有时还省略了一组精灵中的一个或多个，并以一种特殊的顺序使用它们。有些神灵（如加百列、米迦勒和拉斐尔）出现在不止一个系统中，因此很难准确确定其可能的来源。下文对这些神灵的可能来源作了初步概括，尽管有几个神灵无法归属，其他神灵归属于某一特定来源更多的是根据它们在文本中的位置，而不是根据它们的用法，因为它们的用法很少与它们的通常含义有明确的对应关系。

The text appears to give the four traditional Hebrew archangels of the quarters and elements, Uriel (Auriel), Michael, Gabriel and Raphael. It gives many of the planetary angels used by Michael Scot (and other mediaeval authorities) as repeated in the Heptameron or Magical Elements supposedly written by Pietro de Abano, i.e., Gabriel (ค), Anael ( ), Michael (๑), Samael ( 0 ), Sachiel (4) and Cassiel ( ), but omitting Raphael ( , who appears instead with the archangels only). It uses many of the Olympic planetary spirits as they appear in the Arbatel of Magic, i.e.,
该文本似乎给出了四分位和元素的四位传统希伯来大天使，即乌列尔（奥瑞尔）、米迦勒、加百列和拉斐尔。它给出了许多迈克尔-斯考特使用的行星天使（和其他中世纪权威人士使用的），这些天使在据说是皮埃特罗-德-阿巴诺（Pietro de Abano）所写的《七骑士》或《魔法元素》中重复出现，即加百列（ค）、阿奈尔（ ）、米迦勒（๑）、萨迈尔（0）、萨希尔（4）和卡西尔（ ），但省略了拉斐尔（ ，他只与天使长一起出现）。它使用了许多奥林匹克的行星精灵，就像它们在《魔法的阿尔巴特尔》中出现的那样，即：

Ophiel (భ), Betor (4), Phul ( ), Aratron ( 1), Och (๑), and possibly Phaleg ( , but corrupted as Phalet), but omitting Hagith (%). Four of the seven planetary angels given in Agrippa's Three Books of Occult Philosophy (and in earlier Hebrew sources) are used: Zadkiel (4), Camael ( 0 ) , Haniel (९) and Zaphkiel ( ), but omitting Gabriel ( ), Michael and Raphael ( and -these two attributions are sometimes reversed). It also has a series of spirits whose names derive from the Hebrew alphabet names of the numbers 1-9, i.e., Alepta, Betel, Gimela, Dalété, Hetael, Vau-ael, Zainael, Hethatia and Tetahatia. The spirits Asmodé, Leviatan, Lucifer, Belzebut and Astarot are the usual infernal spirits featured in many other grimoires. In a work of Christian magic with many biblical references, it is noteworthy that some of these names are demonized survivals of pre-Christian pagan deity-names from the ancient Near East that occur in the Bible.
Ophiel（భ）、Betor（4）、Phul（ ）、Aratron（1）、Och（๑），可能还有 Phaleg（ ，但讹传为 Phalet），但省略了 Hagith（%）。阿格里帕（Agrippa）的《神秘哲学三书》（以及更早的希伯来文资料）中记载了七位行星天使，其中四位被使用：Zadkiel（4）、Camael（0）、Haniel（९）和 Zaphkiel（ ），但省略了 Gabriel（ ）、Michael 和 Raphael（ 和 - 这两种归属有时会颠倒）。它还有一系列神灵，其名字源自数字 1-9 的希伯来字母名，即 Alepta、Betel、Gimela、Dalété、Hetael、Vau-ael、Zainael、Hethatia 和 Tetahatia。阿斯莫德、利维坦、路西法、贝尔泽布特和阿斯塔罗特是许多其他魔法书中常见的地狱之灵。值得注意的是，在这部多处引用《圣经》的基督教魔法作品中，其中一些名字是《圣经》中出现的基督教之前的古代近东异教神灵名字的恶魔化遗存。

