XXVI: Giants

nephilim-giants

ANAKIM

Servitors: Ipakol, Imink.

The word forming the outer edge of the square, ANAKIM, comes from the Hebrew ענקים, (anaqim), ‘giants.’ The spirit name, APOKOK, does not directly relate to any of the servitors, but is in close proximity of the name Ipokol, which relates to the Hebrew אפוק (apoq), meaning ‘restraint,’ ‘control.’

The Vision

As many others have before it, this vision began with me standing in a green meadow. This one was of soft, short grass broken up by intermittent sunflowers and situated upon a slight, rolling hill beneath a blue sky with a single, white and wispy cloud hanging in it. I sat in silence there for a few moments and felt a breeze whisper against my skin as I waited for a giant of some sort to manifest. When nothing came I understood that the land itself was a giant, and that it was in fact either a tiny planet, a large moon or a huge meteor with its own perfect and temperate atmosphere. The planet-thing encircled a gentle sun in the same manner that Mercury does, in that is spun only once on its axis in the span of a year so that one side of constantly faces the su and knows no night.

After a few more moments, on noticing how green and perfect the grass was again, I began to think of where the planet’s moisture came from. Listening out for some, I heard the sound of dripping water echoing in a stone cave and followed the sound to seek it out. On arriving at the source, I discovered a small grotto with a wide, open face inside which a soft stream began its course towards the sea. I couldn’t discern, however, where the water came from, as there was no sign of rain in this place yet the water flowed as though fed by some great fountain from above. Inspecting the grassy top above the grotto, I noticed that a plastic pipe had been bored into the earth which, at some point between the crown of the grotto and its innards, generated its own water.

Going back down to the grotto, I discovered this observation to be true and found the other end of the pipe feeding the stream’s source. I entered the shallow pool where the water collected beneath the pipe and felt its softness about my legs and thought I detected the essence of gold upon my skin. With this feeling, I realised that the water was being drawn directly from the planetoid’s atmosphere while the gold was being drawn from the light of the nearby sun itself. After realising this, I saw a stone tunnel, much like the gullet in the cave that appeared in the vision of Steers, which the water entered and nourished the innards of the earth with. I sensed, on looking at the tunnel that it was a blood vessel or feeding pipe of some kind that would go directly to the heart of the giant living being that this planet truly was.

I had no desire to go into the depths of this being’s gut yet, nevertheless, found myself pulled in. Inside, I didn’t view its heart or innards however, but went straight to the giant’s testes which lay inside of its body in transparent sacs. On inspection, I saw that they had the appearance of two disembodied brains. I found myself touching one of the ‘ball-brains’ out of curiosity and heard a booming, echoing laugh fill the stone caverns of its innards. On touching it though, I was filled with a strange knowledge, as if its generative organs rather than its speech or thoughts were its means of communication. The gnosis it transmitted was that of the essential oneness of finding the present moment and merely existing in it without thought, with which came the fuller understanding of everything being animated and filled with a single, monistic life-force of which the separated parts were illusions—the maceration of oneness the demiurge and its archons imposed upon the world that caused us to wrongly believe we are each an island and not the organs or limbs of the same body.

On feeling this, I knew it as time to depart from the giant’s great inverted scrotum and find the shaft through which its seeds departed into the world beyond. The image of such a thing came as a window crossed with diagonal hatches of iron at the end of a long stone tunnel. The world beyond that window, which was set in an old mansion near the sea, was not that which I had entered, but was this world. Outside, the skies were set with thick swarming clouds and the sea beyond the high cliffs on which the old house stood was violent and dark. From nowhere, I produced a pick axe and decided to descend the high cliff to the sea below. On my way down, I discovered another small cave, inside which an idol sat, which at first resembled a Buddha, but on closer inspection, it appeared more akin to one of the wrathful entities of Tibetan Buddism. Its tongue poked menacingly out of its mouth, its eyes were in the shapes of two x’s and around its knees—which were crossed into a half-lotus position—gathered a tangle of writhing snakes. Set around it were a collection of garlands of red flowers, which a voice in the cave told me I too had to provide an offering of. Having no such thing with me, I offered my pick axe instead and asked if this would suffice until I could get hold of the garlands that the cave spirit wanted. The offering was accepted as a truce, but left me in the position of not being able to depart the cave in safety as I no longer had a fitting climbing implement.

