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.