The intrinsic magical value of The Grimoire of Armadel appears slight, or at best highly dilute. It is not clear why Mathers-who usually showed more discrimination in the material he worked with-took the trouble to translate it when so many other manuscripts of greater value awaited publication. Perhaps it enjoyed a better reputation in France, where Mathers spent his later years. The work, like most others, no doubt has its advocates, and as perhaps the most curious example of popularized Christian magic, it has a unique place in occult literature.
阿玛德尔魔法书》的内在魔法价值似乎微乎其微，充其量也就是非常稀薄。不清楚为什么马瑟斯--他通常会对他所使用的材料表现出更多的鉴别力--会在有如此多其他更有价值的手稿等待出版的情况下费心翻译它。也许这部作品在马瑟斯晚年生活的法国享有更好的声誉。与其他大多数作品一样，这部作品无疑也有其拥护者，而且作为基督教魔法通俗化的最奇特例子，它在神秘学文献中占有独特的地位。

April 1, 1995 1995 年 4 月 1 日

or

The Most Perfect, Short and Infallible Science, as well Speculative as Practical of the Whole
最完美、最简短、最无懈可击的科学，既是推测性的，也是实践性的

QABALAH 卡巴拉
I. H. V.
I. H. V.

The Lord thy God thou shalt fear and Him only shalt thou Serve all the days of thy Life, through this Name of Tremendous and Adorable Majesty.
你要敬畏耶和华你的上帝，你要终生侍奉他，因为他有无比尊贵的名号。

Seeing that we possess the explanation of the (Magical) Circle, (let us here state) that it is (Employed) for the Invocation of Spirits, so as to escape the dangers which might arise through their malice. Now it having been duly prepared for you to avail yourself of the Services of the Spirit you desire (to Summon) it is necessary to take heed that you comprehend the power which he hath and whether he can grant you that which you shall demand.
既然我们已经掌握了（魔法）圆圈的解释，（让我们在此说明）它是（用来）召唤神灵的，这样就可以避免因它们的恶意而产生的危险。现在，你已经为利用你想要（召唤）的神灵的服务做好了充分准备，有必要注意的是，你要了解他所拥有的力量，以及他能否满足你的要求。

Being, then, in the midst of the Circle, wherein you are to perform the Operation, and having made the Character (or Sigil) of the Spirit who shall serve you: you shall see that the Circle be (correctly) formed according to the instructions we have (elsewhere) given. Being then, I say, in the midst thereof, after having recited the Pater, an Ave, together with the Credo, you shall repeat the following Conjuration:
然后，在你要进行操作的圆圈中间，为将为你服务的神灵画上字符（或徽章）：你要确保圆圈按照我们（在其他地方）给出的指示（正确）形成。然后，我说，在圆圈中间，念完 "父亲"、"万福 "和 "信经 "之后，你要重复下面的咒语：

Omnipotens Aeterne Deus, Qui totam Creaturam condidisti in laudem et honorem tuum, ac ministerium hominis, oro ut Spiritum (N.N.) de ( ) ordine mittas, qui me informat et doceat quo illum interrogavero, non mea voluntas fiat, sed Tua, per Jesum Christum Filium Unigenitum. Amen.

All this paragraph is somewhat complicated in the original French.
在法语原文中，这一段的内容有些复杂。

2 I have given this Conjuration in the Latin of the MS. as some students may prefer to use it in that language.
2 我用 MS 的拉丁文给出了这个咒语，因为有些学生可能更喜欢用拉丁文。

O Eternal Omnipotent God, Who hast formed every creature unto Thy praise and honour, and for the Ministry of Man: I beseech Thee to send unto me the Spirit (here give the name of the Spirit) of the (here give the name of of class or Order of Spirits) Order, who may inform and teach me concerning those things which I shall demand of him, nevertheless not my Will, but Thine, be done, through Thine Only-begotton Son Jesus Christ. Amen.
永恒全能的上帝啊，为了你的赞美和荣耀，为了人的使命，你造就了每一个受造物：我恳求你派遣圣灵（此处赐予圣灵的名字）（此处赐予圣灵类别或等级的名字）给我，他可以告诉我并教导我关于那些我将要求他做的事情，然而，不是我的意愿，而是你的意愿，通过你的独子耶稣基督。阿门。

Having obtained from the Spirit that which you desire, you shall licence him to depart in these words:
从圣灵那里得到了你们所希望的，你们就应该用这些话许可他离开：

Quia Placide et quiete venisti, et hac petitione mihi respondisti, ago Deo gratias in Cujus Nomen venisti, ite in pace ad loca tua et rediturus ad me cum te vocavero per Christum Dominum nostrum. Amen.

