XX: All Sorts of Trees

evil_roots_by_gixajin

XX ESAHEL

Servitors: Aril, Iuar, Loriol, Laralos, Helel.

The word ESAHEL at the outer edges of the square may derive from the root אישה (eishah), ‘a burnt offering.’ There is no central cross in this square, but the name of the spirit Aril, meaning ‘thorny’ appears in four interlocking forward and reverse forms to culminate in a central square based around the a repetition of the letters L and I in the centre to form a rotating expression of the word ליל (lil), meaning ‘night.’

The Vision

The vision began with the image of a Fir tree on a slope of thin earth. Some of the earth gave way at the base of the tree to reveal the root underneath, which suddenly turned into the neck of a vulture with its head buried under the earth. Then I saw that the leaves of the tree were in fact the plumage of a peacock. The strange, vulture-peacock hybrid freed itself of the earth, stared at me threateningly for a moment, then flew away over a large body of water.

Overhead, a large storm stirred with much lightning and gave birth to a deluge of rain. I entered a thick forest to take shelter where the storm was completely blotted out. I could hear nothing but the song of the forest’s birds inside and neither the rain leaked nor the sounds of thunder could pierce the wood’s veil. After walking for a while, I smelled roasting meat and followed the scent to a cosy-looking den set in the roots of a tree. Inside were a family of anthropomorphised pigs cooking one of their own. I was invited in to get out of the dark wood, and the pigs implied that something terrible was stalking me. Fully suspecting something bad to happen as soon as I got inside, I entered the hatch and found the door in the roof instantly locked itself behind me, while the pigs, their fire and everything else in the hole disappeared as the candles that had lit the den were all snuffed out.

Through an iron-trellised window, I could see the nighttime moon over the sea outside, and a wind-blasted palm tree rocked savagely at the water’s edge. There was, however, no way out, for the crisscrossed bands of iron across the window’s pane made it impossible to destroy and climb out of. Then, through the darkness, I became aware of movement. The roots of the surrounding trees began to poke through the earth walls of my prison and moved closer and closer to me, threatening to entangle me in their limbs and trap me in their embrace. I reached out to touch the roots and felt that they were covered in slime, having the same unpleasant feel as a slug or snail. Although trapped, I did not feel any real fear or desperation, knowing that if I was patient, the light of the rising sun coming from the east at dawn would disperse them. With the roots encroaching, however, I decided that instead of waiting that long, I would produce my own light from within.

The roots leapt back at the touch of my light, the appearance of which caused the sun to suddenly rise behind me, flooding the prison with golden rays. My growing shadow was the only place the dark spirits it shone upon could hide from it, and they appeared in my umbra as nothing but lidded, disembodied eyes. I spoke to them, telling them that they were prisoners of no one but themselves and redeemed each of them by touching them with the golden light that came from my hands. As each found its peace, the encroaching roots withdrew and the prison became flimsy enough for me to kick its walls in and move into the daylight outside.

Coming down to the shore of the sea I had seen through the window, I saw a rowing boat bobbing serenely at the water’s edge, but knew that wasn’t time to board it. Looking back at the forest, it seemed very normal, but in front of it, at the edge of the beach, was a small cave with a huge, white, worm-like larva poking its head out of it. I approached the worm, which looked tortured and forlorn, and pulled it free of its tight prison. It too was had been trapped and on my freeing it, the shadowy shape of a man came plopped out of it. He said he had become ‘trapped within his own larvae,’ and so I cast the gelatinous pupae he had been stuck inside into the sea. Then the shadowy shape revealed its form to be that of a wild man, similar to the one who was imprisoned in a cage near the shore in the vision of Bridges.

