XVI: Flowers

Green Spirit

XVI PERAC

Servitors: Parek, Gesegas, Mara, Asorega, Permases, Ragaras, Ramoras (Ramaratz)

The word at the outer edges of the square, PERAC originates in the Hebrew פרח (parekh), meaning ‘flower,’ and is also evident in the name of the spirit Parek. The name in the central cross relates to the spirit Ramoras (named Ramaratz in the Mathers edition), whose name means ‘thunder.’

The Vision

I saw a yellow tulip in the midst of the dew-drenched grass of a sunny meadow. Other wild flowers were scattered around the area and the clouds above moved disconcertingly quick considering that there was not a breath of wind in the air. Examining the stem of the tulip, I saw a worm burrowing its way out of the earth only to be snatched up by a sparrow which flew off with it into a dark, thick forest that appeared out of nowhere. I approached the forest’s edge with caution and considered entering but was met with the sense that bears and other dangerous animals lay waiting inside. As I lingered, the meadow behind me turned barren and brown and the fast-moving clouds grew heavy and black, blotting out all but a silver disc of sun. I captured the remnant of the light within myself and used it to illuminate my path through the wood. Inside, I saw a trail of florae, including nightshade, strange mushrooms and white forget-me-nots marking a trail that I should follow.

Eventually, the flowers led me to a snow globe that lay resting in the boughs of a tree. I shook the globe and it glowed white in response before dimming to a misty grey. Then, through the mist, I saw the image of a huge worm with a gaping maw, though as the mist faded it was replaced by the image of a small, bright lake covered in water lilies that looked like they could be walked over to get from one side of the lake to the other. Beyond the lake lay a small hut that looked like a perfect refuge from the gloomy wood. Pressing on, I continued through the woods until the pall around me began to lift, then I came to the lake, which I crossed in the manner suggested in the snow globe.

On the other side the sun shone full again and I discovered a beautiful grove of vivid grass and wild flowers in which a middle-aged woman with green hair sat on a wooden chair. Her face contorted as she glanced sidelong at me until it altered into that of a hunting hound. At the boundaries of the grove stood a huge, muscular giant with a shock of black hair and a thick black beard with no moustache. The woman, in human form again, spat out some kind of seed—maybe that of a pumpkin or a sunflower—onto the ground and asked if I wanted to go into the hut. I stated I had found good enough refuge in the grove and didn’t seek to enter the hut unless she found it acceptable. She confirmed this and said I could enter if I wished, so I did.

Inside, a golden eagle stood guard, perching motionlessly above a cauldron in which some unknown concoction was boiling. On a rectangular table were set some pieces of simple cake, though I didn’t eat any of them as no permission to do so had been granted. Little else happened in the hut, which had a similar feel to it as the vestibule of the Castle on a Mountain—in which a scorpion spirit stood guard—due to the strange, almost hallucinogenic, images that presented themselves to my mind as I tried to get a grasp on the location. After a while, the woman and the giant entered the hut. The giant, whose presence in the small hut seemed impossible, remained silent, but the woman spoke to give me permission to eat the cake. As I did this, I understood that doing so enabled me to leave the grove without suffering harm from the dangers of the wood, and on departing, I walked carefree to the other side of the forest where I once again saw the river that appeared in the vision of A Rose Garden. As I stood close to its banks, the vision ended.

Notes

Parts of the vision were very prominent and far more vivid than the ones preceding it, rather like watching a film through a keyhole. The part where this was most pronounced was that where I arrived at the grove and saw the green-haired woman and the giant, who were reminscent of depictions of nature spirits such as the Wild Man of the Woods, the water hag Jenny Greenteeth or the entities encountered during experiences with Salvia Divinorum. The ‘blockage’ I experienced in the hut appeared to be linked to the guardian spirit that watched over me there, which was similar in function to the scorpion spirit in the vision of A Castle on a Mountain. The Eagle and the Scorpion are linked in their imagery, as both have been used to represent the constellation of Scorpio, with the Eagle commonly being cited as representing a more evolved representation of that constellation’s associations. It was unknown to me until I begun my analysis of the vision that the appearance of a trail of forget-me-nots may also have a link to Scorpio, as these flowers were once known as scorpion grass due to the hooks on their stems.

The other spirits relevant to this vision are:

Mara, meaning ‘grotto,’ ‘cave’ or ‘den,’ who also featured in the square relating to the vision of A Rose Garden, where I took refuge under a tree in a grove due to it being encircled by malign entities.

Permases, which may derive either from the Greek πέρασμα (perasma), meaning ‘passage,’ ‘course,’ ‘way’ or ‘ford,’ or the Latin permanere, meaning ‘to linger’ or ‘to remain,’ both of which are concepts that have a degree of relevance to the events of this vision.

XV: A Mountain

four kings

XV KEKASIM

Servitors: Asorega, Mara, Liriol, Losimon, Lomiol, Alogil, Ragaras, Irminon, Sarasim, Ogologon, Igilon, Sigis, Gorilon, Laralos, Gesegas, Kosem, Milon, Nasi, Morilon, Ramoras, Igarag, Ekalak, Geloma, Aril, Ilekel, Lagasas, Kilik, Kokolon, Isagas, Romoron, Negen, Nolom, Nagar.

KEKASIM appears to come from Hebrew קסם (qesem), ‘magic’ at the top and right, while in MISAGER there lies the possibility of the reversal of the Hebrew רגש (regas), meaning ‘tumult,’ ‘commotion,’ ‘noise,’ ‘emotion,’ making the word REGASIM when affixed with the collectivised suffix –im. The spirit name in the central cross is that of Asorega, coming from סריג (soreg) relating to the ‘boundary wall’ that came in the form of a fence of reticulated or weaved sticks that closed the inner Temple of the Hebrews off from Gentiles or the ritually impure. The meaning of this word is the same as that of the Hebrew for ‘grid,’ ‘grill’ or ‘grate,’ which may account for the ‘grid’ pattern evident in the squares. ELISONI resembles the Greek ἐλέησον (eleison), which denotes the quality of ‘mercy.’

