XXX: Bears

Herne

XXX DOBIH

Servitors: Balabos, Badad, Holop.

The word at the outer edge of the Square, DOBIH, derives from the Hebrew דוב (dob), ‘bear.’ The spirit name apparent in the central cross relates is that of Balabos, which comes from the Hebrew term בעל הבית‎ (ba’al ha-beth), meaning ‘Master of the House.’

The Vision

The vision began with a focus on the word DOBIH which then became further focussed on the letter B (for ‘Bear,’ I sensed) in its centre. Then a cave appeared with a large bear wearing a crown standing on its hind legs guarding its entrance. The bear approached me, making me fear it would maul me, but it only wished to sniff out the Square that I held in my hand. It turned away from me peaceably when I allowed it to inspect what I held, then it departed into the cave. I followed it inside and was greeted by the stench of rotting meat. Around me were the cadavers of many dead animals, with the most prominent being the skull of a horse.

I descended into the cave, where a soft, chiming, echoing choir of voices could be heard in the distance below. I came to a gentle blue river with a milky white sheen to its surface in that deep place and entered the water. I became aware that this was a reflection of the Milky Way and was washed along on its flow until it came to a waterfall. Instead of plunging to the ground far below, however, I remained breathless and bodiless in silent space and glided at will to the ground below.

Awaiting me was an old man driving a rickety wooden cart. He was quite old and wore a ruined top hat, and donned a wispy beard without a moustache, had ruddy red cheeks and had squinting, watery eyes. We were in a dark, rocky landscape quite unsuitable for driving a wagon over, and above me in the sky was a full moon and the constellations of Ursa Major and Ursa Minor, with the latter clearly orbiting the Pole Star. He offered me a ride in his cart and we headed North with Polaris before us. I noticed that the horses that pulled it, one of which was brown and the other black, were very thin and gave off the cold aura of death. He chided me for accepting a ride in such a land, as it was a place I knew nothing about. I asked him what sort of place it was and once again the word DOBIH appeared in my mind’s eye. From this, I accepted that this was the astral landscape unlocked by the Square.

As we trundled on, I became aware that we were being followed by bears, but the wagon driver informed me that I was quite safe as long as I remained in his vehicle. Then we came to a ford which was set down a bank that was too steep and rocky for the wagon to descend. He let the horses off their leashes and asked if I would assist him in pushing the cart down the bank, which I did, noticing that it was strangely light. Then the driver reattached it to the horses so that they could pull it across the shallow waters of the river, but on the other side, he asked once again if I would help him pull it back up the other bank. Doing this was somewhat harder than leading it down the bank, and led to me receiving wounds to my right hand from the splinters of the wood of its pull-handle. Looking at the wound after we got the cart up the opposite bank, I saw that the splinters had caused seven wounds which formed the shape of the Hebrew letter Zayin. The driver instructed me to mix the blood with the waters of the river we had just passed, and on doing this, the sky lightened to that of dawn. In the sky, the Sun lit the sky and Mercury and Venus could both be seen rising with it. Heading towards them, we continued eastward over the rocky land.

After a short distance I noticed a large, primitive-looking, large-toothed skull on the horizon that looked like a fortress at first, but as we approached it, it seemed to reduce in size to that of a small house and it had the appearance of the skull of a crow or raven rather than the fanged, hominid shape I had first seen. When we reached the skull, the driver informed me to leave the cart and go and take refuge inside the skull. I did this and sat inside waiting for something to come. Shortly afterwards, the seven trailing bears appeared and formed a circle outside the skull. Inside, on the floor I spotted a large rock which I picked up and inspected. On it was engraved the symbol for alchemical Sulphur.

After a brief period, the eighth figure appeared outside the skull-house, coming in the form of a man with the skeletal, antlered head of a stag. The figure came to the entrance of the skull-house and drew a sword. With it, he drew the sign of Alchemical Salt in the Earth and then thrust his sword into the centre of it. On doing this, all of the Earth around the skull-house disappeared into a void of nothingness. I stepped from my refuge into the stillness, where the stag-headed figure informed me that it was this state of Nothingness that I should be aiming for in my Work, and that the visions of the Squares were all guides in same way of how to achieve this state. On hearing this, I found myself on a cold shore, over which the sun set. Facing West, I saw a rickety boat, similar in its state of disrepair as the wagon I had earlier travelled. I thought about heading out towards the boat but was told that this was not the time to do such a thing, as the boat and the sea represented the journey to the lands beyond life. I sat patiently at the shore waiting for something to happen, but nothing did. After a few more moments, an Eagle flew towards me from over the sea and told me that there was nothing else to see in this vision. Accepting that, I ended the session.

