XXVIII: Peacocks

Golden Idol

XXVIII MIDIKON

Servitors: Ilekel, Manties, Losimon, Asmiel, Lomiol, Katsin, Apolion, Pakid, Adon, Pattid, Kosem, Milon, Iparkas, Izozon, Nasi, Tolet, Ekalak, Kilik, Kokolon, Alpas, Ipakol, Soterion, Nolom, Amillis.

The word at the outer edge of the square derives from the Greek μυδεικών (mydeikon), meaning ‘mystical,’ while the name forming the central cross refers to the spirit Ilekel, whose name possibly derives from the Hebrew לחלל (lechalel) meaning ‘to desecrate,’ ‘violate’ or ‘defile.’ The lower case letters represent those altered by me to correct the errors that are evident in it in the original text.

The Vision

A long, thick baton made of plant matter and covered with needle-sharp spines appeared. Each of the baton’s spines had a tiny, lidless eye at its end, each of which turned to look at me at the same time, then started shifting around in a way that was quite unsettling to look upon. As I looked at the baton, a peacock came running towards me telling me I shouldn’t be holding it and instructed me to put it down. Entranced, I kept looking at it, and found it opening out into a blue fan that, with its eyes now spread all over its surface, resembled the tail of a peacock. As I noticed this, the peacock standing before me opened his tail in response then proceeded to run past me, telling me to put the fan down and run with him as something was coming. I folded it back up so it resembled the spiked baton again and ran with him.

Then it was apparent that we were in a thinly-wooded forest. Between, or rather above, the trees came a huge giant, crushing everything it trod on beneath its feet. Then, as the giant came to the baton I left on the floor, the eye-spines that ran up its length pierced the flesh of its feet and turned the giant to stone. Then, after a few moments, the stone giant crumbled to dust and revealed a golden statue of a man, somewhat like Michelangelo’s David, but carrying an axe over its shoulder. The Peacock and I approached the statue and the Peacock joyfully declared the freedom of the idol that had been encased within the giant’s great body. Then the arm holding the axe dropped down to its side for a moment then moved again to strike the ground with it, causing a small crack to appear in the earth. As the earth opened, I saw a pool of very blue water in which hundreds of frogs eggs had been laid. This, I realised, was the point where the spiked baton had been crushed into the ground by the giant’s foot, and had now changed from being a baton/tail/fan into a blue pool full of eggs. On inspection, each of the eggs contained tiny, swimming embryos.

Then, from the water, a large, shark-like monster leaped, its maw raised to the heavens, which peeled back lay by layer to reveal a bald-headed figure garbed in a robe of the same blue as the pool and tail feather had been. Its eyes, however, had skin growing over them which opened by the skin being split open into vertical slits with no visible eyeballs within them. As it gazed upon me, it said ‘speak what you wish, or rather, chant it.’ Doing so, I demanded, in a chant, to be shown the true visions of the square. It told me I was already seeing them, but then explained that none of what I was seeing was real, for nothing around us was actually there. The wood around me and everything in it was an illusion fabricated from the matter of my mind, it said, and this illusion could come in the form of castles, buildings, towns, banquets or anything else one could imagine.

The entity then told me that the mechanics by which spirits worked was through influencing the physical matter of the mind to produce symbolic communications. But, he asked me, how could I truly distinguish what was the work of my own mind and what was the work of the spirits communicating with me. As he spoke, I noticed that his feet became those of an ostrich that dug into the ground and that he appeared to be wearing a pink tutu around his waist. On noting my incredulity about such a ridiculous image, it laughed a bellowing laugh. It explained that they could encourage the mind to see anything they wished it to by the power of suggestion, it said and produced random images of foods like pineapples and carrots appeared for no discernible reason. The point of doing this, it told me, was that I had the mind couldn’t control the formation of these images once they had been suggested to it. This being the case, how could one truly determine whether the images impressed by the mind was the product of one’s own communications with the unconscious or some other extraneous entity. It prompted me then to form whatever images I wished in my own mind. On doing this, I noticed that everything I thought of came easily enough but that the things I was deciding to form images of now also seemed to be influenced by something that may or not be of my own mind.