The Vision

The mountain revealed itself as the same high, snowy peak I saw in the vision of A Snow. What was left of my old body lay contained by the clothes I was wearing. From one of the pockets, I pulled a golden talisman that resembled an Ankh, the strap of which was like the wings of an angel, while the face of a cherub or female angel lay in the cross’s interection. I pushed the remains of the body into a narrow hole it had been lying over, sending it plummeting down a narrow shaft into the roots of the mountain. Looking down, I could see a deep, blue, light glowing far below and considered exploring it, but decided against it because of how narrow it was. Looking around the vista, I could see the bluish mountains that the previous vision of A Castle on a Mountain was set in far away to the south, and beyond it was the Lake. Looking around at the landscape I asked what the name of this strange land was and received an answer from a disembodied voice which gave an answer that sounded like Kariouna. After hearing this name, I flew into a pall of clouds that lay before me in the west and rose above them before coming to rest on a much higher peak. Only a small portion of this peak was visible above the clouds, but all was cloudless and blue in that highest place.

Then I became aware of the presence of a spirit floating in the air before me in the east, its face skull-like with the remnants of its flesh flapping in the wind, while its strands of thin hair and its ragged black cloak billowed similarly. Then another three spirits identical in appearance to the first came from the other three cardinal directions. With me in the centre, they locked their hands together around me and flew me high into the sky with them. It was explained that these high airs were their dwelling place, and they were taking me up so that I can see all of the Earth below me, revolving as they flew. When they finished moving, they told me that they were intermediaries between that which was celestial and that which was not, and each of them ruled a portion of the world and governed the boundaries between the above and the below—microcosm and macrocosm—giving power over the elements in the material or external world while granting gnosis of the spiritual or internal world.

After they explained this, I saw one of them appear with the face of a lion, but the veils the others wore were not put aside in this way. The one with the lion face informed me that the golden, angel ankh I had been given was also a dagger and instructed me to pull it out, which I did to find a short, tapering, razor-sharp blade sliding free of its golden scabbard. Then I was told that this tool was the means to ‘unlock’ the four spirits as it was also a key which should be borne to obtain their favour and that of all of the spirits under their sway. With their consent, I inserted the dagger into each of their bodies and turned it, beginning with the one in the east, then the ones in the north, west and south.

Then I was back on the ground and the Four Great Spirits were gone. I went back to the spot lower down where I had pushed my old corpse into the heart of the mountain and decided to descend to see what was down there. Once I had reached the bottom I saw that the blue light I had seen emanating from its depths came from a beautiful lagoon lit by rays of bright sunlight burning down from above. On the shore of the underground pool lay a rowing boat which, having nowhere else to go, I boarded and began to row. As I approached the centre of the small lake, a maelstrom appeared and sucked my boat into it, casting me onto the wet floor of a cave far below where the boat was smashed to pieces but I somehow remained unhurt. Then I left the cave through a fissure in the rock to find a car waiting for me outside, which I entered and drove away in.

Notes

In this vision, the nexus of ‘above’ and ‘below’ could be thought of as the same kind of ‘boundary’ suggested in the name of the spirit Asorega. The mountain or high place as the terrestrial location where the boundaries between worlds are notoriously thin and permeable is long established, with connections between mountains and ‘peak-numinosity’ being well attested as the space where the celestial and earthly realms intersect across the spectrum of the world’s myths and religions. These are evident in the experiences of Moses on Mount Sinai, of Christ at the high place Satan showed him the vision of the four corners of the Earth (and later the Mount of Transfiguration and Golgotha), in the ascent made to high places such as Gorsedd Arberth in order to enter the Otherworld in the Mabinogion, in the depictions of Mount Olympus and Mount Zaphon as the abodes of the gods in Greek and Canaanite myth and in the figurative Mountain of the Adepts, Mount Abiegni, in the Thelemic and Rosicrucian traditions.

By virtue of their revelations and cardinal attributions, the four spirits I conversed with were probably the Four Kings—Oriens, Amaymon, Paymon and Egyn—whose presence has been hinted at in many of the previous visions, with the most overt being that of Oriens in the vision of Farm Buildings, though they were also represented by four beams of light in the vision of A Castle on a Mountain. In concurrence with that vision, only one of those spirits spoke and revealed more of itself, being the one in the East, Oriens.

The name Kariouna I received, which was that given to the world I was looking upon, may have its origins in the Ancient Greek κάρυον (karyon), meaning ‘head.’ This backs up a notion I had during the vision of Wild Animals where I had the sense, from the hemispheric nature of the amphitheatre, that I was in communication with some aspect of my brain. Together, these visions suggest that this astral world I have been exploring is a product of my mind and therefore of my brain. This is certainly the case to an extent with magical tools such as scrying and astral travel and is not something I would seek to dispute. What is interesting about such experiences however is the way that certain images, words and symbols take shape in the mind, suggesting that some kind of deep-level communication is taking place, either with extraneous spiritual entities or with some impersonal and unfathomable part of the psyche which possesses the same kind of preternatural that extraneous entities or daemons would. The argument about which of the two these and other magical phenomena can be attributed to is ultimately moot and will never be one that all practitioners agree upon, but my experience with such things leads me to believe that this sort of ‘astral’ work takes place on the threshold; the intersection of what is self and what is not-self. It is self-communication, yes, but it also takes place both at and beyond the borders of self, in a liminal area where other intelligences have influence over the contents of the unconscious mind which in turn comes to present awareness through the media of the personal psyche.

That the answer κάρυον, ‘head,’ I was given to my question about the nature of this world came in an ancient language I have no great knowledge of, while others have come in Hebrew and Latin or Kabbalistic, mythological or other symbolic correspondences, appears to provide proof that it is not just ourselves we are communicating with when we work with such things. Nor can it be some unexplainable process of depth-psychology that is being experienced unless such unaccountable knowledge can be said to be intrinsic to one’s psyche through theoretical constructs such as the collective unconscious or morphic fields. Ultimately then, I would postulate that the ‘liminal’ space such experiences take place in is that of the intersection between self and not-self and represents the same kind of boundary or veil between one ‘realm’ and another—one worldly and functional, the other invisible and mysterious—that the name Asorega and the Soreg stone of the ancient Jewish Temple represent.

Aside from the words and names already explored above, names with some relevance to this vision include: Sarasim, meaning ‘deep roots’ which relates to the deep cavern beneath the mountain; Mara, whose name relates to caves and grottoes and therefore ties in with the ‘deep roots’ of Sarasim; Nagar, meaning ‘fluid’ or ‘liquid,’ which relates to the lagoon in that grotto; Igarag, whose name pertains to the frost and cold associated with the upper reaches of the mountain; and Nolom, from the Hebrew נעלם (nolom) meaning ‘hidden’ or ‘concealed.’

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.’