Standing at the edge of the cave, I contemplated what to do next for a moment then jumped down towards the rough waters below. Before I hit the water, I found myself back in the house I had been in earlier, which now had the upper part of the grotto dedicated to the spirit who demanded a garland inside one of its downstairs rooms. On the floor of this cave, just before another flowing stream of water, was the exact kind of garland I required, so I picked it up and cast it into the channel of water before me so that it flowed down to the cave in the cliff-face below. On the offering being received, a voice filled the chamber, stating that I now had the spirit’s blessing to go wherever I wished in his land.

Notes

Similarities again with the vision of Bridges and A Village with the cave-dwelling spirits, while those of Steers were also reiterated.

The giants in question appeared to be two separate telluric spirits whose presence filled the astral lands they governed. The revelation of the first spirit, who was very benign in nature, was about the harmony and balance of nature as a living entity, while that of the second, who had a more untamed feel about him, was that of a spirit who required offerings to appease him before giving permission to access his territory. Compare this to the manifestation of the Minotaur King in Steers, who displayed a similar desire to guard his boundaries, yet was easily cowed by the threat of a superior magical force. The appeasement the second spirit required may also have been a manifestation of the principle of ‘restraint’ suggested by the appearance of the word APOKOK (apoq) and the spirit Ipokol in the square.

The two spirits of seemingly diverse nature presents the possibility that a spirit and its averse reflection appear in squares that are an even number of squares across and down due to there being a ‘double cross’ in the middle rather than a single one. The figure below better explains what I mean by this, in which the word APOKOK is presented four times in total, twice forwards and twice backwards in order to show the spirit in its upright and averse manifestations.

KOKOPA

The Square was constructed with the Moon at 7º Capricorn and performed with the Moon at 8º Pisces.

Blood Moon Eclipse

IKKEBEKKI

‘To prevent all magic from working.’

I’ve seen a few people talking of using the blood moon eclipse and its conjunction with Mars in malefic works. This shows an ignorance of some of the finer points of astrological magic as elections designed for magical effect when a particular planet is conjunct with a Lunar Eclipse are rendered void by the restrictive, Saturnian influence of Cauda Draconis.

Put simply, the South Node—which total Lunar Eclipses are in strong conjunction with—acts as a vortex that sucks away the energies of any celestial body that comes into contact with it and makes any kind of talismanic work designed to draw upon that planet’s influence a complete waste of time. However, with the Moon representing one’s emotional self and the South Node representing past issues or karma one may be having trouble letting go of or overcoming, works designed to reflect upon one’s inner struggles and issues that are difficult to put aside would be more profitable.

XXV: Steers

Minotauros

XXV PARAH

Servitors: Ramoras, Mara.

The word at the outer edges of the square, PARAH, comes from the Hebrew פרה (parah), ‘cow,’ while the spirit referred to in the central cross is Ramoras, whose name means ‘thunder.’

The Vision

I walked through a meadow and discovered a large puff mushroom that resembled a distorted-looking skull. Curious about what it was concealing, I took out the ankh knife I had found on my own dead body in the vision of A Mountain and cut it open. Inside were a writing mass of millipedes, but before I could look at them properly, a cloud of spores that seemed to also be tiny insects exploded out of the husk and made their way into my nose and mouth and down into my lungs. As soon as I inhaled them, I soared up into the sky, which darkened, then found myself landing in another field, though I came there by landing from below the earth, not above it. In the field a herd of Minotaurs stood guard, just as one of them had in the vision of Wild Animals. They came towards me with great suspicion and the one who led them held a chain, which another Minotaur to his right held the other end of. He explained that they were taking me prisoner as I shouldn’t be trespassing in their domain. I consented to be bound in the chains and kept a reserve of great power within me that I could easily break their bonds with if I felt any danger.

Once bound, they became winged bulls, like the Lamasu of Mesopotamian lore, and flew me to a lonely and sinister looking tower with a stone bull’s head mounted above the main entrance. Inside, on a dais at the end of a dark, stone chamber sat the monarch of the bull-men, who questioned me on how I got to his domain. On telling him that I arrived there after cutting open the puff mushroom, he seemed concerned and asked how I had managed to cut him open. In response, I showed him my ankh dagger and he grew fearful. He asked where I obtained such an artefact, and I told him I had recovered it from my own dead body on the top of a mountain. On hearing this, he apologised profusely for having me brought to him in chains, as one who had been resurrected from death as I had should not have been treated in such a way. I told him that I had not been offended as his servants had only been keeping due vigilance and had acted correctly. I reminded him that if I’d been offended by being brought to him, he would be aware of it by now.

