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.

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.

XXVII: Cranes

Lucifer

XXVII RAMAC

Servitors: Nolom, Mara, Malach

The word that connects this square to cranes is not its outer word, RAMAC, which comes from the Hebrew רמח (ramach) ‘spear’ or ‘lance,’ but from that in its second row and column, AGORA, which comes from the Hebrew עגור (agor), ‘crane,’ though it may also have links to the ‘gathering place’ of Ancient Greek society. The name of the spirit in the central square is presented as MOLOM, which probably refers to the name of the servitor Nolom, whose name means ‘unknown,’ ‘hidden’ and ‘concealed.’

The Vision

I was in a plane flying over a small tropical island. I thought the plane was about to land there, but found it continuing on to another beach much further away which was cold and bleak and populated by about a dozen Flamingos. The birds ambled about their business and paid me no attention as I walked around the beach, but then I noticed a bottle with a message in it coming to shore. I opened it and the note inside read ‘fly north, not south.’ Unsure who this message was intended for, I headed towards a flamingo that looked different from the others due to it being slightly larger and with white streaks in his plumage, and told him about the contents of the bottle.

He asked, with some anger, where we were, and I instinctively answered that we were in Alaska. ‘So how are we supposed to fly any further north?’ he replied. I suggested that perhaps they should continue flying north until they crossed the North pole and began heading south again. The Flamingo chief was no more impressed than before and said that the magnetic influence of the pole made birds lose their sense of direction, so this couldn’t be done. He then grew angry at me for reading the message in the bottle before he could, as those messages, which he received regularly, were read by someone the meaning of the message changed so that its original intent could never be known by the one it was addressed to. I apologised for this indiscretion, but the bird made off in anger. I then noticed that the whole time this transaction was going on the other flamingos, who remained mute the whole time, had formed a circle around me and were staring at me with evil intent.

Then I was somewhere else completely, suddenly finding myself in a house that was furnished in the style of a traditional working class home from the 1970s or 80s. Before me stood an old man, who I could only see from behind, who was wearing a flat cap, slacks and a creamy-beige coloured overcoat. He also carried a brown leather suitcase that was bulging open due to bit being overfilled. From a crack in the case’s opening, I could see a dead flamingo’s leg poking out, which the man snapped with a loud crack and attempted, but failed, to bundle back into the suitcase. After doing this, he headed towards the brown, wooden front door at the end of a beige hallway. I approached him as he headed towards the door, and he turned to face me, revealing large, silvery eyes and a dark, blank face that made it look like he was wearing a gas mask. He asked whether I had given the flamingos the message or not, and I replied that I had. He seemed pleased, and on my asking, he gave his name as Marchin. Then his appearance changed to that of a very muscular, middle-aged man wearing a green, military-style vest and a balaclava. He said something hard to recall about having to change his plans, as he was going on the run after apparently ordering some kind of ‘hit’ on the flamingos. Then, he picked up the receiver of an old-fashioned cream-coloured telephone with a plastic dial, and entered the number 7492 into it before hanging up without saying anything over the phone. Following this, he left the house and drove off in a scruffy blue car with the license plate Y161LLP.

Notes

The appearance of a plane flying over somewhere I assumed to be the Pacific Ocean represented a huge departure from the previous visions. The message in the bottle and the response of the flamingo’s leader suggested the flight issues planes have with flying over extreme northern and southern latitudes due to magnetic unreliability rather than birds, making me consider that both the message and the bird were simultaneously referring to my own travels by plane. The name given by the man in the house, which he pronounced ‘Marchin,’ resembles that of Machin, a spirit from the Livre des Esperitz who comes as a strong man who can transfer one from one region to another in an instant, which are both highly relevant to the content of this vision. Machin’s alias names across the Pseudomonarchia Daemonum, Lemegeton and Book of Offices are Maxayn, Marshiones, Mathias, Mathim, Bartyn, Barton and Bathin, and he is attributed to the spirits of the East under Oriens.

The last square to reveal a number of some kind was that which related to Horses, which gave the number 5932, which I equated (by analysing the numbers 5 + 9 + 3 + 2 = 19, and 59 + 32 = 91) to the gematric value for the term ‘enemy angel.’ In the case of this square the number dialled into the phone was 7429. Dividing this number into two, as I did with the Horses square, the following gematric correspondences present themselves: 74 = דיין (diyan) ‘leader,’ and 29 = דכה (decah) ‘is broken.’ This feasibly relates to the bird that the ‘Marchin’ had stuffed into his suitcase, which could have been being the white dappled ‘leader’ I spoke to on the Alaskan beach. That its leg was snapped symbolically refers to this ‘leader’ becoming ‘broken,’ which was a crime that Marchin, in his disguise as an old man, had to flee into exile for. The nature of his crime was then expressed esoterically in the index of the car he made off in, Y161LLP, reflected the gematric value of 161 expressed in the Hebrew word מנוסה (menosah), ‘flight,’ which relates to the themes of flying and fleeing that were present in the vision. The other letters present Y, L, L and P, then presented the value of 150, which equates to the words כנף (kenap), ‘wing’ and כפן (kapen), ‘to twist or bend.’ Together they add to 311, איש (aish), ‘a strong one,’ ‘oppressor,’ ‘warrior.’

Precisely what this crime of organised deceit, murder and flight relates to remains a mystery, though cranes (which here were presented as flamingoes) were equated with a sentry-like function by Pliny the Elder, and are thus a symbol of spiritual vigilance.

This square featured the first appearance of the servitor Malach, whose name may either derive from the Hebrew מול (mol), meaning ‘against’ or ‘opposed,’ or from מלאך (malak), ‘angel.’ Curiously, this fits with the numeric expression of the concept of the ‘enemy angel’ transmitted in the square relating to Horses. An extra note worth considering is that the only other square to feature a code expressed by a four-digit number was that relating to a vision of Horses, which, as mentioned previously, was a function that was misattributed (accidentally or otherwise) to this square. The ‘Horses’ square also featured the element of running away or fleeing, as was expressed in the word ARIKA and its connection to the Hebrew ערק (ariq, meaning ‘bolt’ or ‘run away’) and its associated word עריקה (ariqah), meaning ‘defector.’ In this square, the aspect of ‘running away’ was evident in Marchin’s quick escape in a battered old car, while in that of Horses it was evident in the spirit’s ‘bolting’ upstream first as the strange unicorn/zebra combination and then as the water snake. There was also a degree of somewhat antagonistic, contrarian elaboration of the animals that were supposed to appear in both visions may be significant, with the square that was supposed to deliver a vision of horses instead presenting a surreal zebra-unicorn, while that of cranes instead produced bright pink flamingoes.

In all, the strange mysteries that link these two squares may reveal an esoteric and hidden connection between them (perhaps related to the meaning behind the name of the spirit Nolom), that is hinted towards in their being mixed up with each other.

The square was constructed with the Moon at 26º Pisces and concluded when the Moon was at 17º 51’ Aries, which is very close to the position of 18º Aries that the moon was cited as being at in the vision of Wild Animals. Like this vision, that one featured décor that appeared to be date to the 1970s or 80s.

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.’

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.