On taking this shape, the wild man spotted the boat on the sea and rowed it into the west to find his liberation. Following this, the wind-blasted palm tree I had seen from the underground lair of the pigs dropped a golden cone onto the floor which I picked up and removed the outer scales from, causing them and the seeds within it to scatter over the sands of the beach. The sands turned gold as they fell, then the entire sea shone with the light of the rising sun as the old man on the departing boat changed his form to something that looked divine and godlike. Then I saw angels dancing in the sky, singing a chorus and hailing the sun with golden trumpets. Then a huge cloud formed appeared which resembled the head of a ram and the vision ended.

Notes

The ‘burnt offering’ hinted at in the square’s outer edges was manifested in the pork being cooked by a family of pigs. Given the purported Jewish origins of the Abramelin Squares, the fact that this meat was pork and represented a form of cannibalism reveals this sacrifice to have had an averse, unclean nature. The transformation of the pigs into bodiless eyes squirming in the darkness came with the suggestion that the spirits trapped in the underground den had trapped themselves, or each other, there, and were now seeking to do likewise to me, by trying to trap me within the clutches of encroaching tree roots. The wild man trapped in a wormlike larva that was stuck in a stony hole was also suggestive of some kind of trapped entities. In his case, the larvae or shells of the Roman religion, which were the forgotten or trapped souls of the dead, were being hinted at. After he appeared as an old man, his sailing into the west across sunlit waters represented his salvation. I was my own salvation in this vision, invoking the solar force to save myself (Synchronistically, ‘Save Me’ by Muse was playing in the background as I wrote this), which, I then used to liberate others who had become lost in the entanglements of shadow.

With this experiment now passing its halfway point, there seem to be more elements of the ascent from the underworld appearing. I was no longer afraid of anything in this vision, and showed a greater degree of mastery over the forces surrounding me, who had all damned themselves and were awaiting liberation from another before they could move on to peace.

The square was constructed with the Moon at 13º Pisces forming a conjunction with Retrograde Neptune. It was worked with, however, when the Moon was at 7º Aries, which may have worked its way into the vision in the form of the ram’s head that appeared in the cloud at the end.

XIX: A Village

Wandering

XIX MIGIRAS

Servitors: Ipakol, Parek, Mara, Ragaras, Ramoras, Sarasim, Sigis, Girmil, Gesegas, Kosem, Ilekel, Aril, Kilik, Isagas, Alpas, Amillis.

The word MIGIRAS on the outer edges of the square relates to the Hebrew (migrash) meaning ‘open space,’ ‘plot,’ ‘pasture, ‘yard’ or ‘site.’ The spirit name present in the central cross is that of Ipakol, which may be derived from the combination of the Hebrew words יפה (yapah) meaning ‘fair,’ ‘beautiful,’ ‘picturesque’ and קול (qol), ‘sound,’ ‘voice.’

The Vision

This vision was drastically different to any other. Before beginning, I performed an invocation of the Elemental King Egin, who rules the element of Water and resides in the North. Being midnight, the sun was in its diurnal position in the North, and with the sun being in Cancer, it was also in its northernmost position in the ecliptic. With these elective qualities and other honours and sacrifices being made to him, this square was activated by calling upon he alone of the Cardinal Kings.

Once Egin’s assistance had been requested, the vision began with the image of an old book in an ancient library or study. It flicked open to a random page and a black, detached hand pointed a finger at a word. A deep voice commanded me to read the word and tell him what it was, and I replied with the answer ‘Eridanus.’ In response to that came a short rhyme:

Eridanus is where I dwell. Remember this and do ye well.

Following my memorisation of this rhyme, he became suddenly enraged, accusing me of trying to undermine and insult him by some action I had done. He threatened to cause me great pain if I did such a thing again, but I had no idea exactly what this thing was. I guessed at first that the issue came from including the name of my HGA in my invocation to him, but as this is always done with the four kings and generally provokes equilibrium rather than hatred, I discounted this. Another possibility came from the fact that a sudden change in the scent of the fumigatory offering announced that some remnants of Lignum Aloes that had been left in the brazier had gotten underneath the charcoal, changing the scent of the offerings that had been made. To know for sure what the problem was, I asked the spirit to confirm his name to me, which he gave as ‘Aridon’ (not Ariton). I apologised for any offence caused to him, explaining that I didn’t know what I had done to irritate him, but he remained angry.

