XXXVII: Griffins

Griffin

XXXVII GIRIPES

Servitors: Isagas, Trapis, Parelit, Liriol, Asorega, Alogil, Ragaras, Sigis, Pliroki, Laralos, Gesegas, Tolet, Igarag, Ekalak, Ilekel, Aril, Lagasas, Kilik, Elzegar, Alpas

The word at the edge of the Square, GIRIPES, comes from the Hebrew גריפין (giripin) meaning ‘griffin.’ The name in the Central Cross is not traceable to a specific spirit, but closely resembles a mixture of the names Gesegas, Isagas and Igarag. Also notable is the appearance of the word ELOGAPI, which appears to be a derivation of the Grimorium Verum spirit Elelogap and the Lesser Key of Solomon spirit Gaap.

The Vision

I saw a black sky, twilit at its edges, from which a great star fell and ripped the heavens asunder. Beneath the fabric of the torn skies lay another sky, all of which was of the same twilit red and blue as the edges of the sky before it was. Then this sky was torn apart to reveal a brilliant blue dome. This tearing away continued until all that was left was the bare dark of a world of nothingness.

Then a single flame appeared and I saw that I was in a wood at night and the fire was my light and warmth. The Moon glinted white between a gap in the trees and a new world was formed from its light. In this world I found myself sat in a hollow with leaves all about me, beneath which lay a wooden trap door, which opened as soon as I became aware of it and plummeted me down into a musty storage room that laid buried in the earth. In the rooms were many cages housing lifeless sphinxes and harpies which were guarded by a motionless leopard that was sat in the corner of the room.

I noted that these creatures were all chimeras of some form and was prompted to choose one of them to set free. In a gap between the cages I saw the head of an eagle and touched its head. A glyph marked the spot on its head where I touched it which was like a broken square intersected by a triangular arrowhead. The creature came to life at my touch and flew up to the ground where it revealed itself to be a griffin. Behind it dangled a chain that I hauled myself up to the surface with, then used to control the griffin like a hawk is controlled by its handler’s tether. I pulled myself close to it and saw that its right eye was a Moon and its left eye a Sun. Then the Moon went through its phases until it was New and faded to black. In its place another Sun appeared so that both of its eyes shone with a great light that caused the darkened world to become awash with sunlight.

Seeing this, I let the griffin free of its leash and it flew into the skies before descending to a sandy beach where it wrote the word MARIM in the sand in the form of a Cross. Then the sea came in and washed over the letters, but only the letter ‘R’ was removed by the spume, leaving the word MAIM written twice.

MARIM

As the ‘R’ disappeared, so too did the griffin fade over the distant ocean which glittered with a sparkling golden light as it reflected the Sun’s rays.

Notes

The ‘R’ that was washed away by the sea I understood to be a representation of the Hebrew letter Resh, which symbolises the Sun in Hermetic magic, while the word ‘Maim,’ means ‘Water.’ The word left by the griffin in the sand also had the Hebrew ארי (Ari) meaning ‘Lion’ at its heart. The Lion, as well as being a Solar symbol, is the creature that the Griffin’s body is composed of. The word ‘Marim’ also bears a certain similarity to the Latin ‘maris’ meaning ‘sea.’

The new spirits to feature in this square are Parelit and Elzegar. The name of Parelit may have its origins in the Hebrew words פער (pa’ar) – ‘opening,’ ‘gap,’ ‘gulf’ and הליט (halit), ‘cover,’ giving the name the meaning ‘to cover a gulf.’ Mathers suggests the meaning of the name Elzegar is to be found in the Hebrew for ‘turning aside.’

The Square was constructed with the Moon at 28º Cancer and performed with the Moon at 6º Leo.

XXIV: Owls

Hermit

XXIV KIKIMIS
Servitors: Igarag, Mara, Liriol, Lomiol, Asorega, Asmiel, Alogil, Ragaras, Ismerek, Sarasim, Sigis, Girmil, Laralos, Gesegas, Kosem, Iparkas, Erimites, Tolet, Ramoras, Ekalak, Oroia, Romages, Geloma, Ilekel, Aril, Lagasas, Kilik, Isagas, Ipakol, Amillis.

The word KIKIMIS on the outer edges of the square comes from the Ancient Greek κικυμίς (kikumis) meaning ‘a screech owl.’ The name in the central square is that of the spirit Igarag, whose name means ‘frost,’ ‘ice’ or ‘cold.’