XIII: Farm Buildings

musee-gustave-moreau

XIII Farm Buildings

Servitors: Ugesor, Peresh, Asorega, Saraph, Ragaras, Parusur, Alluph, Nogah, Alagas, Ogologon, Adon, Laralos, Gesegas, Aherom, Helel, Ramoras, Holop, Romages, Geloma, Lagasas, Alpas, Romoron, Negen, Nolom, Nagar.

The word at the outer edges of the square, MELUNAH, comes from the Hebrew מלונה (melunah), meaning ‘doghouse’ or ‘kennel.’ The word in the central cross derives from the name of the spirit Ugesor, which may come from the Hebrew גשר (gesor), meaning ‘bridge.’

The Vision

A field being furrowed by an old-fashioned plough appeared. Alongside it was an old Land Rover with an ‘R’ suffix in its licence plate. When they reached the edge of the field they headed into a large barn, the door of which closed behind them and were locked shut with a padlock and chain. Moving away from the barn, I moved towards a central courtyard of a farm that I recognised as one I spent much time on with my Aunt and Uncle as a child, though the buildings that surrounded it were not the same.

The first building was the locked barn I had left behind me. The second, to my left, was a chicken coop. Going clockwise from there, the third building consisted of a barred door which a German Shepherd stood behind. It had the appearance of a guard dog, but cried in excitement when it saw me, as though I were known to it. The fourth place, in front of me, was a house, the door of which was open and revealed a seductive woman hiding in the shadows inside. The fifth was a pen containing many cows and the sixth, to my right, was a church with a great shining cross glowing through its doorway. The seventh and final building, which was positioned behind me and just to the right of the barn, was a long, single-storeyed hall that was thick with shadows inside. This was the building I decided to enter.

Once I was inside, the door slammed shut behind me and I saw a table that almost ran the length of the hall. It was covered with a feast, with the most prominent food being the bunches of grapes that lay either side of a single candle, which was the room’s only source of light. I sat at the table, but before I could decide whether I wished to eat any of the food provided, a rasping female voice filled the darkness.

‘It’s interesting that you come here, to the only place where you didn’t know what lay inside,’ it said. ‘This is why you are suitable for this purpose.’ It proceeded to speak of many things with me, both asking questions and giving guidance, and I felt a sense of snakes crawling all over the floor whenever I spoke back to her.

Then, the bearer of the voice told me to take the candle that lay on the table, as it would be my only guide in the world of darkness ahead. First however, I had to burn my hand with its flame to prove my courage. As a point of synchronicity, there really was a single candle on a table before me in the ‘real’ world in which I sat in a chair performing this work, so, in both the astral and material planes, I picked up a candle with my left hand and slowly passed my right hand through it three times making the hair on the side of my hand burn. The smell created by that burning, the spirit told me, made an effective fumigation that would be suitable as an offering to spirits of an infernal nature, as would the smell of burning flesh. One of the questions it asked was why I didn’t descend into the spiral staircase ‘they’ had shown me in the vision of the Wild Animals. I answered that I had to wade through enough shit in my mundane life every day so didn’t wish to further taint myself needlessly. She told me that the filth of the material world was nothing to be concerned about as it could be washed away with ease and did not affect you once it was gone. The filth of the spiritual kind, however, was indelible and made one grow darker and more stained with every contact with it and nothing in existence could remove it.

The voice, though female, was deep and rasping, and I felt a large python winding its way up my right leg as she spoke again. Then she asked me to burn my hand again, and this time until I felt a degree of pain. I did this by placing my hand about six inches above the flame, where I left it for a few moments until I whipped it away.

‘One day,’ the voice spoke, ‘when your tolerance to fire becomes great enough, you will willingly set your whole body aflame to obtain what we offer. You would burn yourself into nothing to attain it, and in doing so you would become one with the infinite and know all the secrets that lie hidden in the great darkness.’

Then, in an instant, I found myself within the church I had seen in the western quarter of the farm’s courtyard. Inside, a black woman with short hair and wearing a silk garb the colour of lapis lazuli was leaning over a wooden rail near the altar and reaching to retrieve something from a bag. After a few seconds, she pulled out an egg and hurled it to the floor. A baby snake wriggled in its ruin, with the splattered albumen being the colour of blood. The black woman then turned to me and said ‘stamp on it!’ I refused and she asked me why with anger and annoyance in her tone. I stated that I believed the serpent was sacred, representing healing and wisdom and was the symbol and means for our path to gnosis. As I said this I noticed that there was a huge white statue behind the altar rail and the sun from a window to the east of the church was shining on its face to form a letter ‘T’ over its brow and nose. The woman, regarding the statue said that as I was in the church of He Who Trod The Snake Underfoot, it was my duty to do him honour and stamp on the snake. Again I refused and saw that the rest of the body’s statue took the form of a great giant with its sandalled foot crushing the head of a large serpent. The woman then fled from the church laughing maniacally and telling me I would regret my disobedience.

After she left, I noticed that the T-shaped shaft of sunlight came from a window of the same form high above. I stood in the centre of a circular chamber at the church’s centre and let the letter fall upon my face. Then, the letters I, S, A and S all beamed through another four windows spaced equidistantly around the dome that encircled the roof, with an equal amount of sunlight shining through each. All of the beams that came from these letters shone at once upon my face, writing the word TISAS on me, each letter merging into a single mass of sunlight. With the light blinding me, another female voice spoke, demanding that I place my candle down in the east before her and burn some item close at hand in its flame as an offering to her. This I did, and she instantly gave me some of her teachings though I can’t reveal more of the what she taught me here. Following her tutorage, a chorus of spirits danced and chanted lines the main female spirit prompted them to repeat in the church’s undercroft before I exited into sunlight to see a brief vision of a Magpie and a Swift before the vision came to an end.

Notes

The volume of information coming from this Square was copious, possibly due to its containing the names of twenty-six different spirits. The most dominant voice was that of a powerful female spirit, which appeared consistent throughout but grew significantly stronger when the five-lettered beam of sunlight shone through the church windows to illuminate my face. The word given in this part, TISAS, appears to form the outer edges of a new word square, with the name SIGIS fitting quite naturally into the central cross. Considering the appearance of dancing, chanting spirits in the church’s crypt after the appearance of these letters, it is possible that TISAS may derive from the Ancient Greek θίασος (thiasos) and the Latin derivation thiasus which denotes a congregation of singers and dancers gathered together in celebration.

TISAS

A mild synchronicity occurred after the vision, which ended with images of a Magpie and a Swift, when I hit the shuffle button on my music player to find the song Black Swift coming on.