Notes

The wound I received in the shape of the letter Zayin represents the number seven and has the meaning ‘Sword,’ both of which are relevant to this vision. Zayin is also related to Gemini in the Tarot, so this may also be a signal to pay attention to something relating to Gemini. See the visions pertaining to A Lion and A Wild Cat for specific references to Gemini, though the relevance may relate to a future rather than past vision.

Alchemical Sulphur represents the active male principle, being concordant with Fire and the Sun.

The appearance of the Sun with Mercury and Venus after I mixed my blood with the waters of the river may represent the feminine principle, with Alchemical Mercury representing the passive female element, as does the planet Venus.

Alchemical Salt represents the element of Earth that becomes purified through the interaction of Sulphur and Mercury. The striking of the Earth by the sword in the centre of the symbol for Salt represents the purification of matter in such a way, with the Sword being used to do so being reflected in the letter Zayin appearing in the wounds on my hand. Seven also relates to Venus in Qabalistic Magic, the number of stars in Ursa Minor as well as the number of stars in the Big Dipper asterism of Ursa Major.

The boat on the sea was similar to the one seen in the vision of Trees, in which the spirit in the form of an old man departed over the sea.

The names of the two ‘new’ spirits seen in this vision are Badad – בדד (badad), whose name means ‘alone’ or ‘solitary’ and Holop – חלוף (cholop), whose name means ‘transitory’ or ‘ephemeral.’

The Square was constructed with the Moon at 3º Taurus and scried with the Moon at 22º Scorpio. Venus was transiting the sign of Scorpio at the time of the scrying, where she is in her Detriment, as was the other benefic, Jupiter, Together they represent the male and female benefics resident in a Marsian, malefic sign, though the general energies of Scorpio, being the sign that Mars rules ‘at night’ are those of his passive, ‘inner’ qualities.

XXIX: Eagles

les-harpies-a
XXIX NESIKER

Servitors: Igarag, Manties, Mara, Katsin, Irminon, Ismerik, Sigis, Gesegas, Kosem, Erimites, Nasi, Ramoras, Izozon, Isagas, Romoron, Soterion, Negen, Nagar.

The word at the outer of the square, NESIKER, derives from the Hebrew נשר (Nesher), ‘Eagle,’ with the word forcibly split by the word IGARAGI in the central cross, which is a mirrored expression of the spirit name Igarag, which expresses concepts relating to coldness, ice, crystals and frosts.

The Vision

Bright pin heads of lights, like stars, appeared in a black sky accompanied by xylophone music before water poured out of the blackness, as though from a cup, into the earth below. Pouring into the domed vessel of the Earth, the water ran down a hillside to create a river that ran down to a pool in the basin of a valley. It was twilight in that place, which had the feel of a place in-between.

I walked to the edge of the pool and in its reflection saw the face of an eagle looking back at me. I looked around to see if it was above me, but there was nothing else visible in the growing blackness of the sky. I looked to the water again and saw the eagle, appearing more solid now, and then his reflection jumped out of the water and he flew onto my right shoulder. I turned to face him and looked into his eyes and received his communication. He explained, in a slow, deep voice, how he had descended from the highest pinnacles of the universe, but could only communicate through the reflections of things, such as in waters and reflective surfaces, in this place as the naked eye could not perceive him. I understood that the form of him that I looked upon was only visible as it had manifested via its reflection in the water, but was not truly him. I was aware at this point that other eagles were circling the black skies overhead, though when I looked up to try and see them, I found them to be completely invisible. The eagle then told me that its eyes were the reflective surface I could look into in order to receive a vision from him.

On doing that, I had a vision of two men sat at a table before a drawn curtain in a pub, inn or some other kind of public place. I recognised one of the men as a friend of mine who shares the same first name as I do, but on approaching the table, I realised that both men were actually me. I assumed the identity of one of these versions of myself and looked across to the other version who sat on the opposite side of the table. Looking at the table, I saw that me and my doppelganger were playing cards and the card I had just drawn was the Five of Diamonds. I looked to see what the other cards on the table were and saw that every card in my splayed-out deck was the same as that which I had just drawn.