As recompense for the discourtesy he felt he had done me, he asked me what I wanted of him to make amends, as he seemed greatly fearful. I said I wished for the essence of strength, vitality and prosperity that lay in the bones of his kingdom be granted to me, and he had one of his minions, who he named Taja, to bring me a vial that was filled with a thick, honey-gold substance. He bade me to drink it and told me it was the essence of a bull mixed with liquid gold. I drank it and felt a rush of warmth and well-being fill me. With this favour granted, I thanked him and bade him farewell and was returned back to the sunny meadow I had wandered before the mushroom spores had transported me to the darkened world of the bulls. In front of me when I returned was a brown and white cow happily chewing grass. On her ear was a white tag on which the number ‘39’ had been marked. Before the vision ended, a bull’s horn appeared in my hand and a voice came from the world above telling me to blow it if I ever had the need to summon any of its denizens to me.

Notes

The word AZOFA in the second row of the square comes from the Hebrew עזוב (azob), ‘abandoned,’ ‘forsaken,’ ‘derelict,’ ‘deserted.’ This wasn’t strongly reflected, but the castle where the Minotaur King resided was set alone in a dark environment.

The name Taja the King addressed his servant by is Minoan for ‘five’ and it was the Minoan culture in Crete that the legend of the Minotaur originated from. Both the beast itself and the culture its myth grew from derive their names from King Minos. With Minos being believed to mean ‘king’ and taur meaning ‘bull,’ a Minotaur is in essence a ‘king of the bulls,’ just as the throned king in this vision certainly was. That the king called his servant ‘five’ suggests that his minions were given numbers rather than names. This was reflected with the placid cow I saw in the field towards the end of the vision who had the number ‘39’ etched into the tag she wore on her right ear. 39 is directly relevant to the number of squares in this chapter of the Abramelin, though whether there is any esoteric meaning behind this is not something I have spent much time considering yet. Its Kaballistic meaning is ‘IHVH is One’ and also has the same meaning in its expression as the word אחד (achad), ‘unity’ = 13, reiterated three times.

The Square was constructed with the Moon at 12º Sagittarius and performed with Moon at 27º Sagittarius.

XXIV: Owls

Hermit

XXIV KIKIMIS
Servitors: Igarag, Mara, Liriol, Lomiol, Asorega, Asmiel, Alogil, Ragaras, Ismerek, Sarasim, Sigis, Girmil, Laralos, Gesegas, Kosem, Iparkas, Erimites, Tolet, Ramoras, Ekalak, Oroia, Romages, Geloma, Ilekel, Aril, Lagasas, Kilik, Isagas, Ipakol, Amillis.

The word KIKIMIS on the outer edges of the square comes from the Ancient Greek κικυμίς (kikumis) meaning ‘a screech owl.’ The name in the central square is that of the spirit Igarag, whose name means ‘frost,’ ‘ice’ or ‘cold.’

The Vision

A small, brown owl appeared sitting alone in a dead tree in a brightly lit but desolate landscape. Sitting in the daylight was painful to it, and caused it to muster its rage at the light, making the outer shell of the sun split into two to reveal a smaller, darker sun that was concealed inside of it. Then this sun split in half too, revealing a black neutron star it which cast no light at all,. With the coming of darkness, the landscape changed to that of a graveyard set in the midst of a circular grove of thirteen dead trees, and on each of these trees perched an owl similar to the one which darkened the sun. Then a voice came from one of the owls declaring that theirs was the time in which the dead would rise to walk the earth, and then, from each of the graves rose a foul revenant. Then, beams of light emanated from each of the owls, connecting them together to form a thirteen-sided star. In its centre stood a black, vertical column with the black star sitting at its pinnacle. I panned out of this scene to see the graveyard become a circular platform which the rising column stood in the centre of giving the landscape the appearance of a spinning top or kaleidoscope. As I noticed this similarity, it began to rotate, then spun faster and faster until the individual owls and trees became an invisible blur and combined their collective image into the vision of a single owl bearing a golden crown which was flying towards me. On its arrival at the edge of the blurred, spinning world it proceeded to try to tear at my eyes and face with its beak, but could not make physical contact due to its being contained within a world that I stood beyond.

