XXXIX: Dogs

Cerberus

XXXIX KELEF

Servitors: Lagasas, Ekalak, Kelen.

The word at the outer edge of the square, KELEF, derives from the Hebrew כלב (kaleb), meaning ‘dog.’ The spelling given here, with an ‘F’ as the final character reflects the soft ‘v’ pronunciation of the Hebrew letter beth, the word KELEB would be more accurate. If this variation is accounted for, the reversal of this word in the bottom row, FELEK, may be seen as an expression of the name of the Moabite King Balak, who commissioned the Mesopotamian sorcerer Balaam to curse the migrating Hebrews. Phonically, it also resembles the name of the Lemegeton spirit Valak. The name in the Central Square is a palindromic truncation of that of the spirit Lagasas, whose name derives from the Greek Λαγός (lagos), meaning ‘hare.’ EMAGE in the second row may be a variation of the Greek μαγεία (mageia), ‘magic,’ while its reversal EGAME may come from the Hebrew אגם (agam), ‘lake.’

Other notable meanings attached to the word in the first line are found in Mathers’s interpretations of Greek and Hebrew, with the spirit name Kelen being cited coming from the Greek ‘going swiftly, as in a race’ (though it is closer to Κελεός meaning ‘to order’ or ‘urge’), while a spirit named Kele, who comes under the joint rulership of Asmoday and Astaroth, is purported to come from the Hebrew for ‘to consume,’ which may come from the word לכלות (lakaloth).

The word KALEF is also found in Chapter 5 of the MSA manuscript, appearing in the Square that causes familiars to appear in the form of an ape, though the MSW manuscript associates it with the appearance of a lion in a Square that closely resembles the one that causes visions of dogs. As the following Square in Chapter 5 of the MSW causes familiars to take canine form, it is possible that the associations made between this Square with either apes or lions are erroneous.

KELEF2

The Vision

A small black and white dog was seen wandering alone across a moor at night. Larger, more dangerous dogs were hunting it, their howls and barks loud on the wind. Then the small dog uncovered a human corpse lying in the grass and proceeded to feast upon its flesh until it was stripped bare, growing braver and stronger with every bite. When it had finished, the dogs gave up their hunt, for the distant scent of human flesh had faded. The small dog was fearless now and proceeded to eat the eyes of the corpse from out of its sockets, then consumed the brain from out of its cranium. Having eaten the brain, the dog developed a human perception of the world. With my own conscious thoughts now melding with those of the dog, I took the skull from the ground and looked into its hollow sockets and saw small flames flickering in them for a few seconds.

When the flames were extinguished, I walked into a forest grove and lay the skull upon a stone altar there. As in the vision of Vultures, there was an inscription visible on the stone that was carved into it in Runic script: this time it read PEIRIOS. After this inscription appeared three Tyr runes, which prompted me to look up into the sky in the direction that their ‘arrows’ were facing. Lying on my back, I watched the heavens turn and the most prominent constellation was that of Orion. With him were his dogs, Canis Major and Minor, and they were chasing the Hare, Lupus, around the sky. I realised this scene to be the true representation behind the repeated hunting scenes evident in these visions. They represented the celestial hunt of the underworld giant and his psychopomps, the rotation of the Earth, the seasons and the cycle of day and night.

Then I saw the chase of the hunter, the dogs and the hare continue into the underworld as the constellations dropped below the horizon and the Sun rose with the dawn. I watched the Sun in silence and understood, as its rays shone upon me, that the Squares in this chapter reveal means to uncover the gateways into the underworld. With this understanding came the instruction that I should ‘invoke the dog,’ the guardian of the gates of the underworld—Cerberus—to pass into that domain.

Notes

Checking the diary I kept before starting this project revealed that the Moon was in Cancer when the initial prompting came to explore all thirty-nine Squares of this chapter through the medium of scrying. The Moon’s appearance in this sign is my prompt to conduct regular work with the spirit Naberius, which the Pseudomonarchia Daemonum reveals to be an alias name of the daemon Cerberus, the guardian of the entrance of Hades. That the sequence of visions ended with a referral back to this work may be a verification of the influence of the spirit on the entire exercise.

