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.

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.

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.

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.’

IX. A Grape or Grape Plant

Red Dragon

IX GRAPE

Servitors: Helel, Moreh, Myrmo, Mara, Helmis, Liriol, Asmiel, Lomiol, Losimon, Sarasim, Iuar, Laralos, Aherom, Ramoras, Aril, Amillis

The words at the top and right-hand side of the square relate to the Hebrew עללה (olelah), ‘gleaning,’ meaning ‘to gather after harvest,’ as in ‘the gleaning of the grapes’ in Isaiah 24:13— ‘the people, there shall be as the shaking of an olive tree, and as the gleaning grapes when the vintage is done.’ The reversing of this word in the bottom and left-hand edges resembles the name of the spirit Helel which refers to a ‘cavity’ or ‘hollow’ but also implicates the Hebrew הלל (halel), a ‘song of praise.’ ERISOL may refer to the Greek ἐριστικός – ‘eager for strife,’ after the goddess Eris, while the words LOSOME and LASOME may derive from the Hebrew לשים (loshim) meaning ‘to put,’ ‘deposit,’ ‘lay down,’ or ‘brand,’ and points towards the presence of the spirit Losimon, which comes from the word לסימן (losimon), ‘sign,’ mark.’

The Vision

The first thing I saw was a grape in very close proximity, which I entered through the skin of to reside inside of, becoming one with the seed that lay inside of it. As a disembodied spirit, I perceived its germ to be no different than that of the embryo of any human or mammal, though I had no volition over my choice of host. Whilst inside of it I was conscious that I was imprisoned in it until it either decayed into the earth or was devoured by some creature. Before long a creature did come, and it was a phoenix, though it was in the form it takes as a mortal bird before resurrection, with red, blue and yellow feathers, a scruffy appearance and eyes that looked like something you would associate with a negative psychedelic experience. The phoenix ate the grape I lay dormant within, but soon I was passed out in its droppings and merged with the soil. I grew into shoots and then a whole vine and then an entire network of vines that spread over the earth until, eventually, I found a large tree to wind the outer tendrils of my vast body around. As I became settled into my new dwelling, I saw the same reddish-brown dragon that I had seen in the vision of A Big Lake, come down to nestle in the upper boughs of the tree. The tree could support any life, I realised as the dragon landed, for its boughs did not bend or shake an inch despite the dragon’s huge weight. On noticing me, it seemed disgruntled that I had invaded its home.

‘I don’t know if I preferred this tree before you came to it or whether I prefer it now,’ it said. ‘I may have to kill you in order to find out.’ I told him destruction would be welcome as I wasn’t enjoying such an existence, then he said it didn’t matter if he let me live or not, as I would die soon anyway, whether it be from a fire, an ash, a flood or by the hunger of some other great beast.

‘Worse still,’ he said ‘man may come and harvest you for his own gain.’ As it spoke, I became aware of the lake I had first seen this dragon flying over through the eaves of the great tree far off away in the distance. It wound its tail down around the trunk to merge with the uppermost part of my vine.

I asked the dragon its name and it replied that it was Tharson, though there was a sense that it may have been saying Tharuson, and that the name had a hermetic origin. I asked if it knew my name in this plant form, and it replied Bonab though he told me my true name was closer to Jerusay. He spoke again of how that existence as we knew it in bodily form was short and inconsequential and that life would end soon. He pointed to the sun after saying this, and I saw that it was pale and obscured by dark, rushing clouds.

‘Its light is running out,’ he said.

Following these words, I saw a man with a monk’s habit and tonsure approaching from a distance. A streak of lightning descended from the dark clouds and struck him dead and I witnessed his soul departing from his body. As this happened, the phoenix who had devoured me earlier appeared close to his body and I thought it was going to feed on the carcass. Instead, it laid a black egg on top of the body, which then sank in through his cassock and flesh and revived his corpse to life, though on rising he was dark-eyed and zombie-like as his soul had already fled.

‘We must be careful what we allow to enter us,’ the dragon said as the monk walked by.

Then, as the monk faded from view, I noticed the crocodile I had seen while experimenting with the square that makes visions appear in crystal and glass. It came close to the tree and snapped off the part of my body with where my thoughts seemed to be coming from and took my consciousness to the lake I had once sailed a small boat over. It swam out to the centre and dived down to the floor where a sealed treasure chest lay. As it opened I saw that the chest was full of gold, then the crocodile put me inside of it and closed the lid. It was glorious inside, like bathing in pure sunlight and, aside from the knowledge that large fish were swimming in the dark waters above me, I felt at peace. I knew, however, that this state was only a temporary one and that I would soon be released into the world in bodily form again.