Then, the scene changed entirely and I saw the entrance to a cave lying beyond a green marsh. I sensed that there was a bear or other wild animal inside, but on getting further inside I discovered a ruined old hermit in a blue robe wearing a gold crown who was weeping inconsolably. No words came from his mouth, and it couldn’t be determined why he was so mournful. As I approached him he cast himself into a hole in the stone which formed the gullet that lay between the mouth of the cave and a belly-like cavern below. I followed him into the cave’s gut and found him lying in a pile of crowns with sharp prongs that cut into his skin causing his pain to grow worse, though in the midst of his agony he stopped for a second to adjust his crown which sat askew on his head, as if to maintain his pride. Then, as he resumed his wailing, a slew of crowns came rushing down through the stone sphincter of the gullet above us and buried him beneath them, their sharpened prongs piercing his body with a thousand more wounds.

Then the scene changed again. It was night, and all was still and calm with a fresh, sweet-scented breeze. Atop a distant hill stood a windmill, its sails gliding gently through the air, and in a window at its top sat another owl, or perhaps the same one as before. I entered through the window and saw that the owl had moved inside to sit upon a wooden beam that spanned the top of a bare room with a wooden floor. Then the owl transformed its shape into that of a golden-haired woman wearing a blue dress. She climbed down from the beam and moved to a wooden crank-handle, which she turned to cause the sails of the windmill spin with a great speed, birthing a new wind in the air which travelled at speed across the land to the graveyard encircled by trees. All was peaceful there before the wind arrived, with no signs of the risen dead, and the owls slept upon their perches. But when the wind arrived, it disturbed them from their sleep and they woke as one and seemed to grow wrathful again. And this is where the vision ended.

Notes

The Screech Owl cited in the word KIKIMIS is one of the wilderness demons of the Hebrew tradition and an alternative Hebrew name for an owl is a ‘Lilith’ or a ‘night spirit.’ Their desire for darkness and apocalypse reflects their averse nature and their reverting to the form of a single owl after being separated into thirteen separate ones may reflect the numeration of the Hebrew word אחד (achad) – ‘unity.’

The name Erimities present in the square comes from the Greek ἐρημίτης (eremites), meaning ‘hermit.’ This appeared to relate to the appearance of the weeping old man who dwelt within the cave. His blue robe and gold crown are consistent with the colour scheme I’ve noted in previous spirit-work, which also manifested again in the female entity who appeared in the windmill with her blue dress and golden hair.

The servitor Iparkas might be related to the Livre des Esperitz spirit Parcas, known as Partas in the Book of Offices and Foras or Forcase in the Lemegeton. This spirit comes in the form of a fierce bear, a creature I thought I detected the presence of in the cave. He also reveals the location of hidden treasures which may account for the cavern full of golden crowns.

The square was constructed with the Moon at 16º Libra with the sound of owls filling the midnight air, and was performed with the Moon at 17º Scorpio.

XXIII: Horses

Demon
XXIII SASAS

Servitors: Sigis, Ragaras, Igarag.

The word SASAS at the outer edges of the square appears to derive from the Hebrew סוס (sos) meaning ‘steed,’ ‘horse,’ ‘knight’ or ‘rider,’ while the central cross derives from the name of the spirit Sigis, whose name means ‘dross’ or ‘restriction.’

The Vision

The vision began with a flash of a zebra followed by the appearance of a cattle grid on a mountain road. At the top of the hill the road wound along, the landscape revealed a suspension bridge spanning a small river with a town full of white houses on the opposite bank. I decided to exit the path and slide down the steep, wet mountainside to my right and at the bottom, on the banks of the river, the Zebra appeared again. Then a unicorn appeared behind it, which combined its form with that of the Zebra and jumped into the river and swam upstream. As it sank between the currents, it turned itself into a whirling eddy then sunk below the surface as a huge ethereal butterfly departed from the site where this ‘drowning’ occurred.