The entity reiterated again that this was how spirits worked. They could manipulate any matter that they wished to by such power, and did so by working at the subatomic level, as they could range in their sizes from that of a particle, to a microbe or to a great giant. In such forms they could alter the forms and movements of anything physical in unseen, invisible ways, being able to effect the actions of viruses and bacteria, the movements of animals, storms, seas and buildings. Even, it seems, the synapses of the brain that produce various thoughts, images, predilections or emotional responses could be manipulated by them. The veils between the unconscious influence of the mind and the activities of spirits, it seems by such explanations, is thin and indistinguishable. To test this, I asked whether I could be made to see things I had never physically seen if this was the case, and the answer was affirmative. I asked it, for some reason, for it to show me a vision of Byzantium, and it proceeded to show me an image of a city with small white houses and red-brown sloping rooves surrounded by larger buildings with great golden domes. I stated to it that this place could be anywhere, and there was no proof that this illusion was Byzantium at all. That, it said, was my dilemma. How could I ever know if any of the things shown to me were ‘real’ in an objective sense if I couldn’t prove it either way. Ultimately, there is no way to tell if one is being deceived or not by the actions of mind, be it due to the actions of one’s own brain or by spirits who, in this vision, claimed that they worked by manipulating it.

Leaving me to consider such things, I sensed its impending departure and asked it to give me its name before it left. In response, the image of a highly intricate red and yellow banner appeared before me with various heraldic images such as lions and dragons stitched into it. In this centre, around a crest of some kind, two flowing ribbons had two letters stitched into them in red, AF on the left side and AS on the right, spelling out the name AFAS. With this, the vision ended.

Notes

The Square in question appears to have been corrupted in the original text and so was amended by myself to make its proportions even. The original, uncorrected Square appears as follows.

XXVIII CORRECTED

New Spirits apparent in this square are: Izozon, Katsin, Manties, Pakid, Pattid. Possible origins for these names are:

Izozon – יזוז (izoz), ‘move,’ ‘stir,’ ‘go away.’
Katsin – חצי (chatzi), ‘middle’ or ‘half,’ though the most interesting possibility is ‘moiety,’ which refers to something a single thing being split into two halves.
Manties – possibly from the term -mancy, related to divination, which ultimately comes from the Greek μαντεία (manteia).
Pakid – from Hebrew פחד (pechad), ‘fear,’ ‘dread,’ ‘terror.’
Pattid – possibly from Hebrew יפעת (ipat), ‘splendour,’ ‘brilliance.’

The bottom line of the square reveals a backward expression of the word MIDIKON to give the word NOKIDIM – נגידים – ‘Governors,’ which is suggestive of the influence of the Four Kings, Oriens, Amaymon, Paymon and Ariton, but may refer to any entity in a position of authority over others. NOKIDIM also represents the principle of averse mysticism due to the word it derives from mydeikon, meaning ‘mystical,’ and the aura of averse mysticism evident in the square, with its explanations on how spirits interfere with the laws of cause and effect in invisible ways in the physical world, appeared to confirm this. about it.

The nature of the communications in it had a degree of what a psychiatrist would probably call examples of schizotypal or psychotic thinking, due to the postulated statement that external entities may have an effect on thoughts. Such explanations are not entirely inaccurate, as when uncontrolled through the veils of mental illness and a lack of mystical or magical intent this can certainly be the case. However, most human experiences that can be called religious or spiritual, including visions, shamanic experiences, kundalini or other ecstatic states can quite easily be attributed to forms of temporary psychosis. The key here is the ability to acknowledge that mystical experiences are wilful experiments with the fabric of one’s psychic substance that can be used to tap into alternative states of consciousness by communicating with one’s deep and unconscious self. As the entity, Afas, in the vision stated however, there is a quandary involved in this in that one can no longer truly tell what is the product of one’s unconscious, which has been given free reign to act as it wills for a short time, and what is the product of the encouragement or manipulation of forces that exist beyond it.