At the beginning of the vision, an old Land Rover with an ‘R’ suffix appeared. In the UK, vehicles with this suffix would have been registered new between September 1976 and August 1977, which was the period in which I was born.

The appearance of the word Melunah in the square is interesting because the spirit who appeared as a horse in the previous vision gave its name as Melenhor, which was also the name of an old familiar of mine who I previously recalled demanding a human or animal bone to dwell within while it was in my service. It wasn’t until I began the preparatory work for this square the day after working with the one which caused Paddocks and Fields to be seen that I put this connection together. Melenhor’s name would therefore appear to be a derivation of this word which, meaning ‘kennel’ is relevant to a vision in which hunting dogs were prominent and is also befitting of a vision in which the images of farm buildings are evoked. A solitary dog appeared in the vision, but it seemed to bear no relation to the hunting hounds that appeared in the visual content of the previous square.

The interpretations I made of the meanings of the prominent names and words of the square didn’t seem to express themselves very overtly, with the dog kennel appearing only briefly and no real connection to the word ‘bridge’ appearing at all. Of the new names that appeared in this square, the following meanings may be attributed.

Holop – חלוף (cholup) – ‘transitory,’ ‘ephemeral.’
Alagas – Possible derivation of λαγάς (lagas) – ‘a hare hunter.’ See tags for Lagasas.
Alluph – אלוף (alup) – ‘domestication.’
Nogah/Nagar – נגר (nogar) – ‘fluid,’ ‘liquid,’ ‘flowing.’
Nolom – נעלם (nolom) – ‘unknown,’ ‘hidden,’ ‘disappeared.’
Parasur – Possibly from the Latin paras meaning ‘to provide.’ May also originate from פרס (peras) – ‘reward,’ ‘prize.’
Peresh – פרש (peresh) – ‘horseman,’ ‘knight,’ ‘rider.’ Also possibly of the same origins as the above, Parasur.

XII. Paddocks and Fields

Death horse

XII JAGEB

Servitors: Gesegas, Sigis, Isagas, Igarag.

The word at the outer edges of the Square, IAGEB/JAGEB, may be formed from the root עגב (ageb), signifying ‘lust’ or ‘lovers,’ while the name formed in the central cross is that of the spirit Gesegas, which may derive from a palindromic expression of געש (ges) – ‘eruption,’ ‘quaking,’ ‘storm,’ with the common demonic suffix ‘gas’ also resembling this word (as ga’as).’

The Vision

A ghastly horse appeared before me in an open, frost-covered field beneath a bright moonlight sky. The horse was thin and almost skeletal in appearance with what appeared to be horns protruding from its head where its ears should have been. It made a request that I ride with it, which I accepted. We headed off by flying over scenery similar to that of the English countryside where we followed a small pack of hounds, were chasing something through some fields which were bordered by trees. The horse descended to the earth as the hounds caught their quarry and I saw them tearing at the spectral form of an old woman who was suffering greatly. She had escaped her perdition, I was informed, and the hounds who were hunting her would now take her back to her prison. The horse then instructed me to take hold of the woman and position her in front of me. I did this and received an impression of the soul I had gathered having died of natural causes after living an unremarkable life, the nothingness and triviality of which was being repaid to her in the form of unending restriction.

With the hounds’ baying and breath vapours filling the air, they disappeared into a shroud of mist as the horse and I flew through the skies to return to an area close to where I had first seen it appear. We landed at the edge of a graveyard, where I asked the horse its name. The name Orobas formed in my head due that spirit’s appearance being that of a horse, but this was denied. ‘I am more of the nature of fire,’ it explained. On further prompting it gave the name Melenhor, which I rejected as this was the name of a familiar I was given by the spirit Buer who I eventually dismissed for being troublesome a few years ago. It confirmed, however, that this was so.

It stated it was now in the service of the spirit Bune and worked with her to reclaim souls who had escaped the temporary reprieve they were occasionally granted whereby they could return to places they knew in life for a while in order to remember and reflect upon them. It then told me that with me having now been blooded, I would receive a boon in the powers of necromancy. Then, in the graveyard we were stood next to, a small congregation of the dead could be seen, all pale and ethereal like the woman we had captured, who was now being dragged away to some terrible place. Leading this congregation was a black-robed figure with its back to me and arms outstretched in the shape of a cross. With its departure, the vision ended.

Because of its theme, there was an obvious overlap with this square’s vision and that which related to A Hunting Party which began with a huntsman upon a horse and featured all four of this square’s servitors within its host. Of these, Igarag was the most apparent here due to his name’s meaning relating to ‘frost,’ ‘ice’ and ‘cold’ and the ground in the vision was covered in frost and the breath of the hunting hounds was visible in the air. The sense of restriction and perdition suffered by the souls of the dead, as well as constraining aspects of the hunters may be symbolised by the name of the spirit Sigis, which means ‘restriction.’

XI. Wild Animals

Wild Animals.jpg

XI CAIOT

Servitors: Igilon, Liriol, Alogil, Igarag, Aril, Oroia.

The word CAIOT at the edges of the Square comes from the Hebrew חיות (chaiot), ‘animals,’ while the name present in the central cross relates to the spirit Igilon, which may derive from the Greek god of nightmares Ikelos, who often appeared in the form of an animal or a monster.
The Vision

The vision began with the image of an Abramelin Square turning into a portcullis which slammed down hard behind me as I entered the antechamber of an old ruin. The ruin was large with an open roof and sat atop a large hill with a dramatic view over the world below. Ahead of me was a narrow passageway at the end of which stood a lion. Beyond it, I saw a dusty, circular bowl which was like the pit of a long-abandoned amphitheatre with the arena being surrounded by bare stone benches. It was filled with an assortment of animals including dogs, wolves, birds, reptiles, snakes, crocodiles and boars, which had wandered in from the wilderness that lay beyond it. The pit they gathered in was divided into two halves, with all the mammals gathered to the left and all the birds and reptiles gathered on the right. Above them, perched by itself on a beam of stone, was a blue and yellow pelican with a shock of yellow plumage atop of its head.

Between the two halves of the pit, a pathway was left clear which I walked up, without any bother from the lion, with the intent of leaving the ruin to get to the wilderness beyond. Guarding the exit, however, was a great minotaur, giving me the impression that this arena  was also a labyrinth though there was no puzzle as to how one got through it. Stepping closer to it, I saw that the space beyond the mammals on the left-hand side consisted of a deep blue sea under strong daylight, and beyond the birds and reptiles on the right-hand side was the darkness of a deep, black night. I walked up the pathway slowly and cautiously in case any of the animals attacked me but found them disappearing into the darkness that lay beyond the birds and reptiles. By the time I got to the arena’s edge, the whole pit behind me was empty and the great minotaur that had stood before me was dead on the ground with his flesh already rotting. With all now completely abandoned and with no life present anywhere in this silent, sun-kissed landscape, I exited from the amphitheatre and passed into the lands that led to the coast.