The morning on which I made that decision came with memories of a dream in which I had died in a plane crash and was wandering at the peripherals of the underworld and was searching for the correct door through which full entry to that domain could be gained. Of the edges of the underworld I noted:

There was a happy feel about the place, as I was with good, but anonymous, companions who I was working with to get to the correct destination.  With them, I climbed a wooden stairway from a low level in the place between heaven and hell. As I climbed, I wondered if N was dreaming about me as I was dead and she was still alive, so decided to send her a dream message to her to pass on to family stating that I was OK and was just looking for the right door, so they should not be concerned about me as I was in the company of good friends and as long as I remained true to my own heart I would make it to the right place. Emotional music played which sounded like the opening piece of a Bach violin concerto.

Later that day, on working with Naberius, I noted:

Performed thirty minutes meditation with the seal of Naberius carved into the altar skull as the meditation object. After knocking at the castle gates and entering the chamber, there appeared a strong, flashing mauve aura all around the altar and the skull seemed to move around and become very ‘alive’ as the visual effects kicked in. I was aiming for stillness and only making note of the phenomena that occurred, which involved seeing leaves in the eyes of a skull which became a forest floor concealing a dead body. Soon after, a female voice, slightly northern, said ‘Where were Jack and Jason found?’

Visuals in the surface of the skull included two different men’s faces, a prominent cat, a horse and, briefly a fish or whale. The wall behind the altar took on a reflective quality and I could see the outline of two human shapes in it… I recalled that Jason was the captain of the Argo and was ultimately found in Colchis, the land of Medea and the golden fleece, so his name perhaps represented underworld traverses… and that Jack the Giant Slayer was found in a castle set high in the sky.

The received word PEIRIOS engraved on the tombstone may come from the Greek Πειραιεύς (Peraieus), which roughly means ‘the place over the passage’ and is a famous port.

The Square was constructed with the Moon at 3º Sagittarius and scried with the Moon at 21º Aquarius.

XXXVIII: Rabbits

Centaur Hunting Rabbit

XXXVIII ARNEB

Servitors: Nagar, Negen, Mara, Igarag.

The word on the outer edges of the Square, ARNEB, comes from the Hebrew ארנב (arneb), ‘rabbit.’ The spirit name evident in the Central Cross can be interpreted as either that of Nagar or Negen, though the perfect use of palindromes throughout this Square suggests the that the letters NAG, representing Nagar, are the most meaningful. Nagar’s name derives from the Hebrew נגר (nagar) denoting ‘liquid’ or ‘flowing,’ while Negen derives from נגן (negen) meaning ‘a musician.’ RIAME may be a derivative of ראים (raim), meaning ‘seeing’ and has a connotation linked with mirrors, scrying and visions.

The Vision

I saw a white rabbit, more suitable as a family pet than a wild animal, alone in a wood. Knowing that predators were after it, it sniffed the air and grew afraid. It dug a hole in the ground to hide and made its way into a warren where other rabbits told it that it needed to change its skin if it wanted to survive. These words of advice were followed by what looked like a great mound of white flesh being ripped open by a grotesque, yawning wound from which no blood flowed, as though it was the flesh of a corpse. From inside the pale, fleshy mass, a pallid face was visible which had milky-white, lidless eyes. The torn flesh that surrounded the head of this being enveloped its chin and scalp like a grotesque helmet before changing its appearance to that of a gaping shark. The figure that wore this apparel around its head then stood to its full length, its mouth by the lower jaw of the shark’s head and said ‘I am your nature’ to me in a whispering voice, and communicated that it was a god of the sea. It then towered up above me and, looking up, I saw the inside of the shark’s mouth, its rows of vicious teeth lining the inside of its skull like thousands of rows of white stalactites in a cave.