The true key to understanding whether what we experience in such states is down to us or something extraneous to us lies in receiving proofs that point to something beyond the self. In these experiments this has happened rather consistently with the reception of words that I have had no prior knowledge off in ancient languages that I only have passing familiarity with. In this vision, this happened too, as the name given, Afas, appears to correlate with the Hebrew word אפש (afas), which means ‘wish’ or ‘desire,’ which is objectively relevant due to the entity informing me I could ‘speak what I wished for’ when it first appeared. It’s nature, then, was the granting of wishes or desires in the way that is mythically expressed in the persons of the djinn that emerge from magical lamps in Arabian lore. Another alternative explanation for this sort of phenomena is that the self has the ability to tap into an objective pool of information that lies beyond it, such as that represented by the Collective Unconscious postulated by the eminent sage Carl Jung. This possibility, however, is no less magical in its postulations than the idea of spirits or daemons having an element of influence over us, but I personally believe that the human mind cannot access information beyond its own experiences, but can be prompted and communicated with by preternatural entities that are extraneous to it.

The Square was created with the Moon at 12º Sagittarius and performed with the Moon at 25º Sagittarius.

XXII: A Wild Cat

 

dante leopard

XXII LINIROS

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

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

The Vision

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

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

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

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

Notes

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

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

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

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

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

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

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

XIV: A Castle on a Mountain

Treasureparcel

XIV AKROPOLIS
Servitors: Parusur, Alpas, Apolion, Trapis, Aril, Ipakol, Iuar, Kilik, Kokolon, Laralos, Liriol, Nasi, Pliroky (Pliroki), Soterion.

The word on the outer edge of the square clearly relates to Acropolis, denoting a stronghold atop a hill or mountain, while the spirit name in the central cross is that of Parasur, whose name either comes from the Latin paras meaning ‘to provide,’ or the Hebrew פרס (peras), meaning ‘reward’ or ‘prize.’

The Vision

A small, brown, rocky mountain appeared in the midst of a ring of much higher blue-stoned peaks. As I regarded the scene, I saw four beams of light appear from each of the cardinal directions to merge at a central point close to the peak. When they vanished, a cavern filled with gems and treasure was briefly visible under the stone of the hilltop, which hosted an abandoned-looking castle. I followed a stony path towards the top and after a few moments found a stone on the floor with the Hebrew letters, פיוס written upon it. I bent down to pick it up and found it resistant to being prized free, but after a few seconds of grappling it with my fingers, came loose. I picked it up and headed towards the castle which had birds that appeared at once to be both ravens and vultures circling its parapets.

On reaching the castle, I saw a hole in the masonry of its porch, where a closed portcullis barred my entry. This, along with its general shape and high altitude made it seem passingly similar to the arena I saw in the vision of the Wild Animals, but it was by no means the same place. The hole in the wall, I noticed, was exactly the same shape as the stone with the writing on that I had pulled free of the pathway to the door, and upon slotting it into place, the portcullis opened and I was able to approach the large wooden doorway beyond and knock it. The door swung open to reveal a gloomy, stone-floored, circular vestibule that was empty and had no other doorways or passages from which I could pass. On entering, a black, ethereal spirit in the shape of a scorpion appeared. It uttered a nonsense-word that sounded like Usadandy or something similar, which forced me to stop in my steps. I found myself trapped in a room for a while with lots of strange faces and images including a man with a fox’s head appearing in its furnishings and ornaments until I decided to leave the vestibule and fly up to an upstairs chamber where I left a bone as an offering to the spirits that were clearly defending this place from curious explorers. My exchange was obviously received well, for on my descent to the entryway, I found the earth opening up to me, allowing me into the great treasure hoard that was hidden beneath the castle. I was permitted to take as much loot as my arms could carry before finding myself back in my home locking my newly gained wealth into a cabinet.

