XXXII: Wild Pigs

Pigs

XXXII Wild Pigs

Servitors: Geloma, Nudeton, Manties, Mara, Liriol, Losimon, Lomiol, Irminon, Sarasim, Iuar, Adon, Girmil, Asturel, Alagas, Gorilon, Laralos, Gesegas, Milon, Erimites, Nasi, Tolet, Morilon, Ugesor, Ramoras, Igarag, Romages, Aril, Lagasas, Isagas, Romoron, Soterion, Negen, Nolom, Nagar, Amillis.

The word in the first row and column, CADASIN and CADESIR, possibly derive from the Hebrew root קדש (qadesh) – ‘holy,’ with the extension קדושין (kidushin) meaning ‘sanctification,’ ‘betrothal’ or ‘marriage,’ while the addition of שיר (sir) in the first column perhaps represents the addition of the word for ‘a chant’ or ‘a song.’ The words in the seventh row and column, RISEDAR and NISEDAR may come from the Hebrew שדר (sedar), ‘message.’ The spirit name in the central Square is an anagrammed representation of that of Geloma, which takes its meaning from the Hebrew גלם (gelom), meaning ‘to embody’ or ‘personify.’ While there is little to directly connect these words to the Wild Pigs this Square brings visions of, the appearance of the word DIMONAS in the third column and row makes it apparent that this is a square relating to demonic power, and what is therefore figured to be ‘holy’ to such beings is that which is unclean, taboo or forbidden which, in the Hebrew tradition, the pig was perhaps the ultimate ‘embodiment’ of.

In the original text of the LBW, the words in the sixth row and column were shortened to IAGUA and ITAGUA respectively and have therefore been amended to ITAGUTA to make an even square. Read backwards, the word IAGUA, becomes AUGAI, which may refer to the Greek nymph Αυγή (Auge, also written Augai), whose name means ‘dawn’ and also the word Αυγό (augo), meaning ‘egg.’ The concept of ‘dawn’ and ‘eggs’ are connected in the concept of the Augoeides which is made up of a combination of either αυγό or αυγή and the term είδηση (eidese), meaning ‘word,’ ‘message’ or ‘intelligence.’ This concept is related to the myth of Phanes, the light bringer, bursting forth from the Cosmic Egg after the coils of the great serpent crack it open and release his light into the nascent cosmos.

The Vision

A rainbow appeared which I followed the downwards arc of from the sky to a patch of yellow grass at its base. On arriving at the grass patch I smoothed it and patted it down with my hands and revealed the end of a pipe with a circular, metal-barred vent over it through which great waves of air protruded, which I perceived came from a great engine under the Earth. I discovered, however, that it came from the sea cutting away into great caves beneath the Earth as it crashed into them which produced billows of air that spouted up through the land. I pulled the vent free from the end of the pipe and squeezed myself headfirst into the narrow, tube-like shaft. The pipe sucked me through it very quickly so that I soon shot free from its other end, which protruded from the cliff face, and flew—like a ball shot from a cannon—far from the cliffs and into the water.

Bobbing in the ocean, I beheld blue waters and skies and yachts with sails of brilliant white in the distance. One of these headed towards me and I saw that it was being steered by a being that was half pig and half human and wearing a blue sailor’s outfit. As he reached me, I climbed aboard and saw his face to have a dirty, unclean look about it, yet its voice was cultured and intelligent as it hauled me aboard. Once I was inside I noticed that dead, naked human bodies littered the deck giving off a smell that was like that of a butcher’s shop. ‘Don’t worry, you’re quite, quite safe,’ the sailor-pig commented, though I felt a silent unease coming over me. During the voyage I could feel myself transforming into a pig-human hybrid, but when I checked down at my immaterial body I could see no changes in it. Then I noticed that the human bodies on the ship had various porcine elements to them, as though they had boarded the ship and transformed into such things in the same way that I perceived myself to be changing my form.

We sailed for a short time then came to an island where other yachts were coming ashore. With me following close behind, the sailor-pig announced to his fellows that he had ‘caught another one trying to cross the sea.’ He continued that I hadn’t got very far at all and the others mocked me for only getting such a short distance into the waters before getting caught. Coming inland I saw that while the island was rather idyllic, the desiccated skins of several human beings hung out to dry on a horizontal cord about twenty feet off the ground. Their bodies were long, faceless and brown in colour as though they had been left out in the sun to be dried or cured.

On turning to the pig who had captured me, he told me not to be concerned as this fate could not come to me as I had no corporeal body and could not be harmed by them. ‘See, look down at yourself,’ it said to reassure me. On doing this, I saw that my body was my own, robed as it was in the chamber in which I performed the experiment, yet it was also partially ethereal in its substance. Despite me having no solid body, the pig then asked me if he and his fellows could feast on my essence in some way, requesting that I give them something from my astral body for them to feed off. I refused and noticed them gathering closely, with threatening vampiric features. With my eyes closed, back in the real world, I perceived movement around me in the chamber during this part, as though shadows darker than the blackness generated by my eyelids were passing from behind me to in front of me in a circular motion. Here, my body felt very tight and rigid and I felt a strong trance begin to descend over me.