Then the Eagle began to speak in its slow, low voice again. It asked me how I would really respond to myself if I were another person. How would I communicate with me? What would I think of me? How would I judge me as another would, and how would I deal with me when I was being difficult or confrontational? These questions, it said, were prompts to deal with myself in all of my reactions, opinions, behaviours and patterns as though I were an external entity watching and observing such things with detachment, as though I were outside of myself. The ‘other self’ I looked upon opposite me, it said, was the part of oneself that could only be viewed in the mirror, and was not the same aspect of self as the one who does the viewing.

Once this message had been delivered, the drawn curtains I had been sat next to were opened to reveal a strange, infernal scene unfolding in the world outside. The lands were grey and the skies were black and red there; and from the Earth long, white bones jutted into the air like jagged spears. Around the bones harpies and gorgons roamed, their bodies those of women with their arms entwined with serpents and their faces blank of features save for the inverted muzzles of wolves with their fangs bared protruding from their foreheads. Their shoulders were mounted by great, leathery bat’s wings and when they thrust their groins towards me and parted their bare legs, they birthed swarms of bats that bit into my flesh with tiny, metallic teeth that ripped small chunks away from my body with each bite. In the sky above them, an armoured man wearing a black helmet with long, metal bull-horns flew on the back of a great eagle watched on.

After the unfolding of this hellish vision, the eagle spoke again on the nature of hell, commenting that it represented the state that the human mind most easily fell into, as it was easier to descend a difficult slope or fall into a hole in the road than it was to ascend a steep hill or climb a tall ladder. Ultimately though, he informed me, none of what I had witnessed represented objective reality and hell was nothing but a trap that we force ourselves into, for the human mind finds it easier to imagine its torments than its delights. To demonstrate the reality of this, he instructed me to invert all I had seen in hell to a heavenly equivalent. This I did with ease, making the gorgons angelic and golden in their appearance, while the landscape glowed with sunlight over verdant meadows as soft clouds scuttled by on the wings of sweet breezes.

Yet something about this vision was far less real than that of hell, for my mind could not imagine anything of this perfect scenario not dying, souring or ending in some way. This demonstrated to me that the human psyche is far closer to hell than heaven, as with death as its permanent reminder and great terror, nothing good could ever be seen to be more than a brief reprieve. Hell and its torments, however, could never let us down in terms of their longevity and permanence. The lesson the Eagle sought to teach was that all such ideas were nought but illusion. Hell and Heaven are but mirrors of each other in the human state of being, it said, with each being just as transient as the other. What the mind should strive to do was establish the same lack of identification as that which was advised in the previous scenario where I had sat opposite my doppelganger and observed it without any sense of emotional identification.

With this said, the heavenly scenario faded and I stood next to the pool again where the skies were once more those of twilight. As a parting gift, the eagle gave me a burning torch, advising me to use its light to guide myself through this world’s permanent, semi-lit state, for with it I could see things that the naked eye could not. To test this, I held it to the ground and saw a cat that was as black as coal appear out of the night air where there had previously been nothing. Then I held the torch above my head and saw the circling eagles high above where I had previously seen nothing more than the swelling night.

Notes

The purpose of the Hebrew word Nesher being spelled with a ‘k’ as opposed to the ‘sh’ of the letter Shin can be found by studying its reversed expression REKISEM. This word derives from the Hebrew root רחש (rechesh) meaning ‘whisper’ which either expresses the pluralised form of this word as recheshim, ‘whispers,’ or combines with the Hebrew שם (shem), ‘name,’ with rechesh in order to produce the meaning ‘a whispered name.’ Other meaningful words that appear within the square lie in the lines that spell KOLAMAS, which is either derived from the Hebrew חלם (cholam), ‘dream’ or is a mangled representation of the Greek word κάλαμος (Kalamos), which relates to a type of reed found at the side of a pond or lake. When spelled Calamos, this is also the name of one of the servitors of Ariton. Also present in the Square is the word ERAGOZE – ארגז (eragoz), ‘box,’ or ‘chest.’ Despite these possibilities, none of these words appeared to have any practical relevance to the results of the work unless the association of KOLAMAS with Calamus was represented by my beginning this vision at the side of a pool of water.

The name of the spirit Igarag appeared relevance due to its connection with the Hebrew word for ‘ice’ or ‘crystal,’ קרח (qarach), which in the case of the latter word has connections to the theme of reflection that pervaded this vision.Other pertinent Hebrew words that appear in the Square are ראי (rai), ‘mirror,’ ראים (raim), ‘visions’ and מער (ma’ar), ‘nakedness,’ which may provide an alternative etymology for the servient spirit Mara.