The grape I saw was green, the type used to make the white wine the dragon spoke of in the earlier vision of the lake, while the crocodile was the same as the one who previously acted as an underworld guide. Here his role was to guide me to the parts of the underworld that the sun passes through in the twelve hours of the Duat as recounted in the Book of Gates, where it passes when it is in its northern position in its diurnal cycle. As my sense in the vision suggested, this is only a temporary phenomenon as the sun rises in the East after dawn, though the imagery of the sun in the underworld has symbolic resonance with the Elemental King Egin/Ariton—who I believed to the spirit which the dragon served in the vision of A Big Lake—who rules that direction. With the sun dying in the sky yet preserved in a pure state in the treasure chest, I believe the crocodile’s role was that of a guide or helper in this vision, which is concordant with the protective role the god Sobek played to the afflicted dead of the underworld. The act of being put away or deposited for safe keeping in such a chest may be the influence of the spirit Losimon, whose name—as revealed above— means ‘to put’ or ‘deposit.’

The phoenix has obvious connotations with the cycle of death and rebirth, though its appearance in the vision as the physical medium of that process is unusual. Its later role as the layer of a black egg into a corpse represents something I can’t quite explain, though the dragon’s warning appeared to relate to the dangers of unwanted entities entering one’s sensorium.

The closest term I could find to the name Tharson or Tharuson, was the Greek Θαρρος (tharros), meaning ‘courage,’ ‘mettle,’ ‘heart,’ ‘elation.’ However, a more significant, if less accurate rendering, is the word κάνθαρος (kantharos) which relates either to a boat or a drinking vessel, probably named as such due to its shape representing that of an inverted beetle. This would be very significant in relation to its other appearance if this is the case, especially considering that the beetle Khephra represented the sun’s passage through the Duat in the religion of the Egyptians. Of additional significance is the name of a worm which bears this name, the cantharis, which is known for the damage it causes to vines and roses. That ‘worm’ is a word commonly used to refer to a dragon and the fact that I appeared as a large vine in this vision may reveal more of uncanny accuracy I have come to experience while experimenting with these squares.

The name Bonab I was given by the Dragon was particularly unsettling to discover the meaning of, as it translates directly from the Ancient Hebrew word for ‘grape,’ בענב (bonab). This name may have been the one that the spirit with the leopard’s head may have been calling me by in the vision of the big lake when it called me ‘Bob.’

Jerusay was a little more difficult to find cognates for, with the closest match being the Hebrew word ירושה (jeruseh) meaning ‘inheritance,’ ‘legacy,’ or ‘heritage.’

Of the names that appear in this square, Aherom is a reversal of the name of Moreh, and is possibly derived from the Hebrew אחר – Akhar – ‘to remain behind,’ ‘tarry,’ ‘to come from behind,’ ‘hind part,’ ‘another,’ ‘strange.’ Another possible etymology for this name lies in it being another expression of the word רעם (ra’am) – ‘thunder,’ as seen in the names of spirits such as Ramoras and Romages.

Curiously, considering the possible meanings behind the name Tharuson cited above, the name of the spirit Helmis comes from the Ancient Greek ‘ελμις, meaning ‘worm.’

VII. A Big Lake

 

misty_lake_display

VII AGAMAGA

Servitors: Alogil, Amillis, Aril, Asorega, Asmiel, Geloma, Gesegas, Gorilon, Igarag, Isagas, Lagasas, Laralos, Liriol, Lomiol, Mara, Morilon, Myrmo (Mirmo), Oroia, Ragaras, Ramoras, Romages, Romoron, Sarasim, Sigis.

The word AGAMAGA at the outer edge of the square is a palindromic expression of the Hebrew אגם (agam), ‘lake,’ while the word forming the central cross relates to the spirit Morilon, whose name relates to the Latin Mori, ‘to decay,’ ‘die,’ ‘wither,’ ‘fade away’ ‘be forgotten.’ Although the Squares as a whole are not without errors of transmission, the fact that the letters in the square are not always perfectly symmetrical should not necessarily be considered as evidence of flaws, as the expression of the ‘titles’ of the square and of the spirit names contained within it—especially the spirit featured in the central cross—are more vital to their operations than lexicographical symmetry.

The Vision

This vision began with a voice from the darkness speaking the words ‘white wine,’ before the image of a golf club was seen striking a golf ball that lay on a lawn to send it flying a long distance away to splash into a lake. Looking down at the lake from above, I saw that it was still and shrouded in mist. I descended upon it and found myself in a small coracle-like boat armed with only a short paddle to navigate its expanses with. As I rowed at a ponderous rate, I became aware of large, placid fish swimming close to the surface and knew that there were hoards of treasure abandoned by wrecked ships on the lake’s floor. I realised, from this, that the lake must have been very large if trade ships sailed over it, so rose up over the scene to take stock of its scope and found myself on the edge of space before I could see all of its shores.

Left bobbing slowly on the vast lake, I found myself wishing that my boat had an engine but realised that although I knew such things existed, they didn’t exist in the world I was experiencing this vision in. It was then that I became aware of a deep, low rumbling noise, like that of a large earthquake, coming from the bottom of the lake. I grew afraid that I would be devoured by a tsunami, so looked around for some kind of refuge, should one come. Doing this, I saw a small island of shale rising up from the surface a short distance away so headed for it and climbed to its top in case the great tidal wave I expected came. At the summit, the shale slid away to reveal a large, lidless eye that was embedded within a toe where the toenail should have been. Attempting to avoid its gaze, I walked around to the back of the eye-toe but saw, from a third-party perspective, that the eye had rotated a full one-hundred and eighty degrees to keep following. I continued in my circle and witnessed the eye complete its rotation with me. With no more deep rumbles coming from the bed of the lake and feeling more afraid of the toe than of the tsunami in any case, I got back in my boat and continued rowing.