Notes

Considering the meaning of the spirit name Parasur in the central cross, which possibly means ‘reward’ or ‘prize’ and the presence of the spirit Kilik, whose name means ‘wealth,’ it is interesting to note that the meaning of the Hebrew word carved into the stone I gained entry to the castle with, פיוס (piyas) means ‘lottery.’ Both words seem relevant in the context of the exchange and reward that occurred in the vision with my offering being rewarded to a small portion of the vast wealth that lay beneath the castle. With its hidden treasures and guardian spirits who barred the way to them, there appears to be a classic ‘treasure-spirit’ scenario locked into this square. A previous working with this square proved it to be impossible to enter beyond its facades or outer edges too, as the following account shows.

The meditative experience didn’t yield the results I’d hoped for with the castle I’d hoped to revisit, but, on the verge of sleep—which having the square on your head stops you from falling fully into—I noticed the perspective change and the imagery become that which was not by my own design. This involved seeing myself flying high above the clouds with a human shape but crow’s wings, until I saw a castle on a high mountain jutting through the cloud. I headed there and found faceless medieval soldiers operating machinery of war, which appeared like wooden cannons (no metal). A voice quizzed me for a while, asking me questions that required a degree of analysis to answers, pulling deep honesty from my secret thoughts, before asking me who I wanted them to fire a cannonball at. I answered that there was no one I maligned enough to want to cause serious harm to.

While the soldiers on the roof in this vision didn’t appear to be treasure guardians as such, their presence appears pertinent to the person of the Lemegeton spirit Malphas, who appears as a crow, builds high towers, will send armed men to vanquish one’s foes and gladly receives sacrifices. Between both visions, elements of the character of this spirit appear to be present, with the name Alpas—which also appears in this square—possibly relating either to he or to his near-namesake Halphas, who also builds great towers and commands military matters but appears in the shape of a stock dove rather than a crow.

The word that sounded like Usadandy made little sense and analysing it in retrospect reveals nothing of use. It does however feature quite a lot of the letters present in the square, as does the word פיוס (lettered P I U S).

Other spirit names in the square that have not yet been analysed elsewhere include:

Kokolon – possibly from קעקע (koko) – ‘incision,’ ‘imprint,’ ‘tattoo,’ ‘mark branded into the skin.’ May relate to the Hebrew letters imprinted into the stone I found on the pathway to the castle.

Pliroki – difficult to trace. Mathers suggests may be Coptic for ‘burning up.’

Iuar – another difficult one. Closest match with any semantic relevance is the Latin iurandum, ‘an oath.’

VI. A Rose Garden

Venus_botticelli_detail

VI RODONIA

Servitors: Adon, Afolop (Apolop), Alogil, Alpas, Amillis, Apolion, Aril, Asorega, Gesegas, Gorilon, Igarag, Igilon, Isagas, Lagasas, Laralos, Liriol, Nagar, Nagid, Nasi, Negen, Ogologon, Oroia, Ragaras, Sigis.

The word around the outside of the square, RODONIA, has its origins in the Greek ῥόδον ‘rose,’ while the word in the central cross, OGOLOGO, apparent in the name of the spirit Ogologon, may represent a palindromic expression of the Hebrew root לעג (gol) – ‘scorn,’ ‘derision.’

The Vision

It began with a single red rose spinning in a black void. As it spun its petals peeled back until it became a phallus, then a heart. The heart explodes, scattering fire and blood in the darkness and making many other roses grow out of the darkness. They formed a circular boundary made of tangled thorns which then begin to spin, just as the first rose did, emanating sparks of fire as it spun like a Catherine Wheel. From the borders, rivulets of blood ran to a concave in the centre of the circle which, when collected, formed a vortex beneath my feet which I was compelled to descend into. I refused, as it was not my will to do so, and rose high above it. From above, I saw the channels from which the blood flowed, and saw them forming a cross of iron with a channel cut into the centre of each beam. This then doubled its arms to become an eight-sided cross, then sixteen, then thirty-two, then sixty-four. Then it became a circle and began to spin, yet again. Growing tired with the constant lack of control I was feeling over this tumultuous place, I banished the entire vision from my sight and stilled myself. I stated an affirmation in the stillness that I came to see a vision of a rose garden and that’s what I expected to see.