Then I was standing in the wood again and before me was a centaur. Gesturing to the ground it said to me ‘shall we get that thing out of there?’ and I agreed that we should. It then caused a small explosion on the forest floor and revealed something akin to an underground laboratory rather than the warrens that the rabbit had fled into in the space below the earth. The place was old-fashioned and ruined and bundles of loose wires were strewn from the archaic machinery that furnished the lab. I asked the centaur if it could fix the place and it said that it could and after a short delay filled with strange, disconnected visions—which included me looking into the lens of a pair of mirrored sunglasses and seeing someone else’s reflection looking back at me—the centaur announced that the equipment was now in working order. All over the floor were scores of small robots, which proceeded to flicker into life with LEDs flashing and with gaits like those of clockwork toys as they walked. The spirit prompted me to command the toy robots out into the world and give them a task to accomplish. This I did, and once this was done, I found myself standing behind a tall man in a hotel lobby whose presence was causing great fear to the guests and staff there, and some sort of havoc started to be broken loose just as the vision ended.

Notes

Like the previous experiment, there was something hidden beneath the forest floor in this vision. This time however, the lifeless automatons that were there were brought to life with the assistance of a greater spirit, who, considering his appearance as a centaur in the woods, may have represented the Lemegeton spirit Barbatos. The loosing of the robots found in the underground laboratory was akin to the releasing of many spiders from a cleft in the Earth in the first of these experiments, which gave visions of A Beautiful Lawn. The appearance of a shark-like spirit was similar to the monstrous water spirit that appeared in the visions of A Vineyard and Peacocks. That this foul-looking monster was submerged in flesh and said ‘I am your nature’ on being released from it may be of some kind of significance. Also significant was the assisting spirit asking me if we should ‘get that thing out of there,’ which may have been a form of exorcism ridding me of a parasitic entity or emotion. The fixing of broken machinery inside an underground lair may have referred to inner processes of the mind or brain and the coming to life and sending forth of small robots may have been the releasing of a magical force designed to assist with a specific worldly objective. The underground machinery and clockwork motions connected with it is also reminiscent of some of the events seen in the vision of A Village.

The Square was constructed with the Moon at 5º Scorpio and scried with the Moon at 14º Scorpio. Notably, this is a malefic water sign.

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.

XXXVI: Foxes

Fox Luring Birds

XXXVI SUHAL

Servitors: Holop, Lagasas, Schalluah Alagas.

The word at the outer edge of the Square, SUHAL, derives from the Hebrew שועל (shua’al), meaning ‘fox’ and ‘cunning.’ The name in the Central Square is a palindromic expression of that of the spirit HOLOP, which originates in the Hebrew חלוף (cholup), meaning ‘transitory’ or ‘ephemeral.’ The word in the second line, UGOMA, may be a derivation of עגמה (ogmah), meaning ‘grief,’ ‘sorrow,’ ‘distress’ or ‘anguish,’ while the reversal of SUHAL, LAHUS, may relate to the root word לחש (lachesh), denoting a ‘spell,’ ‘whisper,’ ‘hiss’ or ‘murmur.’

The Vision

The vision was slow to come, which has not been the case with any of the previous thirty-five experiments. When it came, it began in the same room I was performing the scrying in, with my attention being drawn to an empty bottle of wine on my windowsill. In the vision, I moved to the window in my subtle body, picked up the bottle, then placed it on the floor before me. With it moved away from the window, I was now able to leave exit through it and explore the neighbourhood.

The area I live in has wild foxes living nearby, which I often hear them crying at night and have seen the large dog fox wandering around scavenging several times. In the vision, I found him in one of the places I have seen him before and followed him to the heath a few hundred yards away and followed him into his den. His vixen and cubs were all inside, as were the bones of the dead birds they had feasted upon. On leaving the foxes den, I found myself in the most remote parts of the Heath looking south towards the city. It looked abandoned and seemed to be behind a grey gauze of mist that froze it in time. No people were anywhere to be seen on the Heath either, which is usually busy with runners and dog-walkers.