Back in the vision, I seemed to have no way out of this predicament when suddenly the lead pig cried out ‘Daimon, what are you doing here?’ On hearing these words I noted that a great, solar eagle was descending from the skies and swooped down to rescue me. As it flew off, I conversed with it a little, but found my real-world trance state a little too heavy to keep my concentration strong enough to make out his words. I gleaned, however, that the island was set close to the same western sea I had been somehow forbidden to cross—or had seen the souls of the dead crossing—in previous visions. I asked the eagle to lay me down in a wood on the shore of the land that I came from, and he warned me that the demonic creatures I had encountered were likely still abroad in these parts of the lands, but I informed him that this didn’t trouble me, so he set me down. The vision began to take on a looser form at this stage with various random flashes of faces and images that didn’t seem related to anything relevant, so I drew the session to a close.

Notes

The image of unclean animals on boats harks back to the vision of A Big Lake, which began with a similar projection of an object into water over a great distance, in that case being a golf ball being hit into the lake. Of potential relevance to this is the appearance of the word ATILATI in the second column and row, which has a possible origin in the Hebrew טלטלה (tilatileh), meaning ‘to hurl,’ ‘project’ or ‘shake.’  Both visions also featured a small island in their respective bodies of water that contained some kind of threat and the feeling of being encircled or watched.

A spirit revealed in this Square for the first time in the course of this experiment was Nudeton, whose name may derive from the Hebrew root נוד (nud), used to denote the wandering of an outcast or fugitive or the shaking of the head in grief.

The concepts of pigs, demons, being projected into the sea and the ‘outcast’ nature of the spirit Nudeton reveal references to Christs outcasting of Legion into a herd of swine that leap off a cliff and into the sea in Mark 5:1-20.

The manifestation of the Eagle as a Solar Daimon may bear some relation to the inclusion of the words IAGUA and AUGAI mentioned above, which may have acted as a prompt for the manifestation of a being of the same nature as the Augoeides, whose purpose was to guide and protect me from the threat of the demonic entities on the island in the midst of the great sea of death.

The Square was created with the Moon at 2º Cancer and the scrying performed with the Moon at 12º Cancer.

XXX: Bears

Herne

XXX DOBIH

Servitors: Balabos, Badad, Holop.

The word at the outer edge of the Square, DOBIH, derives from the Hebrew דוב (dob), ‘bear.’ The spirit name apparent in the central cross relates is that of Balabos, which comes from the Hebrew term בעל הבית‎ (ba’al ha-beth), meaning ‘Master of the House.’

The Vision

The vision began with a focus on the word DOBIH which then became further focussed on the letter B (for ‘Bear,’ I sensed) in its centre. Then a cave appeared with a large bear wearing a crown standing on its hind legs guarding its entrance. The bear approached me, making me fear it would maul me, but it only wished to sniff out the Square that I held in my hand. It turned away from me peaceably when I allowed it to inspect what I held, then it departed into the cave. I followed it inside and was greeted by the stench of rotting meat. Around me were the cadavers of many dead animals, with the most prominent being the skull of a horse.

I descended into the cave, where a soft, chiming, echoing choir of voices could be heard in the distance below. I came to a gentle blue river with a milky white sheen to its surface in that deep place and entered the water. I became aware that this was a reflection of the Milky Way and was washed along on its flow until it came to a waterfall. Instead of plunging to the ground far below, however, I remained breathless and bodiless in silent space and glided at will to the ground below.

Awaiting me was an old man driving a rickety wooden cart. He was quite old and wore a ruined top hat, and donned a wispy beard without a moustache, had ruddy red cheeks and had squinting, watery eyes. We were in a dark, rocky landscape quite unsuitable for driving a wagon over, and above me in the sky was a full moon and the constellations of Ursa Major and Ursa Minor, with the latter clearly orbiting the Pole Star. He offered me a ride in his cart and we headed North with Polaris before us. I noticed that the horses that pulled it, one of which was brown and the other black, were very thin and gave off the cold aura of death. He chided me for accepting a ride in such a land, as it was a place I knew nothing about. I asked him what sort of place it was and once again the word DOBIH appeared in my mind’s eye. From this, I accepted that this was the astral landscape unlocked by the Square.