After doing this, I found myself in a bare and barren field and had the notion that roses required manure to grow and I would have to provide it out of my own being in order to make the land fertile. After fertilising the earth in my own way, a new rose garden started to form, but it was like a thick labyrinth of tightly bound rose bushes with vicious thorns. At this point, I told myself, ‘I am in control of this. This is happening in my own mind and I can put myself anywhere I want to,’ then transported myself far away, only to find that the exact same scene established itself around me again. The temptation, again, was to go downwards, beneath the earth, but I resisted and rose up into the sky again to look down upon what looked like a great, unending maze of rose bushes below me.

With nowhere else to go, I erased the scene again and floated in darkness. In that place, the name of the spirit Gesegas came to me, followed by an announcement that a Nigerian lady wanted to speak with me. I consented to speak with her and her voice came through in a soft, pleasant voice.

‘Don’t resist when I stroke you, sweetie,’ she said. ‘It won’t hurt much and won’t last long at all, I promise.’ I replied that she was not to touch me and had no consent to do so. I formed the intent to banish her, but was instantly met with the sense that doing so would not be possible as she was far superior to me. This was a point of some disturbance for me as, like I mentioned in the vision of A Pumpkin, I have had quite a few experiences on the edge of sleep or during Astral Meditation when entities or thoughtforms appear to want to ‘ride’ me in the manner of the lwa of Vodou. Often, they are female and of African appearance and speech. Resisting this as a threat—for I was not seeking to be ridden—I recalled the starry diadem I had received in the vision of A Beautiful Palace and made it appear on my brow, sending three beams of light into the surrounding darkness. I aimed the light at the place in the darkness where I felt the woman to be and illuminated her, making her yelp in pain. Sensing my advantage, I commanded her to depart in the name of the Four Kings. A sense then came to me that she could be commanded to go into the world and perform works according to my will. I gave her an instruction as a firm command and told her that when the work was done, she would be free of any obsession of me and, being liberated from it, would not return to me again.

Pushing my will forward again, I reaffirmed my intention and formed a new scene, making a pleasant lawn of grass appear with roses all around it. At the end of it stood a marble statue of Aphrodite. I was compelled to give a rose as an offering to her, but being unable to take one of the roses that surrounded me due to the thickness of their thorns, I produced one from my own being and laid it at her feet. The white stone of the statue took a flesh-like hue at this and she became animated with life, though she remained curiously statue-like. As I looked upon her, I saw that she wore a golden sash that looked like a wreath from her right shoulder to her left hip that appeared to drip with a golden dew. I looked at her face and saw that she looked a little like Raphael’s Venus. Then she spoke.

‘What do you want from us?’ she said. ‘Why do you keep coming to us?’ I answered that I came to learn from them and to witness them for what they were in order to elevate myself. The response came not from her but from a night-black figure, male with a heavy neck, shaved head and a face that appeared to have white symbols painted upon it. He spoken into my right ear, in a deep, harsh voice, that I couldn’t have spiritual and worldly growth at the same time. Then another male, identical to the first, leaned into my left ear and said: ‘He is material growth, I am spiritual. We are twins, but we cannot speak at the same time.’ With that, I saw the female statue, whose body was now entirely golden stood between the two, her hands clutching the backs of their heads, as though she controlled them as her slaves. At her bidding, the two men turned into black and brown dogs akin to Dobermann Pinschers and curled up at my feet.

‘Would you lie with the dogs?’ she said. I replied that I would, and sunk, supine to the grass. As I did so, one of them marked his territory on my leg.

