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 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.
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.