SUBLUNAR SPACE - Ritual

Discordian Glass Bead Game

2021-11-22T17:20:00+01:00

Ever since having been plunged into this new level of worldwide conspiracy hysteria fueled by Trumpism and the ongoing pandemic I have thought back to the times in the later 1990s when I was still a teenager hooked on the writings of Robert Anton Wilson that had led me down the rabbit hole of Discordianism. This reality shattering, ever skeptical and tongue in cheek way of seeing the world that I found so inspiring and refreshing over 20 years ago has eventually saved me from drowning in the contrarian plandemic kool aid that online discourse has become in the last few years.

When Weird Studies dropped their epic episodes (1, 2) on Hermann Hesse's last novel The Glass Bead Game I not only remembered how much I had read and loved all of Hesse's works in that same post-adolescent period of my life, but how the idea of the Glass Bead Game has stayed in my mind and fascinated me for a long time.

In the strange years of the naughties that were also soaked with conspiracy hysteria surrounding the terror attacks of 9/11 I rediscovered my Discordian affinities and briefly published blogs with Discordian writings under my discordian "papal name" Episkopos Krishnamürphy Orgonon and reposted these on German language Discordian forums - most prominently the legendary Aktion 23. One of my most popular pieces from around 2006 or 2007 was a simple tabletop game I had invented based on discordian principles and the interdisciplinary idea of Hesse's Glass Bead Game. I found a repost of the original text and translated it into English.

I recommend playing it with your friends. In today's Age of the Feuilleton that Hesse had so prophetically predicted it is more relevant than ever. Here it is. Revived and translated. Please excuse potential post-adolescent naughties cringe.

The Arkona Matata Pakalolo Cabal presents:

Discordian Synchromysticist Glass Bead Game

A game to promote the understanding of reality for 1 to 10 players, ages 5+.

You will need:

5 players - preferably Discordian popes or otherwise initiated eristic weirdos
2 card games with 32 cards each (poker game minus all the 2s to 6s) or any other card game that you have 2 of. It is important that the number of cards somehow complies with the law of 5.
25 glass beads in 5 different colors - or any other objects that can be divided into 5 distinguishable groups of 5 objects. Regardless of the type of object, only "colored glass beads" can be used here!
32 pieces of paper that have to be large enough to be written on and folded up and small enough to fit under a playing card when folded. Each snippet is called "Fnord" in this game. Do not ask why!
Sufficient narcotics containing C2H5OH or C21H30O2 for all players.
Information material: daily, weekly, monthly newspapers and magazines of any age, or even more simply, access to the glittering electric commercial brain called the WWW.
Pseudo-intellectual semicompetence in esoteric rubbish

Game preparations:

Each player receives a glass with liquid containing C2H5OH and some C21H30O2 in any consumable form
Each player receives 5 glass beads of one color
Each player receives 6 pieces of paper
Every player should have access to the information material provided

Game flow:

The cards are in the following order:

Colors: spade (golden apple), heart (love), club (chaote), diamond (bureaucrat)

Cards: Queen (Eris), Ace (Discord), King (Emperor Norton), Jack (Pope), 10, 9, 8, 7

So the highest card is the queen of spades (Eris with the golden apple) and the lowest is the 7 of diamonds (seven bureaucrats). If other card games are used, please define a clear sequence.

The game, like everything in the universe, has 5 rounds called Chaos, Discord, Confusion, Bureaucracy and Aftermath

CHAOS

The card games are shuffled separately.
One of the card games is laid out face down in the shape of a pentagon ("Hodge Pile"). How that works is a secret.
The other deck of cards is placed next to it in the form of an apple for all to see. ("Podge Hile") How do you get the shape of an apple? Use your pineal gland, damn it !!
The player with the longest religious name or title starts
Each player must do the following in the Chaos Round:
place one of their glass beads on any card in the Podge hile
write any existing term taken from "Reality" onto a Fnord, fold it, and place it onto any card of the Hodge pile. The term should be e.g. a prominent name or place, or a special event in current world affairs.
This procedure is repeated in turn until all players have distributed all 5 glass beads.
At the end of the round, when all the glass beads have been distributed on the cards in the podge hile, the player who started writes the terms CHAOS and ORDER onto the last two fnords, folds them up and places them onto two of the seven remaining cards in the hodge pile.
Each player can now label a fnord and place it on one of the free cards.
At the end of the round, all players say in unison: "Chaos is the origin and the end!!" and each player in turn "Fnord!"

DISCORD

Each player in turn takes one of the cards from the podge hile on which one of their own glass beads have been placed in the previous step. The glass bead too, of course!
Each player now has 5 cards in hand.
Each player sorts their cards according to their value
The player with the highest Eris places the remaining 7 cards of the Podge hile that have no glass bead on them face down next to the Hodge pile in the shape of an apple ("Kallisti pile").
The player with the lowest bureaucrat card now turns all the cards of the Hodge pile over so that they are facing up. The folded fnords that were on top of the downfacing cards should be placed back onto the now upfacing cards. (Read this sentence again slowly and aloud.)
The player with the highest Eris now takes the Fnord from the Hodge pile card that corresponds to their highest Eris. So if they have the "Eris with the Golden Apple" in hand, they take the Fnord from the "Eris with the Golden Apple" from the Hodge pile.
The player with the second highest card now does the same, the player with the third highest card, etc ...
If everything went well without casualties now all players should have 5 fnords.
If a player has drawn the Fnord with the terms CHAOS or ORDER (or both), they must also draw one card from the Kallisti pile and swap the CHAOS or ORDER Fnord (or both) with the Fnord of the corresponding card (or both). The additionally drawn cards are not kept in hand (or both), but are returned face up to the Kallisti pile.
The player with the lowest bureaucrat now shouts: "The golden apple has been thrown!" - the other players answer in chorus "Ho - Ho - Ho - Chi - Zen!"

CONFUSION

Each player now buggers off with their 5 cards, 5 glass beads and 5 fnords somewhere where they can peacefully milk their pineal gland undisturbed by the others. The 5 fnords are unfolded and assigned to the 5 cards according to any random principle. (REMEMBER IT!!)
Before the players withdraw, they say goodbye to each other with the words: "Toto, I've got a feeling we're not in Kansas anymore"
Each player now has the task of connecting the 5 terms / names / fnords with each other in the form of an imagined conspiracy theory and to be able to prove this with sound facts, synchronicities, or if this is not so easily possible with the help of esoteric mysteries. Each player should have the opportunity to gather information in order to be able to cope with this task. The internet is the best resource to survive this round.

"Synchromysticism is the art of finding meaningful coincidence in the seemingly mundane with mystical or esoteric significance." - Jake Kotze

"You should pay attention to everything, because you can interpret everything." - Hermann Hesse

The players should agree on a time span in which this task should be completed. This may be between 10 minutes and 5 years.

BUREAUCRACY

If they still remember having taken part in this game the players return from their journey and gather again around the Hodge and the Kallisti piles, given they still exist.
The player with the highest Eris starts to share / read out their synchromystic conspiracy theory to the others.
Every time they have added one of their names / terms / fnords to the conspiracy theory, they place one of their glass beads onto the corresponding upfacing card of the Hodge pile (remember the correspondences of the fnords to any cards in the 'Confusion' ’round). The user also explains why they assigned the name / term / fnord to this specific card.
The task of the other players is to ask questions about the conspiracy theory and to constructively question and doubt it.
When the narrator has placed all 5 of their glass beads, it is the turn of the player with the second highest card to tell their story, etc.
When the last player has explained their theory in a comprehensible manner, everyone shouts in unison: "Nothing is true! Everything is permitted!"

AFTERMATH

In turn, each player reveals one of the hidden cards from the Kallisti pile, takes the corresponding Fnord from the Hodge pile, reads it out loud and places it onto the corresponding exposed card from the Kallisti pile.
The terms CHAOS and ORDER, which lie in the center, are read out, but then simply ignored.
The players should now consider together how they can combine their own conspiracy theories, which they have previously worked out, with the help of the 5 exposed fnords to form a single all encompassing conspiracy theory of everything. The links should be worked out as conclusively as possible or in a synchromysticist manner. When the mother of conspiracies has been successfully established, the game is finished. Everyone has won. Yay. Yipppieh!
The conspiracy theory should now be put down in writing and every player should receive a copy of it, which they can anonymously send to a press agency / esoteric association / subreddit / Facebook group of their choice.
Players discuss the differences in credibility between their developed theories, popular existing conspiracy theories, and what the media is selling as sound truths.
The players agree on a new date for the next round of the Discordian Synchromysticistic Glass Bead Game and say farewell as follows.

The player with the shortest medal title (SP1) starts shouting, then it goes in turn:

SP1: "Gimme an eff"

Everyone: "FFFF!"

SP2: "Gimme an en"

All: "NNNN!"

SP3: "Gimme an Oh"

Everyone: "OOOH!"

SP4: "Gimme an Arr"

All: "RRRRRR!"

SP5: "Gimme a Dee"

Everyone: "That doesn't work!"

Everyone: "Then fuck off, you dorks!"

Everyone: "Bye!"

All players go home, hopefully enlightened and confused and from that moment on they will probably believe in even less than before.

Hail Eris. Ewige Blumenkraft.

Episkopos Krishnamürphy Orgonon, KSC, 23° Epopt of the Erisian Hysteries, Sublime Knight of Immersion, Rabbi of the Sacred Venus Mound, Initiated Prince of Tohu Va Vohu, Protector of the Arkona Matata Pakalolo Kontra Plaza Kabal at the Temple of Zion in the Orient of Berlin.

Helleno-Kemetic Magic: Theoria

2019-12-09T20:30:00+01:00

Third of a series of articles about my careful attempt to recreate a generic framework of Helleno-Kemetic magic. For an introduction and overview check out this article

Version 1.1 - December 13, 2019

In this part I am recreating a technique of contemplative or ecstatic concentration based on commonalities between Jewish, Eastern Orthodox, Coptic, and Sufi methods. On the way we will dive into Kemetic epistemology, vocalizations of baboons, personal experience, and the mysteries of the barbarous names and vowel strings found in Helleno-Kemetic magical papyri. Feel free to skip directly to the praxis part.

Theoria

θεωρῐ́ᾱ • (theōríā) f (genitive θεωρῐ́ᾱς); sight, spectacle, viewing; consideration, theory, speculation, contemplation

Encircling the Heart

Although the Anastasi Handbooks never explicitly mention practices like contemplation, or meditation, there is no doubt about the importance about such techniques in systems of magic, be it for reasons of concentration, getting rid of distracting thoughts and being able to focus the will to modulate the fabric of the cosmos and influence contingency towards a desired intention.

Nowadays meditation practices and mindfulness techniques are readily available, mostly devoid of their "spiritual baggage" and usually appropriated from Buddhist or Tantric traditions of Asia. The theosophical movements of the Victorian era have introduced these schools of meditation into Western traditions of spirituality and heavily influenced magical techniques. The overwhelming discourse about Eastern knowledge about such methods has almost led to an abandonment of similar Western traditions of contemplation and styles of meditation and focus.

Most Eastern forms of meditation popularized in the West are inspired by Buddhist traditions. These are actually deeply connected to their spiritual roots where practicing these techniques are supposed to bring the practicioner closer to realizing that there is no self that is ultimate and immortal, separate and individual¹. This metaphysical concept is in fact quite alien to the idea of an individualized spirit and soul that has been predominant in Europe and the Near East all the way back to the Helleno-Kemetic era.

The fundamental differences in approach of contemplative practice between the East and the West has been nicely described by Mouni Sadhu²:

Nowadays, when we speak about concentration and other occult practices, the Eastern tradition or Yoga often involuntarily comes to mind. [...] in Raja-Yoga the mind and its functions are put before another power in man which is often called 'the heart'. From the start we hear little about feelings and emotions apart from constant admonitions, that both must be dominated and removed from the field of consciousness of a Raja-yogi. This happens because of an assumption, that if the mind, as superior to the emotional counterpart in man, has been subdued, the lower one - also called the 'astral-body' - will automatically be controlled. [...]

As the Eastern occult schools treat concentration as a means of achievement for the highest goal, so the mind takes precedence over the heart. But in the Western spiritual tradition this is reversed. [...] in the Western countries the heart aspect predominates, and the mind's subordination follows later. This means, that it is recognized - not without good reason - that first must come the purification and strengthening of the seat of human emotions, which often creates so many difficulties for aspirants of spirituality. The seat of our moral law must first be balanced, and then order comes to dwell in the pure heart. It is then that the development of the mind's powers cannot be dangerous, either for their owners or for their surroundings.²

In Western mystical traditions altered states of consciousness and mental focus have traditionally been achieved through various prayer techniques that keep the mind busy and the heart pure until the desired exalted state of the soul has been reached.

In "Holy Daimon" Frater Acher stresses the importance of purification of our soul in magical practice when we go into such mind states:

When we go into isolation, we [...] deliberately create emptiness and openness within us. We make of ourselves an untouched space, an empty vessel that attracts the attention of all sorts of spiritual beings who would love to take up residence in it and fill it with their own waters. It offers shelter and food and richness to all the spiritual beings who cannot provide these things for themselves, who prey on carrion. And carrion is exactly what such energy is to them.

[...W]e must guard this empty vessel and ensure that we don’t get tricked and abused by other beings who would prey on our openness. This is why we seal this vacant space with joy.

The type of joy we mean is the most wonderful protective seal. Joy is the shield that shines like the sun. [...]

Once we have experienced real joy, we’ll see how vastly different it is from the other contemplative emotions experienced in seclusion [...]. Melancholia, nostalgia, and daydreaming are red carpets rolled out for beings who would take up residence in the vessel of our mind. For as long as we are attached to these emotional states, our vessel cannot be considered empty.¹⁶

Walking Backwards

Besides Jewish and early Christian spiritual traditions during Helleno-Roman times that transmitted plenty of material on "inhibitory" contemplative and "excitatory" prayer practices, there was also an equally strong Greek tradition of contemplation:

Empedocles who lived around 500 BC already wrote:

You must plunge beneath your crowded thoughts and calmly contemplate the higher realities with pure, focused attention. If you do this, a state of inspired serenity will remain with you throughout your life, shaping your character and benefiting you in so many ways. But if you direct your attention instead to the trivial things most people obsess about, the silly nonsense that dulls their minds, you’ll just acquire more objects which you’ll only lose anyway.

