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.

XXVI: Giants

nephilim-giants

ANAKIM

Servitors: Ipakol, Imink.

The word forming the outer edge of the square, ANAKIM, comes from the Hebrew ענקים, (anaqim), ‘giants.’ The spirit name, APOKOK, does not directly relate to any of the servitors, but is in close proximity of the name Ipokol, which relates to the Hebrew אפוק (apoq), meaning ‘restraint,’ ‘control.’

The Vision

As many others have before it, this vision began with me standing in a green meadow. This one was of soft, short grass broken up by intermittent sunflowers and situated upon a slight, rolling hill beneath a blue sky with a single, white and wispy cloud hanging in it. I sat in silence there for a few moments and felt a breeze whisper against my skin as I waited for a giant of some sort to manifest. When nothing came I understood that the land itself was a giant, and that it was in fact either a tiny planet, a large moon or a huge meteor with its own perfect and temperate atmosphere. The planet-thing encircled a gentle sun in the same manner that Mercury does, in that is spun only once on its axis in the span of a year so that one side of constantly faces the su and knows no night.

After a few more moments, on noticing how green and perfect the grass was again, I began to think of where the planet’s moisture came from. Listening out for some, I heard the sound of dripping water echoing in a stone cave and followed the sound to seek it out. On arriving at the source, I discovered a small grotto with a wide, open face inside which a soft stream began its course towards the sea. I couldn’t discern, however, where the water came from, as there was no sign of rain in this place yet the water flowed as though fed by some great fountain from above. Inspecting the grassy top above the grotto, I noticed that a plastic pipe had been bored into the earth which, at some point between the crown of the grotto and its innards, generated its own water.

Going back down to the grotto, I discovered this observation to be true and found the other end of the pipe feeding the stream’s source. I entered the shallow pool where the water collected beneath the pipe and felt its softness about my legs and thought I detected the essence of gold upon my skin. With this feeling, I realised that the water was being drawn directly from the planetoid’s atmosphere while the gold was being drawn from the light of the nearby sun itself. After realising this, I saw a stone tunnel, much like the gullet in the cave that appeared in the vision of Steers, which the water entered and nourished the innards of the earth with. I sensed, on looking at the tunnel that it was a blood vessel or feeding pipe of some kind that would go directly to the heart of the giant living being that this planet truly was.

I had no desire to go into the depths of this being’s gut yet, nevertheless, found myself pulled in. Inside, I didn’t view its heart or innards however, but went straight to the giant’s testes which lay inside of its body in transparent sacs. On inspection, I saw that they had the appearance of two disembodied brains. I found myself touching one of the ‘ball-brains’ out of curiosity and heard a booming, echoing laugh fill the stone caverns of its innards. On touching it though, I was filled with a strange knowledge, as if its generative organs rather than its speech or thoughts were its means of communication. The gnosis it transmitted was that of the essential oneness of finding the present moment and merely existing in it without thought, with which came the fuller understanding of everything being animated and filled with a single, monistic life-force of which the separated parts were illusions—the maceration of oneness the demiurge and its archons imposed upon the world that caused us to wrongly believe we are each an island and not the organs or limbs of the same body.

On feeling this, I knew it as time to depart from the giant’s great inverted scrotum and find the shaft through which its seeds departed into the world beyond. The image of such a thing came as a window crossed with diagonal hatches of iron at the end of a long stone tunnel. The world beyond that window, which was set in an old mansion near the sea, was not that which I had entered, but was this world. Outside, the skies were set with thick swarming clouds and the sea beyond the high cliffs on which the old house stood was violent and dark. From nowhere, I produced a pick axe and decided to descend the high cliff to the sea below. On my way down, I discovered another small cave, inside which an idol sat, which at first resembled a Buddha, but on closer inspection, it appeared more akin to one of the wrathful entities of Tibetan Buddism. Its tongue poked menacingly out of its mouth, its eyes were in the shapes of two x’s and around its knees—which were crossed into a half-lotus position—gathered a tangle of writhing snakes. Set around it were a collection of garlands of red flowers, which a voice in the cave told me I too had to provide an offering of. Having no such thing with me, I offered my pick axe instead and asked if this would suffice until I could get hold of the garlands that the cave spirit wanted. The offering was accepted as a truce, but left me in the position of not being able to depart the cave in safety as I no longer had a fitting climbing implement.