I made my way to the spot the butterfly flew away from and saw the zebra, which now had the horn of a unicorn and an insane, toothy smile on its face, lying still beneath the surface, feigning its own death. It spoke to me telepathically, asking me to get into the water with it. As it spoke, its featured glowed with deep flame that caused the water to hiss and steam. Then its eyes became lit with red fire with dark slits for pupils and a flaming mane burned at the crown of its head. As the water steamed, the sky around it glowed with a deep orange and the creature again asked me to get into the water with it with the insane grin still etched into its face.

Then, on the opposite bank, a large, crowned lion appeared. It shook its head disapprovingly as I considered speaking with the spirit, but did so with a noble bearing.

“What do you want of me?” said the horse creature.

I told it. And as I did so, the lion became exasperated and said ‘may I interject?’ and threw a large net to me over the river. I caught it and the lion and I hauled the unicorn-zebra creature from the water. As it was pulled free, the Lion and I came together in the centre of the stream to bind it still. As we held it, it turned into a humanoid form with the back legs of a goat and the unicorn horn still protruding from its brow. It laughed insanely as it was being hauled up in the net and said that it had only been joking by pretending to be dead and evil.

With it being bound, I attempted to converse with it, but it kept changing its form in maddening and distractive ways. First its single horn became two that were set at diagonal angles. The roots of the horns then bore through his skull to protrude from his front of his face, the left horn protruding through his right cheek and the left horn protruding through his right to form a hideous X-shape with its crossroads deep inside the caverns of his skull. Then the top ends of the horns turned into sword hilts and the ends protruding through his cheeks curled upwards towards me to form tusks. Once he had done this, he took the form of a cartoon-like dragon, then a very real looking one. Then the dragon’s face became like a pitch-black human face with terrible eyes and features that grew wide as if being stretched by torture devices before the flesh started to come free.

Then he appeared as a woman with flame red hair wearing nothing but a green sash to cover her modesty; and she said ‘how much would you give me to take off the sash, for I am the most beautiful woman in the world?’ To this I replied that I was not interested in seeing what she had to show me and instead tried to impose a sense of order to the vision. In response, the light became that of plain day again, and the spirit took the form of a hedgehog with an elongated snout, then a small, brown dog with wet fur and an almost human face. Finally, the spirit turned into a water snake and swam very quickly through the river ascending up through the skin of the water and back under the surface again three times before it disappeared beyond sight.

Moving on, I followed the river until it became a great waterfall overlooking a landscape that progressed onwards to the nearby sea. Here I decided to jump into the water below, floating slowly down before entering the pool at the bottom. While there, a sequence of numbers appeared before me—5, 9, 3 in quick succession, then, a little slower to appear, 2. Then, from behind me in the room in which I sat in to perform this experiment, a strange, tribal chanting came, with four male voices singing the syllables AI-AN-TU-HA four times. The chorus was like a roar and a whisper at once, was brutish in tone and was so real-sounding that I first assumed it was coming out of the speaker of my phone. Checking it later revealed no notifications, calls or messages had come through and that something must have been physically present in the room behind me as I spoke to the spirit in the pool. As he spoke now, his form was invisible and his voice calmer, louder and more resonant than before said. ‘I got you into the water, now tell me what you want of me?’ We then affirmed the pact that had been set out earlier and the vision ended.

Notes

Although this Square is associated with a vision of Cranes in the Dehn edition, Mathers’ suggestion that it should in fact be attributed to ‘Horses’ is considered correct due to the similarity of the word SASAS to a palindromic expression of the Hebrew word סוס for a horse or steed. The word in the second line, ARIKA comes from the Hebrew root ערק (ariq) meaning ‘bolt’ or ‘run away’ and the associated word עריקה (ariqah) meaning ‘defector.’ This aspect of ‘running away’ was evident in the spirit’s ‘bolting’ upstream first as the strange unicorn/zebra combination and then as the water snake after being bound, from which he also escaped.

The experiment was conducted facing North with an intent to specifically call upon the influence of the Elemental King Egin again. As before, in the vision of A Village, his presence was maddening and difficult to witness, with the additional element of a chanting chorus being physically present in the room this time adding an even more unsettling feeling to it, though this phenomenon did at least show some consistency with the loud clamour and company of musicians that is said to accompany him according to the Book of Offices.

The cattle grid at the start of the vision was consistent with the appearance of portcullises or grids at the inception of visions as a symbol of entering through a portal of some kind.