After a short rest, a hole in the ground appeared again, and no longer resisting an underworld descent of some kind, I walked into the hole, which took shape as a spiral staircase of an old castle that led down to a dungeon. Lighting my way with the starry diadem of the Morning Star once again, I lit the bleak corridors and saw abandoned hanging torture cages lining the corridor, though this part of the castle had not been used for many years. After passing some large but docile spiders, I came to a grotto with large but scattered agaric mushrooms lining parts of the walls. Above, a shaft of sunlight burned through a fissure in the roof, illuminating a round patch of grass with a few red roses adorning it. As I stood on the grass patch, it began to ascend to the gap in the roof above like a great elevator, and I realised that this grotto was the underside of the great lawn I had seen in the vision of A Beautiful Lawn. As I rose into the sunlight, I noticed that it had a rainbow hue to it, and that I was now approaching the same scene I had witnessed in that vision but from an entirely different perspective. As the patch of grass I stood upon slotted back into place in the world above, I saw that this was indeed the same Lawn as that previous vision and that I had journeyed back in time to witness the same scene from the viewpoint of one rising from the world below back into the light of day.

In the final moments of the vision, I saw the face of the Nigerian woman again, but as a memory this time rather than as a present form. Her name, I recalled, was akin to Falino or Paleno. This name is a possible reflection of the Italian Palino, which derives from the Latin Palare, and its origin Palor, meaning ‘I wander up and down or about,’ ‘straggle,’ ‘stray’ or ‘I am dispersed,’ which fits in with some of the aimless wandering I found myself doing here as well as the dispersal she herself became subject to. This name may also be related to that of the spirit Apolion, who appears in the square and whose name means ‘destroyer.’ Women of African origin also appeared in A Hunting Party, though they were more benevolent and curious than this manifestation, who was malign in nature but pretending not to be.

The name of the spirit Gesegas, which came forth as a disembodied name in the darkness, possibly derives from געש (ga’ash) – ‘eruption,’ ‘quaking,’ ‘storm.’

The theme of holes appearing in the ground occurred in A Beautiful Lawn and A Hunting Party, marking a continuation of the themes of previous visions that only became apparent in the vision of A Beautiful Palace, in which I received the protective, light-emanating diadem of starlight that was of use to me here.

Of the twenty-three Servitors appearing in this square, all have already appeared in the other visions, with the exception of  Adon and Nagid, with Adon’s name being derived from אדון meaning ‘lord,’ ‘master,’ ‘ruler’ and Nagid coming from נגיד, similarly meaning ‘lord,’ governor,’ ‘leader,’ ‘ruler.’ These may be names used to invoke the appearance of the Elemental Kings, as the image of Aphrodite that appeared was similar, but not identical, to my visualisation of Oriens. Whatever her identity, this spirit certainly had an aura of command about her, which was evident in the way she required a sacrifice—as gods do, and indeed as Oriens does in the Book of Offices—by the way that she controlled the two servants who spoke on her behalf, by the way she held their hands fast in her hands and finally by the way that she turned them into dogs. It is also known that when Oriens appears, she comes in the presence of other great kings, including the spirit Baall and her messenger Femell.

An alternative etymology of the name of the servitor Aril (as Haril) given by Mathers is ‘thorny,’ which is more than accounted for by the thorny obstacles that barred physical progress at various stages of this vision.

The name of the spirit Laralos may be from that of Lara, the Greek nymph who had her tongue cut out for not being able to keep secrets, who was seduced by Hermes as he took her to Averna on the threshold of the underworld, which saw her giving birth to the Lares, or household spirits, as a result. Avernus was a volcanic crater in Cumae, the entrance of the underworld in Magnae Grecia, and fits thematically with bowl into which blood ran at the start of this vision as well as the constant pull to places beneath the Earth.