Standing alone in this desolate version of my familiar world, I realised that foxes and crows were approaching me from all around. I found myself in possession of the wine bottle from the beginning of the vision again and now found it to be full, so I emptied its contents around me in a large circle and sat inside it and waited for the animals to arrive. They confirmed, as they came, that they were not animals, as none of the beasts in these visions have been, but were the spirits and daemons of the land which had been drawn to me because of the magical activities I’d performed in the area. I realised that the circle of wine I had poured on the ground was also an offering to them and that I should ensure to make such offerings to the spirits of the places I work to appease them. This is something I have done for specific spirits in the past, but here I was informed that I should do likewise for the non-specific ones too. As part of my works, I have left offerings of raw meat in certain places, and on one occasion, my doing so was followed very quickly by the appearance of the local dog fox, which no doubt tucked into the meat I had left out. I have also found myself feeding some friendly crows on the Heath on one occasion, so believe the appearance of foxes and crows in this vision very much represents the food I have given those precise creatures on occasion.

Once I had understood that I was being guided towards doing such practices, I had a vision of the Hebrew letters מון which quickly transformed into the letters סון as soon as I attempted to inspect them.

Then the vision changed somewhat, and I found the Heath had changed its appearance into a wilder landscape where I stood on the slopes of a long hill. There, the form of the letter ן from the previous part of the vision transformed into a wooden signpost that pointed to the bottom of the hill. From the signpost to the hill’s base ran a long fence which led to a white rabbit. Seeing it, I turned into a fox and chased it into a hole in the ground that ran beneath the fence. Rather than turning into some wild pursuit of ‘following the white rabbit’ however, I cornered it and devoured it straight away. Once it was eaten, I exited the hole on the opposite side from that which I had entered it through and found myself on the other side of the fence. There, the skies were not grey as they had been on the western side of this divide but were blue and clear. I transformed myself back into human shape and walked along the lush green and damp vegetation until I came to an electricity pylon. The air around it darkened, and it buzzed with the sound of water drops landing on its conductors. In response to the sudden change of climate around the pylon, I changed my form to that of a crow and flew to its top. There I saw that the grey mist only gathered around the pylons that had been built across this landscape, forming a criss-crossing network of misty streaks. Looking to the south I saw a human settlement coming to life, but it was no longer that of the city but of a small town set within a wide valley.

Then, all turned black and the white face of a devil appeared from the darkness and projected the name Agrim to me. Then the image of a goat appeared, and an inner voice spoke of its importance due to it being able to devour and digest all kinds of things. It then trotted away and pacified itself in a bed of leaves where it took on the form of a lamb. And this is where the vision ended.

Notes

Of the servitors who appeared in this vision, Alagas—like Lagasas, who also appears here—has a name that comes the Greek λαγάς (lagas), meaning ‘a hare hunter,’ which fits well with the appearance of a rabbit being devoured by a fox. A spirit previously unseen in this sequence is Schalluah, whose name may derive from the Hebrew שלוה (shaluah), meaning ‘peace’ or ‘serenity.’

The Hebrew words מון (mun/mon) and סון (sun/son) are nonsensical, but appear to be rough transliterations of the English words Moon and Sun.

The name Agrim given by the white-faced devil towards the end of the vision may reflect the Greek word άγριος (agrios) meaning ‘wild,’ ‘savage,’ ‘ferocious’ or ‘lupine.’ The goat becoming the lamb appears to relate to the satiation of the spirits from being fed offerings, which led to their pacification.

The Square was constructed with the Moon at 26º Pisces and was scried with the Moon at 3º Aries.

XXXV: Vultures

Carrington

XXXV Vultures

Servitors: Izozon, Iuar.

The word in the top row, AIIAH, resembles the Hebrew איה (aiah), meaning ‘falcon,’ ‘hawk’ or ‘kite,’ while that of the bottom row, RAIAH, resembles ראה (riah), meaning ‘vulture.’ The word in the first column, AIIGR, may derive from אגור (agor) ‘hoarded,’ ‘accumulated,’ or ‘collected,’ while the word in the fifth column, HAIIH, may come from חיה (chiah), meaning ‘animal,’ ‘beast,’ ‘brute’ or ‘life force.’ The name in the Central Cross is that of the spirit Izozon and takes its meaning from the word זוז (zoz), meaning ‘move,’ ‘stir’ or ‘go away.’