In "Phaidon" Plato mentions:

Without a doubt, then the soul is perfectly meditated when it is not disturbed by anything, neither by hearing, nor by sight, nor by any pain, nor by any delight, but is isolated as much as possible in itself by farewell the body, and when it avoids, as far as possible, every collaboration and every contact with it, it flows in reality. (Phaidon 65c-d)

Pagan traditions probably had different orally transmitted techniques to achieve "henosis" ("one-pointed awareness"), but written accounts only survived through the works of Iamblichus descriptions of "theurgy" and another one by Plotinus based on his "Enneads".

In order to attempt to reconstruct an analog Helleno-Kemetic system of attaining an altered state of "gnosis" let's assume that foundations for all the later developments on the Western traditions of meditation and contemplation have been laid during the syncretic era of Helleno-Roman Egypt.

Based on that assumption let's go back in time and take a look at several traditions that potentially emerged out of Alexandria and then try to find common ground.

Chariot Rides

Already present in Helleno-Kemetic times were ecstatic Jewish prayer techniques. The so-called Hekhalot literature and Merkhaba mysticism from the Talmudic era were centered on visions and prophecies, ascents to heavenly palaces, abilites of man to draw down divine powers to earth through ecstatic techniques of prayer, recital of hymns, as well as the theurgic use of secret names of God. After the Talmudic period these methods and others based around the Sefer Yetzirah, Bahir and Zorah were exclusively known and practiced in secret circles. During the Middle Ages They were rediscovered by kabbalah scholars like Abraham Abulafia, Isaac of Acco or Joseph ben Abraham Gikatilla.

Let's take a look at the techniques outlined by Abraham Abulafia who developed a system of practical kabbalah that involved the mantra-like chanting of Hebrew syllables. In his late medieval work "Life of the World to Come" he describes one method as thus:

At the same hour that you prepare yourself to speak with your creator, be careful to empty your thoughts from all the vanities of this world and request Him to proclaim his courageous victories to you. And adorn yourself in a prayer shawl (Tallit) and put phylacteries (Tefillin) upon your head and arms if you can, so that you will be in awe and fear of the Shekhinah (the female aspect of God) who is present with you at that moment. [...] And this will be a witness that you come to work the work of God your Lord in happiness and an innocent heart.

And begin to combine letters, a few with many, and turn and revolve them speedily until your heart is warmed by their revolutions. And put your heart in their movement and what their revolution engenders. And when you feel in yourself that your heart has been warmed very much by the combinations and you understand from them new matters that you did not grasp from human transmission and did not know them from yourself by intellectual effort, then you are ready to receive the abundance (Shefa). [...] And after [...] prepare your mind and heart to understand in your thought the many things that will come to you from within the letters computed in your heart, and study all of them or their parts like a person who is told a parable, a riddle or a dream, or as one perusing a topic in a book of wisdom deeper than he can comprehend.¹⁷

The Hebrew syllables are usually chanted with prolonged vowels and in other methods developed by Abulafia, even with repetitive head movements in the shapes of the "nekudot", the "vowel points" that adorn the Hebrew consonants. The important kabbalist work "Zohar" refers to the letters of the Hebrew alphabet as " the body" and the vowel points as their "animating spirit."

Although this Jewish mantra technique was developed much later it is based on Jewish mysticism contemporary with the Helleno-Kemetic times. We can find some direct parallels to how the Hellenic and Kemetic philosophers conceptualized the seven Greek vowels:

Egyptian priests claimed Greek vowel sounds as the divine inheritance of Thoth, while Greeks turned the same vowel sounds into the visual insignia of cosmic forces.¹⁸

And the tones of the seven spheres, each of which by nature produces a particular sound, arc the sources of the nomenclature of the vowels. These are described as unpronounceable in themselves and in all their combinations by wise men since the tone in this context performs a role analogous to that of the monad in number, the point in geometry, and the letter in grammar. However, when they are combined with the materiality of the consonants just as soul is combined with body and harmony with strings—the one producing a creature, the other notes and melodies—they have potencies which are efficacious and perfective of divine things.¹⁹

Descent Into the Heart

In Eastern Christian Orthodoxy there is a very rich tradition of contemplative practice from the Byzantine Empire to the Middle Ages called "hesychasm" that has been documented mainly in a theological anthology called "Philokalia":

Try to enter your inner treasure-house and you will see the treasure-house of heaven. For both the one and the other are the same, and one and the same entrance reveals them both. The ladder leading to the kingdom is concealed within you, that is, in your soul. Wash yourself from sin and you will see the rungs of the ladder by which you can ascend thither. (St. Isaac of Syria, Philokalia)²⁰

Wisdom moved by the Spirit is, according to theologians, the power of mental, pure, angelic prayer; a sign of this is that during prayer the mind is free from forms, with no image either of itself or of anything else appearing even for an instant, since it is drawn away from the senses by the light acting within. For then the mind is removed from everything material and is like light, being ineffably merged with God into one spirit. (St. Gregory of Sinai, Philokalia)²¹

Let us take a look at a description of a late Byzantine technique of hesychasm:

For Jesus, God and Son of God, if constantly and diligently invoked by us, [...] does not let [the demons] present any kind of image in the mirror of our mind, nor to say a single word to the heart. If no kind of image finds its way into the heart, then, as we have said, it will also be empty of all thought. For it is through thoughts that the demons habitually hold secret converse with the soul and incite it to evil. Thus ceaseless prayer keeps our mental air free from the dark clouds and winds of the spirits of evil. And when the air of the heart is pure, there is nothing to prevent the Divine light of Jesus shining in it, as long as we are not puffed up by pride, vanity, conceit and a boastful showing off, and we do not strive towards the unattainable and are not therefore deprived of Christ's help. For Christ, being the image of humility, hates all those things. (Hesychius of Jerusalem, Philokalia)²²

Ceaseless prayer keeps the air of the heart pure. But what is the "air of the heart?" Another section in the "Philokalia" makes this clear. Here a lesson from Nicephorus:

You know, brother, how we breathe : we breathe the air in and out. On this is based the life of the body and on this depends its warmth. So, sitting down in your cell, collect your mind, lead it into the path of the breath along which the air enters in. Constrain it to enter the heart together with the inhaled air, and keep it there. Keep it there, but do not leave it silent and idle; instead give it the following prayer: "Lord, Jesus Christ, Son of God, have mercy upon me." Let this be its constant occupation, never to be abandoned. For this work, by keeping the mind free from dreaming, renders it unassailable to suggestions of the enemy and leads it to Divine desire and love. (Callistus & Ignatius, Philokalia)²³

Focus on breathing and lead the mind into the heart, ceaselessly keeping it busy with prayer to the Lord.

You must descend with your mind into your heart. At present your thoughts of God are in your head. And God Himself is, as it were, outside you, and so your prayer and other spiritual exercises remain exterior. Whilst you are still in your head, thoughts will…always be whirling about like snow in winter, or clouds of mosquitoes in the summer…. All our inner disorder is due to the dislocation of our powers, the mind and the heart each going its own way. The mind must come to an initial concord with the heart, growing eventually into a union of the mind with the heart. (St. Theophan)²⁴

The Coptic Connection

Although the Byzantine monastic traditions of hesychasm can be traced back to the Coptic desert fathers of very early Christianity in Egypt, the ascetic practice of sitting in silence was never part of Coptic tradition and has also not been adapted at later times. Repeating the Jesus Prayer and other short "arrow prayers" was already a developed technique in monastic circles. Another central feature of prayer in the Coptic Church is that the body is continuously involved in various actions during prayer to counter the dualistic separation of the praying soul and body. Besides simply praying while working and being engaged in other common human duties, also more formalized prayer techniques involving the body are essential in Coptic worship. Both mind and body participate in the incarnation, death and resurrection of Christ.

Standing facing the East is the most frequent prayer position. The person praying usually holds his or her hands outwards in the ‘orans‘ position, which is a common Christian position of prayer, frequently portrayed in ancient Christian art, including in Coptic iconography. [...] The second main position is bowing, of which there are two kinds: a quick bow, and a profound bow. [...] Two sorts of prostration, too, can be observed: one frequent, and the second reserved for adoration. In the frequent kind of prostration, the person begins by crossing himself. The person then holds both fists at a ninety degree angle to the body. Both thumbs are on the top of the fists, making the impression of the cross itself on the hands. The person then prostrates by kneeling down, and then moves the head down to touch the ground, while the knuckles and both thumbs touch the ground. [...] The second kind of prostration is liturgical and the person does not rise up immediately. This prostration is one of adoration. [...] In this way, standing, bowing, and prostrating for prayer transform the body into a medium to express the Lordship of Jesus²⁵.

Other unique aspects of Coptic orthodoxy are the preservation of their late pharaonic Demotic dialect as liturgic language and direct adaptation of ancient Egyptian ritual practices into a Christian framework that has been passed on until today. According to the Alexandrian philosopher Philo (1st century AD), the early Christians had borrowed Ancient Egyptian music and styles of chanting into their practice. Echoing the supplications of the ancients Copts still chant seasonal prayers asking God to bless the annual flood.

The Egyptian musicologist Ragheb Moftah worked to preserve, document and record the ancient ritual and liturgy of the Coptic (Egyptian) Orthodox Church. He said:

It should be remembered that the Copts are the direct descendants of the Ancient Egyptians, who possessed a very ancient musical tradition, and from early times worshipped their gods with hymns and music and elaborate rites. [...] Demetrius of Phaleron, the librarian of the Library of Alexandria in 297 B.C., reports that the priests of Egypt used to praise their gods through the seven Greek vowels which they used to sing one after the other; and, in place of the flute or the harp, the utterance of these vowels produced a very agreeable sound. The music of many of the Coptic hymns is still entirely chanted on the one or other of these seven vowels. The text of certain long chants may consist of only one verse, or merely a single word like Alleluia.²⁶

Here is a quote by a Belgian composer and music critic describing the characteristic Coptic vocal extensions, repetitions of vowels and syllables and improvised embellishments:

We could provide many examples of it, but one will suffice; we take it from a Hymniary of the churches of the Orient. Here it is: Aga a a a a a aaté é é é é mara ky y y ri i i i i ou. The musical phrase placed on these words is very long: these repetitions of a a a a a, é é é é, y y i i i, which require for each one an articulation of the throat, produce a ridiculous effect. The Copts exaggerate this kind of monstrosity not only by repeating the vowels, but by repeating the first and second syllable of the word several times, and by starting this word again without having finished it, until at last they end it. It is in this way that they lengthen their chants to the excess: a few words are enough for their interminable sequences of sounds, and one can grasp the meaning only with extreme difficulty.²⁷

Here is a video example of the the Good Friday hymn 'Πεκ'θρονος' which is Coptic for 'Your Throne.' Its words are taken directly from Psalm 45:6: “Your Throne O God, is forever and ever.” In Coptic, this translates into a mere eight words (including a final "Alleluia"); and yet in most churches, the hymn takes more than twenty minutes to chant³. The hymn’s length is a result of way it hangs on each and every vowel. the music of the hymn was chanted by the Ancient Egyptians to express their grief for the dead separating from them, which is evident in the first half of the hymn. With this music also, they rejoiced that the deceased had bordered the Sun-Ship that would take the soul to the god Ra to grant it eternal life. The joyous music is evident in the second half of the hymn⁴.

Imam Tehuti

Let's take a brief look at Islamic mysticism. There is a controversy about the question whether 'Sufism' is a purely Islamic tradition or has been influenced by Christian monastic practices. The latter is quite likely⁵, but the influences might actually even be older.

A Sufi practice that seems very similar to hesychast prayer is that of Dhikr or Zikr (ذِكْر "reminding oneself"), devotional acts, in which short phrases or a variation on the name of god are repeatedly recited silently or aloud. Analysing the similarities and differences of Orthodox Hesychasm and Sufi Dhikr practices scholar Samira Awad Melki concludes:

The basic character of Hesychasm, like the basic identity of Sufism, points to the same way, is hindered by the same obstacles, and leads to the same intentions, regardless of the dogmatic differences. [...] The practice of the Jesus Prayer in Orthodox Christianity and Dhikr in Islam, as two methods of prayer that bring people closer to God, are similar in the method and means and they developed in mutual influence. Much of the language among the Hesychasts as among the Sufis is similar due to the contact between the two groups, and because of the similarity in the religious experience lived bv the Hesychasts and the Sufis.²⁸

An influencial early (9th century) master of Sufism was the Persian Muslim scholar Sahl al-Tustari (سهل شوشتری) who provided an important theoretical foundation for the Sufi exercise of Dhikr. Tustari himself was heavily influenced by ideas of the Sufi saint Dhū'l-Nūn Abū l-Fayḍ al-Miṣrī (ذو النون المصري) who is considered as the originator of the aspects of Sufi discourse concerning sainthood (awliyāʾ), spiritual states (aḥwāl) and the various stages a Sufi's soul must attain in its search for God (maqāmāt).⁶⁷ Al-Miṣrī was born in Upper Egypt in 796 and is said to have made some study of the scholastic disciplines of alchemy, medicine, Greek philosophy and the Kemetic hieroglyphs. It can be assumed that Al-Miṣrī was quite knowledgeable of Hermetic philosophy and older Kemetic traditions which he weaved into the early philosophies of Islamic Sufism.⁷

An especially powerful form of Dhikr is the Hadra (حضرة "presence"), an ecstatic group ritual that involves repetitive chanting and sometimes drumming, music and dance. Like Coptic practices the Hadra is a very embodied form of prayer. It is not practiced among all Sufi orders, but especially popular in North Africa, the Middle-East and Turkey.

It is said by the Sufis that at the beginning of the hadra, we do the dhikr, but in the second part Allah Himself does it and we are spiritually taken over—we are no more, we have been annihilated in Allah. Afterward, in the calm that follows such a vibrant storm, someone recites the Qur’an in the most gorgeously melodic way, which is like cool water from a mountain spring poured over us to flow throughout our limbs and consciousness. A person of some wisdom and experience (everyone usually knows who this is in any gathering) then gives a teaching, again not a scholarly discourse, but one that seems to have come on the wind, from the heart of the speaker as well as from all those present, filled with the wisdom of the Prophet Muhammad, peace be upon him, and his almost palpable presence among us, and all the teachers over the centuries that have proceeded from him.²⁹

Here is an entrancing video of such a performance:

Decolonizing Sophia

We can safely summarize that the methods of chanting or cycling vowels or words of power were paramount in all three, the Jewish, Christian, and Islamic mystical traditions of contemplative practices and likely influenced by earlier ones. The technical goal of all of the discussed methods was to descend one's mind into the heart.