The world beyond the arena revealed a broad plateau, the ground of which was rocky but green with foliage. I followed a long path down the steep hillside until I reached a square, grey building at the bottom, right next to the shoreline. As I stood outside the building, I realised that the building was the pen from which all of the wild animals that swarmed into the amphitheatre had escaped. None were left there now, but their excrement was piled high upon the floor and the place stunk. I had a vague impression that this was what Noah’s Ark would have been like. In the midst of the excrement I spotted a spiralling staircase going deep underground, but as getting to it meant wading through all that shit to get there, and because there was probably much more filth down in the hole, I declined the mental suggestion to descend. Because of this decision, the vision ended prematurely.

The sequences apparent in the first ten visions appear to have ended, with the portcullis closing behind me appearing to represent a turning point with no way back. With no apparent influence from any of the named servants aside from Igilon—whose name is suggestive of the nightmare-god Ikelos, who often appears in animal form—this seemed like quite a disconnected vision, with no communication of names or speech being present as has been the case with the others. I had the impression that the circular arena seemed to represent the brain with its two hemispheres divided by a channel, the Corpus Callosum, that ran down its middle.

That it was day and was populated by mammals on one side of the arena, and night and populated by the more ancient life-forms of birds and reptiles on the other, may suggest a symbolism of conscious and unconscious processes. I am not a proponent of the psychological approach to magic, but this was an undeniable aspect of this vision and indeed of astral work, dreamwork and scrying. All of the animals present disappeared into the dark hemisphere, while I, retaining conscious control, forged on into the ‘enlightened’ half. The lion appeared to represent the guardian to the ‘solar’ side of this process, and allowed me entry to that place without any challenge, while the minotaur, being half human and half beast, guarded the more primitive dark side. Its death appeared to back up this theory as its guardianship was no longer necessary if I was not choosing to enter the region it stood guard over. Had I entered into the darkness there or where it was later offered in the winding, shit-covered staircase, I’m sure the nature of the vision would have been much different.

Despite these thoughts about how the experience associated with this square seemed more psychological than spiritual, examining the other words present in the square reveals that the line AIGRO may have its origin in the Hebrew אגר (agar, also attributable to the name of the spirit Nagar), meaning ‘gather,’ ‘accumulate,’ which might account for the large cumulation of faeces in the pen or ‘storehouse’ from which the animals had escaped. ORLIA, meanwhile, may come from the Latin ora signifying a border of some kind, but more specifically a coastline. Considering the coastline that the storehouse appeared upon, it seems that these words may have formed the basis of extrinsic communication in this instance, embedding themselves in my unconscious mind via the prompting of the spirits associated with this square, then forming the conscious mental images related with them in the same mysterious manner that they have in the other squares.

X. A Vineyard

ixion

X SOREK

Servitors: Ragaras, Laralos, Gesegas, Ekalak, Lagasas.

The word at the outer edge of the square, SOREK, comes from the Hebrew שורק (soreq), which means ‘a vine,’ and was also the name of the valley in which the biblical Delilah lived (Judges 16:4). The central cross is formed from the name of the spirit Ragaras, which may come from the Hebrew רגע (raga’a), ‘break,’ ‘disturb.’

The Vision

The first image that came was of a dark red-brown heart surrounded by darkness. My form appeared, which was just as black as the surrounding pitch, and I saw that I was carrying the heart over my shoulder as if it were a shoulder bag with a string attached. Then I realised I was in a cave and could hear the sound of dripping water and could smell the earthy dampness of the stones that encased me. On seeing an aperture in the ceiling of a cave I set my intent on reaching it and saw a rope ladder descend from it, which I climbed. At the surface I saw a lush and leafy landscape, though the earth around the vegetation was rough and rocky. In the distance was the lake I have seen in previous descended from the promontory I was stood upon, and I sensed that the tree with the dragon in it was nearby too though couldn’t see it. I looked at myself and saw that I was wearing black robes and thought for a moment that I was the monk who had been struck by lightning in the previous vision, but unlike him I was wearing a hood and the skies above me were blue with no sign of any coming storm.

Moving across the landscape, my attention was drawn to the heart I was carrying over my shoulder. I considered eating it but saw that it was aged, tough-looking and falling apart with decay. It was split all along one side which I prized apart with my fingers to pull out something that looked like an avocado stone. This too, was corrupted by time and age so I pulled that apart too, then discarded the heart onto the ground. From the stone, a beautiful butterfly with wings that sparkled with sunlight emerged, as though from a cocoon. In wonder, I followed it, knowing it was leading me somewhere I had to go. In an instant I was there. A small grotto with a waterfall shrouded in thick vines. Drawing them to one side I entered a small cave in which a woman stood. She was surrounded with red and white grapes and was pressing the white ones into wine with her feet. She gestured at a bowl full of red grapes on the floor next to her and bade me to join in with her. I pressed the grapes with my feet until all that was left of them was liquid and mulch. Then, looking at the mulch in a big, congealed pile, I couldn’t help noticing how much it looked like a heart. I picked it up and looked at it and saw that it definitely was a heart, so slung it over my shoulder to replace the old one I had discarded. The woman then spoke to me, but I couldn’t comprehend anything she said as her speech was that of birds. Then, as in the first cave, a shaft of light appeared in the roof and I ascended through it and found myself on yet another small hill with the lush and leafy landscape surrounding me.