The Vision

I saw a vulture sitting in the branches of a dead tree that looked as though it had been struck by lightning. The tree was set atop a bald hill which looked like the crown of a skull from which the flesh had been stripped away, while the vulture looked fat and satiated. Around the foot of the hill grew wide stemmed grass, almost as thick as reeds, and strewn among that grass were fresh entrails. Above the scene, high in blue skies with white and grey clouds, circled other vultures, though they did not dare approach the pickings of this mighty bird.

In the midst of the entrails lay a wolf, dying, its innards strewing forth from a rent in its abdomen. I approached the wolf as it lay at the edge of death and took mercy upon it, healing its wound and bringing it back to life. I asked what creature had done this to him and he replied that it had eaten one of the vulture’s young, which then proceeded to tear its way out from inside of him. The vulture sat in the tree above him waiting for him to die so it could feast on him. I saw a clock at this point and its hands stopped at the moment I healed the wolf. The time on that clock read 5:29:27. The vulture informed me that in thirty-three seconds time, at 5:30 exactly, the wolf would have died and it would have feasted upon its carcass, and that I had made a great error in depriving it of its meal. I said that it looked well fed enough as it had feasted on the flesh of the hill, leaving nothing but bare bone there, but it replied that it had not taken any sustenance from this great banquet, but had only eaten of it to open the gateways of death. As the lands were bare of all other life, the vulture told me that I would now be its next meal and it would stalk me until my death, which would now be hastened greatly. I informed it that my death was far away and that my ally the wolf would help preserve me. ‘But see how he slinks away’ said the vulture, and I turned to see that the wolf was departing.

I caught up with it and found that it was not fleeing from me, and that the vulture was trying to remove my hope and faith in my new ally. To prove this, the wolf bade me ride upon its back and took me to a grove where he and his fellows lived. There, I could take refuge from the stalking vulture who could not enter that place. In the centre of the grove was a well, the waters of which shone with the golden light of the Sun. On the stones of the well, each character set one-sixth of its circumference apart, were written the runes ᚴᛁᚦᚭᚱᚭ which the wolf informed me should be engraved onto a drinking vessel containing water drawn from a spring. This would keep the vulture and the forces of death at bay and would keep me healthy and rejuvenated.

After this, the sky grew dark and the wolf and his kin departed the grove to hunt by the light of the Moon. Left alone, I saw the vulture in the eaves of a cedar tree high above me, though its guard was down and it had fallen asleep. Seeing this, I departed the grove, escaping my hunter, and the vision ended.

Notes

While the runes were Germanic, the word they spelled was Greek, being κιθάρα, (kithara), the word from which ‘guitar’ comes. This was traditionally the instrument of the sun god Apollo, who exchanged it with Hermes for his Caduceus. It is therefore a solar instrument and relates well to the well-water that shone with the light of the Sun. The appearance of wolves and birds may also prove related to the spirit Barbatos, who knows the languages of dogs, birds, oxen and other beasts, and who is also associated with the woods, hunting, stringed instruments (the name Barbatos may derive from the words Barbiton and Barbat, both of which are stringed instruments) and the principles of magical protection. This I take as the fulfilment of the promise of a message delivered to me by that spirit in a previous work that he would deliver me a meaningful message at a designated place or point in time. The magical formula given will therefore be incorporated in a practical manner to obtain the benefits described. Runes were developed as a writing system by the Etruscans and were based on Greek characters, so a link between Runic and Greek script is not unfeasible.

It is also notable that the name of the Book of Offices spirit Ozia appears in the Square. Ozia comes under the rulership of Egin and can teach all manner of arts or sciences, invisibility, grant the favour of enemies and can carry one from one place to another, so there are also connections between his abilities and the events that occurred in this vision.

The Square was constructed with the Moon at 8º Aquarius and was scried with the Moon at 13º Aquarius, where it was conjunct with Mars. With the wolf being a Marsian creature, it is possible that the appearance of the wolf was a manifestation of the influence of that planet over the vision.

XXXIV: Unicorns

Stag and Unicorn

XXXIV REEM

Servitors: Elmis (Helmis).