Although the different techniques of attaining that goal were mostly developed much later, their underlying philosophies are entirely in line with ancient Kemetic concepts of the heart:

It was regarded as the spiritual centre of a person, the place where a person would come closest to his or her ka. [...] For, as the organ in the body most associated with the spiritual self, the heart was essentially pure. It was therefore considered necessary to protect the heart from corrupting influences or tendencies. We thus find admonitions to “conceal” or to “seal” the heart. This idea of the essential purity of the heart is linked to that of the heart as the source of a person’s being. [...] The heart, then, was a part of oneself that ultimately could not be identified with any of the desires, decisions, or actions that were out of tune with maat. The heart was the incorruptible core of a person, and thus detached enough from all that was mundane in them to stand as witness against them. [...] Horus ["mind"], to the ancient Egyptians, was the earthly image of Ra: the radiant source of light physically embodied. And the place where Horus came to reside in the initiate’s psychophysical organism was the heart.³⁰

Spell 30B from the Ancient Kemetic Book of the Dead is a petition to one's own heart:

My heart of my mother, my heart of my mother, my breast of my being, stand not against me as witness, oppose me not in the Council. Outweigh me not before the keeper of the balance. Thou art my spirit that is in my body, Khnum who makes sound my limbs. When thou goest forth to the goodly place prepared for us yonder, make not our name to stink to the courtiers who create mankind in (his) place, that it may be well for us and well for the Hearer and that the judge may be glad. Think not up lies (against me) beside the God in the presence of the great God the lord of the west. Behold, thy distinction as a triumphant one is (involved).³¹

Many of the theological concepts of the three Abrahamic religions seem to be deeply influenced by syncretic Hermetic and even Kemetic ideas. Sometimes the similarities are quite striking. For example the congruity of the Hermetic principle "as above, so below" with Sufi doctrine described by Jaʿfar ibn Muḥammad aṣ-Ṣādiq (جَعْفَر ٱبْن مُحَمَّد ٱلصَّادِق):

Man is the microcosm, creation the macrocosm — the unity. All comes from One. By the joining of the power of contemplation all can be attained. This essence must be separated from the body first, then combined with the body. This is the Work. Start with yourself, end with all. Before man, beyond man, transformation.³²

But aside from the influences and similarities and prevalent romantization of alleged "Egyptian roots" of the Western mystical traditions I think it is essential to acknowledge that the Kemetic culture was actually quite alien to the cultures that have colonized Kemet and appropriated their wisdom. I don't mean mere cultural differences, but a radically different epistemology. Generally speaking Kemet was fundamentally Afrikan and it's citizens "worlded" with an Afrikan mindset. So did (and do) the Christianized and later Islamized communities that emerged out of the ancient empire's ruins.

Afrikan studies scholar Vernon J. Dixon termed the epistemology "affect-symbolic imagery" as opposed to the "object-measure cognition" prevalent in European cultures:

Affect refers to the feeling self, the emotive self engaged in experiencing phenomena holistically; in other words, putting one’s self into the experience and not separating one’s self from the totality of the phenomena. Symbolic imagery is the use of phenomena (words, gestures, tones, rhythms, objects, etc.) to convey meaning. In other words, one takes a single phenomenon and formulates alternative ways to conceptualize that phenomenon. As people engage themselves (mentally, physically, and emotionally) into the experience of symbolic imagery, they are personalizing their way of expressing meaning.

In contrast, the epistemological perspective from a Eurocentric cultural orientation is object-measure cognition. That is, European/European Americans know phenomena through counting and measuring. If a phenomenon cannot be counted and measured, then the phenomenon does not exist. The separation of self from the phenomenal world is the method of cognition that enables one to know reality. In sum, the phenomenon must be physically observable, tangible, and manipulable for one to know and experience it. ³³

Kemetic people were much more immersed in a holistically magical perception of reality than the more "left-brained" European and Middle Eastern colonizers. As Schwaller-de-Lubicz has pointed out⁸, they worlded with a suprarational mindset he called "symbolic" in contrast to the European "mentality of complexity."

Every action, no matter how mundane, was in some sense a cosmic corresponding act: plowing, sowing, reaping, brewing, playing games—all were viewed as earthly symbols for divine activities. [...] In Egypt, what we now call religion was so widely acknowledged that it did not even need a name because it is life itself, in all its aspects.³⁴

The endeavour of Hermetic philosophy is a perfect example of an attempt to translate an incompatible Kemetic epistemology into a recognizable way to the Hellenized mentality by systematizing moral teachings.

there are some differences between the Egyptian instructions and philosophical Hermetica. Egyptian wisdom is ethical, social and engaged with current life here and now. The Hermetica are individualistic, theological, reflective and invoke the inner, mystical initiation during life on Earth. They also show an influence from Dionysian and Orphic traditions. Moreover, Hermetism is ascetical and rejects matter and the world.³⁵

In a Hellenized and later Romanized Kemetic society the need for getting oneself into the right mindset for religious or magical practice probably became more and more important as the foreign mindset of "object-measure cognition" became more prevalent. The Helleno-Kemetic sages seemed very aware of the clash of their worldviews and still persisted in trying to find a common ground by not even attempting to translate magical or philosophical concepts from one into the other but entangling or superimposing them. One of these way was probably the use of barbarous words.

Here is a quote by Iamblichus :

For, since the gods have shown that the entire dialect of the sacred peoples such as the Assyrians and the Egyptians is appropriate for religious ceremonies, for this reason we must understand that our communication with the gods should be in an appropriate tongue. Also, such a mode of speech is the ﬁrst and the most ancient. But most importantly, since those who learned the very ﬁrst names of the gods merged them with their own familiar tongue and delivered them to us, as being proper and adapted to these things, forever we preserve here the unshakeable law of tradition.³⁶ (De Mysteriis VII, 4)

The excessive use of "barbarous names" and vowel strings in Helleno-Kemetic magical and theurgical practice almost seems to have been a technique of trying to shift the Hellenized mind to a more "symbolic" perspective, but also an attempt of the Kemetic priests to prevent their sacred language and it's inherent magical powers to be lost.

The Egyptian perception of the superiority of their language is a premise of their magical thought. [...] Translation of original texts was taboo. It was a way to corrupt their true meaning, and by replacing the original Egyptian sound, the effect of the magic would be lost. Translating a sacred text could also mean giving the enemy the efficacy of the ritual word, since the word was not a mere expression but also an act. [...] Egyptian thought had no formal separation between mental and magical operations. Therefore, by talking about the power of the sounds made by Egyptian words, the subject of this criticism is not the Greek language as a symbol of Greek/foreign culture. What is in debate here is the magic and creative power of what one expresses by words versus philosophy. Philosophy was not able to produce any kind of transcendental effect as it was restricted to the use of words for the intellectual interpretation of the meanings and context of what has been written. [...] The major problem in translating Egyptian thought into Greek words is the Greek separation of reason and emotion as two distinct and even antagonist categories.³⁵

To conclude this section, here is a quote illustrating the fated and difficult relationship between the Hellenes who had colonized the land of Kemet centuries after the Kemets had colonized the minds of the Hellenes:

the Egyptians were the first people to establish solemn assemblies, and processions, and services; the Greeks learnt all this from them. I hold this proved, because the Egyptian ceremonies are manifestly very ancient, and the Greek are of late origin³⁷. [...] Further, the Egyptians said they first used the appellations of twelve gods which the Greeks afterwards borrowed from them; and it was they who first assigned to the several gods their altars and images and temples, and first carved figures on stone. (Herodotus, Histories. Book II)³⁸

Weaving the Threads Together

Let's summarize the findings from all the rabbit holes we dove into in the sections above and use the insights for attempting to recover a Helleno-Kemetic system of concentration:

In Western systems of meditation the heart aspect predominates, and the mind's subordination follows.
Reconstructed Jewish techniques centered around syllable mantras that lead to states of "gnosis" and their focus on vowels matches Kemetic esoteric ideas.
Byzantine Hesychasm teaches us the descent into the heart through ceaseless repetitions of mindful prayer. The Eastern Orthodox concept of the heart is very much in line with ancient Kemetic beliefs.
Coptic practices show us ways to counter the dualistic separation of the praying soul and body by rejecting ascetism and embracing a more embodied form of prayer akin to older Kemetic temple traditions. Their chants also show quite probable prayer techniques of more ancient Kemetic origins.
Islamic Sufi practices show many overlaps to Christian techniques and in combination with musical elements also turn it into ecstatic group rituals. Earliest Sufi masters were influenced by Hermetic and Kemetic ideas.
There seem to be fundamentally different epistemologies between Afrikan and European peoples and their encounters and interactions with the divine that are reflected in the different practices.

As Within, So Without

The sensual experiences of actually performing spells from the Anastasi Handbooks raise the question to what extend the purpose of the voces magicae was evoking "external" powers or an "internal" meditative one to focus or entrance the mind - probably both ("as above, so below"). Aside of manifesting magical will in the shape of spells by means of one's voice out into the universe, vibrating barbarous names seems to noticeably open one's gates to an influx of daimōnic powers into the soul.

Putting Helleno-Kemetic spells into praxis, soon one is confronted with the question of how exactly to "vibrate" the barbarous words and vowel sequences. Simply reading them out loud feels a bit awkward at first, but when you start to "chant" them, they start to unfold quite some power - especially the vowels. Closing one's eyes while doing so reveals that the vowel sounds resonate in parts of the body and the sensations range from soothing and calming to entrancing. The seemingly nonsensical nature of the utterances really intensify the sense of a shift from the mundane human world to a more blurry, enchanted, daimōnic reality in which the building-blocks of the universe dissolve into warped fields of vibration and volatility.

Trance can be described as the deconstruction of ordinary perception as well as the habitus of quotidian interactional patterns and customary organization of time, all in order to empower the subject to experience the accustomed life-world in a more vital manner. In more political terms, [...] the ordinary frames of reference can be read as semihypnotic interpolation of social beliefs. In other words, we are speaking of a kind of power struggle between two forms of trance contesting the field of individual consciousness. [...] merging the horizons of religious theory, anthropology, hypnotic theory, and microsociology can provide a flexible yet clear working definition of shamanic experience: movement beyond habitual frames of reference, as a transformative process, culminating in return to these frames in pursuit of revitalization.³⁹

Here is a quote of a blog article by fellow mage Pentamegistos about his own practice of repeating vowel sequences in a mantra-like fashion:

Not only do they impel the mind to transcend any lust of result, they draw the attention of the force invoked, or perhaps, to echo Iamblichus, they elevate our souls such that they mirror the those very powers, allowing for direct communication or even systasis therewith. [...] Now, it goes without saying that mantric vibration is but one component of successful magic, but a cardinal one nonetheless. [...] I can provide countless examples of how this approach has transformed my magical life. The first time I achieved direct communication with a Deity was after vibrating its name continuously for over an hour, after which the veil finally opened so to speak.⁴⁰

Even more perceptible power can be added by intoning simple melodies on the vowel strings. There are various musical theories out there assigning each vowel a certain pitch. Joscelyn Godwin⁹ went into much depth of research and experimentation about the musical mysteries of the vowels, but concluded:

It is certainly an attractive idea, that the vowel-sequences encode a secret song. But if this is so, then it must be said that the Greeks nowhere else chose to notate their music in this clever and convenient way; and that even if this was an exception, it is very unlikely that any modern readings agree with ancient practice.⁹

Instead of the quite technical activity of matching pitches with vowels I found it much more aestetically pleasing and much more practical in a ritual context to improvise a melody. It works especially well with the type of melodies used in Coptic monastic chanting. It feels quite powerful. Let's return to "Holy Daimon" where Frater Acher talks about this forgotten power of singing as a magical practice:

Singing a statement of magical intent can grow to become one of the most powerful and immediate forms of magic open to us. Spirits love (or depending on the song and their nature, fear) listening to the voice of humans. The human voice, if used well, is capable of creating all-vibrating rays of power that can stir, sublimate, or separate spirit and substance. And most importantly, the physical human voice is something entirely out of the reach of spirits. The spoken word is the sword blade of the magician. It forms the bridge between the realm of the spirits and the realm of matter. It is itself a hybrid power, half born from flesh, half born from spirit. Singing—making our voice carry particular melodies and vibrations that express intent not only in the words spoken but also in the meaning of the melody—is a force not many beings or objects in creation can resist.¹⁶

Baboon Beatitude

While it is common magical practice to "vibrate" voces magicae monotonously or chant them in a liturgical sense, in some cases the Anastasi Handbooks are very explicit about the way the magical language is supposed to be uttered. This involves imitating sounds of animals, most prominently falcons or baboons.

In PGM IV, 1002-1006 after a vowel sequence "α εε ηηη ιιιι οοοοο υυυυυυ ωωωωωωω" the scribe noted "speak as a baboon," PGM V. 1-53 says to pronounce the letter Eta "like a baboon," in PGM XIII. 1-343 the name "Abrasax" is described as "baboonic" because his "name is hidden and unspeakable, it cannot be uttered by a human mouth." The same text also says "he who appears on the boat rising together with you is a clever baboon; he greets you in his own language."

The baboon on the boat is of course Tehuti (Thoth) the Kemetic Hermes, scribe of Phre, and most importantly demiurge who created the world from utterance. In "Philebus" Plato goes into detail about this role:

Some god or divine man, who in the Egyptian legend is said to have been Theuth, observing that the human voice was infinite, first distinguished in this infinity a certain number of vowels, and then other letters which had sound, but were not pure vowels; [...]; and observing that none of us could learn any one of them and not learn them all, and in consideration of this common bond which in a manner united them, he assigned to them all a single art, and this he called the art of grammar or letters.⁴¹

In a Ptolemaic liturgical funerary papyrus¹⁰ Tehuti explains himself:

I am Tehuti and I speak to you in the language of Phrē anew, for it was spoken to you even before my words were heard.

I am Tehuti, lord of divine speech, He who sets things in their proper place.

I render divine offerings to the Gods, invocation offerings to the Akhu.

I am Tehuti, He who grants Ma'at to the Ennead and all that comes from my mouth is made manifest, just as what issues from the mouth of Phrē.

I am he whom none can expel from heaven or earth, for I know what is hidden in the heavens, what is inaccessible on earth, hidden in the Nun.

I am the creator of heaven, I am he who formed the mountains, I am he who creates the stream by means of thought, who creates the arms of the river, and when I bring forth the flood, I fertilize the fields, giving life unto Gods and men. Hearken O Gods! Hear my words which are the words of Phrē himself.