Despite this unappeased anger, he proceeded to show me some visions of the square’s contents, though the tone of them was hurried and violent, as if his anger was being expressed through them.

The visions directly related to the squares began with the image of the village that had been devastated by the tidal wave in the last vision, though I now perceived it from the viewpoint of one who lived there. The tidal wave, it seems, had been a blessing, for a great fire was in the process of destroying the village when it came and its arrival quenched its flames. From the extinguished fire, a loud hissing noise came and plumes of steam rose up into the sky to form large, billowing clouds.

Then the presiding spirit, ‘Aridon,’ ordered me to drill a hole in the earth with a great augur that looked like a large hand drill that was operated by a hand-crank attached to its side. As I did this, the dragon from the visions of A Big Lake and A Vineyard appeared and slotted its tail into the hole I had drilled. Sitting in such a position, the dragon laid an egg, which dropped down into a watery canyon below, where black figures attended to collect it and nurture it. I realised that this egg was of the same sort as that which had been destroyed by the black woman in the church in the vision of Farm Buildings. Then my attention returned to the dragon, who confirmed that I had carried out most of the instructions to do honour to Egin correctly, but had not obtained the chalice I was supposed to have gotten hold of.

After hearing this, I returned to the scene unfolding in the canyon below the village. In it, a subterranean temple had been constructed and at its heart was an altar with a skull with teeth that had been sharpened to dagger-like points. The skull was affixed to a wooden stake which had a large python entwining it. After showing me this, Aridon revealed his form to me and it was terrible. He had the stature of a giant topped by a horned head and his features were those of a skull which was alight with a flame that was constantly being put out by water before being reignited again. Each watery victory caused vaporous, hissing steams to emanate from the spirit’s charred flesh just as the flames of the village fire—which I learned had been started by Egin’s dragon—had been extinguished by the crashing wave of sea waters.

This vision of extinguished and rekindled flames kept appearing until I got the gist of what they were trying to tell me and extinguished the flame on the brazier and all of the candles present in the room with water from the brass bowl that adorns my altar. It was the presence of fire, it seems, that had angered Aridon, and on extinguishing it—which brought the room around me into a very deep darkness—the intensity of the communication with the King of Elemental Water grew; for he comes at the moment when water extinguishes flame to produce a steam which lets forth the hissing of serpents as it rises into the air.

With his appeasement, I was shown the vision of a great bastion within the canyons below the Earth. It looked misshapen, with fiery windows that gave it the same skull-like appearance that Aridon bore, and the mouth of that skull was a portcullis with many furnaces burning behind it. I was invited in and on my entry I was granted a vision of his seal, the form of which I committed to memory. After it faded, the face of a brown horse appeared, and there was an intense darkness in its eyes. In that darkness I saw visions of furnaces driving metallic, red machinery by the power of steam, and the sound of malign laughter filled the air. Then I saw a series of cells that were also wheels in which walked red-brown horses which were emaciated and very close to death. They walked those metal wheels endlessly, the rotation of their movements providing the motion of the cogs that drove the great engines of hell. All this infernal action and power ultimately went to ‘fuel’ the people that populated the village on the clifftop above, all of whom were clockwork figures living their mundane lives while affixed to tracks or runners that kept them bound to an existence of thoughtless mechanical action.

