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.

XVII: Bridges

Chinvat

XVII DOBERAH

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

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

The Vision

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

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

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

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

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

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

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

Notes

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

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

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

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

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

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

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

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

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

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

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

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.’

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.

II. A Hunting Party

 

Wild Hunt

Servitors: Nagar, Gorilon, Liriol, Asorega, Alogil, Ragaras, Igilon, Sigis, Laralos, Gesegas, Nasi, Tolet, Igarag, Aril, Lagasas, Kilik, Kokolon, Isagas, Soterion, Negen.

The linguisitic origin of the word KINIGESIA found in the outer lines of the Square comes from the Greek κυνήγι, ‘hunting’ combined with the suffix -ησία (-esia) which denotes the condition, situation, process or action of something.
The Vision

As the sitting begun, the name ‘Asugul’ came through very quickly, followed by a vision of a mounted fox-hunting party on the bridge over the canal near the entrance of London Zoo. Their leader, a sharp-featured, menacing man whose flesh was corpse-like in hue, approached me aggressively, making me think for a moment that I was their pray and that I should flee, but I stood my ground. As he came closer, he remonstrated with me, saying ‘you’ve got one of them haven’t you?’ As he spoke, I sensed he was hunting something that had escaped him. Not knowing what he was talking about, I denied having whatever he was hunting, but thought he may have been pursuing a familiar spirit who had escaped his custody. Then, on hearing a word that sounded like ‘spray,’ I saw that one of the party had a golden osprey on its arm, which it released into the sky. I followed its course with my mind and saw the world below from its point of view, feeling saddened by the fact that the bird was attached to a long cord and wasn’t free to do its own will. Looking down from its high viewpoint, I saw that there was no trace of whatever it was that the party was looking for. Returning to ground level, I perceived the other huntsmen as a congregation of pallid-skinned creatures with large, bright, yellow eyes gathering around me. At the same time, I also sensed them manifesting in the room around me as small black spots of shadow clinging to the walls.

Then the setting changed to that of a forest, where I saw an old, bearded man clad in grey being sitting on the back of a horse-drawn cart. His left arm was covered in blood up to the elbow and he seemed unable to walk by himself, as if he’d been injured. From previous works, I recognised this man as one of the guises of the spirit Barbatos, a forest-dwelling spirit with links to hunting due to Weyer’s description of him as appearing in Signo sagittarii sylvestris, or ‘as a woodland archer.’ As the old man was led away into the distant forest, I saw his face quickly change into that of a bear, then a lion, then a ram, then a boar then finally a hare. As the cart disappeared down the track, I saw the leg and haunches of a white hare darting away from the scene. Some distance behind the cart came a collection of white-robed, hooded figures who eventually came to a stop at a bear trap and threw a shrouded, human-shaped body into it. Before I could see anything else, the scene faded into darkness in which a line of black women walked before me. One of them was very curious about the square in my hand and asked to see it. I consented and opened my hand, leaving it balancing on my palm for the rest of the session. After doing this, the last of the women, who bore beautiful, Egyptian features approached me and said ‘sit steadfast and see.’ After this, the forest reappeared and I now saw that the body in the pit was that of a bear, not a human, as if it had changed its form after being slain. Around its carcass, fur-clad men gathering around it to eat its flesh and absorb its strength.

This was the last thing I recall seeing in the vision, which began to grow hazy and filled with nonsense words and fleeting images. This signified the time had come to give up and end the session.

The next morning, I noted a curious synchronicity relating to two people, one of whom had the surname of an animal and the other had a surname which was one letter away from the name one of the spirits of the Lemegeton. For privacy reasons, those persons cannot be named here. The most curious aspect of the vision, from my perspective, was the immediate reception of the name Asugul, which seemed familiar but yielded no significant results when a cursory Google search was run, and bore no direct relation to any of the Servitors’ names. Analysing the structure of this name, however, I noted its similarity to words of Semitic origin such as the Hebrew Az, goat, and the Arabic Ghûl, ‘ghoul,’ which is a demonic entity that robs graves and feeds on corpses. More significant, maybe, was the phonological similarity of this word to the Babylonian Assaku and the Sumerian Asag, which were malicious spirits who attacked and killed human beings by means of disease. In conjunction with the word ghûl—or xul in its more ancient, Mesopotamian form—Asag forms the new word Asaghul or Asaxul which, in this scenario, relates to a class of spirits that bring death then feast on the flesh of the slain. This new word, given in this vision as the name Asugul, coincides strongly with the function of the huntsmen who pervaded the scene as well as the fate of the bear that was fed upon as it lay dead in the pit.