Besides the role of manifestations of Tehuti, baboons were highly respected in Kemet. The grunting sounds of baboons sound very similar to human vowel sounds, as even scholars of acoustics have demonstrated¹¹. The shouting of vowels in combination with what appear as singing and dancing with raised forepaws, especially upon sunrise put them in high regard as "ideal and true performers of religion. A human being, even the pharaoh, was at best only an imitator of baboons".¹²

The vowel language of the baboons was considered secret and sacred and the original primordial language, so it makes sense to imitate their utterances as as closely as possible for magical efficacy. In the next sections let's take a closer look to the secret meaning of the "shudderful names" uttered in this original language.

Coefficient of Weirdness

I am the name of the sound and the sound of the name

I am the sign of writing and disclosure of difference⁴²

In "Das Alphabet in Mystik und Magie", Franz Dornseiff pinpoints the beginning of the use of vowel variations to the end of the 19th Kemetic dynasty (around 1150 B.C.)¹³. He concludes that a probable reason for the vowel combinations was the magical practice of seeking a deity's "real name" beyond their given name that ususally does not come close to their true essence in a limited human alphabet and language¹⁴.

For anyone who speaks in a tongue does not speak to people but to God. Indeed, no one understands them; they utter mysteries by the Spirit. (1 Corinthians 14:2)

Dornseiff also notes that one should not forget that not all magicians were pious idealists, some also made up gibberish on the fly, because they had paying customers¹⁴. While I agree with the notion that practicing magicians who served paying customers probably did add some more than necessary trickery and pomp to their public displays of magic, I don't think they took the effort of noting down long vowel sequences of spontaneously made up gibberish while at the same time noting a mere "do the usual" all over their handbooks. No, it seems more probable that the vowel sequences we can find in the PGM have an underlying logic to them.

Before discussing ideas for a possible logic of the vowel strings it is important to note that even if they would be "mere gibberish" the "nonsense" in their literal wording has potential to carry magical force especially through its weird daimōnic alien-ness. The language of man being twisted and distorted until the borders to the "other" dissolve:

But that written word is an alphabetical fantasia, and it is precisely here that magical language preserves the Platonic conundrum that living language, which cannot be captured by writing, is itself a kind of writing! By writing the name of God, the ultimate form of living discourse, in jumbles of letters that do not make sense, these texts show that it is really ordinary writing that is scrambled and confused, a mere imitation of another kind of inscription. Magical writing takes the form of ordinary writing by using its letters and so is faithful to it, but it betrays that writing by its nonsensical use of those letters and is thus faithful to the writing that is an invisible inscription on the soul. Yet it betrays the invisible inscription as well by writing it in actual letters! Magical language is thus thoroughly paradoxical, betraying and safeguarding with every vowel. It carries forward the Platonic sensibility in a radical way.⁴³

The anthropologist Bronislaw Malinowski coined the term "coefficient of weirdness" to describe the "nonsense" in magical language. Although he used it for his own research on the magic of the Trobriand islands of Papua-New Guinee, his insights have an immense value also for our area of enquiry:

A spell is believed to be a primeval text which somehow came into being side by side with animals and plants, with winds and waves, with human disease, human courage and human frailty. Why should such words be as the words of common speech? They are not uttered to carry ordinary information from man to man, or to give advice or an order. The natives might naturally expect all such words to be very mysterious and far removed from ordinary speech. And so they are to a large extent, but by no means completely. [... A] great deal of the vocabulary of magic, its grammar and its prosody, falls into line with the deeply ingrained belief that magical speech must be cast in another mould, because it is derived from other sources and produces different effects from ordinary speech [...] [A]ll magical verbiage shows a very considerable coefficient of weirdness, strangeness and unusualness. [...] The wording of magic is correlated with a very complicated dogmatic system, with theories about the primeval mystical power of words, about mythological influences, about the faint co-operation of ancestral spirits, and, much more important, about the sympathetic influence of animals, plants, natural forces and objects. [...] Since meaning is function within the context of situation and the situation of magic is different from that of everyday life, we might prima facie expect to find a magical language corresponding to this difference. Add to this the native belief that magic is prehuman in origin, that it existed underground before it emerged with the first ancestors and we should not be surprised if the magical formulae were composed of mere gibberish or nonsense words, concatenated according to a grammar of their own. If a word is believed to be effective, that is, to have a magical meaning, because it has had a different origin, a different history and a different place in language, then obviously its unusual, quaint character is well correlated with this belief. The mysterious and sacred words which are supposed to have a direct hold over reality need not conform to the rules of the grammar and word formations of ordinary speech.⁴⁴

Various authors of late antiquity argued that normal human language was not appropriate in addressing higher beings or gods:

Homer already knew that there was a specific language of the gods, and despite centuries of human prayer in normal human language, the idea of a special divine language never completely disappeared from human imagination. In later antiquity it was believed that demons or gods understood the sounds of the voces magicae, even if the human producers did not. In other words, now these terms did serve communication but a communication that could only be understood by one of the two partners in the communication.⁴⁵

In a similar fashion Iamblichus gave this statement:

It is essential, therefore, to remove all considerations of logic from the names of the gods, and to set aside the natural representations of the spoken word to the physical things that exist in nature. Thus, the symbolic character of divine similitude, which is intellectual and divine, has to be assumed in the names. And indeed, if it is unknowable to us, this very fact is its most sacred aspect: for it is too excellent to be divided into knowledge.³⁶

Sonorous Sigils

In contrast let's look at some hypotheses about the vowel strings actually representing encoded meaning or intent: In some spells of the PGM we find powerful voces magicae with a notation of the amount of letters they are composed of and at the end of the spell a vowel sequence with a matching amount of letters. For example in the "Stele That Is Useful for All Things" (PGM IV. 1167-1226) of the "Great Magical Papyrus of Paris":

I invoke your hundred-lettered name which extends from the sky to the depth of the earth; save me, for you are always ever rejoicing in saving those who are yours, αθηζε φωι ααα δαιαγθι θηοβις φιαθ θαμβραμι αβραωθ χθολχιλ θοε οελχωθ θιοωημχ χοομχ σαησι ισαχχοη ιερουθρα οοοοο αιωαι (100 letters). (PGM IV. 1210ff)

and further down we find:

ιαω αιη ιωη ωιη ωιη ιη αιωαι αι ουω αωη ηει ιεω ηυω αηι αω αωα αεηι υω ειη αηω ιευ αεη ιαια ιαω ευ αευ ιαη ει ααα ιιι ηηη ιω ιωη ιαω (100 letters), for a blessing (PGM IV. 1222ff)

In the "Eighth Book of Moses" we find multiple references to a great name:

So your name is great and marvellous. I am βιαθιαρ βαρβερβι σχιλατουρ βουφρουντωρμ (36 letters) (PGM XIII. 520ff)

and here too we find a vowel-heavy phrase at the end of the spell:

say to the earth once and to the moon once, to water once and to sky once ωαωη ωω εοηιαω ιιι ααω θη θου θη ααθω αθηρουω (36 letters) (PGM XIII. 644ff)

The vowel sequences seem to explicitly correspond to the barbarous names, like daimōnic synonyms with a higher "coefficient of weirdness", spoken in a more exalted and primordial language of the gods. While the syntax is interchangeable, their meaning remains intact because the number of letters match up.

Another even more powerful method of such magical correspondence was the use of Greek "isopsephy" or "gematria": adding the numerical values of the characters of a string of text and encoding meaning through the numerical total. Words become magically entangled with each other when two or more words have an equal numerical value.

The Anastasi Handbooks are filled with barbarous names whose power derives partially from their numerical total. The most famous example is the name "Abrasax" whom the Kemetic priests identified with their great sun god Phrē. Here is a quote by Saint Jerome about this correspondence:

Basilides called the omnipotent God by the more fantastic name Abrasax (Αβρασαξ), and that name he said contains, according to the Greek letters, the number of the course of the year in the circuit of the sun. The pagans under the same number by other letters call him "Meithras" (Μειθρασ) (In Amos 1.3.9-10)⁴⁶.

In a footnote of the "Stele of Jeu" (PGM V. 96-172) we find reference to "the great name" that totals to 9999: χαβραχ φνεσχηρ φιχρο φνυρω φωχω βωχ and a noted vowel sequence of the same value (αιη αιωι ηωιαη αη ιω ωη αιηουευωαι εαι υο ιαω ιωη οαυ αεη υωυω). Additional magical meaning is added by making it 49 letters long, the square root of 7, the number of the divine vowels and of course the planets.

The Anastasi Handbooks contain enough hints pointing to an underlying logic behind the vowel sequences therein. They do not only make up a secret divine language in which the mage can call a daimōnic entity or deity more directly. Magical intent can also be possibly encoded into vowels by means of gematria or a matching number of letters.

This methodology lends itself to encoding magical intent in vowel sequences by means of number-matching and isopsephy, but also could be utilized analog to the famous sigil technique by Austin Osman Spare in which magical intent is encoded in a symbol:

Enshrine your desire in a short sentence; write out the sentence and then put down all the individual letters of which it is composed, omitting any repetition of a letter. When the sentence has been reduced to a minimum number of letters, unite them graphically in one composite glyph which does not suggest the nature of the desire. Then—and this is of great importance—forget the desire and sink the sigil in the subconsciousness.⁴⁷

Grant Morrison popularized a variation of Spare's method where all the vowels are removed before the omission of duplicate characters to just leave a string of consonants as a base for the sigil construction.

By reversing this very method, omitting all consonants and preserving the redundancy of all remaining characters you end up with a string of vowels suitable for being chanted as a kind of sonorous sigil.

Although it is not the same technique, chanting a sigil is loosely related to the method of "Mantric Sigils" described in works of Chaos Magic, especially in Frater V∴D∴'s "High Magic: Theory & Practice."¹⁵ Using the Greek alphabet with this method results in exactly the kind of vowel sequences we find so abundantly in the PGM and other magical texts of the Helleno-Kemetic era.

In Helios Unbound Nick Farrell also supports a similar idea about the nature of vowel sequences:

I suspect that the use of vowels by themselves in the Greek Magical Papyri and other magical texts might represent [a] form of magical reduction to create a chant of power. They could represent divine names or phrases that have been boiled down to their vowel essence to create a more potent magical effect.⁴⁸

Praxis

Drawing from all of the theoretical conclusions of all the sections above, here is my attempt of a reconstructed system of Helleno-Kemetic techniques of contemplation:

Creation of Sacred Space

based on PGM XIII. 822-834

Find a calm place where you feel undisturbed
Optionally put on a phylactery
Make it into a temporary sacred space by circumambulating it four times counterclockwise, saying "Hekas, hekas este bebeloi" while fumigating appropriate incense and/or sprinkling some natron
Enter the circle from the East, walk to the center, turn around facing East
Looking to the East, stretching out your right and left hand to the left, inhale deeply and for a full outbreath vibrate "A"
Turn and face North, while you turn, putting forward only your right fist, inhale deeply and for a full outbreath vibrate "E"
Turn and face West, extending both hands in front of you, inhale deeply and for a full outbreath vibrate "Ē"
Turn and face South, holding both hands on your stomach, inhale deeply and for a full outbreath vibrate "I"
Turn and face East again, bend over to the earth, touching the ends of your toes, inhale deeply and for a full outbreath vibrate "O"
Slowly come back up, look straight, focus on your center, having your hand on your heart, inhale deeply and for a full outbreath vibrate "Ü"
Look up into the sky, having both hands on your head, inhale deeply and for a full outbreath vibrate "Ō"

Instead of mechanically switching between the described postures try to do shift between them in one continuous flow of movement: when you are finished vibrating a vowel, try to smoothly transition to the next posture while turning. Try to let yourself be guided by the rhythm of your breath. (If you practice any form of Tai Chi you know what I mean.)

Grounding

Close your eyes, keep both feet shoulder-width apart and more or less parallel. Keep knees slightly bent and unlocked and try an overall completely relaxed and loose posture while keeping your spine erect. Hands should remain completely relaxed, with fingers slightly curled and palms hollowed. Keep your eyes half-open and unfocused. Breathe calmly.
Visualize yourself radiating peace and harmony into the sacred space around you.
Stay like this for a few minutes until you feel grounded and protected and ready to begin.

I prefer standing while praying, hence the grounding in an upright position. If you have problems standing or prefer to sit instead, you may of course do so. It also works sitting down.

Basic Chanting

Take the "orans" position: raise your hands up and outwards, palms facing up but relaxed, keep the elbows close to the sides of the body.
Breathe slowly, but naturally, without forcing a rhythm.
Collect your mind and observe your thoughts.
With every following inbreath lead your mind into the path of the breath along which the air entering in.
With every following outbreath vibrate the words through your whole body, give each word a full length of exhale.

Variations of Power

Have a sound of around 110Hz playing in the background and try to chant the words in a pitch resonant or in harmony with that sound. Nick Farrell has some sound examples of that techniques on his blog.
Try to sing the words by introducing improvized melodies to your chant, listen to Coptic liturgical chants for inspiration.
Try to make out a rhythm in your chant and start to slightly rock your spine.
Experiment with prostrating. When chanting IAO as an adoration for example, vibrate "I" standing up, then go down on your knees with the next inbreath and then vibrate "A", with the next inbreath bow down until your head touches the ground and vibrate "Ō". With the next inbreath raise your head back up, exhale, with the next inbreath get back up to your feet, exhale, inhale and start over.
Experiment with walking or turning in a counterclockwise circle while chanting. This works especially well with voces magicae that are palindromes.
Repeat the word over and over until it warms your heart. 100 times is better than 10 times.
Try the variant for uttering vowel strings is by imitating the grunting of baboons.

Words of Power

If your goal is a meditation to raise your magical mojo while purifying and descending your mind into your heart, here are some suggestions of mantras to chant using the methods described above.