I headed towards the edge of the lake, where the skies were growing dark. The sun, I noticed, was undergoing an eclipse. I sensed that, like in the vision of A Snow, a sacrifice had to be made to the moon, so I took the new heart I had been given, climbed to the highest part of the cliff via another rope ladder with the cry of a nightjar filling the air as I climbed, then laid the heart on the floor as an offering, and realising I no longer had a heart, took the stone I had retrieved out of the old one and slotted it into a hole in my chest. As I departed the place of sacrifice, I was aware that many dark spirits were feasting on the heart. As this occurred, I had a strong sense that there were also lots of miniature black clouds dancing all over the square that I held I my hand in the ‘real world.’ In sacrificing to the moon, I understood that I was sacrificing to the spirits under its influence, the sub-lunar spirits, and they would reward me greatly for doing so. After noticing this, I saw a bright and golden angel standing before me. It looked at me, shook its head sadly and played a sad chord on a lyre. I asked it for its name and it replied that it was called Keranda. Then I asked for it to reveal its nature to me and it responded by ripping its chest wide open to reveal its true form. It had a red body, as though scalded by boiling water and a long neck with a horse’s head sitting atop of it. In the cavity of its chest was a flaming wheel where its heart should be. Its inner edges were lined with tongues of flame that made the wheel resemble the maw of a shark from the viewpoint of its victim, or of the tongues of flame that surround the outer edge of the wheel that Shiva dances in, only inverted, appearing on the inside of the wheel. In the centre of the wheel was a Chi Rho upon which a naked, bearded man was affixed, his limbs aligned with the ‘X’ of the Chi.

As he stood there with his burning heart exposed, the ‘angel’ spoke, telling me that the wheel represented desire and that it was the ‘ordinary man’ who was impaled upon it. By sacrificing my new heart and replacing it with the remains of the stone from the old one, I had undone its work. It told me that this sacrifice had been a mistake as although the spirits who received it would indeed be glad and grateful and repay me efficaciously, it was angered by my action. The butterfly inside my old heart, he said, was a manifestation of his light but having set it free and sacrificed the new heart it had led me too, I would now have to rebuild it anew. With that explanation, the angel was gone and I felt like the entire world was spinning on a great axis in the same way that the angels fiery heart had.

I looked over to the landscape I had ascended out of and realised it was all part of the underworld. The lake, the tree, the caves, the waterfalls. Everything of the past few visions had been the same chthonic place. Then I saw the land, all set between two high plateaus, becoming healed, with the mighty cleft being filled in with earth with sweet grass growing over it until the landscape became the same one that I had seen in the vision of A Beautiful Lawn and A Rose Garden. As I contemplated the world above again, the words ‘and Death shall have no dominion,’ formed in my mind. Then the image of a constellation shaped like a lobster appeared in the sky close to where I saw the eclipse. The moon was there alone now, for it was night and the constellations were bright, though it had not reached it yet. Then a fiery lion appeared briefly, and finally, beneath the Earth, I sensed the image of the dragon, now asleep, with the tip of its tail resting in its mouth.

The ‘angel,’ Keranda may have derived its name from Hebrew חרד (kharad), ‘anxious,’ ‘fearful,’ ‘to treble or quake,’ ‘to drive in terror,’ ‘afraid,’ ‘in awe,’ which also features in the square under the name KERAD or KERADA. Alternatively, considering the context, it may be related to the Greek καρδία (kardia), ‘heart.’ The name of the poem it seemed to quote, And Death Shall have no Dominion, is one I am minimally familiar with, having heard it being recited once, but I had never actually read it. It’s possible that an unconscious memory of it was grasped upon at the imagery of the man fixed to a wheel due to the poem’s lines ‘twisting on racks when sinews give way, strapped to a wheel.’ This is also the case with the legend of Ixion, which I was familiar with, though his being the father of Centaurus who shares a degree of similarity in his nature to the spirit Barbatos is of note as I have renewed an old relationship with this spirit recently. Just as Orpheus played a lyre to sooth Ixion’s suffering for a while, so too did the angel strum a lyre, establishing some further archetypal link to the legends of Ixion and Centaurus. The lightning that struck a monk dead in the vision of A Grape or Grape Plant may represent the fate of Ixion, whom Zeus eventually struck down with a thunderbolt. The name of Ixion (Ἰξίων) is of unknown origin but possibly comes from ἱκέτης (iketos), ‘suppliant,’ possibly due to his being the first murderer who would have then had to beg Zeus for mercy. Zeus granted him entry to Olympus by purifying him, but later sentenced him to an eternity on a flaming wheel due to his desire to seduce Hera. He is equated to the first murderer Qayin here, whose name is reflected in the Lemegeton in the form of the spirit Raum, who is called Kayne and has the form of a Raven, a bird with whom Qayin shares some folkloric qualities. Centaurus, the progeny of the mating of Ixion and the cloud, spawned the race of Centaurs after mating with the mules of Mount Pelion, where he exiled himself away from civilisation.

The lobster may have represented the sign of Scorpio, which it has sometimes been depicted as, with its claws, or those of the Scorpion, actually being the sign of Libra. With the vision of A Big Lake seeming to inform me of the importance of the north solstice to some kind of ritual offering I should perform, I checked the position of the moon out at the time of the solstice and found that it would be a waxing first-quarter, close to half, in the sign of Libra. While the phase doesn’t fit with that which I saw in this or the vision of the Lake, the fact that it is in Libra at this time—the sign which precedes Scorpio—may have been a confirmation that some rite should take place at this time. The eclipse suggests this rite should have both solar and lunar significance.

The only spirit name that appears in the square that has not already been covered elsewhere is Ekalak, whose name may derive from the Hebrew חלק (khelaq), meaning ‘portion,’ ‘part,’ ‘lot,’ ‘share,’ ‘fragment.’

IX. A Grape or Grape Plant

Red Dragon

IX GRAPE

Servitors: Helel, Moreh, Myrmo, Mara, Helmis, Liriol, Asmiel, Lomiol, Losimon, Sarasim, Iuar, Laralos, Aherom, Ramoras, Aril, Amillis

The words at the top and right-hand side of the square relate to the Hebrew עללה (olelah), ‘gleaning,’ meaning ‘to gather after harvest,’ as in ‘the gleaning of the grapes’ in Isaiah 24:13— ‘the people, there shall be as the shaking of an olive tree, and as the gleaning grapes when the vintage is done.’ The reversing of this word in the bottom and left-hand edges resembles the name of the spirit Helel which refers to a ‘cavity’ or ‘hollow’ but also implicates the Hebrew הלל (halel), a ‘song of praise.’ ERISOL may refer to the Greek ἐριστικός – ‘eager for strife,’ after the goddess Eris, while the words LOSOME and LASOME may derive from the Hebrew לשים (loshim) meaning ‘to put,’ ‘deposit,’ ‘lay down,’ or ‘brand,’ and points towards the presence of the spirit Losimon, which comes from the word לסימן (losimon), ‘sign,’ mark.’