With this vision came the understanding that the man without will is entirely at the whims of empty, mechanical forces. The bodies of the villagers were two-dimensional and their faces stuck in fixed expressions as their feet rolled along the tracks with no volition of movement. Yet none of them could see the extent to which they lacked control over their destinies because their drives and motives were entirely animalistic with no knowledge or insight into the predicament of their slavery to the Archons. I too had been in this state of slavery until I was awoken to the nature of the machinery of the world below by those who operated it; for such daemons are not intolerant of those who awaken. In their hearts they are rebellious against those who constructed the machinery and their infernal labours grow easier with each pair of eyes that open to the true nature of the World. With each awakening they gain hope of their own liberation, and this being so, all those who come to Gnosis and the knowledge of their own Will they recognise as allies and grant them boons to assist them to bring down the great machinery we have all been bound to. On being shown how the great Archonic system of the World works by one who was himself a vassal to their whims, I smiled and laughed in a state of mild ecstasy, for I knew that what I had been shown was true.

The vision ended with an emphasis that obtaining the correct type of chalice was very important for future works with Egin; and I also saw something which resembled part of a goat’s skull carved into the shape of a jagged knife. Then I saw an image of myself smoking a cigarette and wearing a red t shirt while my eyes shone with pinpricks of red light.

Notes

The events in this vision appear to be a culmination of the rite the dragon that appeared in the vision of A Big Lake informed me I should perform. With the absence of a suitable chalice, this work has still not been performed in full, yet I learned something important about the extinguishing of the fires present in the temple in order to evoke Egin properly. The unintended invasion of the wrong incense may also have played some role in his temporary disdain, as the incense associated with the sign of Cancer is Onycha, due to it being formed from the opercula or ‘trap door’ of the shell of a sea mollusc. Attempts to find an incense containing this ingredient had proved successful, and the importance of ‘white wine’ (see A Big Lake and A Grape or Grape Plant for this reference) also became apparent on researching this incense, as it should be treated with a strong white wine in order to sweeten its somewhat piscine aroma. That this scent was replaced by Lignum Aloes, a sweet but fiery scent associated with Sagittarius, may have been as much an affront to Egin as the flames that outstayed their welcome in the Temple had.

The horse whose eye I looked into to see the infernal machinery appeared to be another manifestation of Egin, while the dragon in the world above appeared to be his worldly servant, hatching eggs to give birth to more servants which the shadowy underworld servants nurture in his temple which others, such as the black woman in the Temple—a servant of his foes—wish to see destroyed underfoot.

As well as being similar to the name Ariton,  ‘Aridon’ resembles the word ARIDO that appeared in the previous square. As well as meaning ‘dry,’ this word also means ‘gaunt,’ which may explain the emaciated appearance of the horses.

Other spirit names relevant to the vision received in this square are:

Amillis – ‘worker,’ ‘labourer,’ ‘toil.’
Kosem – from the Hebrew קסם (qosem), meaning ‘magic,’ ‘enchantment’ or ‘divination.’
Isagas – ‘roar,’ ‘yell’ or ‘shout.’
Mara – ‘cave’ or ‘grotto’.
Sarasim – ‘deep roots.’

The position of the Moon during the construction of the square was 9º Aquarius, where it was in close conjunction with a retrograde Mars.

XVIII: A Running Spring

Ocean Waves

XVIII MAKOR

Servitors: Kilik, Aril, Mara, Liriol, Lomiol.

The name at the outer edges of the square, MAKOR, possibly derives from the Hebrew מקור (maqor), meaning ‘wellspring’ or ‘source,’ while the spirit name in the central cross is that of Kilik, whose name relates to the concepts of power, strength, bastions, armies and wealth.

The Vision

A trickle of water ran from a patch of boggy grass at the top of a mound and travelled to the edge of a sharp drop where it ran down a cliff face and onto the ground below. The course of the water continued at the bottom and wound a short distance to another cliff, this one overlooking the sea, before collecting in a small pool on the rocks below. Then, looking back at the shoreline from the sea, I saw that the entire land was swollen with water and the place where the water had ran between the first cliff and the second looked like it was about to burst open and cover the land with a deluge. Then, with the appearance of a pale-blue and white bird, the deluge came and all turned to night. The sky was of a strange, deep blue, while the moon, which was visible above the sea, accepted this watery offering as a sacrifice and released a large, bat-like creature with a body as black as void and filled with stars, as though it were forged from the essence of night.