As we trundled on, I became aware that we were being followed by bears, but the wagon driver informed me that I was quite safe as long as I remained in his vehicle. Then we came to a ford which was set down a bank that was too steep and rocky for the wagon to descend. He let the horses off their leashes and asked if I would assist him in pushing the cart down the bank, which I did, noticing that it was strangely light. Then the driver reattached it to the horses so that they could pull it across the shallow waters of the river, but on the other side, he asked once again if I would help him pull it back up the other bank. Doing this was somewhat harder than leading it down the bank, and led to me receiving wounds to my right hand from the splinters of the wood of its pull-handle. Looking at the wound after we got the cart up the opposite bank, I saw that the splinters had caused seven wounds which formed the shape of the Hebrew letter Zayin. The driver instructed me to mix the blood with the waters of the river we had just passed, and on doing this, the sky lightened to that of dawn. In the sky, the Sun lit the sky and Mercury and Venus could both be seen rising with it. Heading towards them, we continued eastward over the rocky land.

After a short distance I noticed a large, primitive-looking, large-toothed skull on the horizon that looked like a fortress at first, but as we approached it, it seemed to reduce in size to that of a small house and it had the appearance of the skull of a crow or raven rather than the fanged, hominid shape I had first seen. When we reached the skull, the driver informed me to leave the cart and go and take refuge inside the skull. I did this and sat inside waiting for something to come. Shortly afterwards, the seven trailing bears appeared and formed a circle outside the skull. Inside, on the floor I spotted a large rock which I picked up and inspected. On it was engraved the symbol for alchemical Sulphur.

After a brief period, the eighth figure appeared outside the skull-house, coming in the form of a man with the skeletal, antlered head of a stag. The figure came to the entrance of the skull-house and drew a sword. With it, he drew the sign of Alchemical Salt in the Earth and then thrust his sword into the centre of it. On doing this, all of the Earth around the skull-house disappeared into a void of nothingness. I stepped from my refuge into the stillness, where the stag-headed figure informed me that it was this state of Nothingness that I should be aiming for in my Work, and that the visions of the Squares were all guides in same way of how to achieve this state. On hearing this, I found myself on a cold shore, over which the sun set. Facing West, I saw a rickety boat, similar in its state of disrepair as the wagon I had earlier travelled. I thought about heading out towards the boat but was told that this was not the time to do such a thing, as the boat and the sea represented the journey to the lands beyond life. I sat patiently at the shore waiting for something to happen, but nothing did. After a few more moments, an Eagle flew towards me from over the sea and told me that there was nothing else to see in this vision. Accepting that, I ended the session.

Notes

The wound I received in the shape of the letter Zayin represents the number seven and has the meaning ‘Sword,’ both of which are relevant to this vision. Zayin is also related to Gemini in the Tarot, so this may also be a signal to pay attention to something relating to Gemini. See the visions pertaining to A Lion and A Wild Cat for specific references to Gemini, though the relevance may relate to a future rather than past vision.

Alchemical Sulphur represents the active male principle, being concordant with Fire and the Sun.

The appearance of the Sun with Mercury and Venus after I mixed my blood with the waters of the river may represent the feminine principle, with Alchemical Mercury representing the passive female element, as does the planet Venus.

Alchemical Salt represents the element of Earth that becomes purified through the interaction of Sulphur and Mercury. The striking of the Earth by the sword in the centre of the symbol for Salt represents the purification of matter in such a way, with the Sword being used to do so being reflected in the letter Zayin appearing in the wounds on my hand. Seven also relates to Venus in Qabalistic Magic, the number of stars in Ursa Minor as well as the number of stars in the Big Dipper asterism of Ursa Major.

The boat on the sea was similar to the one seen in the vision of Trees, in which the spirit in the form of an old man departed over the sea.

The names of the two ‘new’ spirits seen in this vision are Badad – בדד (badad), whose name means ‘alone’ or ‘solitary’ and Holop – חלוף (cholop), whose name means ‘transitory’ or ‘ephemeral.’

The Square was constructed with the Moon at 3º Taurus and scried with the Moon at 22º Scorpio. Venus was transiting the sign of Scorpio at the time of the scrying, where she is in her Detriment, as was the other benefic, Jupiter, Together they represent the male and female benefics resident in a Marsian, malefic sign, though the general energies of Scorpio, being the sign that Mars rules ‘at night’ are those of his passive, ‘inner’ qualities.

XXIX: Eagles

les-harpies-a
XXIX NESIKER

Servitors: Igarag, Manties, Mara, Katsin, Irminon, Ismerik, Sigis, Gesegas, Kosem, Erimites, Nasi, Ramoras, Izozon, Isagas, Romoron, Soterion, Negen, Nagar.

The word at the outer of the square, NESIKER, derives from the Hebrew נשר (Nesher), ‘Eagle,’ with the word forcibly split by the word IGARAGI in the central cross, which is a mirrored expression of the spirit name Igarag, which expresses concepts relating to coldness, ice, crystals and frosts.

The Vision

Bright pin heads of lights, like stars, appeared in a black sky accompanied by xylophone music before water poured out of the blackness, as though from a cup, into the earth below. Pouring into the domed vessel of the Earth, the water ran down a hillside to create a river that ran down to a pool in the basin of a valley. It was twilight in that place, which had the feel of a place in-between.