Besides the Jesus Prayer also many other verses from the Bible could be used for contemplation and have also been popular as spells in magical workings and talismans. In the spells of the Anastasi Handbooks several such examples can also be found. Not only from the Bible but also Kemetic phrases of power or verse from Greek sacred texts. In his forthcoming work "Helios Unbound" Nick Farrell writes:

Homer’s Odyssey and Iliad were not just treated as beautifully written poems but sacred texts which explained how the universe worked. [...] The very sentences were holy and could be taken out of context and used to make a point, in the same way that Bible verses were. [...] Through-out the ancient world, we see these verses from the Iliad or [Odyssey] used for divination or the basis of spells. This use of Homeric verses pre-dates and suggests many of the same uses that modern magicians find for Psalms and Bible verses.⁴⁹

Here are some suggestions of powerful "grammata" for chanting

IAŌ
AEĒIOYO
Abrasax⁵⁰
Achebukrōm⁵¹
Bainchōōōch⁵²
Ablanathanalba⁵³
Aōth Abaōth Basym Isak Sabaōth⁵⁴
Biathiar Barberbi Skhilatour Bouphrountōrm⁵⁵
Aski kataski aasian endasian⁵⁶
Askion kataskion lix tetrax damnameneus aision⁵⁶

Here are the most used Christian Orthodox "arrow prayers":

Iesou⁵⁷
Amen
Maranatha⁵⁸
Kyrie eleison⁵⁹
Christe eleison⁶⁰
Kyrie Iesou Christe, Yie tou Theou, Eleison me ton/tin amartolon.⁶¹
Epshois Esos Pikhrestos, emshiri emifnouti, anok pe pi-ref-ernovi.⁶²

Here are some popular phrases used in Sufi Dhikr:

Allāh⁶³
Allāhu ʾakbar⁶⁴
Alhamdulillah⁶⁵
Lā ʾilāha ʾillā llah⁶⁶
Lā ḥawla wa-lā quwwata ʾillā bi-llāh⁶⁷

Analog to kabbalistic practice you can also experiment with syllables, combining all consonants of the alphabet with the seven Greek vowels:

Ba, Be, Bē, Bi, Bo, Bu, Bō,
Da, De, Dē, Di, Do, Du, Dō,
Fa, Fe, Fē, Fi, Fo, Fu, Fō,
...

Voces Magicae in Existing Spells

If you encounter barbarous names in spells like the ones found in the Anastasi Handbooks, or Coptic or Gnostic papyri, try to analyze the context they are used in.

If they are supposed to be secret names of gods within a longer recitation and the text gives no explicit hint about a melody or any way of speaking them, then the default way of vibrating them monotonously or with simple melodic embellishments is probably the way to go.
If they are listed at the end of a spell and/or are numerically or gematrically connected to some other barbarous words within that spell, they might have a more meditative or ecstatic function and should probably be intoned in a more powerful way than the rest of the spell. Try adding elements of embodiment, movement or singing to them and remain in a quiet and receptive state after you are finished reciting them.
If they are vowel strings, usually in company of other barbarous names, instead of merely vibrating, try to grunt them in a nonhuman baboonic way. It's a lot of fun and very powerful.

In future articles on Helleno-Kemetic Magic in which I will cite spells I will add my own interpretations for ways of reciting the barbarous names and vowel strings therein.

Barbarous Spellcrafting

If you want to create your own Helleno-Kemetic spells or rituals, here are some easy guidelines to make them powerful:

try to find barbarous names in the PGM that suit the deities or spirits you are planning to involve in your working
try to find sacred verses that match your intention or magical goal. Check Bible psalms, Homeric texts, Kemetic spells. Find the original Greek versions. Optionally reduce them to just vowels.
Add vowel strings to the end of the spell, matching them numerically or through gematria to your intent or barbarous names of the deities involved.
Create a sonorous sigil by writing down your magical intent and then crossing out all consonants and use the remaining vowel string as a chant. Optionally translate your intent into Greek first.

The Buddha's Teachings on Not-Self – Anatta – An Introduction. In the Words of Buddha. January 10, 2014. ↩
Sadhu, Mouni. Concentration. Mandala Books, 1959. ↩↩
Kaldas, Samuel. A Coptic Good Friday. First Things. April 6, 2012 ↩
Mikhail, Deacon Albair Gamal, Good Friday. The Heritage of the Coptic Orthodox Church. April 2, 2004 ↩
Nicholson, Raynold A. The Mystics of Islam. Routledge, Kegan Paul, London, 1914 ↩
Ghofrani, Shayesteh. Comparative Analysis of Wilāya in the Formative Period of Shi'ism and Sufism. University of Exeter, 2014. 238 n.1 ↩
Gadalla, Moustafa. Egyptian Mystics: Seekers of the Way. Tehuti Research Foundation, 2003. 25 ↩↩
de Lubicz, R. A. Schwaller. Symbol and the Symbolic: Ancient Egypt, Science, and the Evolution of Consciousness. Aware Journalism, 1981. ↩
Godwin, Joscelyn. The Mystery of the Seven Vowels: in Theory and Practice. Red Wheel/Weiser, 1991. 46 ↩↩
Papyrus New York 35.9.21, col. 28, 9-13 ↩
M.J. Owren et al. The Acoustic Features of Vowel-like Grunt Calls in Chacma Baboons (Papiocyncephalus Ursinus): Implications for Production Processes and Functions. Journal of the Acoustical Society of America, 101, 1997 ↩
H. Te Velde, Some Remarks on the Mysterious Language of Baboons. J.H. Kamstra et al. (eds.). Funerary Symbols and Religion. J.H. Kok. Kampen, 1988. 129-137 ↩
Dornseiff, Franz. Das Alphabet in Mystik und Magie. BG Teubner, 1925. 52 ↩
Ibid. 54 ↩↩
Frater U∴D∴. High Magic: Theory & Practice. Llewellyn Publications, 2005. 161ff ↩
Frater Acher. Holy Daimon. Scarlet Imprint, 1980. Part 3, Chapter 3: Why Joy Matters ↩↩
Solomon, Avi. The Heart of Jewish Meditation: Abraham Abulafia’s Path of the Divine Names. 2013. 5-6 ↩
Frankfurter, David. The Magic of Writing and the Writing of Magic: the Power of the Word in Egyptian and Greek traditions." Helios 21.2, 1994. 189-221. ↩
Nicomachus of Gerasa, Harmonicum enchiridion. von Jan. Musici Scriptores Graeci. 276, 8ff. Translation: Stephen Gersh, From Iamblichus to Eriugena, 295. ↩
Kadloubovsky, E. & Palmer, G. E. H. Writings from the Philokalia on Prayer of the Heart. Faber & Faber, London, 1951. 30 ↩
Ibid. 63 ↩
Ibid. 315 ↩
Ibid. 192 ↩
Coniaris, Anthony. Confronting and Controlling Thoughts: According to the Fathers of the Philokalia. Light & Life Publishing Company, 2004. 18 ↩
Dawood, Bishoy. Stand, Bow, Prostrate: The Prayerful Body of Coptic Christianity. The Clarion Review. December 8, 2013 ↩
Moftah, Laurence, & Croom, Philipp. Ragheb Moftah and Coptic Music. 2007 ↩
Fétis, François-Joseph, Chapitre Septième. Le Chant dans les églises de l'Afrique II. Le chant de l'église copte. - Son caractère. In Histoire générale de la Musique depuis les temps les plus anciens jusqu'a nos jours. Paris: Librairie de Firmin-Didot Frères, Fils et Cie, 1874, vol. 4, pp. 96-101. Music Division, Library of Congress. ↩
Melki, Samira. The Jesus Prayer and Dhikr: A Potential Contribution to Christian-Muslim Dialogue. In: Papademetriou, George C. Two Traditions, One Space: Orthodox Christians and Muslims in Dialogue. Somerset Hall Press, 2011. 194-199 ↩
Cornell, Vincent J. Voices of Islam: Voices of the spirit. Greenwood Publishing Group, 2007. 59 ↩
Naydler, Jeremy. Temple of the Cosmos: The ancient Egyptian Experience of the Sacred. Inner Traditions/Bear & Co, 1996. ↩
Allen, Thomas George. The Book of the Dead or Going Forth by Day. Studies in Ancient Oriental Civilization no. 37, 1974. 40 ↩
Shah, Idries. The Sufis. Octagon Press Ltd, 1999. 198 ↩
Moore, T. Owens. Revisited affect-symbolic imagery. Journal of Black psychology 22.4, 1996. 443-452; also see Carroll, Karanja K. Africana Studies and Research Methodology: Revisiting the Centrality of the Afrikan Worldview. Department of Black StudiesState University of New York, 2008 ↩
Gadalla, Moustafa. Egyptian Mystics: Seekers of the Way. Tehuti Research Foundation, 2003. 21 ↩
Gurgel Pereira, Ronaldo Guilherme. The Hermetic Logos: Reading the Corpus Hermeticum as a Reflection of Graeco-Egyptian Mentality. Diss. University of Basel, 2010 ↩↩
Clarke, Emma C., John Dillon, Jackson P. Hershbell (eds. and trans.). Iamblichus: De Mysteriis. Society of Biblical Lit. Atlanta, 2003. 297 ↩↩
Godley, Alfred Denis. Herodotus: with an English translation by AD Godley... in four volumes. William Heinemann, 1920. 279 ↩
Ibid. 345 ↩
Garb, Jonathan. Shamanic Trance in Modern Kabbalah. University of Chicago Press, 2011. 23 ↩
Pentamegistus. Transcending Lust of Result: a Tested Method . October 03, 2018 ↩
Jowett, Benjamin. Plato. Philebus. Oxford University Press, American branch, 1892. ↩
Taussig H., Calaway J., Kotrosits M., Lillie C., Lasser J. (2010) The Thunder: Perfect Mind, Annotated Coptic Text and English Translation. In: The Thunder: Perfect Mind. Palgrave Macmillan, New York. 5 ↩
Miller, Patricia Cox. In Praise of Nonsense. Classical Mediterranean Spirituality, 1986. 490 ↩
Malinowski, Bronislaw. Coral Gardens and Their Magic: A Study of the Methods of Tilling the Soil and of Agricultural Rites in the Trobriand Islands. The language of magic and gardening. II. Psychology Press, 2001. 218 ↩
Mirecki, Paul, et al. Magic and Ritual in the Ancient World. Brill, 2001. 116 ↩
Ferguson, Everett. The Early Church at Work and Worship-Volume 2: Catechesis, Baptism, Eschatology, and Martyrdom. Wipf and Stock Publishers, 2014. 247 ↩
Grant, Kenneth. Austin Osman Spare: An Introduction to His Psycho-magical Philosophy. Carfax Monographs, Vol. IV, 1961 ↩
Farrell, Nick. Helios Unbound (Limited Edition). Self published on lulu.com. Forthcoming by Immanion Press, 2020 ↩
Farrell, Nick. Helios Unbound (Limited Edition). Self published on lulu.com, 2019. Forthcoming by Immanion Press, 2020; see also: Collins, D. (2008). The Magic of Homeric Verses. Classical Philology, 103(3), 211–236. ↩
sun god of the year, gematria value 365 ↩
secret name of Helios ↩
Egyptian "b3 n kkw" or "Ba of Darkness", an epithet of the primordial god ↩
popular palindrome, from Aramaic, meaning "Thou art our father" (אב לן את) ↩
taken from the Stele of Jeu, from Aramaic, meaning "Host, heavenly host, in the name of Isaac, heavenly host!" ↩
secret name from the 8th Book of Moses (36 letters) ↩
Ancient Greek magical formula ↩↩
Greek for "Jesus" ↩
from Aramaic, "our Lord comes" (מרנא תא) ↩
Greek for "Lord have mercy" ↩
Greek for "Christ have mercy" ↩
The mostly used "Jesus Prayer" in Hesychasm in Greek: "Lord Jesus Christ, Son of God, have mercy on me, a sinner." Use "ton" if you are male, "tin" if you are female. ↩
The Jesus Prayer ↩
الله is the Arabic word for God ↩
الله أَكْبَر means "God is greater" or "God is the greatest" ↩
الحمد لله means "All praise is due to God" ↩
لا إله إلا الله means "There is no god but Allah" ↩
لا حول ولاقوة إلا بالله means "There is no power or strength except with God." ↩

Helleno-Kemetic Magic: Phylakterion

2019-09-06T20:00:00+02:00

Second of a series of articles about my careful attempt to recreate a generic framework of Helleno-Kemetic magic. For an introduction and overview check out this article

Phylakterion

φῠλᾰκτήρῐον • (phulaktḗrion) n (genitive φῠλᾰκτηρῐ́ου); fortified, guarded outpost, garrison; safeguard, protection, amulet; phylactery

Coming Full Circle

Despite widespread claims that the circle of protection - a fundamental element of post-medieval Western Magic - has its origins in ancient Kemet, there is not really much evidence for it. In "Techniques of Graeco-Egyptian Magic" Dr. Stephen Skinner hypothesized that the earliest form of the circle in ancient Kemet may have been inscribed upon the ground in the form of the ouroboros, the snake biting its own tail. To be honest, this claim seems nothing more than a poke in the dark. Instead, the roots of drawn protective circles are more likely to be found in ancient Mesopotamia (Zisurrû).

The sages of Kemet did not draw circles on the temple floors, but used the practice of ceremonial circumambulation for all kinds of purposes throughout the millennia. The Kemetic word pẖr means encircling but also enchanting or controlling.

Egyptian calls a particular type of circumambulation as 'search for Osiris' in which at the time of winter Solstice the image of a cow was carried seven times round the temple, giving the reason that the Sun in the winter arrives at the winter Solstice only after seven months and by observing this type of circumambulation they make the Sun favourable to them. [1]

In "The mechanics of ancient Egyptian magical practice" Robert Ritner writes:

Comparable rituals of circumambulation comprise both public, cultic ceremonies and private, "magical" ones. In particular, the royal coronation ritual included such a "procession about the desert" and a "circumambulation of the walls" to delimit the "sacred space" of the kingdom, [...] Cultic encirclement appears as well in the Ptolemaic ritual of "Protecting the House" of the sacred falcon venerated in Edfu, involving the surrounding of the temple by torches and the "bedchamber" of the god by tamarisk twigs. Nuances of encircling are elaborated within the accompanying recitation to include allusions to the coronation "encirclement as boundary," to the ouroboros "encirclement as protection," and to the simple "going around" as an enactment of free, unhindered movement. [2]

Magical Armor

What the data does show in abundance is the importance of protective phylactery in Helleno-Kemetic magic: wearable charms and amulets to ward off daimōnic influences. These usually involve the inscription of barbarous names of deities, various configurations of vowel sequences or palindromes, as well as magical symbols usually written with a bronze stylus onto hieratic papyrus or precious metals, such as gold, silver, tin, or lead - usually corresponding with the purpose of the phylactery and the daimōnes involved.