Seeing that peaceably and in quiet thou has come, and hast made answer unto me in this (my) petition, I return thanks unto God, in Whose Name thou hast come. Depart hence in peace unto thine habitations, and be thou ready to return whensoever I shall have called thee. Through Christ our Lord! Amen.
你以和平安宁的方式来了，并回答了我（的）请求，我感谢上帝，你是奉他的名来的。你要平平安安地离开，回到你的居所去，无论我何时召唤你，你都要准备好回来。借着我们的主基督！阿门

After having repeated this Conjuration three times, if so be that the Spirit apeareth not unto you, you shall repeat the present (following) Conjuration three times. And these Conjurations should be written out on virgin parchment, together with the Licence to Depart.
在重复了三次这个咒语之后，如果神灵没有对你显灵，你就应该重复三次现在（下面）的咒语。这些咒语应该写在原始羊皮纸上，连同离开的许可。

I (N.N.) do Conjure thee (O Spirit N.N.) by the virtue of the Great and Holy Names of God, that immediately and without delay thou art to appear unto me under an agreeable form, and without noise, nor injury unto my person, to make answer unto all that I shall command thee; and I do conjure thee herein by the Great Name of the Living God, and by these Holy Names:
我（N.N.）以伟大而神圣的神名向你（神灵 N.N.啊）祈求，请你立即、毫不迟延地以合宜的形式出现在我面前，不要发出声音，也不要伤害我的身体，回答我的一切命令；我在此以永生神的伟大神名和这些神圣的神名向你祈求：

After having performed this Conjuration three times following, it is necessary to continue the same for three days successively, in the same place, and at the same hour.
在做了三次这样的法事之后，有必要连续三天在同一地点、同一时刻做同样的法事。

And when (your desire shall be) satisfied, and having obtained from him that which you wish, you must licence him to depart (saying):
当（你的愿望）得到满足，并从他那里得到了你所希望的东西之后，你必须许可他离开（说）：

'Go in peace unto the place which hath been destined unto you from all Eternity; let there be peace between us and you!'
和平地前往从亘古以来就注定属于你们的地方，让我们和你们之间和平相处！'

In the MS. this title-page is blank, so I have supplied this text of a title. As in the case of the first title, the design is evidently intended to represent a door; the Portal of Wisdom, as it were.
在 MS.中，这个扉页是空白的，因此我提供了这个标题文本。与第一个标题一样，这个设计显然是为了表现一扇门，即 "智慧之门"。

zadKIEL will teach unto you all the Sciences Active and Passive, with a remarkable facility, with all honesty and courtesy, together with every kind of benediction. They who avail themselves hereof will possess all things in content. He is to be invoked on a Monday and in the Morning. His Character is this (see Figure 1)
zadKIEL 将以非凡的才干、诚实和礼貌，向你们传授所有主动和被动科学，以及各种祝福。利用他的人将拥有一切内容。他将在星期一的早晨被召唤。他的性格是这样的（见图 1）

FIGURE 1 图 1

In this Sigil is taught the method of joining together Actives and Passives, or in everything the manner of modesty and grace. In the which Numbers the Lord God doth sanctify these Planets, so that they may work marvels, and as it were portents, through such Numerations.
在这个徽章中，教导了将 "主动 "和 "被动 "结合在一起的方法，或者说是一切谦虚和优雅的方式。在这些数字中，主神将这些行星神圣化，让它们通过这些数字创造奇迹，就像预兆一样。

The Prophet of the Greatest One; or the Languor of the Nature.
最伟大者的先知》；或《大自然的语言》。

THAVAEL. This Spirit had a particular care of our Lord Jesus Christ. It was he who conducted the Holy Virgin and Saint Joseph into Egypt when they were fleeing from the persecution of Herod. He giveth unto us a perfect knowledge of all the simples and their virtues. He can be invoked at any time. His Character is thus (see Figure 2).
泰华这位神灵特别关照我们的主耶稣基督。当圣母玛利亚和圣约瑟夫为躲避希律王的迫害而逃亡埃及时，正是他带领他们进入埃及。他让我们完全了解所有的箴言及其美德。他可以随时被召唤。他的特征如下（见图 2）。

FIGURE 2  图 2