The Vision

The first thing I saw was a grape in very close proximity, which I entered through the skin of to reside inside of, becoming one with the seed that lay inside of it. As a disembodied spirit, I perceived its germ to be no different than that of the embryo of any human or mammal, though I had no volition over my choice of host. Whilst inside of it I was conscious that I was imprisoned in it until it either decayed into the earth or was devoured by some creature. Before long a creature did come, and it was a phoenix, though it was in the form it takes as a mortal bird before resurrection, with red, blue and yellow feathers, a scruffy appearance and eyes that looked like something you would associate with a negative psychedelic experience. The phoenix ate the grape I lay dormant within, but soon I was passed out in its droppings and merged with the soil. I grew into shoots and then a whole vine and then an entire network of vines that spread over the earth until, eventually, I found a large tree to wind the outer tendrils of my vast body around. As I became settled into my new dwelling, I saw the same reddish-brown dragon that I had seen in the vision of A Big Lake, come down to nestle in the upper boughs of the tree. The tree could support any life, I realised as the dragon landed, for its boughs did not bend or shake an inch despite the dragon’s huge weight. On noticing me, it seemed disgruntled that I had invaded its home.

‘I don’t know if I preferred this tree before you came to it or whether I prefer it now,’ it said. ‘I may have to kill you in order to find out.’ I told him destruction would be welcome as I wasn’t enjoying such an existence, then he said it didn’t matter if he let me live or not, as I would die soon anyway, whether it be from a fire, an ash, a flood or by the hunger of some other great beast.

‘Worse still,’ he said ‘man may come and harvest you for his own gain.’ As it spoke, I became aware of the lake I had first seen this dragon flying over through the eaves of the great tree far off away in the distance. It wound its tail down around the trunk to merge with the uppermost part of my vine.

I asked the dragon its name and it replied that it was Tharson, though there was a sense that it may have been saying Tharuson, and that the name had a hermetic origin. I asked if it knew my name in this plant form, and it replied Bonab though he told me my true name was closer to Jerusay. He spoke again of how that existence as we knew it in bodily form was short and inconsequential and that life would end soon. He pointed to the sun after saying this, and I saw that it was pale and obscured by dark, rushing clouds.

‘Its light is running out,’ he said.

Following these words, I saw a man with a monk’s habit and tonsure approaching from a distance. A streak of lightning descended from the dark clouds and struck him dead and I witnessed his soul departing from his body. As this happened, the phoenix who had devoured me earlier appeared close to his body and I thought it was going to feed on the carcass. Instead, it laid a black egg on top of the body, which then sank in through his cassock and flesh and revived his corpse to life, though on rising he was dark-eyed and zombie-like as his soul had already fled.

‘We must be careful what we allow to enter us,’ the dragon said as the monk walked by.

Then, as the monk faded from view, I noticed the crocodile I had seen while experimenting with the square that makes visions appear in crystal and glass. It came close to the tree and snapped off the part of my body with where my thoughts seemed to be coming from and took my consciousness to the lake I had once sailed a small boat over. It swam out to the centre and dived down to the floor where a sealed treasure chest lay. As it opened I saw that the chest was full of gold, then the crocodile put me inside of it and closed the lid. It was glorious inside, like bathing in pure sunlight and, aside from the knowledge that large fish were swimming in the dark waters above me, I felt at peace. I knew, however, that this state was only a temporary one and that I would soon be released into the world in bodily form again.

The grape I saw was green, the type used to make the white wine the dragon spoke of in the earlier vision of the lake, while the crocodile was the same as the one who previously acted as an underworld guide. Here his role was to guide me to the parts of the underworld that the sun passes through in the twelve hours of the Duat as recounted in the Book of Gates, where it passes when it is in its northern position in its diurnal cycle. As my sense in the vision suggested, this is only a temporary phenomenon as the sun rises in the East after dawn, though the imagery of the sun in the underworld has symbolic resonance with the Elemental King Egin/Ariton—who I believed to the spirit which the dragon served in the vision of A Big Lake—who rules that direction. With the sun dying in the sky yet preserved in a pure state in the treasure chest, I believe the crocodile’s role was that of a guide or helper in this vision, which is concordant with the protective role the god Sobek played to the afflicted dead of the underworld. The act of being put away or deposited for safe keeping in such a chest may be the influence of the spirit Losimon, whose name—as revealed above— means ‘to put’ or ‘deposit.’

The phoenix has obvious connotations with the cycle of death and rebirth, though its appearance in the vision as the physical medium of that process is unusual. Its later role as the layer of a black egg into a corpse represents something I can’t quite explain, though the dragon’s warning appeared to relate to the dangers of unwanted entities entering one’s sensorium.

The closest term I could find to the name Tharson or Tharuson, was the Greek Θαρρος (tharros), meaning ‘courage,’ ‘mettle,’ ‘heart,’ ‘elation.’ However, a more significant, if less accurate rendering, is the word κάνθαρος (kantharos) which relates either to a boat or a drinking vessel, probably named as such due to its shape representing that of an inverted beetle. This would be very significant in relation to its other appearance if this is the case, especially considering that the beetle Khephra represented the sun’s passage through the Duat in the religion of the Egyptians. Of additional significance is the name of a worm which bears this name, the cantharis, which is known for the damage it causes to vines and roses. That ‘worm’ is a word commonly used to refer to a dragon and the fact that I appeared as a large vine in this vision may reveal more of uncanny accuracy I have come to experience while experimenting with these squares.

The name Bonab I was given by the Dragon was particularly unsettling to discover the meaning of, as it translates directly from the Ancient Hebrew word for ‘grape,’ בענב (bonab). This name may have been the one that the spirit with the leopard’s head may have been calling me by in the vision of the big lake when it called me ‘Bob.’

Jerusay was a little more difficult to find cognates for, with the closest match being the Hebrew word ירושה (jeruseh) meaning ‘inheritance,’ ‘legacy,’ or ‘heritage.’

Of the names that appear in this square, Aherom is a reversal of the name of Moreh, and is possibly derived from the Hebrew אחר – Akhar – ‘to remain behind,’ ‘tarry,’ ‘to come from behind,’ ‘hind part,’ ‘another,’ ‘strange.’ Another possible etymology for this name lies in it being another expression of the word רעם (ra’am) – ‘thunder,’ as seen in the names of spirits such as Ramoras and Romages.

Curiously, considering the possible meanings behind the name Tharuson cited above, the name of the spirit Helmis comes from the Ancient Greek ‘ελμις, meaning ‘worm.’