Standing at the edge of the cave, I contemplated what to do next for a moment then jumped down towards the rough waters below. Before I hit the water, I found myself back in the house I had been in earlier, which now had the upper part of the grotto dedicated to the spirit who demanded a garland inside one of its downstairs rooms. On the floor of this cave, just before another flowing stream of water, was the exact kind of garland I required, so I picked it up and cast it into the channel of water before me so that it flowed down to the cave in the cliff-face below. On the offering being received, a voice filled the chamber, stating that I now had the spirit’s blessing to go wherever I wished in his land.

Notes

Similarities again with the vision of Bridges and A Village with the cave-dwelling spirits, while those of Steers were also reiterated.

The giants in question appeared to be two separate telluric spirits whose presence filled the astral lands they governed. The revelation of the first spirit, who was very benign in nature, was about the harmony and balance of nature as a living entity, while that of the second, who had a more untamed feel about him, was that of a spirit who required offerings to appease him before giving permission to access his territory. Compare this to the manifestation of the Minotaur King in Steers, who displayed a similar desire to guard his boundaries, yet was easily cowed by the threat of a superior magical force. The appeasement the second spirit required may also have been a manifestation of the principle of ‘restraint’ suggested by the appearance of the word APOKOK (apoq) and the spirit Ipokol in the square.

The two spirits of seemingly diverse nature presents the possibility that a spirit and its averse reflection appear in squares that are an even number of squares across and down due to there being a ‘double cross’ in the middle rather than a single one. The figure below better explains what I mean by this, in which the word APOKOK is presented four times in total, twice forwards and twice backwards in order to show the spirit in its upright and averse manifestations.

KOKOPA

The Square was constructed with the Moon at 7º Capricorn and performed with the Moon at 8º Pisces.

XX: All Sorts of Trees

evil_roots_by_gixajin

XX ESAHEL

Servitors: Aril, Iuar, Loriol, Laralos, Helel.

The word ESAHEL at the outer edges of the square may derive from the root אישה (eishah), ‘a burnt offering.’ There is no central cross in this square, but the name of the spirit Aril, meaning ‘thorny’ appears in four interlocking forward and reverse forms to culminate in a central square based around the a repetition of the letters L and I in the centre to form a rotating expression of the word ליל (lil), meaning ‘night.’

The Vision

The vision began with the image of a Fir tree on a slope of thin earth. Some of the earth gave way at the base of the tree to reveal the root underneath, which suddenly turned into the neck of a vulture with its head buried under the earth. Then I saw that the leaves of the tree were in fact the plumage of a peacock. The strange, vulture-peacock hybrid freed itself of the earth, stared at me threateningly for a moment, then flew away over a large body of water.

Overhead, a large storm stirred with much lightning and gave birth to a deluge of rain. I entered a thick forest to take shelter where the storm was completely blotted out. I could hear nothing but the song of the forest’s birds inside and neither the rain leaked nor the sounds of thunder could pierce the wood’s veil. After walking for a while, I smelled roasting meat and followed the scent to a cosy-looking den set in the roots of a tree. Inside were a family of anthropomorphised pigs cooking one of their own. I was invited in to get out of the dark wood, and the pigs implied that something terrible was stalking me. Fully suspecting something bad to happen as soon as I got inside, I entered the hatch and found the door in the roof instantly locked itself behind me, while the pigs, their fire and everything else in the hole disappeared as the candles that had lit the den were all snuffed out.