When creating papyrus phylacteries, I like to experiment. I fold them into little objects, enclose them in containers, even considered baking them into clay. One of my favourite protective amulets that has served me well is the hundred-lettered name of god (see below) inscribed onto a strip of tin foil, sprinkled with holy water, rolled up and stuck into a tiny glass bottle together with some Mugwort flowers.

Here is a selection of a few phylacteries that work well for the general purpose of protection:

The Greatest Name of God

I am he who has presented myself to you, and you have given me as a gift the knowledge of your most great name, of which the number is 9999 (PGM II. 127f)

There are two "great names" that according to Greek isopsephy add up to the value of 9999. [3] According to philologist Reinhold Merkelbach they were probably "greatest" in a practical mathematical sense: in a system of memorizing and calculating numbers well known throughout the 4th century Roman empire by means of finger counting: Computus digitorum. The three left fingers of the left hand were used for the units, the other two for the decimals. Thumb and index finger of the right hand for the hundreds and the three rightmost fingers for the thousands. So the largest number to be displayed with this method was 9999. [4]

The most commonly known of the two "great names" that is also present on numerous gems and in various misspelled variations in papyri of the Anastasi Handbooks is:

χαβραχ φνεσχηρ φιχρο φνυρω φωχω βωχ

The other one appears in PGM IV. 2430 and is attributed to a sage named Epaphroditus:

φρη ανωι φωρχω φυυυυ ρορψις οροχωωι

Write the formula on a new sheet of papyrus.

The Hundred-Lettered Name of God

Inscribe on a gold leaf:

αθηζε φωι ααα δαιαγθι θηοβις φιαθ θαμβραμι αβραωθ χθολχιλ θοε οελχωθ θιοωημχ χοομχ σαησι ισαχχοη ιερουθρα οοοοο αιωαι (PGM IV. 1214ff)

The Chief Name of Typhon

Onto a silver leaf inscribe this name of 100 letters with a bronze stylus, and wear it strung on a thong from the hide of an ass.

αχχωρ αχχωρ αχαχαχ πτουμι χαχχω χαραχωχ χαπτουμη χωραχαραχωχ απτουμι μηχωχαπτου χαραχπτου χαχχω χαραχω πτεναχωχευ (PGM IV. 239ff)

For a detailed discussion on this amulet, check Leonardo Drakon's archived post.

(phylactery by Leonardo Drakon)

Chnoumis Amulet

The scribe's artistic skills are questionable, but from the context it becomes clear that his squiggles are supposed to be a lion-headed ouroboros. Also the magical characteres he uses in the text do not match the drawing. According to philologist Raquel Martín Hernández the formula to be written into it is also flawed [5], because he apparently got confused with the two ιαεω bits and messed up the palindrome he intended to write:

κμηφις χφυρις ιαεω ιαω αεη ιαω οω αιων ιαεω βαφρενε μουνοθιλαρικριφι αευ εαιφιρκιρα λιθανυομενεερφαβωεαι. [5]

The formula to be written around the ouroboros has quite a lot of lacunae and is unfortunately lost. I freehandedly fixed it and it seems to work. It is important though that the words are to be written in a counter-clockwise manner.

Here is my artistic interpretation of the phylactery including the whole palindrome and all characteres and a photo of the latest version I drew on papyrus. It has served me well! Replace the first NN with your name and the second NN with the name of your mother.

Coptic Magic Squares

A 6th or 7th century Coptic phylactery that synchronicity threw into my lap has the cryptic name P.CyYBR inv. 1792. For a discussion of the original content of the papyrus, check this great article.

Use the SATOR and ALPHA-LEŌN magic square on papyrus. Optionally add the Coptic names of the Three Magi and/or the psalms below.

Σ Α Τ Ο Ρ
Α Ρ Ε Π Ο
Τ Ε Ν Ε Τ
Ο Π Ε Ρ Α
Ρ Ο Τ Α Σ

Α Λ Φ Α
Λ Ε Ω Ν
Φ Ω Ν Η
Α Ν Η Ρ

Μελχιωρ, Θαδδιας, Βαθηζωρα

(Melchiōr, Thaddias, Bathēzōra)

Λύχνος τοῖς ποσί μου ὁ νόμος σου καὶ φῶς ταῖς τρίβοις μου

(Psalm 118-105: Your word is the lamp of my feet, oh Lord, and the light of my way)

ἐπὶ ἀσπίδα καὶ βασιλίσκον ἐπιβήσῃ καὶ καταπατήσεις λέοντα καὶ δράκοντα

(Psalm 90-13Thou shalt tread on the asp and basilisk: and thou shalt trample on the lion and dragon)

Consecration

My go-to consecration ritual for all kinds of charms and phylactery is a shortened version of PGM XII. 201-69.

It first calls upon a multitude of fate related gods. The translation of this spell in the Betz anthology [8] is incomplete, Preisendanz interpreted them as the three stations of the sun [6], because of the transcription as ´γ ηλιοι ανοχ μανε βαυχυχ meaning "three suns" and three assumed voces magicae "Anoch, Mane, Baychych" being their magical names. Merkelbach & Totti follow this interpretation [7]. I don't think they are right though.

First of all, the word ανοχ is an often used voce magica and in Coptic means "I am" derived from Egyptian ink, the word μανε could be a Greek transcription from Egyptian mnw mostly meaning "monument" or "image of", and βαυχυχ like the more commonly used βαινχωωωχ equals the Egyptian phrase b3 n kkw or "Ba of Darkness", an epithet of the primordial god. So the whole string of voces magicae could simply mean "I am an image of the Ba of Darkness".

Second, the wording of the invocation of the gods rather suits the Decans than the solar stations. They are called as assistants for the consecration.

In the next step the mage self-identifies as a number of divine Kemetic forces to compell the Decans to help and then calls upon the great god to consecrate the object.

Preparing the Altar

Making a pit in a holy place open to the sky, or if you have none in a clean, sanctified tomb looking toward the east, and making over the pit an altar of wood from fruit trees, [...] burn all sorts of incense. Then, standing by the pit, look to the east and, pouring on a libation of wine, honey, milk, and saffron, and holding over the smoke, while you pray, the [object to be consecrated], say:

Calling the Decans

I invoke and beseech the consecration
O gods of the heavens,
O gods under the earth,
O gods in the middle place, circling the three suns,
Anoch Mane Baykhukh,
who come forth from the womb day by day.
O masters of all the living and the dead,
O heedful in many necessities of gods and men.
O concealers of things now seen,
O directors of the Nemeseis who spend every hour with you,
O senders of Fate who travels around the whole world,
O commanders of the rulers,
O exalters of the abased,
O revealers of the hidden,
O guides of the winds,
O arousers of the waves,
O bringers of fire,
O creators and benefactors of every race,
O nourishers of every race,
O lords and controllers of kings, come, benevolent, for the purpose which I call you for, as benevolent assistants in this rite for my benefit.

I am a plant named Baïs;
I am an outflow of blood from the tomb of the great One between the palm trees;
I am the Pistis found in men, and am he who declares the holy names, who is always alike, who came forth from the abyss.
I am Sokrates who came forth from the eye of the sun.
I am the god whom no one sees or rashly names.
I am the sacred bird, Phoinix.
I am Krates the holy, called Marmarauōth.
I am Helios who showed forth light.
I am Aphrodite called Typhi.
I am the holy sender of winds.
I am Kronos who showed forth light.
I am Mother of gods, called Heaven.
I am Osiris, called water.
I am Isis, called dew.
I am Ēsenephys, called spring.
I am the image resembling the true images.
I am Souchos who appears as a crocodile.
Therefore, I beseech you, come as my helpers, for I am about to call on the hidden and ineffable name, the forefather of gods, overseer and lord of all.

Calling the Lord

Come to me, you from the four winds, god, ruler of all, who have breathed spirits into men for life, master of the good things in the world. Hear me, lord, whose hidden name is ineffable. The daimōnes, hearing it, are terrified — the name Barbareich Arsemphemphrōth — and from hearing it the sun, the earth, roll over; Hades, hearing it, is shaken; rivers, sea, lakes, springs, hearing it, are frozen; rocks, hearing it, are split. Heaven is your head; ether, body; earth, feet; and the water around you, ocean, O Agathos Daimōn. You are lord, the begetter and nourisher and increaser of all. [...]

By your power the elements exist and all things come into being, the route of sun and moon, of night and dawn—all things in air and earth and water and the breath of fire. Yours is the eternal processional way of heaven, in which your seven-lettered name is established for the harmony of the seven sounds of the planets which utter their voices according to the 28 forms of the moon. Yours are the beneficent effluxes of the stars, daimōnes and fortunes and fates. [...] Hear me and complete for me this operation so that I may wear this power in every place, in every time, without being smitten or afflicted, so as to be preserved intact from every danger while I wear this power. Yea, lord, for to you, the god in heaven, all things are subject, and none of the daimōnes or spirits will oppose me because I have called on your great name for the consecration.

And again I call upon you,
according to Egyptians, Phnōeai Iabōk;
according to Jews, Adōnaie Sabaōth;
according to Greeks, Pantōn Mōnarchos Basileus;
according to the high priests, "hidden, invisible, overseer of all";
according to Parthians, Ouertō, master of all.
Consecrate and empower this object for me, for the entire and glorious time of my life.

(based on the PGM XII. 201-69 translation by Morton Smith [8] edited with information found in [7] and [9] and consultations with Λαζαρίδης from the foot of mount Olympos)

Sources

Sudhi, Padma. "An Encyclopaedic Study on Circumambulation." Annals of the Bhandarkar Oriental Research Institute 65.1/4 (1984): 205-226.
Ritner, Robert Kriech. The mechanics of ancient Egyptian magical practice. Chicago: Oriental institute of the University of Chicago, 1993.
Fideler, David. Jesus Christ, sun of God: ancient cosmology and early Christian symbolism. Quest Books, 1993.
Merkelbach, Reinhold "Die Zahl 9999 in der Magie und der Computus digitorum." Zeitschrift für Papyrologie und Epigraphik (1986): 305-308.
Hernández, Raquel Martìn. Reading magical drawings in the Greek Magical Papyri. na, 2010.
Preisendanz, Karl, and Albert Henrichs, eds. Papyri graecae magicae. Die griechischen Zauberpapyri. Vol. 2. Walter de Gruyter, 2001.
Merkelbach, Reinhold. Abrasax: Ausgewählte Papyri Religiösen und Magischen Inhalts: Gebete. Springer-Verlag, 2013.
Betz, Hans Dieter, ed. The Greek magical papyri in translation, including the Demotic spells. Vol. 1. University of Chicago Press, 1996.
Daniel, Robert W. Daniel Robert W. Two Greek Magical Papyri in the National Museum of Antiquities in Leiden: A Photographic Edition of J 384 and 395 (= PGM XII and XIII). Vol. 19. Springer-Verlag, 2013.

Helleno-Kemetic Magic: Katharsis

2019-08-13T19:19:00+02:00

First of a series of articles about my careful attempt to recreate a generic framework of Helleno-Kemetic magic. For an introduction and overview check out this article

Katharsis

κᾰ́θᾰρσῐς • (kátharsis) f (genitive κᾰθᾰ́ρσεως); cleansing, purification (in a moral/spiritual sense)

These you are going to make completely [near] the lamp, robed and refraining from all unclean things and from all eating of fish and from all sexual intercourse, so that you may bring the god into the greatest desire toward you. (PGM I. 289-292)

It's Mages who do the "Science and Art of influencing change to occur in conformity with Will" [1] as opposed to everyday people, right? The first step out of the profane starts with purification. This achievement obviously has different qualitative levels that one can unlock and they involve:

physical hygiene
ritual baths
perfumes
anointing oils
abstinence from sex
abstinence from consumption of meat or other types of "unclean" food
white and purified ritual attire

The rule of thumb is: The more you can add the better. My absolute minimum of purification is doing a ritualized quick wash and using anointing oil.

This is required to set yourself apart from the other humans in order for yourself to feel sufficiently "privileged" to do the sorcerous work and for daimōnes to pay attention to you. If your operation involves an attempt to make a daimōn manifest physically, according to magically operand scholars who have successfully achieved this type of work this is even more important than for other operations.

But let's be realistic: life always gets in the way! Not only for us but probably also for Mediterranean mages living the exciting urban life in the hip metropolises. So when celibacy is a challenge or showers are not always spontaneously available it's best to have methods handy that do work even in acute needs of magic: spells!

Purification does not primarily involve the physical body, but more importantly the soul. Traditions of outer and inner purification were present in Kemetic, Hellenic, and Jewish cultures.