The creature hovered over the flooded earth and released a thin, pale-bodied lunatic from a crow cage that sat on the beach. On escaping, the madman ran towards the swollen ocean and raised a fist at it as if he meant to fight it. The sea surged in response, and a large, tentacled monster appeared to be thrashing beneath its surface. Surprisingly, the wild man made good progress against the sea, glowing white with moonlight as he forced it to retreat before him. He kept running through the wedge he carved into the water until he came to the opposite shore in the near distance, where a small beach resort with what was either a lighthouse or a helter-skelter lay. As the madman came to shore, the sea, rushing in fear before him, crashed into the land as a tidal wave, engulfing the resort and its structures entirely. Then, in the aftermath, he hopped back into a crow cage that was identical to the one he had been released from, which then locked itself shut behind him.

Daylight resumed as the sea retracted back to normality and the rest of the town, which was of a Mediterranean appearance, now appeared to have migrated onto a clifftop, with the space where it once lay being carved away by the storm to leave a bare beach in its place. The ground on the clifftop was left soaked by the spray of the tidal wave and dripped, as the previous wellspring did, into a crevice in the cliff face. On the beach below, I noticed the stick in the sand from the last vision and realised that this was the same location as that vision only many years later as no trace of human civilisation had been present there before. I saw the cave where the spirit had sung in the pool, but it had been sealed shut, with nothing but a narrow crack marking the place she lived.

From inside, I heard weeping and a plea for her to be left alone. I didn’t attempt to speak to her any further, but saw in my mind that she was now much older than before and perching on the rocks of a dark, dried-up cave with no water left to submerge herself in. Water dripped in from a gap above her, but it was not enough to sustain her. As she wept, a stream of tears poured out through the narrow crack onto the beach. Then, from the darkness that surrounded her, a large dog appeared and sniffed at the blue robe she wore before nuzzling into her arms and going to sleep. Just as the dog settled, the woman’s tears reached a climax and she dissolved entirely into water leaving nothing but her robe behind, which the dog rested its head on to continue with its sleep. Then, outside her abode, another bird appeared and flew back towards the pale moon that thinly illuminated the light blue sky.

Notes

The square was constructed with Luna at 12º Capricorn, where it is in its detriment. The ragged appearance of the lunatic may have been influenced by this, with his long beard and loincloth being those of a prisoner released by a particularly capricious aspect of Water’s detrimental relationship with Earth as well as possibly representing the dual nature of Saturn, Capricorn’s ruling planet, and Luna. By his ‘lunatic’ nature and his influence over tidal movement, the white clad madman appeared to be a lunar spirit, perhaps a representation of Kilik due to that spirit’s associations with power and strength. The crow cage he was in (and the crow is a bird of a Saturnian nature) was similar in appearance to the torture cages that appeared in the dungeon in the vision of A Rose Garden.

The continuation of previous themes was apparent in the appearance of the beach from the last vision—which was identifiable by the stick I had left in the sand still being in place—only with a modern Mediterranean town now being in place there, though the tidal wave devastated the ‘tourist’ part of it.

The name of the spirit Mara relates to ‘cave,’ ‘cavern,’ ‘grotto’ and ‘den’ which once again appeared in this vision, though it was now sealed shut. The fate of the spirit’s cave may have been related to the presence of the Latin word arido, meaning ‘dry,’ in the square. The spirit ultimately lost her physical form to become a stream of running water which may suggest that her prophecy about crossing the sea leading to dissolution may have been referring to her own fate, though I had the sense that the essential life force in the spirit was not dissolved, just its humanoid appearance. The dog being left alone with her clothing in the cave was a scene of sadness and melancholy, which may be another sign of the Saturnian influence of Capricorn in the vision.