The theme of mirrors, crystals and reflective surfaces that pervaded this vision provide a link to Chapter IV of the Abramelin, which is also used to experience various visions, with the first Square of that chapter making things appear in mirrors, glass or crystals. Also apparent in this Square is a variation of the spirit name Erimites, who also appears in the Square relating to Eagles, as seen in the line which reads IRIIMITI.

IRIIMITI

An unsettling event occurred a short time after performing the scrying, when a sound that strongly resembled the sound of a rattlesnake’s tail came from the area of the room where I had performed the work. This was not the first time that extraneous sounds have been heard from the room before or after scrying these Squares, with the sound of chanting coming from behind me while scrying the Square that grants visions of Horses being the other example. This coincided with a feeling of unease and fear I felt right from the beginning of this vision. It is notable that the rattlesnake is of the same genus as the pit viper, with vipers being particularly related to the spirits communicated with during works of Goetia such as this, which in this case featured visions of gorgons with serpents wrapped around their arms.

The square was constructed with the Moon at 5º Capricorn and was scried with the Moon at 26º Aries.

The suit of Diamonds seen in the part of the visions in which cards were being played with equates to the suit of Pentacles, Disks or Coins in the Tarot. The Five of Diamonds therefore represents the Five of Disks which, in astrological terms, equates to the first decan of Taurus. This refers to the celestial occurrence of Mercury in Taurus and signifies ‘Worry’ in the Thoth deck. Of the energies present in this decan, Crowley stated:

“The Number Five, Geburah, in the suit of Earth, shows the disruption of the Elements, just as in the other suits. This is emphasized by the rule of Mercury in Taurus, types of energy which are opposed. It needs a very powerful Mercury to upset Taurus; so the natural meaning is Intelligence applied to Labour. The symbol represents five disks in the form of the inverted Pentagram, instability in the very foundations of Matter. The effect is that of an earthquake. They are, however, representative of the five Tatvas; these hold together, on a very low plane, an organism which would otherwise disrupt completely.”

Interestingly, with the scrying being performed with the Moon at 26º Aries, this decan represents the next decan the Moon would pass into approximately eight hours after the scrying had been performed. This seemed to be hinting towards some potential event, inner or outer, that is relevant to the timing of the Moon entering this decan. The ingress of the Moon into this position occurred at 2:29 am London time, on Friday 31st August, with Cancer’s position on the Ascendant signifying that the Moon or one’s emotional ideation of oneself was indeed the matter at hand. The first decan of Taurus is also that in which the Moon reaches its degree of exaltation, which at the moment is occupied by Uranus which brings sudden, revolutionary schemes to motivate, inspire or reinvigorate one’s emotional or reflective states. The Moon remained in this decan until 8:56 pm, making most of this day one in which the issues outlined above would be relevant in some way.

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.

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.

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.

XVII: Bridges

Chinvat

XVII DOBERAH

Servitors: Ekalak, Liriol, Nabhi, Laralos, Badad, Helel, Nasi, Aril, Kilik, Kokolon, Balabos

The word DOBERAH at the outer edges of the square comes from the Hebrew root דִבר (dabar), meaning ‘to speak’ or ‘pronounce,’ and is related to the variations דבור – ‘speech,’ ‘word,’ ‘saying,’ ‘commandment;’ דברה – ‘cause,’ ‘reason,’ ‘manner;’ and דבורה – ‘bee,’ which also relates to the name of the Biblical prophet and judge Deborah. The name of the spirit in the central square is that of Ekalak, whose name may originate in the Hebrew חלק (khelaq), meaning ‘portion,’ ‘part,’ ‘lot,’ ‘share,’ ‘fragment.’

The Vision

It was night and I came to a stop on a rusting suspension bridge spanning a river after running some distance on an asphalt road. I climbed on the metal railings that ran along its side and seemed to have the choice to either climb to its top or jump over the edge into the river below. I paused unsure of which of the two I should do before realising that the bridge acted as a crossroads with the river below and led to another world. Looking up and down the river to my left and right I saw that many other bridges had been constructed. Above me, I saw a waning gibbous moon and realised that I should be crossing the bridge not ascending it or jumping from it. I stood upon the road again and had the impression that a car was coming down the road with its headlights on.