Although he lived much later than the era of magic discussed here, I want to quote the medieval Moroccan kabbalist Avraham ben Eli'ezer Ha-Levi, because he described beautifully what I am talking about in a work called "Maʾamar Ha-Yihud":

If a person merits aligning all his limbs with the supernal world and purifying and sanctifying them, and making every joint of his limbs a chair and dwelling place for the joints of the supreme Chariot, he will draw the light from the joints of the supernal Chariot to the lower Chariot and the human body will be a holy Temple [...] the person becomes sapphiric as his organs, internal, and external, are a chair and dwelling place for the supernal entities ... and then the influx and lights will descend and he will move in them ... such a person is called a holy man of God. [2]

Imagine your goal to "become sapphiric" and you will intuitively know what to do. When I do magical operations I usually follow my intuition about what level of katharsis to aim for in relation to the operation and its goal. So let's get to praxis:

Apotheosis of the Elemental Body

A famous and widely discussed text from the Great Magical Papyrus of Paris is PGM IV.475-834, mostly known under the misnomer "Mithras Liturgy". Academy has interpreted it as an initiatory ritual to gain "immortality", the permanent transformation of the status of the ritualist, whether into the formal status of a priest or as an initiate of some kind of mystery cult. Yet the text specifically mentions "immortalization" procedures that last only a day and that can be undertaken up to three times a year. Doesn't sound like a permanent initiation, does it? Thankfully, a scholar named Radcliffe G. Edmonds III came to the same conclusion and debunked the common misconception of this ritual [2]. He writes:

This text is better understood, not as an initiation ritual that brings the performer to a new status, but rather as a ritual that temporarily purifies him for a brief meeting with a god. [...] Such rituals of purification or sanctification are common in the religions of the Graeco-Roman world, and they range in complexity from simple lustrations to elaborate practices of abstinence and purification. The greater the sanctity and the more significant the contact between mortal worshipper and the divine, the more complex the ritual must be, but scholars have often failed to see some of these most elaborate rituals of sanctification as part of the same spectrum of purification rituals, classifying them instead with initiation rituals. [3]

The ritual is quite lengthy and for most magical purposes we don't really need to shake hands with Mithras-Helios and gain immortality. It is sufficient enough to purify our meatsuit by means of invocation in a way the Neteru and daimōnes we want to interact with won't be too appalled by our appearance. Alchemically our body is made up of the four elements fire, air, water, and earth. How these elements and our physical body are interconnected with our soul is beautifully explained in a conversation between Horus and his mother Isis in one of the Hermetic Stobaeus fragments:

"What is our body's composition, mother?" Horus asked. Isis: "It is the assembly and blend of the four elements. From this blend and assembly, a vapor is exuded. This vapor wraps itself round the soul and runs through the body. To both – I mean body and soul – it bestows its own quality. In this way, arise the different variations that occur in souls and bodies. [4]

For the purpose of purifying our body on an alchemical level, the first part of the Mithras Liturgy suffices:

The magician must first replace all of the mortal elements of his (or her) body, leaving behind the perishable nature of mortals in the corruptible mortal realm. The magician invokes the archai, the primal elements or originary nature, of his being, going through air (pneuma), fire, water, and earth. [...] Each of these mortal elements must be replaced with immortal elements – immortal water, immortal fire, immortal spirit. [3]

There are various translations of the "Mithras Liturgy" out there. I prefer the version by the controversial "UR Group" around Julius Evola, because it puts an emphasis on practical application rather than precise translation:

First origin of my origin, AEĒIOYO; Beginning of my beginning, PPP OOO PhR; Spirit of the spirit, of the first breath in me, M M M;

Fire, that God has given in the mixture of the mixtures in me, first fire in the fire of me ĒYĒIAEĒ; Water of the water in me, first Water of the water in me, O O O A A A E E E;

First earthly essence of the earthly essence in me, YĒYŌĒ; Perfect Body of me—born of N. (name) of N. (mother)—that the honored Arm and incorruptible Right Hand have formed in the dark and transparent world, inanimate body that was animated, YĒI AYI EYŌIE!

If you deem it right, though I am still held back by my inferior nature, allow me to attain the Immortal Birth, so that, having overcome the incessant need that holds me in its terrible grip, I may contemplate the immortal Principle

through the immortal Breath ANChREPhrēNESYPhIRINCh, through immortal Water ERONOYIPARAKOYNETh, through the Earth and the Air EIOAĒPSENABŌTh;

so that I may be reborn to the intelligence KRAOCHAXRO; so that I may give to myself a new beginning and breathe in me the Holy Breath, NECHTHEN APO TOY NECHTHINARPIĒTH; so that I may contemplate the abyss of the East, the horrible Water, NYŌ THEGŌ ECHŌ OYOCHIECHŌA and the vivifying Ether spread all around me may hear me, ARNOMÈTHPH,

[...]

This is what I, N. (name), born of N. (mother), want according to the unshakable order of God, EYĒYIAEĒIAŌEIANIYAIIEŌ.

[S]ince it would not be possible for me, a mere mortal, to rise together with the golden effulgence of immortal splendor, I command to you ŌĒY AEŌ ĒYA EŌĒ YAE ŌIAE. Be still, O mortal nature destined to perish, and allow me to go beyond the inexorable, hard-pressing need. For I am the Son, I breathe MOYOPROCHŌ PRŌA, I am MOY PRŌPSYCHON PRŌE, I am! [5]

Exorcism of Restraining Daimōnes

An additional method of purification that also exorcises spirits attached to your subtle body that restrain you and hold you back from your full potential (sounds almost like a Scientology ad, right?) is the good old "Stele of Jeu" aka. "The Headless Rite" and in particular the exorcism part that comes before the divine ascent. Here is a shortened version suited for our needs of purification:

I summon you, Headless One, who created earth and heaven, who created night and day, you who created light and darkness. You are OSOR-ONNŌPHRIS whom none has ever seen. You are IABAS! You are IAPŌS! You have distinguished the just and the unjust. You have made female and male. You have revealed seed and fruits. You have made men love each other and hate each other. I am Moses your prophet to whom you have transmitted your mysteries celebrated by Israel. You have revealed the moist and the dry and all nourishment. Hear me!

I am the messenger of Pharaoh OSOR-ONNŌPHRIS. This is your true name which has been handed down to the prophets of Israel. Hear me! ARBATHIAŌ REIBET ATHELEBERSĒTH ARA BLATHA ALBEU EBENPHCHI CHITASGOĒ IB AŌTH IAŌ Hearken to me and turn back this daimōn!

I call upon you, terrible and unseen god, dwelling in empty space: AROGOGOROBRAŌ SOCHU MODORIŌ PHALARCHAŌ OOO

Holy Headless One! Deliver me, NN., from the daimōnes that restrain me: RUBRIAŌ MARI ŌDAM BAABNA BAŌTH ASS ADŌNAI APHNIAŌ ITHŌLĒTH ABRASAX AĒOŌY

Strong Headless One! Deliver me, NN., from the daimōnes that restrain me: MA BARRAIŌ IOĒL KOTHA ATHORĒBALŌ ABRAŌTH

Deliver me, NN.: AŌTH ABAŌTH BASYM ISAK SABAŌTH IAŌ

For more commentary and interpretation of this specific spell check out my other posts on the topic.

I will get into the topic of pronunciation and usage of the barbarous names and vowel sequences in a later post. Stay tuned.

Bibliography

Jason Miller's modification of Aleister Crowley's famous definition of magic. Published in his book "Elements of Spellcrafting"
"Ma'amar Ha-Yihud" in Amnon Gross (ed.), "Nevuʾat Ha-Yeled" (Tel Aviv, 2005), pg.162, found in Garb, Jonathan. Shamanic trance in modern Kabbalah. University of Chicago Press, 2011. pg. 37f
Edmonds III, Radcliffe. "There and Back Again: Temporary Immortality in the Mithras Liturgy." (2014): 185.
Stobaeus 26:13 in Litwa, M. David. Hermetica II: The Excerpts of Stobaeus, Papyrus Fragments, and Ancient Testimonies in an English Translation with Notes and Introduction. Cambridge University Press, 2018.
Evola, Julius, and Ur Group. Introduction to Magic: Rituals and Practical Techniques for the Magus. Simon and Schuster, 2018.

A Path of Helleno-Kemetic Magic

2019-08-12T15:00:00+02:00

This article introduces a series of articles about my own default methods of magic based on spells and ritual outlines found in Graeco-Egyptian and Coptic magical papyri. I carefully attempt a recreation of a generic framework to apply to various magical operations for fun, efficacy and doing the Great Work.

Thebes Calling

Throughout the last years I have dipped my toes into different systems of ceremonial magic in search for some tried and tested protocol I could use for getting myself into the right headspace for the Great Work, as well as to boost my practical enchantments for better results. I tried very casual formulas for simple sigil magic or divination, boiled down grimoire protocols (e.g. Seven Spheres). I experienced failures with ceremonial frameworks which I half-assed because of the lack of tools (Harleianus MS 5596 / Hygromanteia) and found ones that I didn't even attempt to try because of the same reason (Key of Solomon derivatives).

Most of the post-medieval grimoire systems feel too elaborate for the magic I am doing, which is mainly sigil-work, divination, uncrossing-, way-opening- or binding-spells, ancestor-work and such. Due to safety concerns and the lack of tools and time I am not interested in working with Goetic entities or bullying spirits into physical manifestation. I am quite allergic against overly structured Victorian lodge magic like the Golden Dawn systems or their Thelemic spin-offs because of their fetish of shoe-horning everything into never-ending tables of correspondences. I totally acknowledge their importance in "Western Magic" - it just ain't my cup of tea.

On the other hand some of the more casual systems (Seven Spheres, various chaos magic frameworks) did not seem to get me into a satisfying headspace that made me feel sufficiently sorcerous. I guess I am less of a "technical magician" and more in search of a general ritual experiences that bristles with sparks of mysticism and weirdness. The only flavor of Western Magic that has been able to consistently fulfill this craving for me while also delivering satisfying results is the "Helleno-Kemetic" (or "Graeco-Egyptian" for a more Roman imperialist term) approach preserved in the papyrus collection often referred to as the "Anastasi Handbooks", "Thebes Cache" or more popularly "Papyri Graeco Magicae" (PGM).

I very much resonate with mashing up hoi polloi "folk magic" and unemployed temple priest thaumaturgy from the dusty back-alleys of Thebes with an unabashed syncretism of various branches of Pagan, Jewish, and Christian esoteric systems that even makes post-modern Chaos Magic look orthodox and I very much like the mind-bending use of barbarous names and vowel chants that was en vogue back then.

The body of work that documents this flavor of magic is a mess of torn papyrus scrolls written in Greek, Demotic, and Coptic found in a hidden cache in Thebes. On the majority of papyri unfortunately there is no detailed information about the requirements and protocols of the ritual framework the mages used to make their spells work - besides occasional footnotes to "do the usual". On the upside, this style of magic seems to not have required complicated tools - not even a circle. I like! But then there are of course animal sacrifices...

Retrofitted Rites

In the last decades several attempts have been made to reconstruct working ritual frameworks for Helleno-Kemetic magic. Noteworthy books on the topic are Stephen E. Flowers' "Hermetic Magic" and Tony Mierzwicki's "Graeco Egyptian Magick", as well as "The Book of Abrasax" by Michael Cecchetelli. Flowers' book is great for learning more about the cosmology behind the magic (at least as assumed by the author) and it has an extensive praxis part which is mainly a collection of PGM spells thrown together as if they were a grimore. Cecchetelli did a much better job at curating and modifying useful spells from the Anastasi Handbooks. Mierzwicki's book is a ritual framework for self-initiation into the planetary spheres based on prayers found in the PGM but with extensive commentary. Another work mentioning - although lacking praxis, containing some wild assumptions and focusing more on the Anastasi Handbooks' content, history and their place in the timeline of Western Magic is Stephen Skinner's "Techniques of Graeco-Egyptian Magic". A great new book that I haven't finished reading yet but is the most scholarly satisfying one for cultural context and an overview of techniques of Helleno-Kemetic magic is "Drawing Down the Moon" by Radcliffe G. G. Edmonds III.

The in my opinion best attempt of re-creating a practical Helleno-Kemetic ritual framework I came across has been brought to us by the great Polyphanes aka. Sam Block, who published it for free on his blog Digital Ambler with the usual galore of commentary.

While all of these works are helpful and worth checking out, it bothers me a bit that most authors seem to suppose the existence of ritual frameworks in Ptolemaic and Roman Egypt akin to post-medieval grimoire or quote-unquote "Hermetic" frameworks, like in Golden Dawn magic. What I mean by that is an elaborate protocol of ritual attire and tools, a circle of the art, delineation of temple space, opening and closing formulae, consecration of implement, banishing, invocation and evocation, and so on. There is no doubt that all of these have important functions in established Western systems of magic and I also understand that initiated or learned magicians default to looking for such methods because they work in the systems they have studied and mastered - yet to my knowledge there is no evidence in the source material or historic record that really justifes a need of retrofitting such protocols into the syncretic Helleno-Kemetic-Roman era forms of magic.

Brick by Brick

Having no affiliation with any magical order and not having followed any established magical path or school, I did not have a default ritual structure to work with when approaching the glorious mess of the Greek Magical Papyri. I jumped right in and did many experiments in which either nothing happened or my mind got fucked and I ended up physically destroyed and sick in bed.

Trial and error that was more painful than expected in my experimental naivety. In retrospect it was a mistake and a blessing at the same time. On one hand I could have avoided getting hurt by forces I did not comprehend, but on the other hand I learned important lessons in the most natural way I have taught my stubborn self almost everything else in my life so far: by experience of making mistakes and trying to avoid them in the future. Step by step, I find myself building a ritual framework from scratch that works for me for most operations.

I was asked a few times to share what I actually do, so I decided to write a few articles about it which I will publish here in the next weeks.

I tried to divide and structure the content into five topics, that - from my own experience - are absolutely crucial for Helleno-Kemetic magic, at least from my own personal viewpoint at the time of publication. I gave them catchy Greek titles, because why not? Not all of the listed parts are needed for every operation, but help staying safe and getting predictable results. This article is the introduction to a series of upcoming posts where I will outline each topic in detail, share techniques and spells with commentary and provide plenty of quotes from sources I base my assumptions on. Since all of my practical magic is and will always be work-in-progress the contents will change and be updated regularly. Here is the list of topics that will also serve as a Table of Content once the articles will be released.

Elements of Helleno-Kemetic Magic

κάθαρσις (Katharsis) - Purification
φυλακτήριον (Phylakterion) - Protection
θεωρία (Theoria) - Altered States of Consciousness
κροῦμα (Krouma) - Knocking on Heaven's Door
συστάσεις (Systaseis) - Daimōnic Teamwork

Into the Spheres

2019-04-18T14:00:00+02:00

Trying Trithemius

I have to admit my guilt of initial skepticism towards Rufus Opus' "Seven Spheres" from an ignorant armchair magician's perspective. The magical system seemed too "watered down" in comparison with the original framework laid out by Trithemius in "Drawing Spirits into Crystals" and other modern interpretations of it, like Frater Ashen Chassan's outstanding work.

My mind was changed by listening to the lovely Charm the Water podcast and following the reports of incredible synchronicites and life-changing events that unfolded around Aaron and Kelly's lives around each of the planetary initiation rituals. It has been on my bucket list ever since and a few weeks ago I finally managed to plunge into the first sphere.

How Aaron diverged from RO's original ritual order and timing resonated very much with me. The schedule in Seven Spheres seems quite tight and the order of planets to initiate into very strategic. Aaron approached it in a more organic way by following his intuition to tell him which planet to reach out to next and to let much more time pass after each ritual. It allowed him to fully experience each unfolding of planetary enchantment without hurry.

I knew that I wanted to initiate into the sphere of Jupiter first, because he rules my sun sign (Pisces) and I wanted to do it around my birthday at the end of March. I elected April 4 for the ritual, a Thursday, in the evening hour of Jupiter. The space weather seemed auspicious: the Sun and Moon were in Pisces, Jupiter himself at home in Sagittarius, and visited in his sign also by grumpy old wizard Saturn.