I walked to the edge of the pool and in its reflection saw the face of an eagle looking back at me. I looked around to see if it was above me, but there was nothing else visible in the growing blackness of the sky. I looked to the water again and saw the eagle, appearing more solid now, and then his reflection jumped out of the water and he flew onto my right shoulder. I turned to face him and looked into his eyes and received his communication. He explained, in a slow, deep voice, how he had descended from the highest pinnacles of the universe, but could only communicate through the reflections of things, such as in waters and reflective surfaces, in this place as the naked eye could not perceive him. I understood that the form of him that I looked upon was only visible as it had manifested via its reflection in the water, but was not truly him. I was aware at this point that other eagles were circling the black skies overhead, though when I looked up to try and see them, I found them to be completely invisible. The eagle then told me that its eyes were the reflective surface I could look into in order to receive a vision from him.

On doing that, I had a vision of two men sat at a table before a drawn curtain in a pub, inn or some other kind of public place. I recognised one of the men as a friend of mine who shares the same first name as I do, but on approaching the table, I realised that both men were actually me. I assumed the identity of one of these versions of myself and looked across to the other version who sat on the opposite side of the table. Looking at the table, I saw that me and my doppelganger were playing cards and the card I had just drawn was the Five of Diamonds. I looked to see what the other cards on the table were and saw that every card in my splayed-out deck was the same as that which I had just drawn.

Then the Eagle began to speak in its slow, low voice again. It asked me how I would really respond to myself if I were another person. How would I communicate with me? What would I think of me? How would I judge me as another would, and how would I deal with me when I was being difficult or confrontational? These questions, it said, were prompts to deal with myself in all of my reactions, opinions, behaviours and patterns as though I were an external entity watching and observing such things with detachment, as though I were outside of myself. The ‘other self’ I looked upon opposite me, it said, was the part of oneself that could only be viewed in the mirror, and was not the same aspect of self as the one who does the viewing.

Once this message had been delivered, the drawn curtains I had been sat next to were opened to reveal a strange, infernal scene unfolding in the world outside. The lands were grey and the skies were black and red there; and from the Earth long, white bones jutted into the air like jagged spears. Around the bones harpies and gorgons roamed, their bodies those of women with their arms entwined with serpents and their faces blank of features save for the inverted muzzles of wolves with their fangs bared protruding from their foreheads. Their shoulders were mounted by great, leathery bat’s wings and when they thrust their groins towards me and parted their bare legs, they birthed swarms of bats that bit into my flesh with tiny, metallic teeth that ripped small chunks away from my body with each bite. In the sky above them, an armoured man wearing a black helmet with long, metal bull-horns flew on the back of a great eagle watched on.

After the unfolding of this hellish vision, the eagle spoke again on the nature of hell, commenting that it represented the state that the human mind most easily fell into, as it was easier to descend a difficult slope or fall into a hole in the road than it was to ascend a steep hill or climb a tall ladder. Ultimately though, he informed me, none of what I had witnessed represented objective reality and hell was nothing but a trap that we force ourselves into, for the human mind finds it easier to imagine its torments than its delights. To demonstrate the reality of this, he instructed me to invert all I had seen in hell to a heavenly equivalent. This I did with ease, making the gorgons angelic and golden in their appearance, while the landscape glowed with sunlight over verdant meadows as soft clouds scuttled by on the wings of sweet breezes.

Yet something about this vision was far less real than that of hell, for my mind could not imagine anything of this perfect scenario not dying, souring or ending in some way. This demonstrated to me that the human psyche is far closer to hell than heaven, as with death as its permanent reminder and great terror, nothing good could ever be seen to be more than a brief reprieve. Hell and its torments, however, could never let us down in terms of their longevity and permanence. The lesson the Eagle sought to teach was that all such ideas were nought but illusion. Hell and Heaven are but mirrors of each other in the human state of being, it said, with each being just as transient as the other. What the mind should strive to do was establish the same lack of identification as that which was advised in the previous scenario where I had sat opposite my doppelganger and observed it without any sense of emotional identification.

With this said, the heavenly scenario faded and I stood next to the pool again where the skies were once more those of twilight. As a parting gift, the eagle gave me a burning torch, advising me to use its light to guide myself through this world’s permanent, semi-lit state, for with it I could see things that the naked eye could not. To test this, I held it to the ground and saw a cat that was as black as coal appear out of the night air where there had previously been nothing. Then I held the torch above my head and saw the circling eagles high above where I had previously seen nothing more than the swelling night.