As soon as I got to the other side of the bridge it became day and I stood in the midst of a landscape which looked very Greek. Around me was yellow grass, like that of a savannah or otherwise arid landscape, and at the crest of a small hill in front of me appeared a baby elephant that seemed to be happy to see me. I thought about approaching it but got the sense that its mother or father would be nearby and would trample me if I came anywhere near it. Instead, I waited a moment to see what would happen next, then trudged carefully through a track in the grass while being careful to maintain my distance from the calf. As I neared the top of the slope, the Land Rover from the vision of Farm Buildings appeared and drove over the grass, as it also had in that vision, and pulled to a halt near the elephant. As it approached, the elephant changed into a woman of middle-years wearing a velvet, burgundy dress and with long brown hair with slight curls in it which was bedecked by a crown of laurel leaves. As her form changed, the driver of the Land Rover exited his vehicle. He was a man of late middle age with sharp features and was wearing clothes that were typical of a British farmer, being a green wax jacket, green trousers and hat, and he had a shotgun with its barrel popped open resting over the crook of his right arm. On seeing the woman, he placed his gun on the floor and it flew off into the distance behind him as they both disrobed and his Land Rover also vanished.

The couple then began to have sex in front of me, which made me feel rather uncomfortable, so I scanned the surrounding environment while they got on with it and saw many eyes, like pinpricks of yellow light, were watching both me and they from a great distance. When the two had finished their act of lust, I saw the co-mingled deposit of their union left on the floor where they had lain, pink in colour and in the shape of a Vesica. From it, an enormous rose grew, as quickly and as tall as the beanstalk in the tale of Jack the Giant Killer, and a great vine twisted around its stem. When it finished growing, it stood high in the sky, penetrating the clouds. I felt the same temptation to ascend then as I had at the bridge, but once again paused before doing so. As I lingered, I sensed the surrounding watchers coming closer. Then, confirming my suspicions, a vicious black wolf stepped out from the forest close to where the Land Rover had been parked. Knowing this was the time to ascend, I climbed.

On my ascent, I noticed that the stem between the huge thorns was covered in sticky sap which made the ascent easier as it was so tacky I knew I had no chance of falling back to earth. By the time I reached the base of the flower’s head, which was as far as I could travel, I was high above the clouds and saw the sun and the moon on either side of the petals above me, the sun to the left of it and the moon to the right. Beyond them, I could see the forms of a few scattered, distant mountains rising above the soft cloud-line. As I pondered what I should do next, a beam of rainbow light appeared in the distance, beaming its rays from some unknown point in the blue sky above to break through the clouds below projecting to an unseen location on the Earth. I understood that this to be a signal of where I should now head, and transported myself there by taking one of the huge vines that twisted around the rose’s stem and projecting its end to the base of the rainbow before sliding down it in a dizzying descent that felt realistic enough to give me a touch of vertigo.

At the base of the vine, where it met the rainbow and mingled with its rays, was a sandy beach and a great sea set in a bay of cliffs, coves and caves. Written in the wet sand was the word DOBERAH, which then extended to form the rest of the square in its entirety. Behind me, in a cave, I could hear the sound of ethereal female voices singing, which I followed to find a pool of dark sea water. I sat on a rock and let my feet dangle into the pool, but got a sense of dark, shadowy entities swimming under its surface, so removed them and rose to my feet again. As I stood there listening to the song, the light of the setting sun flooded into the cave bring the music to a stop. In the water, I could see a female spirit guarding its eyes from the light of the sun. She asked me if I could block the light of the sun with my body as he found the light intolerable. I adhered to her request and asked if she had any messages she wished to deliver to me. In response, she gave the following words:

“The seal has been broken. You stand on the edge of All, at the twilight shore of Time. Cross the Sea and be No More.”

After receiving this message, I returned to the beach and watched the sea come in with the tide to wash the words of the square away from the sand. I placed a stick into the area where the word had been in order to mark its place, and with that act the sun vanished and was replaced by the moon, which then set into the sea to leave me in total darkness. From the cave, I heard the sounds of the spirits’ echoing song beginning again. In the blind darkness that was left in my mind I saw a gravestone wrapped in ivy that I recognised from a graveyard close to where I live in the ‘real’ world. Instead of the name that usually appeared on it however was an inscription which read ‘Here Lies No More.’ After noting this, I walked away from the grave and up the hill to the path that leads to my home. This marked the end of the vision.

Notes

There was lots of polarity between dark and night, moon and sun and female and male in this vision, as well as lots of aspects of liminality, such as the twilight, the shore, bridges, a crossroad and a river. The appearance of a rainbow acting as a guiding light to show me where to head next when I had ascended the heights of the rose was akin to the Chinvat Bridge of Zoroastrianism which, like Bïfrost which separated the realms of Midgard and Asgard in Norse mythology, marked the realm between the worlds of the living and dead.