The meaning of the number 5, 9, 3 and 2 are not entirely clear but add up to 19 when considered as single digits and 91 when expressed as 59 + 32. In Qaballistic Gematria, 19 has the value of אויב (avib) ‘enemy’ while 91 equates to the word מלאך (malek) ‘angel.’ Interestingly, this four digit coincides with the four voices chanting a four syllable word four times. The meaning of the chanted word, ‘Aiantuah,’ doesn’t make any sense, but sounded either African or Mesopotamian with its short syllables and had a definite ‘shamanic’ quality to it..

The square was constructed with the Moon at 4º Virgo. Performed with Moon in 19º Virgo. It was noted afterwards that the vision was received during the planetary hour of Venus, which may account for Egin’s taking a form that resembled Aphrodite.

XXII: A Wild Cat

 

dante leopard

XXII LINIROS

Servitors: Isagas, Mara, Liriol, Losimon, Lomiol, Alogil, Ragaras, Irminon, Sarasim, Ogologon, Igilon, Sigis, Apolion, Girmil, Gorilon, Laralos, Milon, Nasi, Morilon, Ramoras, Igarag, Aril, Lagasas, Alpas, Romoron, Nagar, Amillis

The word LINIROS on the outer edges of the square possibly from Latin linire – ‘to daub,’ ‘smear’ or ‘anoint,’ or from the Greek λοιμικος (loimikos) – ‘pestiferous.’ The word in the central square derives from the name of the spirit Isagas, which means ‘roar,’ ‘shout’ or ‘yell.’

The Vision

I was in a wilderness of patchy, dry grassland where I followed a plastic, yellow pipe along the ground until it sunk into the earth at a certain place. I believed it to be a power supply of some kind but decided against pulling it up from the earth due to a sense that there was something dangerous concealed there. A little further along, amidst a sudden shock of long, yellowing grass, the pipe re-surfaced and continued winding towards where the silhouette of a distant city to the west which had a prominent domed building at its centre.

My journey to the city was interrupted by a leopard bounding through the long grass before me. It stopped and bade me to come with it, as if it knew exactly who I was and expected me to be equally familiar with it in return. I followed it back to the place where the pipe went underground where it prompted me to open a concealed doorway. On doing this, I found a pit filled with vultures, boars, corvids and other ‘unclean’ animals, who proceeded to escape once the hatch of their pit was opened. On entering the empty space at the leopard’s behest, I found the place to be full of excrement like the outhouse I had refused to enter in the vision of Wild Animals. Apart from that, it looked somewhat like a bunker of some sort and there was a clock on the wall with the hour and minute hands stuck at 5:02 while the second hand was stuck at the 34th second. The walls that flanked the clock were decorated by wallpaper with a pattern upon it that consisted of hundreds of flies; and there was a camphorwood chest in the centre of the room in which lay a bundle of pornographic magazines which, like the general décor of the place, all appeared to be from the 1970s.

At this point, the leopard transformed into a woman with golden skin with black blotches over it, and I entered into a conversation with her. At my request, she stated that her name was Raminiel and that she was my natal daemon. She had manifested on Earth, she said, at the moment of my conception, and the place in which we now stood was a symbolic representation of my mother’s womb during my gestation. Curious about this claim, I asked her what the date was in this place and she replied that the sun was at 26º Gemini. Then I asked for confirmation of where the Moon was, and she replied that it was at 18º Aries.

Following this, she explained that the animals we had released were the creatures of the wilderness which the folk of the distant city feared and sought to keep away. By releasing them we had let out a necessary force of fear and freedom into the world as keeping them locked up was unnatural and cruel and nurtured a state of false security. She explained that none of the animals would enter the city or do any harm as that was not their nature, and they would instead remain at its peripheries, forming a circle around it and keeping watch on it from beyond. Then I noticed two yellow snakes which had not escaped the pit slithering along the floor and saw that they had the heads of jays. Then a dog and a pig appeared, both of which were very friendly. The leopard woman told me they were two familiar spirits she had granted me in order to assist her in her work of looking after me. With that, I said farewell to her and she responded with the word ‘taho’ and the vision ended.