Notes

The purpose of the Hebrew word Nesher being spelled with a ‘k’ as opposed to the ‘sh’ of the letter Shin can be found by studying its reversed expression REKISEM. This word derives from the Hebrew root רחש (rechesh) meaning ‘whisper’ which either expresses the pluralised form of this word as recheshim, ‘whispers,’ or combines with the Hebrew שם (shem), ‘name,’ with rechesh in order to produce the meaning ‘a whispered name.’ Other meaningful words that appear within the square lie in the lines that spell KOLAMAS, which is either derived from the Hebrew חלם (cholam), ‘dream’ or is a mangled representation of the Greek word κάλαμος (Kalamos), which relates to a type of reed found at the side of a pond or lake. When spelled Calamos, this is also the name of one of the servitors of Ariton. Also present in the Square is the word ERAGOZE – ארגז (eragoz), ‘box,’ or ‘chest.’ Despite these possibilities, none of these words appeared to have any practical relevance to the results of the work unless the association of KOLAMAS with Calamus was represented by my beginning this vision at the side of a pool of water.

The name of the spirit Igarag appeared relevance due to its connection with the Hebrew word for ‘ice’ or ‘crystal,’ קרח (qarach), which in the case of the latter word has connections to the theme of reflection that pervaded this vision.Other pertinent Hebrew words that appear in the Square are ראי (rai), ‘mirror,’ ראים (raim), ‘visions’ and מער (ma’ar), ‘nakedness,’ which may provide an alternative etymology for the servient spirit Mara.

The theme of mirrors, crystals and reflective surfaces that pervaded this vision provide a link to Chapter IV of the Abramelin, which is also used to experience various visions, with the first Square of that chapter making things appear in mirrors, glass or crystals. Also apparent in this Square is a variation of the spirit name Erimites, who also appears in the Square relating to Eagles, as seen in the line which reads IRIIMITI.

IRIIMITI

An unsettling event occurred a short time after performing the scrying, when a sound that strongly resembled the sound of a rattlesnake’s tail came from the area of the room where I had performed the work. This was not the first time that extraneous sounds have been heard from the room before or after scrying these Squares, with the sound of chanting coming from behind me while scrying the Square that grants visions of Horses being the other example. This coincided with a feeling of unease and fear I felt right from the beginning of this vision. It is notable that the rattlesnake is of the same genus as the pit viper, with vipers being particularly related to the spirits communicated with during works of Goetia such as this, which in this case featured visions of gorgons with serpents wrapped around their arms.

The square was constructed with the Moon at 5º Capricorn and was scried with the Moon at 26º Aries.

The suit of Diamonds seen in the part of the visions in which cards were being played with equates to the suit of Pentacles, Disks or Coins in the Tarot. The Five of Diamonds therefore represents the Five of Disks which, in astrological terms, equates to the first decan of Taurus. This refers to the celestial occurrence of Mercury in Taurus and signifies ‘Worry’ in the Thoth deck. Of the energies present in this decan, Crowley stated:

“The Number Five, Geburah, in the suit of Earth, shows the disruption of the Elements, just as in the other suits. This is emphasized by the rule of Mercury in Taurus, types of energy which are opposed. It needs a very powerful Mercury to upset Taurus; so the natural meaning is Intelligence applied to Labour. The symbol represents five disks in the form of the inverted Pentagram, instability in the very foundations of Matter. The effect is that of an earthquake. They are, however, representative of the five Tatvas; these hold together, on a very low plane, an organism which would otherwise disrupt completely.”

Interestingly, with the scrying being performed with the Moon at 26º Aries, this decan represents the next decan the Moon would pass into approximately eight hours after the scrying had been performed. This seemed to be hinting towards some potential event, inner or outer, that is relevant to the timing of the Moon entering this decan. The ingress of the Moon into this position occurred at 2:29 am London time, on Friday 31st August, with Cancer’s position on the Ascendant signifying that the Moon or one’s emotional ideation of oneself was indeed the matter at hand. The first decan of Taurus is also that in which the Moon reaches its degree of exaltation, which at the moment is occupied by Uranus which brings sudden, revolutionary schemes to motivate, inspire or reinvigorate one’s emotional or reflective states. The Moon remained in this decan until 8:56 pm, making most of this day one in which the issues outlined above would be relevant in some way.

XXIII: Horses

Demon
XXIII SASAS

Servitors: Sigis, Ragaras, Igarag.

The word SASAS at the outer edges of the square appears to derive from the Hebrew סוס (sos) meaning ‘steed,’ ‘horse,’ ‘knight’ or ‘rider,’ while the central cross derives from the name of the spirit Sigis, whose name means ‘dross’ or ‘restriction.’

The Vision

The vision began with a flash of a zebra followed by the appearance of a cattle grid on a mountain road. At the top of the hill the road wound along, the landscape revealed a suspension bridge spanning a small river with a town full of white houses on the opposite bank. I decided to exit the path and slide down the steep, wet mountainside to my right and at the bottom, on the banks of the river, the Zebra appeared again. Then a unicorn appeared behind it, which combined its form with that of the Zebra and jumped into the river and swam upstream. As it sank between the currents, it turned itself into a whirling eddy then sunk below the surface as a huge ethereal butterfly departed from the site where this ‘drowning’ occurred.