The Vision

A small, brown owl appeared sitting alone in a dead tree in a brightly lit but desolate landscape. Sitting in the daylight was painful to it, and caused it to muster its rage at the light, making the outer shell of the sun split into two to reveal a smaller, darker sun that was concealed inside of it. Then this sun split in half too, revealing a black neutron star it which cast no light at all,. With the coming of darkness, the landscape changed to that of a graveyard set in the midst of a circular grove of thirteen dead trees, and on each of these trees perched an owl similar to the one which darkened the sun. Then a voice came from one of the owls declaring that theirs was the time in which the dead would rise to walk the earth, and then, from each of the graves rose a foul revenant. Then, beams of light emanated from each of the owls, connecting them together to form a thirteen-sided star. In its centre stood a black, vertical column with the black star sitting at its pinnacle. I panned out of this scene to see the graveyard become a circular platform which the rising column stood in the centre of giving the landscape the appearance of a spinning top or kaleidoscope. As I noticed this similarity, it began to rotate, then spun faster and faster until the individual owls and trees became an invisible blur and combined their collective image into the vision of a single owl bearing a golden crown which was flying towards me. On its arrival at the edge of the blurred, spinning world it proceeded to try to tear at my eyes and face with its beak, but could not make physical contact due to its being contained within a world that I stood beyond.

Then, the scene changed entirely and I saw the entrance to a cave lying beyond a green marsh. I sensed that there was a bear or other wild animal inside, but on getting further inside I discovered a ruined old hermit in a blue robe wearing a gold crown who was weeping inconsolably. No words came from his mouth, and it couldn’t be determined why he was so mournful. As I approached him he cast himself into a hole in the stone which formed the gullet that lay between the mouth of the cave and a belly-like cavern below. I followed him into the cave’s gut and found him lying in a pile of crowns with sharp prongs that cut into his skin causing his pain to grow worse, though in the midst of his agony he stopped for a second to adjust his crown which sat askew on his head, as if to maintain his pride. Then, as he resumed his wailing, a slew of crowns came rushing down through the stone sphincter of the gullet above us and buried him beneath them, their sharpened prongs piercing his body with a thousand more wounds.

Then the scene changed again. It was night, and all was still and calm with a fresh, sweet-scented breeze. Atop a distant hill stood a windmill, its sails gliding gently through the air, and in a window at its top sat another owl, or perhaps the same one as before. I entered through the window and saw that the owl had moved inside to sit upon a wooden beam that spanned the top of a bare room with a wooden floor. Then the owl transformed its shape into that of a golden-haired woman wearing a blue dress. She climbed down from the beam and moved to a wooden crank-handle, which she turned to cause the sails of the windmill spin with a great speed, birthing a new wind in the air which travelled at speed across the land to the graveyard encircled by trees. All was peaceful there before the wind arrived, with no signs of the risen dead, and the owls slept upon their perches. But when the wind arrived, it disturbed them from their sleep and they woke as one and seemed to grow wrathful again. And this is where the vision ended.

Notes

The Screech Owl cited in the word KIKIMIS is one of the wilderness demons of the Hebrew tradition and an alternative Hebrew name for an owl is a ‘Lilith’ or a ‘night spirit.’ Their desire for darkness and apocalypse reflects their averse nature and their reverting to the form of a single owl after being separated into thirteen separate ones may reflect the numeration of the Hebrew word אחד (achad) – ‘unity.’

The name Erimities present in the square comes from the Greek ἐρημίτης (eremites), meaning ‘hermit.’ This appeared to relate to the appearance of the weeping old man who dwelt within the cave. His blue robe and gold crown are consistent with the colour scheme I’ve noted in previous spirit-work, which also manifested again in the female entity who appeared in the windmill with her blue dress and golden hair.

The servitor Iparkas might be related to the Livre des Esperitz spirit Parcas, known as Partas in the Book of Offices and Foras or Forcase in the Lemegeton. This spirit comes in the form of a fierce bear, a creature I thought I detected the presence of in the cave. He also reveals the location of hidden treasures which may account for the cavern full of golden crowns.

The square was constructed with the Moon at 16º Libra with the sound of owls filling the midnight air, and was performed with the Moon at 17º Scorpio.

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.

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.’