Notes

Considering the natal theme of this vision, the yellow pipe or cable I was following at the beginning probably represented the umbilical cord. I sensed it was carrying energy of some kind, and it appeared to have been the lifeline cast to the animals who had been trapped in the ‘womb.’ When the animals escaped they preceded to encircle the distant city, staying at its peripheries in the same manner that the Shedim of Hebrew mythology did, and just like those creatures, these beasts were all ‘unclean.’ The circle they spread out into once again echoes the circle of spirits I have seen watching me, except in this incidence it was the city in the distance they spied upon. My guess is that the city represented my psyche in some way which I was witnessing from a place remote from it in both time and space. As well as representing a womb, the wilderness with the wild beasts buried beneath its surface may also be seen as a representation of the unconscious. Their escape also somewhat resembled the releasing of the legion of spiders that took place in the very first vision, which was that of A Beautiful Lawn.

The name Raminiel seems likely to be related to the word RAMACAN in the square. This may come from רעמה – Ramah – ‘mane’ with the daemon possibly being the manifestation of the ‘mane’ of the lion from the previous square and therefore an emanation from it. A spirit with the appearance of a Leopard also came in the vision of A Big Lake, in which it delivered me instructions regarding the correct way to pay ritual homage to the Elemental King Egin who rules the North. This rite was performed, now with the devil-headed cup and a bespoke incense recipe including some home-made Onycha delivered during ongoing ritual communications with Egin and one of his servants on the day before the leopard reappeared in this vision.

The time the clock was stuck at, 5:02 and 34 seconds, may have two Qabbalistic correspondences. 502 is the number related to the Hebrew word בשר which means ‘to tell glad tidings’ and also ‘flesh’ and ‘body’ suggesting aspects of incarnation. The first of these meanings relates to a phrase associated with the birth of Christ spoken by Gabriel, while 34 is the numerical value of גלא ‘to reveal.’ The distinct 70’s feel of the vision coupled with the spirit’s explanation of what the place represented and the reported position of the Sun at 26º Gemini corresponded roughly with the week I would have been conceived in June 1976, with the Sun being at theat position on June 16th of that year. The Moon was not at 18º Aries that day, however it was four to five days later at the moment of the Summer Solstice when the Sun entered the Northern Sign of Cancer. While the matchup here isn’t perfect, it is close and a magical mystery connecting my birth and the Northern Solstice may be hinted at therein.

An alternative theory of the time on the clock is that its figure 5 + 02 + 3 + 4 = 14, which is not only the Gematric value of my name but is also a formula of the ‘Gold’ of the HGA.

The word Taho which the leopard-woman spoke instead of ‘goodbye’ may be a rendering of the Hebrew תהו (tahu) which refers to ‘wastefulness.’ For reasons yet uncovered, this reiterates the meaning of the word בזבז – (bizbez), meaning ‘to go to waste’ or ‘spent,’ that was received from the Lion-Angel at the end of the previous vision.

Of additional note in this square is the appearance of the name of the Lemegeton spirit Ipos in the second row. Notably, this spirit appears with the head of a lion and is described as being ‘even more obscure and filthie than a lion’ in the Pseudomonarchia Daemonum.

The square was created with the Moon at 2º Cancer and the vision was experienced when the Moon was at 13º Cancer.

XXI: A Lion

Lion

XXI ARIEH

Servitors: Ibulon, Liriol, Iuar, Helel, Oroia, Aril.

The word at the outer edge of the square is ARIEH and directly originates from the Hebrew word for ‘lion,’ אריה (arieh). The word populating the central square, IBOLI comes from the Hebrew יבול (ibol) which means ‘crops’ or ‘harvest’ and relates to the name of the spirit Ibulon. which also has the alternative meaning ‘a gathering of fruit.’ While the square purportedly grants visions of a lion, the word Ibol has more in common with the Hebrew root ארה (arah), meaning ‘to pick’ or ‘to gather,’ suggesting an alternative or coterminous meaning for the outer word and therefore the entire symbolism for the square.

The Vision

A cactus protruded from the centre of a rough, circular brush which became a vicious thicket of brambles as I neared its middle. Once I reached the cactus, which was about six inches in length and somewhat resembled a miniaturised Omphalos, I noticed a pride of lions gathering around the edge of the circle. Most of them were lionesses except for one noble-looking beast with a magnificent mane. With the intention of cutting myself free of the growing tangle I produced a scythe and proceeded to hack at the thicket. The blade of the scythe burned with flame as I flailed, so I ceased swinging it before I incinerated myself. Instead, I cut a small circle through the thorns around my feet, which would allow me to free myself while keeping the lions at the edge of the circle at bay.