Dehn’s notes state that the Word REEM denotes ‘“Unicorns” and also beasts of the beeve kind, Buffaloes, etc.’, though the technical translation of the Hebrew ראם (rem) is ‘oryx,’ being a type of antelope, as well as ‘buffalo.’  ELZE in the second row resembles the Hebrew אלץ (eltz), ‘to force,’ ‘compel’ or ‘restrain,’ while its reversal EZLE, may derive from אצילי (etzili), meaning ‘noble.’ EILE in the third row resembles the Hebrew איל (eil), meaning ‘deer,’ ‘stag’ or ‘hart,’ concurs with the line of symbolism featuring horned beasts of both a natural and mystical nature evident in the Square’s primary word.

There is no Central Cross in this Square, though with the only spirit whose name approximately fits into it being Elmis (LBA) or Helmis (LBW), it is he who influences this Square. This name likely comes from the Ancient Greek ‘ελμις, meaning ‘worm.’

The Vision

A great white unicorn rushed from the East, bounding speedily over plains of grass to enter the forest from the previous vision. I was still merged in essence with the flame at the top of the great white column, which I now realised to be symbolic of the white horn of the Unicorn, for this was its dwelling and place of power. It rushed back there on becoming aware of the mingling of the Sun and Moon which was occurring there. Rushing in from the West came a Stag, great in stature, but lesser than the Unicorn. On their arrival, the flame I burned in was extinguished and I fell to the ground from the top of the tower, landing on my back. As the world faded to a narrowing tunnel of darkness, I saw the eaves of the trees and a pale white sky above me, and as I died I saw the Unicorn and the Stag looming over me, each one of them licking my face with their rough tongues.

Then I became detached from the world and hovered up over it until I rested in a great black void. I watched on as the Stag and Unicorn reared up at each other and locked horns. Although the Stag’s antlers were greater, it began to diminish in its size as the Unicorn grew larger, until, defeated, the stag departed the grove and headed back into the West.

Then I saw that the darkness before me had become a great sea that I was hovering over in the form of a crow. I swooped down and saw myself in a previous incarnation rowing a small boat over the water, but passed myself by without any communication. Then I landed at the Western shore of the ocean and was greeted by the Unicorn on its sands. Her colour was now entirely silver and she told me that she was my sister, the Moon, and we had culminated our journey together in the western lands but must now venture under the waters and cross the ocean again. I saw that this journey between the East and West was an endless cycle and asked her if it would ever cease. She answered that its end would only come when Nothing Else Is. Then I climbed up onto her back and rode beneath the sea as an embodiment of the Sun, our light mingling into one. Beneath the waters we saw great venomous fish about us, then came up on the opposite shore far to the East. There, she told me we must depart again, for she must go ahead of me, but soon we would come together again for a short time.

Then, suddenly, I was back at the top of the tower of the white horn and watched the Unicorn and Stag meet in the grove at its base once again. I fell from its top, as I did before, but landed on the back of the Stag this time, who bore me away into the woods. Riding it, I was made incarnate again, and became a great hunter, and all of the dark spirits that haunted the woods retreated from the sound of the great horn that I blew. The stag was violent, strong and wild in nature, and was silent and uncommunicative. When he set me down at the edge of the forest, the vision ended.

Notes

The theme of the North and South and Sun and Moon mingling as opposites in the last vision was continued here with my coming together with a female unicorn which represented the Moon while I shone with a Solar light. The passage across the Sea, which had been attempted and failed in previous visions, was now completed following the process of death, with the Unicorn acting as the means of resurrection, as it does in legend. The passage from the shores of the underworld to those of the physical world after a brief sojourn there represented the cycle of reincarnation as well as that of the solar and lunar revolutions and cycles. The mingling together of male and female or Sun and Moon was relevant to the timing of the scrying as the Square was constructed with the Moon at 6º Libra and performed with the Moon at 23º Libra, 7º away from the Sun, with the New Moon having occurred this day at 04:46 London time at 15º 48’ Libra. On this occasion, the Square was constructed during the planetary day and hour of the Moon after performing the Ritual of the Hexagram invoking Luna.