I made my way to the spot the butterfly flew away from and saw the zebra, which now had the horn of a unicorn and an insane, toothy smile on its face, lying still beneath the surface, feigning its own death. It spoke to me telepathically, asking me to get into the water with it. As it spoke, its featured glowed with deep flame that caused the water to hiss and steam. Then its eyes became lit with red fire with dark slits for pupils and a flaming mane burned at the crown of its head. As the water steamed, the sky around it glowed with a deep orange and the creature again asked me to get into the water with it with the insane grin still etched into its face.

Then, on the opposite bank, a large, crowned lion appeared. It shook its head disapprovingly as I considered speaking with the spirit, but did so with a noble bearing.

“What do you want of me?” said the horse creature.

I told it. And as I did so, the lion became exasperated and said ‘may I interject?’ and threw a large net to me over the river. I caught it and the lion and I hauled the unicorn-zebra creature from the water. As it was pulled free, the Lion and I came together in the centre of the stream to bind it still. As we held it, it turned into a humanoid form with the back legs of a goat and the unicorn horn still protruding from its brow. It laughed insanely as it was being hauled up in the net and said that it had only been joking by pretending to be dead and evil.

With it being bound, I attempted to converse with it, but it kept changing its form in maddening and distractive ways. First its single horn became two that were set at diagonal angles. The roots of the horns then bore through his skull to protrude from his front of his face, the left horn protruding through his right cheek and the left horn protruding through his right to form a hideous X-shape with its crossroads deep inside the caverns of his skull. Then the top ends of the horns turned into sword hilts and the ends protruding through his cheeks curled upwards towards me to form tusks. Once he had done this, he took the form of a cartoon-like dragon, then a very real looking one. Then the dragon’s face became like a pitch-black human face with terrible eyes and features that grew wide as if being stretched by torture devices before the flesh started to come free.

Then he appeared as a woman with flame red hair wearing nothing but a green sash to cover her modesty; and she said ‘how much would you give me to take off the sash, for I am the most beautiful woman in the world?’ To this I replied that I was not interested in seeing what she had to show me and instead tried to impose a sense of order to the vision. In response, the light became that of plain day again, and the spirit took the form of a hedgehog with an elongated snout, then a small, brown dog with wet fur and an almost human face. Finally, the spirit turned into a water snake and swam very quickly through the river ascending up through the skin of the water and back under the surface again three times before it disappeared beyond sight.

Moving on, I followed the river until it became a great waterfall overlooking a landscape that progressed onwards to the nearby sea. Here I decided to jump into the water below, floating slowly down before entering the pool at the bottom. While there, a sequence of numbers appeared before me—5, 9, 3 in quick succession, then, a little slower to appear, 2. Then, from behind me in the room in which I sat in to perform this experiment, a strange, tribal chanting came, with four male voices singing the syllables AI-AN-TU-HA four times. The chorus was like a roar and a whisper at once, was brutish in tone and was so real-sounding that I first assumed it was coming out of the speaker of my phone. Checking it later revealed no notifications, calls or messages had come through and that something must have been physically present in the room behind me as I spoke to the spirit in the pool. As he spoke now, his form was invisible and his voice calmer, louder and more resonant than before said. ‘I got you into the water, now tell me what you want of me?’ We then affirmed the pact that had been set out earlier and the vision ended.

Notes

Although this Square is associated with a vision of Cranes in the Dehn edition, Mathers’ suggestion that it should in fact be attributed to ‘Horses’ is considered correct due to the similarity of the word SASAS to a palindromic expression of the Hebrew word סוס for a horse or steed. The word in the second line, ARIKA comes from the Hebrew root ערק (ariq) meaning ‘bolt’ or ‘run away’ and the associated word עריקה (ariqah) meaning ‘defector.’ This aspect of ‘running away’ was evident in the spirit’s ‘bolting’ upstream first as the strange unicorn/zebra combination and then as the water snake after being bound, from which he also escaped.

The experiment was conducted facing North with an intent to specifically call upon the influence of the Elemental King Egin again. As before, in the vision of A Village, his presence was maddening and difficult to witness, with the additional element of a chanting chorus being physically present in the room this time adding an even more unsettling feeling to it, though this phenomenon did at least show some consistency with the loud clamour and company of musicians that is said to accompany him according to the Book of Offices.

The cattle grid at the start of the vision was consistent with the appearance of portcullises or grids at the inception of visions as a symbol of entering through a portal of some kind.