Through an iron-trellised window, I could see the nighttime moon over the sea outside, and a wind-blasted palm tree rocked savagely at the water’s edge. There was, however, no way out, for the crisscrossed bands of iron across the window’s pane made it impossible to destroy and climb out of. Then, through the darkness, I became aware of movement. The roots of the surrounding trees began to poke through the earth walls of my prison and moved closer and closer to me, threatening to entangle me in their limbs and trap me in their embrace. I reached out to touch the roots and felt that they were covered in slime, having the same unpleasant feel as a slug or snail. Although trapped, I did not feel any real fear or desperation, knowing that if I was patient, the light of the rising sun coming from the east at dawn would disperse them. With the roots encroaching, however, I decided that instead of waiting that long, I would produce my own light from within.

The roots leapt back at the touch of my light, the appearance of which caused the sun to suddenly rise behind me, flooding the prison with golden rays. My growing shadow was the only place the dark spirits it shone upon could hide from it, and they appeared in my umbra as nothing but lidded, disembodied eyes. I spoke to them, telling them that they were prisoners of no one but themselves and redeemed each of them by touching them with the golden light that came from my hands. As each found its peace, the encroaching roots withdrew and the prison became flimsy enough for me to kick its walls in and move into the daylight outside.

Coming down to the shore of the sea I had seen through the window, I saw a rowing boat bobbing serenely at the water’s edge, but knew that wasn’t time to board it. Looking back at the forest, it seemed very normal, but in front of it, at the edge of the beach, was a small cave with a huge, white, worm-like larva poking its head out of it. I approached the worm, which looked tortured and forlorn, and pulled it free of its tight prison. It too was had been trapped and on my freeing it, the shadowy shape of a man came plopped out of it. He said he had become ‘trapped within his own larvae,’ and so I cast the gelatinous pupae he had been stuck inside into the sea. Then the shadowy shape revealed its form to be that of a wild man, similar to the one who was imprisoned in a cage near the shore in the vision of Bridges.

On taking this shape, the wild man spotted the boat on the sea and rowed it into the west to find his liberation. Following this, the wind-blasted palm tree I had seen from the underground lair of the pigs dropped a golden cone onto the floor which I picked up and removed the outer scales from, causing them and the seeds within it to scatter over the sands of the beach. The sands turned gold as they fell, then the entire sea shone with the light of the rising sun as the old man on the departing boat changed his form to something that looked divine and godlike. Then I saw angels dancing in the sky, singing a chorus and hailing the sun with golden trumpets. Then a huge cloud formed appeared which resembled the head of a ram and the vision ended.

Notes

The ‘burnt offering’ hinted at in the square’s outer edges was manifested in the pork being cooked by a family of pigs. Given the purported Jewish origins of the Abramelin Squares, the fact that this meat was pork and represented a form of cannibalism reveals this sacrifice to have had an averse, unclean nature. The transformation of the pigs into bodiless eyes squirming in the darkness came with the suggestion that the spirits trapped in the underground den had trapped themselves, or each other, there, and were now seeking to do likewise to me, by trying to trap me within the clutches of encroaching tree roots. The wild man trapped in a wormlike larva that was stuck in a stony hole was also suggestive of some kind of trapped entities. In his case, the larvae or shells of the Roman religion, which were the forgotten or trapped souls of the dead, were being hinted at. After he appeared as an old man, his sailing into the west across sunlit waters represented his salvation. I was my own salvation in this vision, invoking the solar force to save myself (Synchronistically, ‘Save Me’ by Muse was playing in the background as I wrote this), which, I then used to liberate others who had become lost in the entanglements of shadow.

With this experiment now passing its halfway point, there seem to be more elements of the ascent from the underworld appearing. I was no longer afraid of anything in this vision, and showed a greater degree of mastery over the forces surrounding me, who had all damned themselves and were awaiting liberation from another before they could move on to peace.

The square was constructed with the Moon at 13º Pisces forming a conjunction with Retrograde Neptune. It was worked with, however, when the Moon was at 7º Aries, which may have worked its way into the vision in the form of the ram’s head that appeared in the cloud at the end.

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.’