Having no other place to go, I decided to wait for the beasts to give up and go away. It didn’t take long for them to grow more disinterested in me, but they refused to depart and continued to watch me with hungry, beady eyes. With the need to act decisively building within me again, I tugged at the small cactus to see if there was any mystery to it. Although its spines dug sharply into my hands, I reasoned that this pain was preferable to being chewed up by lions so pulled hard on it until it began to dislodge from the ground. As it kept loosening, it grew to the same length and breadth as my whole body and I was forced to embrace it, spines and all, to keep pulling it up. Underneath, dark subterranean caverns began to reveal themselves, but the girth of the cactus made it impossible to squeeze past and descend. Instead, I kept hoisting it upwards until it grew so long that it began to form a bridge which the lions behind me would soon be able to cross. Perceiving this dilemma, I corrected the angle of the elongated cactus, propping it upright so that it pointed straight up to the sky rather than towards the land.

Suddenly, the whole of the cactus was free of the earth and it stood about thirty or forty feet tall, though the effort in extracting it led to me becoming completely covered in blood, lacerations and cactus spines. Then, the body of the cactus transformed from green, spiny flesh to the brown and scaly skin of a tree. Looking up, I saw that the cactus had transformed into a great yew with a large, hollow crack at the base of its trunk. Noting that the surrounding brambles were dissipating due to the light of of a celestial body that looked like the sun and moon perfectly conjoined as one, I climbed the yew until I was at its very top, then felt my bloody, perforated body becoming one with the green needles of the yew. As my body merged with the needles and branches, I felt myself become one with the entire tree and knew, at last, that in such a state the lions could not consume me.

My business with them wasn’t finished however. Gathering my intent, I squeezed my bodiless essence through the limbs of the tree and pushed my myself back out into the world through the crack at the base of the trunk. With my airy body, I headed towards the male lion, which acknowledged me with a look of wisdom and intelligence, before I climbed upon its back. Our wills entwined, we ran to the beach with the golden shore I had created in the vision of All Sorts of Trees where I dismounted the lion and entered into a conversation with him. He gave thanks for bringing him to this place as he hadn’t seen such a sight for some time. Then he gave me his name, which cannot be written here as it was very familiar and personal to me; but when he said it, the golden sand and the sea into which it slipped grew bright and swallowed us, and a clarion chord of brass resounded throughout its glow.

When the brightness subsided, the lion told me he had been observing my struggles and, despite not making his presence known very often, reassured me that he was always there, watching, and all I needed to be done to gain his attention was tospeak his name. I felt warmed and comforted by his words in a very real sense; and when the vision of him began to dissipate, I discovered that he had left me a small, leather pouch on top of a nearby rock. On it were inscribed the letters BZBZ and tucked inside was a folding knife with an exquisite wooden handle. This is where the vision ended.

Notes

Imagery relating to both ‘gathering’ or ‘harvesting’ and lions were evident in the vision and it was no surprise that the leonine aspect expressed itself as a manifestation of Tiphereth. Thorns and spines were also prominent, suggesting the influence of the spirit Aril as reflected in Mathers’ translation of that name to the word ‘thorny.’ The gathering of threatening entities or creatures at the edges of circles or around the horizon is a repeated theme throughout these visions, as are holes, cracks, crevices, animals, trees and the principles of transmutation and ascent. Elements of this vision which continued from that of the last included freeing things that were trapped in the earth, a large crack at the base of a tree trunk and the golden shoreline which appears to represent the attainment of an exalted state.

The trumpet music that played there also resembled that which the angels played to greet the sun in the previous vision.

The letters BZBZ on the leather pouch may represent the Hebrew בזבז – (bizbez), meaning ‘to go to waste’ or ‘spent.’ I have no what this alludes to, but note that the numerical value of these letters is 18, a number which returns to the 9 of ‘black magic’ and sorcery, but also bears a Qaballistic correspondence to the words זוה (zoah), ‘to shine’ and חי (chi), ‘to live.’ Gematric devices such as this are not usually adopted in this work as it is this author’s opinion that they should be used only as a last resort, but with no obvious meaning apparent in this word’s context, a more esoteric approach was adopted.

The Moon was at 13º Taurus (the sign of its exaltation) at the time of the square’s construction and at 0º Gemini at the time of the vision itself.