On being reincarnated back into a physical form, the ‘death cycle’ of the visions appeared to come to an end, with the stag representing the incarnated soul, as it does in alchemy, whereas the Unicorn represented pure spirit. The Earthy, masculine nature of the Stag seemed to concur with this, with my reborn self taking on qualities of renewed power and vigour in the material world, with my form being feeling somewhat akin to that of Cernunnos or Herne on my return, which also paralleled the mythos of the Wild Hunt that has been apparent in visions such as that of A Hunting Party and Paddocks and Fields.

XXXIII: Dragons

william_blake_-_the_great_red_dragon_and_the_woman_clothed_in_sun_1805-1810_40x32_5cm_national_gallery_of_art_dc.800x0

XXXIII TANIN

Servitors: Negen, Sigis, Gesegas, Nasi, Lagasas, Isagas.

The primary word on the Square’s outer edges, TANIN, comes from the Hebrew תנין‎ (Tannin), meaning ‘dragon,’ ‘serpent,’ ‘a monster’ or ‘a sea monster,’ though its ultimate root is תן (tan), denoting a jackal or any other fell land animal. The secondary on word on the outer edge NINAL may expand the watery connotations associated with the tannin, in its possible expression of NIN as the Hebrew letter nun, נן—which derives from a Phoenician pictogram that represented a fish or water serpent—and the divine suffix AL to represent a ‘fish god’ or divinity of the waters such as Dagon or Atargatis. The spirit name in the central cross is that of Negen, whose name comes from the word נגן which denotes ‘a musician.’ The word in the second column and row is also of importance as it comes from אשף (asep), meaning ‘a wizard,’ ‘a magician’ or ‘a sorcerer.’ In the original Square, the second row actually featured the word ASEPIN, which is the pluralised form of this word, but the ‘N’ at the end was removed as it would not fit in the Square and is also accounted for by the appearance of the letter ‘N’ both above and below the final ‘I’ of ASEPI.

The Vision

After invoking the Four Kings, the Dragon I visualised Egin sitting upon swooped down from behind me in the North and took me to the South over many fields and old castles before setting me down me to a thick forest. I climbed down from its back and stood at the eaves of the wood from which the sound of drums and wooden percussion instruments could be heard. I was reticent to enter the forest, which was filled with tall, straight trees that were planted in neat lines very close to each other, thinking that the dragon would incinerate the trees with its breath as soon as I set foot in it. On detecting this thought, it brought its enormous maw up close to me and told me that it could tear me apart easily enough if it meant to destroy me and urged me on. I raised myself up to look over the thick growth of orderly trees and saw that their heights were all also perfectly even. In their centre, in a grove, stood a tall white column, as sharp as a spike. I knew that this was where I must head.

I made my way through the woods and found it very difficult to walk through, and also found the vision, difficult to keep my concentration on as I attempted to walk through the trees, as though the whole vision would end any moment. I persevered and after travelling into the woods a little more, saw bloody human heads, from which all of the flesh had been gnawed upon the forest floor. The sound of the drums, which had not ceased since my entering the wood, now suggested the presence of cannibals. Then I came to a trough where all of the trees had been knocked flat to the floor by some great monster. Here I saw that the trees had fallen to form the shape of a great ribcage. I followed the direction of the carcass of this strange creature that was at once tree and bone, that was set at a crossroads that ran from west to east. Turning to my right, I headed east and came to the forest’s edge. The trees thinned there, and I recognised that part of the woods to be where the eagle had set me down in the previous vision. I saw the cliff line running away to the direction of the village where dragon meat disguised as that of buffaloes was sold and saw the sea before me where the buffaloes had dived down into the water.

Realising that my coming here had diverted from my goal, I re-entered the wood, came back to the wooden rib cage at the crossroads and ventured south again. I came to the tall white tower and saw that it was fastened to the earth by four white clamps, each of which ran in each cardinal direction. The tower tapered to a point, at the top of which a candle flame burned. I entered the tower and was elevated straight to the top where I found my essence merging with that of its flame. From that vantage point, I looked out in all four directions. To the South, before me, I saw the great watery dragon, Baltharin, in the waters, and also the island where the pig demons roamed far in the distance. Around to the West, I saw the great ranges of mountains with the chanting witches who lived in the thick forests at their feet. To the North, I saw the dragon who had set me at the forest’s edge and beyond him, the great plains, rivers and meadows, where I had seen the Lawn, the Beautiful Garden and the Bridges, Steers and Farm Buildings. And to the East, I perceived the forests and trees bordered by the rough wastelands and waterfalls where I had seen the Grape Plant, Vineyard and the Rose Garden. Here, in the centre of all of these things, where neither dragon could go, I connected with both of them, acting as an intermediary between them, and merged both of their essences as one in my fiery body.