The meaning of the number 5, 9, 3 and 2 are not entirely clear but add up to 19 when considered as single digits and 91 when expressed as 59 + 32. In Qaballistic Gematria, 19 has the value of אויב (avib) ‘enemy’ while 91 equates to the word מלאך (malek) ‘angel.’ Interestingly, this four digit coincides with the four voices chanting a four syllable word four times. The meaning of the chanted word, ‘Aiantuah,’ doesn’t make any sense, but sounded either African or Mesopotamian with its short syllables and had a definite ‘shamanic’ quality to it..

The square was constructed with the Moon at 4º Virgo. Performed with Moon in 19º Virgo. It was noted afterwards that the vision was received during the planetary hour of Venus, which may account for Egin’s taking a form that resembled Aphrodite.

XXII: A Wild Cat

 

dante leopard

XXII LINIROS

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

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

The Vision

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

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

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

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

Notes

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

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

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

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

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

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

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

XIX: A Village

Wandering

XIX MIGIRAS

Servitors: Ipakol, Parek, Mara, Ragaras, Ramoras, Sarasim, Sigis, Girmil, Gesegas, Kosem, Ilekel, Aril, Kilik, Isagas, Alpas, Amillis.

The word MIGIRAS on the outer edges of the square relates to the Hebrew (migrash) meaning ‘open space,’ ‘plot,’ ‘pasture, ‘yard’ or ‘site.’ The spirit name present in the central cross is that of Ipakol, which may be derived from the combination of the Hebrew words יפה (yapah) meaning ‘fair,’ ‘beautiful,’ ‘picturesque’ and קול (qol), ‘sound,’ ‘voice.’

The Vision

This vision was drastically different to any other. Before beginning, I performed an invocation of the Elemental King Egin, who rules the element of Water and resides in the North. Being midnight, the sun was in its diurnal position in the North, and with the sun being in Cancer, it was also in its northernmost position in the ecliptic. With these elective qualities and other honours and sacrifices being made to him, this square was activated by calling upon he alone of the Cardinal Kings.

Once Egin’s assistance had been requested, the vision began with the image of an old book in an ancient library or study. It flicked open to a random page and a black, detached hand pointed a finger at a word. A deep voice commanded me to read the word and tell him what it was, and I replied with the answer ‘Eridanus.’ In response to that came a short rhyme:

Eridanus is where I dwell. Remember this and do ye well.

Following my memorisation of this rhyme, he became suddenly enraged, accusing me of trying to undermine and insult him by some action I had done. He threatened to cause me great pain if I did such a thing again, but I had no idea exactly what this thing was. I guessed at first that the issue came from including the name of my HGA in my invocation to him, but as this is always done with the four kings and generally provokes equilibrium rather than hatred, I discounted this. Another possibility came from the fact that a sudden change in the scent of the fumigatory offering announced that some remnants of Lignum Aloes that had been left in the brazier had gotten underneath the charcoal, changing the scent of the offerings that had been made. To know for sure what the problem was, I asked the spirit to confirm his name to me, which he gave as ‘Aridon’ (not Ariton). I apologised for any offence caused to him, explaining that I didn’t know what I had done to irritate him, but he remained angry.

Despite this unappeased anger, he proceeded to show me some visions of the square’s contents, though the tone of them was hurried and violent, as if his anger was being expressed through them.

The visions directly related to the squares began with the image of the village that had been devastated by the tidal wave in the last vision, though I now perceived it from the viewpoint of one who lived there. The tidal wave, it seems, had been a blessing, for a great fire was in the process of destroying the village when it came and its arrival quenched its flames. From the extinguished fire, a loud hissing noise came and plumes of steam rose up into the sky to form large, billowing clouds.

Then the presiding spirit, ‘Aridon,’ ordered me to drill a hole in the earth with a great augur that looked like a large hand drill that was operated by a hand-crank attached to its side. As I did this, the dragon from the visions of A Big Lake and A Vineyard appeared and slotted its tail into the hole I had drilled. Sitting in such a position, the dragon laid an egg, which dropped down into a watery canyon below, where black figures attended to collect it and nurture it. I realised that this egg was of the same sort as that which had been destroyed by the black woman in the church in the vision of Farm Buildings. Then my attention returned to the dragon, who confirmed that I had carried out most of the instructions to do honour to Egin correctly, but had not obtained the chalice I was supposed to have gotten hold of.

After hearing this, I returned to the scene unfolding in the canyon below the village. In it, a subterranean temple had been constructed and at its heart was an altar with a skull with teeth that had been sharpened to dagger-like points. The skull was affixed to a wooden stake which had a large python entwining it. After showing me this, Aridon revealed his form to me and it was terrible. He had the stature of a giant topped by a horned head and his features were those of a skull which was alight with a flame that was constantly being put out by water before being reignited again. Each watery victory caused vaporous, hissing steams to emanate from the spirit’s charred flesh just as the flames of the village fire—which I learned had been started by Egin’s dragon—had been extinguished by the crashing wave of sea waters.