Other points of note about the square are the prevalence of the letter ‘O’ which may signify the double-repetition of the Hebrew word AIN meaning ‘Nothing’ in the upper right and low left-hand corners of the square. Also apparent in its corners are repetitions of the word ORO, which is similar to the Greek ούρο, ‘urine,’ which was represented in the vision by the dog relieving itself on my leg. Oύρο also forms a connection with the concept of the self-devouring serpent Ourobouros, which gets its name from its eating of its own tail and feeding on its own recycled effluence in order to survive. Symbolically, this occurred in this vision with the amount of repetitive scenes and cycles in its early stages, with its ultimate return to the first vision of the Beautiful Lawn, and with the requirement for me to defecate on barren ground in order to encourage roses to grow from it. The Venusian qualities apparent form a connection to the light of the Morning Star in the vision of  A Beautiful Palace and the Venusian symbolism inherent in the Rose.

III. A Pumpkin

Servitors: Apolion, Nascelon (Naskelon), Nasi, Afolop (Afokop), Kilik, Kokolon, Alpas, Ipakol.

The word found on the Square’s outer edges, KIKAION, comes from the Hebrew קיקיון (see Jonah 4:6-11), which relates to a gourd, which belongs to the same family¹ as the pumpkin.

The Vision

A tall cedar appeared on a brown, marshy, windswept landscape. In its boughs hung a pumpkin, which rocked violently in the wind. In the surrounding branches bells tinkled and electric lights hung, which grew dim with the stronger gusts. As I watched, the pumpkin in the tree rotated to reveal the carved face of a jack-o-lantern which I fully expected to find appearing in this vision. As soon as its ‘face’ was visible, the pumpkin rocked back and forth with such strength that it fell to the ground and smashed into hundreds of pieces. I looked down to inspect its ruin and saw black seeds amidst the slivers of orange flesh that had scattered over the marsh. Rotten hands emerged from the ground to grasp at the seeds, which they took into the earth with them. As I saw their hands return to the world below, I imagined the place their bearers resided in to be akin to Dante’s description of the Vestibule of Hell, where the grasping, self-serving, noncommittal souls dwelled. As I looked down, I saw that I had no physical form, and realised that this was the reason why I didn’t sink unto the earth to join the spirits beneath. Thinking this, I wondered how the huge tree stayed so perfectly upright in such terrain and perceived that it was because its roots ran deep into the bones of the earth.

With my attention coming back to the shard of pumpkin flesh, I saw that one of the pieces had the ‘eye’ of the jack-o-lantern in it. Then I saw another, and decided to wear the pieces over my face to construct a mask out of them. When I did this, a pale, translucent tunnel appeared, which I was prompted to follow through the marshy landscape. It led to a small village with two wind turbines on its edge, and a tall, wooden house with a wedge-shaped roof rising over it on a small hill. I flew up to one of its windows, where I noticed I now wore the form of a crow. At the window, a black figure awaited me, whose name formed in my mind as the image of a doll, which led to me perceiving his name to be Adolon. As I landed, he spoke to me with a harsh whisper, asking ‘do you have it?’ In response, I dropped one of the black pumpkin seeds into his hand. He devoured the seed and prompted me to do the same. I held a seed in my beak and listened to the spirit’s instructions on how to eat it. As I did so, I became aware of a faint kundalini response which came with an explanation from the spirit about what the seeds actually were. They were souls, he said, that one devours into one’s being just as one takes a soul into the body upon birth then passes out of it again upon death. After eating his seed, he thanked me and asked what I wished for in return. I told him I wished for an increase in daemonic and spiritual awakening in the world, but he denied this as it was beyond his capability to assist with and bade me to ask for something else. I stated that I did not have any great desire and was content to act as his intermediary. In response, he directed me to go to a castle that lay to the west (explaining that he was in the North) and speak with its tenant. This I did, where I found the castle to be entirely made of glass.