As I gazed upon Baltharin in the seas to the South, I saw his body in the colours of blue and white, as I had seen them before, and upon his breast the number 6 was formed. Then, as I gazed upon the northern dragon, I perceived that his names was Larandros and that his black body and yellow breast were marked by the number 9. I understood that they represented the Sun and the Moon from this, and in me the forces of the two were combined and their spirits soared into the air and danced around one another in a wheeling dance taking the shapes of the number six and nine. I understood their names were deeply connected with one another in a way that I needed to figure out if I was to uncover the mystery behind each of their beings.  Then, above me, in the central point between these two forces, I saw that the Sun was directly over my head, as it would be if I stood at the Equator, and upon it was marked the glyph of the Zodiacal sign of Aries. Once the mingling of the essence of the dragons was complete, I became one with the beams of sunlight that came down from the scorching sun above and realised that everything in this world of visions was born of my own psyche and that I, as the essence of its Sun, had dominion over it. Yet all the creatures that lay within, although given flesh by the processes of my own mind and imagination, came from the great darkness beyond the spheres of that world, as, ultimately, did I.

The vision ended with the sight of a brown apple core and empty corn husk being tossed into the earth while the rays of my light shone on them. Then, almost instantly, the patch they were buried in yielded fresh produce in great abundance.

Notes

The vision was set about by a feeling of completion, as if it represented the coming together of all of the aspects of these visions so far, yet there are still six more visions to be seen. As the thirty-third vision, there may have been a mathematical relationship to the numbers six and nine that were revealed, with three plus three equalling six, and three multiplied by three equalling nine.

My place in the central point of the crossroads between the two oppositional forces was represented by my position on that worlds equator, which represents the position of 0º Latitude, mid-way between the tropics of Cancer in the North and Capricorn in the South. The appearance of the glyph of Aries upon the Sun also represented the point of 0º on the East-West ecliptic, where the Sun lies precisely between its Southern and Northern solstitial points. As the point of balance between these Solar and Lunar forces, I was a vessel for their coming together as male and female conjoined into one. Strangely, however, their positions were reversed, with the Northern Dragon representing the element of Earth and the Moon, and the Southern Dragon representing the Element of Water and the Sun. My understanding of these principles is good enough to know this wasn’t my own error, so why this anomaly occurred cannot be explained other than it showing the interchangeability of their essences.

The name Baltharin was previously assessed to mean Lord of the Razor, or similar, though an alternative possibility is that its suffix was not –tharin, as I interpreted it to be, but –thanin or —tannin, which would make it the Lord of the Dragons. The name Larandros represents a Latin or Greek linguistic expression, with Lar– possibly relating to the Lares, who were tutelary spirits of the home and the crossroads. The word Lares has an etymological origin in the Etruscan 𐌋𐌀𐌓, also meaning ‘Lord,’ while –andros either represents a masculine quality or a truncation of the Latin andron or andronis, which relates to a corridor, passageway or hallway. Given the great deal of imagery relating to crossroads in this vision, this seems of potential relevance, but there is also the possibility that the name Larandros means ‘Lord of Men’ in contrast to the ‘Lord of Dragons’ expressed in the name Balthanin.

The Square was constructed with the Moon at 1º Leo and scried with the Moon at 8º Leo.

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.

XXVII: Cranes

Lucifer

XXVII RAMAC

Servitors: Nolom, Mara, Malach

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

The Vision

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

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

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

Notes

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

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

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

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

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

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

XXVI: Giants

nephilim-giants

ANAKIM

Servitors: Ipakol, Imink.

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

The Vision

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

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

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

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

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

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

Notes

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

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

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

KOKOPA

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