One of the most striking parts of this vision was the act of sex magick between the male and female spirits that appeared. The rose they produced symbolised that of the Rosy Cross formula, while the sun and moon that flanked each side of its head represented the culmination of male and female energies into alchemical gold. The place where I came to rest in my ascent of the rose’s thorny stem was akin to the veil of Paroketh, while the rainbow that appeared in the distance represented the paths of Qoph, Shin and Tau that emanate from the Sephirah of Netzach, Yesod and Hod which come together (pun somewhat intended) to form the word Qesheth, meaning ‘bow.’ The product of this bow is the upward flying arrow of the path of Samekh, which is associated with the sign of Sagittarius and, in the Thoth Tarot, the comingled energies of The Lovers becoming united as one in Art.

What the astrological association of this formula may point to is a connection between the position of the moon when I had constructed the square, due to it being in Sagittarius at that time. This is not the first time this has occurred, as when I constructed the square pertaining to Flowers, the moon was in Scorpio and that vision featured imagery relating to Scorpion Grass and an eagle, both of which symbolise the influence of that sign. This suggests that in future I should note where in the Zodiac the Moon is when I create these squares, just to see if this hypothesis bears any fruit.

Also of interest was the female spirit who sang in the dark, watery cave. Her message related the notion of crossing the sea in order to be No More. This relates to the great Sea of Binah with the connotations of crossing it relating to the traversing the Abyss into the realms where the personal ego is disintegrated.

While I have good knowledge of the Qaballistic system of Magic I would not primarily identify myself as a Qaballist, so these are not associations I am actively looking for in working with the Squares. What it does suggest, however, is that the Squares themselves are very much a Qabalistic expression and therefore their forms very much relate to such modes of communication. This does not mean that the spirits that appear rely on such forms to exist, hey merely use the Qaballah as the ‘language’ through which they communicate, as it was in this language that the squares they swore their oaths upon were created.

Of the spirits present, Badad is of note due to the connected ways the letters ‘B’ and ‘A’ interconnect with each other in a perpendicular fashion in this square, while the two ‘D’s present in the top left and bottom right corners mirror each other and the letters B and A in a fashion that suggests a sigil of that spirit’s name could be easily formed from this square. The meaning of this name finds its origin in the Hebrew word בדד (badad), meaning ‘alone,’ ‘apart’ or ‘solitary.’

Mathers’ translation of the name Aril to ‘thorny’ appears accurate here considering the thorns that appeared on the giant rose.

Kokolon may be relevant due to its name relating to the word ‘shame,’ as I felt a degree of embarrassment while watching the two spirits in congress.

The feminine qualities in the spirits present, the first being she who first appeared as the baby elephant and the second being the underwater spirit singing in the cave, may be connected to the presence of the spirit Nasi, whose name means ‘feminine.’ This is only the sixth square this spirit has appeared in so far, but the overall tone of most of the squares has been biased far more towards feminine entities than masculine ones. This leads me to believe that the qualities of this kind of magical work is definitely one in which the feminine entities act as the dominant initiators.

Confirming this in this particular square is the name of the spirit Nabhi, which Mathers states comes from the Hebrew root נבא (naba), ‘to prophesy.’ What he failed to notice however is the fact that the feminine noun of this word נביאה (nabiah), is much closer to the mark. More precisely, this word means ‘prophetess’ or ‘sibyl,’ and is therefore pertinent to the name of the prophet Deborah that the square was constructed from as well as the presence of the female spirit in the cave who delivered a spoken prophecy. The presence of this prophetic spirit also fits well the root word דבר from which this square was constructed which, meaning ‘to speak’ or ‘pronounce,’ verifies its sibylline nature. The relevance of this root also correlates with the presence of another name found in this square, Barak, who was the ancient ruler of Israel whose victory in war the prophet Deborah was the key to. Barak’s name translates to ‘lightning,’ and is also formed of the same root as the name of the Watcher Baraqiel in the Book of Enoch.

Also present is the word שיר (shir), meaning ‘sing.’ This may relate to the singing that was heard coming from the cave, but also has a relevance to the biblical verse of Judges 5:1: ‘Then sang Deborah and Barak.’ Considering the male-female polarity present in this square, the appearance of the combined actions of this ancient pairing—in which the feminine force was the key to victory—might be seen as further confirmation of the spiritual superiority of the female powers associated with the squares.