Inside, an old woman with grey skin, hair that was equally black and white and a face that had a large mouth but no eyes, greeted me. She explained that the crystalline castle represented clear sight, which she pointed out to be a great irony as she lived there but was blind. She stated she would allow me to take refuge there and visit whenever I wanted to. So, in human form, I entered and took residence in a small cell of stone and wood which was filled with a moderate collection of books. Before long, a face appeared in the square glass window of the blue metal door that barred entry to the room. It belonged to a spirit with a grief-stricken expression, who said ‘do open the door and let me in, would you.’ Having had many experiences in astral travel and at the edge of sleep where I am asked to ‘open the door’ and allow entities to enter something (myself, I assume), I refused and said ‘what is your name, wretched spirit?’ It replied, ‘I am called Doolas, for I am sorrowful.’ I opened the door slightly, still barring entry to the cell, and saw that its body was thin with starvation. Recognising the name of this spirit, I asked it to confirm more about its identity, asking ‘art thou Volac?’ At the mention of this name, the spirit grew furious and tried to grab one of the pumpkin seeds from me, which I now held one of in my hand, demanding that I gave it to him. In response, I slammed the door shut and it disappeared.

Then the vision began to fade and my mind grew still and silent. In this state, I grew aware of the Square I held in my right hand growing heavy, then felt something heavy in my left hand too and perceived that I was holding a book. In my mind’s eye I saw that it had a worn orange cover, with words that I could barely read marked all over it. Then, after scouring the cover, I found that I could just about make out the title, which was ‘The Historical Approach to Magic,’ and this is where the vision ended.

Due to the time of year, there was little chance for synchronicities involving pumpkins to present themselves. However, allowing YouTube to play recommended videos beforehand involved one in which a graphic of three pumpkins appeared while I was in the final stages of preparation.

The received name Adolon comes from the Greek ἄδολον, meaning ‘sincere,’ ‘true’ or ‘honest,’ while the similarly named Doolas is a Book of Offices cognate of the Lemegeton spirit Volac and has a likely etymological origin in the Latin Dolorosus, ‘painful’ or the Greek Δούλος, ‘slave.’ Notably, a phonetic variation of the name Volac appears in the Square with the spelling FOLAK, as does the English word ‘pain’ and the Greek PEINA (Πείνα), meaning ‘hunger’ or ‘starvation.’

Of the names of the servitors apparent in this Square, the most prominent is that of Apolion, whose name appears in the line spelling ONAPOLI. This name is derived from Apollyon, the Angel of the Abyss in the Book of Revelations, and means ‘destroyer.’ In the vision, the ‘destroyer’ was the great wind which caused the pumpkin to fall from the tree and disintegrate. Also present is the name Nascelon (here spelled Naskelon), which is reminiscent of the name of the Philistine city Ashkelon, which was denigrated in Zephaniah 2:4 for its prominent idolatry and was cited by Herodotus as being the site of the most ancient temple of the goddess Ashtoreth. The name Nasi derives from the Hebrew נשי meaning ‘womanly’ or ‘effeminate’ and may have been reflected in the feminine entities that appeared in both this and the vision of the Square relating to A Hunting Party. Another name that appeared in both this and the last Square, Kilik, possibly comes from the Hebrew חַיִל (khil) meaning ‘power,’ ‘strength,’ ‘bastion,’ ‘army’ and ‘wealth.’ This spirit may be an alias of the Grimorium Verum spirit Khil who is connected in function to the Lemegeton spirit Agares—whose name also appears in this square with the spelling Agaros—due to their shared ability to cause Earthquakes. The appearance of the spirit Alpas is also of note, as his Lemegeton cognate Malphas appears as a crow and causes the construction of houses and castles, which all form pertinent aspects of this vision. Other evident names include Kokolon, which has a possible origin in קלון (qlon) meaning ‘shame,’ ‘infamy,’ ‘disgrace,’ ‘prostitution,’ and Afolop, which may come from אפל (afol) meaning ‘dark,’ ‘leaden,’ ‘gloomy,’ ‘black,’ ‘dim,’ ‘obscure.’ With the alternative spelling Afokop found in this square, however, the latter of these two final names also has the additional meaning אפק (afoq) denoting ‘strength,’ ‘restraint’ or ‘a stronghold or fortress,’ and אופק (aofoq), meaning ‘vista’ or ‘horizon,’ to consider.


¹ Cucurbitaceae.