After a short time, I saw a large galleon sailing towards me. As it approached, I saw that its crewmen all had the faces of lobsters and shrimps—unclean animals in Judaism—whose gaze followed me in the same way that the eye on the island had. As the ship had almost passed, the last of its crewmen pointed out the direction in which I should sail, doing so as if he needed to keep his actions secret from the rest of his shipmates. Taking his advice, I altered my course until I came to some rocks. After reaching the shore and realising I had not been tricked into wrecking my boat and becoming stranded, I hauled my small vessel onto my shoulder and reached solid land. On the shore I saw the back of a scarecrow that I recognised as a mute, motionless ferryman who I had borrowed a boat from in a previous vision. This vision was experienced during a work which utilised the first square of Book IV Chapter IV of the Abramelin, which is used to create visions in mirrors, glass and crystals. Such was the scarecrow’s redundancy of power that a crow rested fearlessly on his shoulder, but I laid the boat at his feet anyway, noticing as I moved away from it that it now had a pumpkin for a head.

Moving inland, I had a flash of a vivid spirit with the head of a leopard. It called me ‘Bob’ and said words that sounded similar to ‘fonscor scollion,’ which made no sense to me at all. Then the image of the leopard-headed entity faded and I saw a dragon flying towards me over the lake. In fear, once again, that I would suffer harm from, I stood my ground and waited as it flew in to speak with me. It repeated the words I had heard at the beginning of the vision: ‘white wine,’ with which came the image of a chalice with a devil’s head carved upon it. Then the dragon spoke again.

‘When you drink this, you drink his guile and his wisdom,’ it said, then flew away.

As it departed, the pall that had hung over the lake lifted, revealing a bright sunset. From the position of the sun, I realised that the dragon had come from the south and was heading north. I thought of heading into its waters to retrieve the treasures I had sensed lying beneath its surface, but was prevented from doing so by a feeling of trepidation. Then, with the impression of a net of some kind being cast, the vision ended.

The leopard that appeared reminded me of the form of the spirits Haures, Sitri and Ose in the Lemegeton, and on inspecting the square, the name of the spirit Ose—who comes under the power of Amaymon, the King of the South, in the Book of Offices—is clearly represented in it. The phrase it spoke, ‘fonscor scollion,’ made little sense at the time, but may have been a transmission of the following Latin and Greek words: Fons – ‘fresh water,’ ‘a spring or fountain,’ ‘a source,’ ‘a well;’ Cor – ‘heart,’ or ‘soul,’ ‘mind;’ and Scolion – a type of Greek lyric poetry performed as a drinking song accompanied by a lyre. In combination with the appearance of the dragon advising me to drink the white wine that was mentioned at the beginning of the vision from a chalice with a devil’s head carved into, I believe this was an instruction of how rites to a certain spirit should be performed.

I feel this spirit may be Egin, the King of the North, who rides on a dragon. That the dragon flew away in the direction is relevant, but also telling, perhaps, are the names of two of the spirits that appear in this square and the name of one of Egin’s attendant spirits. The square’s servitors Ramoras and Romages have names that may equate to the Hebrew root word רעם (Ra’am), meaning ‘thunder’ ‘rumble,’ or ‘boom’ which account for the deep tremors I felt emanating from the bottom of the lake. Mathers, however, suggests that the former of these names related to the word ramaratz, meaning ‘raised ground’ which might relate to the mound of shale that appeared in the midst of the lake.

This possible etymology is also reflected in the name of the spirit Rodabell or Radabelbes, who is one of the servants of Egin in the Book of Offices. This name, like the ones mentioned above, relates to a Hebrew word רעדב (ra’adab), which has the meaning ‘tremor,’ and thus fits with the deep, rumbling quake that I felt and heard pervading the early parts of this vision. Considering this, it is possible that the dragon, which is the creature that Egin rides, that came was the mount and servant of that King delivering instructions on how to pay him homage.

With the North Solstice and the sun’s entry into Cancer, the sign of Cardinal Water approaching, an experiment will be made on that day to test these theories.

Other spirit names that appeared in this square and their meanings are:

Geloma – גלום (gelom) – ‘personification’ or ‘embodiment.’
Lomiol – לעמול (lomul) – ‘work,’ ‘toil’, ‘travail,’ ‘make effort,’ ‘take pains.’
Moreh – מרה (moreh), ‘bile,’ ‘gall.’
Romoron – from Latin Remoror, ‘delay,’ ‘linger,’ ‘loiter,’ ‘hold back,’ ‘hinder,’ ‘remain quiet.’
Asmiel – ‘destroyer,’ or ‘wrath’ of God. Possible truncation of Asmodiel, King of the East on the Grimoire of Honorius.