This vision of extinguished and rekindled flames kept appearing until I got the gist of what they were trying to tell me and extinguished the flame on the brazier and all of the candles present in the room with water from the brass bowl that adorns my altar. It was the presence of fire, it seems, that had angered Aridon, and on extinguishing it—which brought the room around me into a very deep darkness—the intensity of the communication with the King of Elemental Water grew; for he comes at the moment when water extinguishes flame to produce a steam which lets forth the hissing of serpents as it rises into the air.

With his appeasement, I was shown the vision of a great bastion within the canyons below the Earth. It looked misshapen, with fiery windows that gave it the same skull-like appearance that Aridon bore, and the mouth of that skull was a portcullis with many furnaces burning behind it. I was invited in and on my entry I was granted a vision of his seal, the form of which I committed to memory. After it faded, the face of a brown horse appeared, and there was an intense darkness in its eyes. In that darkness I saw visions of furnaces driving metallic, red machinery by the power of steam, and the sound of malign laughter filled the air. Then I saw a series of cells that were also wheels in which walked red-brown horses which were emaciated and very close to death. They walked those metal wheels endlessly, the rotation of their movements providing the motion of the cogs that drove the great engines of hell. All this infernal action and power ultimately went to ‘fuel’ the people that populated the village on the clifftop above, all of whom were clockwork figures living their mundane lives while affixed to tracks or runners that kept them bound to an existence of thoughtless mechanical action.

With this vision came the understanding that the man without will is entirely at the whims of empty, mechanical forces. The bodies of the villagers were two-dimensional and their faces stuck in fixed expressions as their feet rolled along the tracks with no volition of movement. Yet none of them could see the extent to which they lacked control over their destinies because their drives and motives were entirely animalistic with no knowledge or insight into the predicament of their slavery to the Archons. I too had been in this state of slavery until I was awoken to the nature of the machinery of the world below by those who operated it; for such daemons are not intolerant of those who awaken. In their hearts they are rebellious against those who constructed the machinery and their infernal labours grow easier with each pair of eyes that open to the true nature of the World. With each awakening they gain hope of their own liberation, and this being so, all those who come to Gnosis and the knowledge of their own Will they recognise as allies and grant them boons to assist them to bring down the great machinery we have all been bound to. On being shown how the great Archonic system of the World works by one who was himself a vassal to their whims, I smiled and laughed in a state of mild ecstasy, for I knew that what I had been shown was true.

The vision ended with an emphasis that obtaining the correct type of chalice was very important for future works with Egin; and I also saw something which resembled part of a goat’s skull carved into the shape of a jagged knife. Then I saw an image of myself smoking a cigarette and wearing a red t shirt while my eyes shone with pinpricks of red light.

Notes

The events in this vision appear to be a culmination of the rite the dragon that appeared in the vision of A Big Lake informed me I should perform. With the absence of a suitable chalice, this work has still not been performed in full, yet I learned something important about the extinguishing of the fires present in the temple in order to evoke Egin properly. The unintended invasion of the wrong incense may also have played some role in his temporary disdain, as the incense associated with the sign of Cancer is Onycha, due to it being formed from the opercula or ‘trap door’ of the shell of a sea mollusc. Attempts to find an incense containing this ingredient had proved successful, and the importance of ‘white wine’ (see A Big Lake and A Grape or Grape Plant for this reference) also became apparent on researching this incense, as it should be treated with a strong white wine in order to sweeten its somewhat piscine aroma. That this scent was replaced by Lignum Aloes, a sweet but fiery scent associated with Sagittarius, may have been as much an affront to Egin as the flames that outstayed their welcome in the Temple had.

The horse whose eye I looked into to see the infernal machinery appeared to be another manifestation of Egin, while the dragon in the world above appeared to be his worldly servant, hatching eggs to give birth to more servants which the shadowy underworld servants nurture in his temple which others, such as the black woman in the Temple—a servant of his foes—wish to see destroyed underfoot.

As well as being similar to the name Ariton,  ‘Aridon’ resembles the word ARIDO that appeared in the previous square. As well as meaning ‘dry,’ this word also means ‘gaunt,’ which may explain the emaciated appearance of the horses.

Other spirit names relevant to the vision received in this square are:

Amillis – ‘worker,’ ‘labourer,’ ‘toil.’
Kosem – from the Hebrew קסם (qosem), meaning ‘magic,’ ‘enchantment’ or ‘divination.’
Isagas – ‘roar,’ ‘yell’ or ‘shout.’
Mara – ‘cave’ or ‘grotto’.
Sarasim – ‘deep roots.’

The position of the Moon during the construction of the square was 9º Aquarius, where it was in close conjunction with a retrograde Mars.

XVI: Flowers

Green Spirit

XVI PERAC

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

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

The Vision

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

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

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

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

Notes

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

The other spirits relevant to this vision are:

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

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