VIII. A Snow

Snow

VIII SELEG

Servitors: Laralos, Lagasas, Alpas, Saraph (Sarap), Parek (Pareg)

The word at the edges of the square, SELEG, represents the Hebrew word שלג (sheleg), ‘snow,’ while the central cross is formed from the name of the spirit Laralos. Also present is EGAPE, which resembles the Greek αγάπη, ‘love.’

The Vision

I saw a thick blizzard with a figure in a brown arctic coat walking in its midst. Then the sky cleared to a brilliant blue to reveal a long plateau at the very top of a large mountain. I followed the figure from above in the form of an eagle, keeping my distance from him. As he reached the top of the peak, a gibbous moon appeared in the bright sky, with the sun directly opposite it, at our backs. At the summit, the figure took out a silver chalice and a dagger and cut his wrist to fill the cup which he offered to the moon. I soared higher, then descended to perch, wings spread, on his shoulders. Then he died, which I knew he went there to do. I saw, on seeing his face for the first time, that the man was me, leaving me looking upon my own corpse as a detached spirit. Then I landed upon the body and ate its flesh and drank the blood in the chalice until there was nothing left but bones. Satiated, I descended from the mountain to a copse at its lower regions, where the snow was thin and sparse. I looked back up at the mountain and sensed the stripped bones I left there dispersing in some kind of explosion, the skull rolling down the mountain and gathering snow as it gained momentum. Then a great red spirit rose from the mountain’s peak, bringing the heat of the sun and melting the snow with it. At my place at the foot of the mountain, where I was now incarnated as a human again, I heard voices chanting and singing the word Lemepaeon. As the voices swelled, snakes rose from the thicket of tangled branches to twist themselves around my limbs. Then, just before the end of the vision, I saw some vague female faces, one of which looked rather like a gorgon.

This vision was somewhat briefer than the others so far and had obvious themes of sacrifice and resembled both the Christian Eucharist and the Tibetan Sky Burial ceremony. The sacrifice appeared to be made to the moon which, by its shape and position in the sky, was waning gibbous. The word being chanted, Lemepaeon, made no immediate sense to me, though Paeon is an epithet of Apollo and the Ancient Greek words λέμβος (lembos) refers to a small boat, bringing a connection to the vision of A Big Lake, while ἐπαινέω (epaineo). means ‘praise.’ Together, the first half of both of these received words may be an expressed to form a Greek neologism λέμ + ἐπαιν which may refer to the rite of devotion suggested to me by the dragon in the same vision in which I rowed a small boat.

The eagle I took the form of is a solar symbol, while the heat that melted the snow appeared to have a huge red spirit as its cause, which may relate to the name of the spirit Saraph apparent in this square, whose name relates to the Hebrew שרף (seraph), meaning ‘the burning one.’

Other spirits present include Alpas, whose name is derived from that of the spirit Alphasis, who is found in the invocations to the Elemental Kings in the Book of Offices and is connected to the names of the Lemegeton spirits Malphas and Halphas. This name appears to be a portmanteau of the Ancient Greek words αλφειός (alpheios), meaning ‘whitish’—a descriptive term given to the Classical god and river of the same name—and φάσις (phasis), meaning ‘appearance,’ or ‘manifestation.’ The name of the spirit Parek – פרח (parekh), meaning ‘flower,’ may relate to the melting of the snow being indicative of the coming of Spring, the season associated with Aries, the sign of Cardinal Fire, and the Elemental King Oriens. The name of the another spirit present here, Lagasas, which means ‘hare’ or ‘hare hunter,’ also has vernal connotations.

Visions in Glass, Mirrors and Crystals

sobek-01

The following is a diary account relating to the first square of Book IV Chapter IV of the Book of Abramelin, in which the Scarecrow in the vision of A Lake first appears.

 

Gilionim

The aim of scrying will be to receive visions relating to the realms beyond. Gilion is Hebrew for ‘tablets,’ but in the context of Isaiah 3:23, is ‘tablets of polished metal,’ and therefore akin to ‘mirrors’ with most mirrors in the ancient period being made of polished stone or metal rather than glass.

I began by calling to the Four Kings to ask for their assistance in sending the spirits, then sat facing South, as is correct for the time of day I worked at and held the square in my hand beneath the scrying glass. As often occurs, I saw darkness and water, this time it fell into a gutter at the side of the road before following it down a storm drain. Below the grounds, surrounded by brickwork, a crocodile greeted me. I followed it, commenting internally upon my actions as I did so, until we came to the end of the sewer, where there lay a night-time oasis at each side with a huge river, maybe the Nile, before me.

Behind me, I saw the city I had left, looking dark, jagged and nightmarish, and set up somewhat higher than the shoreline I stood upon, with the conduit I had exited set into the banks of the earth. I followed the crocodile to the beach-like shore riverside and saw a boat. I expected to see a ferryman there, but there was only a grinning scarecrow with crosses over its eyes, I dug into my pockets for coins to place in its dead eyes as payment for the boat, then sailed into the river. As I bobbed over the water, I understood the river to represent the current of the universe flowing around the soul following death. Beneath its surface, venomous serpents with rotten human faces sailed, but they were deterred from harming me by the crocodile.

On the far shore I had a sense of a black, invisible sun and I saw a vague flash of a raven or crow flying towards me. I conversed with the crocodile for a while, coming to the understanding that the upstream direction represented time flowing from the past to the present and the downstream represented the flow from present to future. Some dead may choose to attain rebirth upstream, in the past, but this was difficult due to the strength of the current, and usually meant you couldn’t go too far back unless you were particular good at fighting the current. Others, following the easier flow opted for rebirth in the future, in the chronological time following their death.

On the opposite bank, now getting closer, I noticed some battered old cars parked up, and realised that the crocodile was leading me back to an incarnated state on the other side of the river. I told him I didn’t want to be incarnated again, but he responded by telling me that I didn’t know what was on the other side. I was then aware that some souls had no boat and sank into the river, where they stayed in a dead state, like the serpents I had seen earlier, with no chance of escape. Some however, like the raven I saw, had the ability to fly over the river and had the freedom to go wherever they wanted to. This, the crocodile informed me, was the aim: to become like a bird after death as this was the key to freedom from the ebbs of the river.

We eventually arrived on the opposite shore, and the thing he had to show me was the nature of my next incarnation. Having earned better karmic circumstances and my next life would be blessed and golden in the material sense, which the glow of the rising sun seemed to confirm. I told the crocodile I still had no desire for rebirth and that it was the freedom of the bird that I sought. I then felt that my experience was over and looked for physical objects in the scrying glass before my face. In it I saw the face of a sleeping dog.