Allowing myself some artistic freedom constructing the required Trithemian table of practice, I followed Ashen Chassan's lead (backed up by Peterson and Stratton-Kent) and used the names of the Four Kings instead of the Archangels. Instead of the Gothic Latin names of the planetary angels RO uses and Chassan's classic Hebrew version which both are quite difficult to draw due to the calligraphic serifs I followed the layout by Polyphanes and used the Celestial Hebrew typeface popularized by Agrippa. Here is the final design I went with:

Dialing Sachiel

I painted it onto a wooden plate using black permanent marker and some minor decorations in gold and silver. The crystal is a scrying glass sphere I bought in my local New Age shop together with two royal blue candles, corresponding with Jupiter. For the required lamen and seals I used cardboard in the same color. Following Chassan I placed the altar towards Southwest and I intuitively turned the table of practice so the Four Kings would point into their respective cardinal directions. As suffumigation I went with a delicious combination of aloe- and cedar-wood. I quit smoking three years ago so I skipped the cigar smoke offering part, but I adorned the altar with some dried laurel leaves from the kitchen and an olive branch I had taken from a small tree that was next to the altar of Bona Dea Heia Augusta that I found during an obsessive quest in Croatia last summer. The alcohol offering of choice was a glass of my favorite Scotch Whisky Glenmorangie and as music I first played "Ode to Joy" and then a compilation of loungy Austrian jazz that seemed appropriate.

My preferred ritual language is German, so I had to translate the prayers from English first. You can find the translations here.

Despite neither seeing anything appear in the crystal, nor feeling any Angelic presence, I followed through with the whole ritual, confident that it would take some time for the effects of the initiation to unfold in the next days and weeks - and boy, did they unfold...read on

Dawn of the Dead

2019-02-13T19:40:00+01:00

Death Cycles

At my morning walks along the canal this last week it has already become apparent that the winter is slowly fading and the sun is growing in strength. Nevertheless the all encompassing greyness and hardly visible but relentless February rain is just occasionally broken apart by blue sky and sunlight. From Capricorn to Aquarius, Saturn rules this time of the year and it seems appropriate. Before All Saints and All Souls got shifted towards the end of the year, the ancient Romans celebrated Parentalia during mid February - starting today and lasting for nine days of remembering and communing with the spirits of the dead ancestors.

To me it feels like a nice framing of time to connect with the dead in November and then again in February - almost like two twilight moments like dusk and dawn with the winter solstice at its darkest midpoint. It is the twilight between the world of the living and the world of the dead, liminal periods where the two realms bleed into each other and where it seems more easy and appropriate to have interactions between the two.

Magician and blogger BJ Swain has a brilliant chapter about ancestor work in his highly recommended book "Living Spirits". He touches on concepts and beliefs from the Kongo and how traditions there understand and conceptualize life and death. I found it very enlightening because it ties in with what I wrote in the previous paragraph about the worlds of life and death mirroring the daily and yearly solar cycle and puts in words what I could only describe as a feeling until now: the Dikènga cosmogram. It serves as a fundamental law of the universe and is especially suited to describe a cyclic relationship between the living and the dead. It also struck me as heavily resonating with ancient Egyptian cosmology:

Coded as a cross, a quartered circle or diamond, a seashell spiral, or a special cross with solar emblems at each ending - the sign of the four moments of the sun is the Kongo emblem of spiritual continuity and renaissance par excellence. [...] The horizontal line indicates the divide between the world of the living and the world of the dead. It also indicates the divide between night and day. The circles at each quarter point can indicate the sun, or they can indicate moments in the life and death cycle. This cycle is characterized not simply by each step feeding the next step until we return to where we begin, but also by the idea that life and death reflect each other. So when we are born into the world of the living we die from the world of the dead and vice versa. When the Sun is at noon in the world of the living it is midnight in the world of the dead. We do not simply exist in a step by step cycle but in a symbiotic reflection, where what occurs for us is coordinated with what occurs for them, and what occurs for them predicts what occurs for us and so forth. [1]

I dove deeper into the fascinating Dikènga rabbit-hole and found this description of the concept as a whole:

the stage known as Musoni is the stage of the conception of ideas, human beings, and ail things conceivable. Musoni corresponds to when the sun is at midnight and is represented by a yellow color. Although the sun has set and therefore cannot be seen directly by the observer, it is understood to still exist. Similarly, when a person dies, he/she is understood to still exist in the same fundamental way as the human being is conceived of as ntângu a môyo 'a living sun' (Fu-Kiau 1994: 26).' By the same token, matter is not created or destroyed - it simply changes form. [...] After Musoni, the next stage is Kola, illustrated in Black, which represents birth, sunrise, and [...] the beginning of the story. Next, Tukula, associated with the color red, represents the sun at noon. It corresponds to the highest point in a person’s life [...]. The next stage is Luvèmba, shown in a grey color. This represents sunset. This is the stage of the transformation that occurs when a person passes on. However, in the Afrikan worldview, this is not truly the end. Indeed, Fu-Kiau asserts that “Dying is not an end. Dying for the Kongo is just going on vacation” (Fu-Kiau 2001b). The underlying concept is articulated in the proverb "tufwanga mu soba — we die in order to undergo change" (Fu-Kiau 1994: 27) Luvèmba is where the story comes to its closing formula but continues to exist in other forms. [2]

Croissants, Coins, and Crows

The Romans celebrated Parentalia not only at home but visited the family tombs in the liminal space just outside of the cities to commune with their ancestors and bring them offerings of flower-garlands, wheat, salt, wine-soaked bread and violets. I really resonate with this practice and especially during these periods of the year really would like to do similar rites. But today not many of us still live in the same place where our ancestors were buried and we do not have a ritual space to be near to their physical remains. For me it is the same. I live around 700km away from my grandparents graves and I only have very few chances to "visit them."

But I discovered a magical solution to the problem - or it was rather Saturn who sent a cold black spark of inspiration that led me to a solution. But first let's rewind a bit...

It was during a visit in my hometown around Christmas two years ago. I was on the way to visit my sister at her home to have breakfast together. Before, I wanted to buy some croissants and other delicacies at a French bakery around the corner of where she lives. Upon entering I checked my wallet to see if I had enough cash. In my usual early morning pre-breakfast clumsiness I managed to drop a handful of coins on the street right in front of the bakery. Mumbling curses I managed to pick most of them up and realized that among them were also three Chinese coins that I occasionally used for I Ching divination. There were only two of them on the pavement and I crawled around looking for the third one. Then I saw the gully...

Pointing my phone's flashlight into the shaft while dodging confused customers who tried to enter the bakery I spotted the lost coin. It was lying on a layer of rotten leaves that had clogged the shaft, just a few centimeters below the gully's opening. The slots on the lid were too narrow to put my finger through so I decided to try again on my way back after breakfast.

Two hours later I returned, confident of victory, armed with a magnet, a string, and a coat hanger made of wire. The first blowback was to find out that the damn coin did not stick to the magnet, so I tried it with the coat hanger. I got more frowns and suspicious looks from bakery customers and owner, crawling around on the floor poking around in the gully.

Eventually...instead of managing to stick the end of the wire through the coin's square hole, I poked a hole into the layer of leaves and the coin dropped right through it and disappeared in the darkness.

I chuckled when I looked up, still on my knees - because the bakery's entrance had a little black iron crow as decoration of their doorstep - and they had dressed it with a red scarf and a Santa hat for the Christmas season. It seemed to mock me - I guess I deserved it.

Graveyeard Wormholes

I don't remember if it was on the same day or a day after, but in the afternoon I walked through my favourite cemetery that I use as a shortcut on my way from my parents house to the inner city. Some of my relatives from my mother's side are buried there, so I decided to visit their grave. When I walked past the beautiful crematorium building in the middle of the cemetery that was built in the late 1900s and looks like an antique temple I was suddenly struck with an insight and a plan:

Today was Saturday, the day of Saturn. The crow in front of the bakery: a Saturnian animal. It all suddenly made sense to me now and I instantly knew what to do: I remembered that had wanted to collect earth from my ancestors graves for some time already and I also remembered that in the African American Hoodoo Rootwork tradition you offer coins to the spirits in exchange for graveyard dirt. In this particular moment these two thoughts developed into a magical idea...

I walked to the crematorium because I remembered the beautiful mosaic of a skull and a sand clock it has on the floor of the front gable. I placed my remaining Chinese coins on the mosaic, recited the Orphic hymn to Kronos and did an impromptu request to Saturn to cleanse the coins of all previous influences. Then I asked him to aid me in fusing all of my Chinese coins together to one etherically interconnected network of magical tokens that by themselves should act as portals to exchange magical energies with each other across the network. I waited for a moment and recollected the coins.

After I went to the grave of my grandparents and uncle, recited a requiem prayer and asked for permission to take some dirt. I placed one of the freshly created Saturnian portal coins into the earth and told my ancestors that through this object we will be connected with each other beyond space and time.

A few days later I did the same at the grave of my father's parents on a different cemetery and also at the grave of our old neighbors who were close to my heart because they were also like grandparents to me when I was a child.

Back home in Berlin I placed all the collected earth from the graves into a beautiful glass container and put another of the Saturnian coins on top of it. This acts as a proxy or portal to the physical graves of my ancestors and when I want to give offerings to them I pour libations over the coin or wave it through incense smoke and imagine how the offering's energies travel across the etheric network and reach their graves. I also imagine the portals to be open for exchange and meditate on this image while communing with my ancestors spirits.

Feel free to use this idea yourself and see if it helps you to be closer to your ancestors if you whish so. It certainly helps me. I can also imagine that instead of coins you could use a rock or other item broken into pieces or make up a batch of tokens with the same sigil on it.

Spirit Communion

The general protocol that I have currently settled with for my own practice of communing with my ancestors is mainly based on the ritual outlined in this highly recommended Sphere & Sundry article, but also heavily inspired by a Shinto ritual that I love for its powerful minimalism. I combined the two and I work with Tehuti as psychopomp, because I already had a relationship with this god through my Tarot practice.

The full protocol is suitable for first contact or special occasions and can be easily simplified for more casual subsequent communication. The calls to the ancestors in the ritual outlined below are a spin-off from a general prayer to the ancestors that I wrote a while ago and which I frequently use in other ritual settings:

You ancestors who came before me. I call you. Mothers and fathers, sisters and brothers, daughters and sons. All you, from whose community I came forth, whose blood flows through my veins, whose traces and memories I carry within me. With deep compassion, I think of your sufferings and your pains, through which you had to go on your life's path. With gratitude and love I think of your struggles, your dreams, your achievements, your courage and your strength. May your blessing and guidance bring out the best in me, for the benefit of all, whom I may meet in this life. Amen.

Full Ritual

Preliminaries

Ritual bath
Anoint with oil
Light candles
Light general incense (Frankincense)
Place a bowl of Natron or Butsudan ash powder in the center of the altar

Orphic Hymns

I prefer to do this rite during planetary hours that combine the hour and day of Mercury and Saturn. Hour of Mercury on Saturdays or hour of Saturn on Wednesdays. I start with the Orphic hymn of whoever rules the day, then the one of whoever rules the hour. For Mercury I use the hymn to Hermes Chthonios. You can find different versions of the Orphic Hymns. The recent translation by Patrick Dunn flow very well in English. Or use the free ones you can find here. For best pronunciation in Greek check Susan Chang's amazing video. Light Storax / Benzoin incense before you start. One for Mercury, one for Saturn.

Prayer to Tehuti

Burn some Egyptian papyrus or Kyphi incense and give an offering of Natron.
Pray the Hymn to Tehuti down to "Who enters duat, knows those in it"
Call to Tehuti:

Tehuti, I call you! Thrice greatest Tehuti, scribe of Ra, Silver Aton, leader of souls in the hereafter. I invoke you in your great, divine names: ALIPS, THABLIPS, STSILIPS, GAGARPAOTHAR, THANASIMA, QHAH, ORTHOMENKHROÔN, BALSA, ALABAKHABEL [4], Come to me here and now to this place that will serve as a meeting place for myself and my ancestors, guardians, and leaders who now dwell in the afterlife, whose blood runs through me, and all whose spirits have helped shape me.

Thrice greatest Tehuti, I humbly ask you to aid me as a messenger and as a light for those I seek. Open the veil between this world and the hereafter. Find my ancestors and make sure they receive my words, gifts and intentions.

Thrice greatest Tehuti, accept these offerings of smoke, light, water, food and wine. Accept them in gratitude for your help, and please spread them to the dead I call and invite them to attend and see to it that no uninvited intruder comes to this place.

Be praised, oh Thrice greatest Tehuti, forecaster of the future, notary of Ra!

Peret kheru ta, heneket, khau kau apedu, khut nebet noferet wabet ankhet netjer im. [5]

Offerings to the Dead

Place all offerings on the table, smudge them with incense.
Place a lit stick of incense into the bowl of Natron, a bit to the rear right of its center. This is for all women in your bloodline.

I call you: mothers and grandmothers, sisters and cousins, daughters and granddaughters. All you women, from whose community I came forth, whose blood flows through my veins, whose traces and memories I carry within me. With deep compassion, I think of your sufferings and your pains, through which you had to go on your life's path. With gratitude and love I think of your struggles, your dreams, your achievements, your courage and your strength. Come to this altar in your honor and accept my offerings, giving thanks for the sacrifices you made for our family. Accept these gifts, along with my gratitude and love.

Place another lit stick of incense into the bowl of Natron, a bit to the rear left of its center. This is for all men in your bloodline.

I call you: fathers and grandfathers, brothers and cousins, sons and grandsons. All you men, from whose community I came forth, whose blood flows through my veins, whose traces and memories I carry within me. With deep compassion, I think of your sufferings and your pains, through which you had to go on your life's path. With gratitude and love I think of your struggles, your dreams, your achievements, your courage and your strength. Come to this altar in your honor and accept my offerings, giving thanks for the sacrifices you made for our family. Accept these gifts, along with my gratitude and love.

Place a third lit stick of incense into the bowl of Natron, a bit to the front of its center, so all three sticks shape a triangle. This is for the lost and forgotten ones of your bloodline and the ones who are not genetically related to you, yet important.

I call you: all you forgotten dead, you unborn dead, you who died as children. I also call you, all you friends and acquaintances, and all those who have stood with and helped my family and me, whose influences and benevolence I carry within me. Come also to this altar in your honor and accept my offerings, giving thanks for the sacrifices you made for our family. Accept these gifts, along with my gratitude and love.

(Optionally, call the mighty dead.

I call you: you inspiring ancestors, you artists and magicians, poets and thinkers, you role models who have given your lifeblood for the benefit of all, you mighty forefathers, who have made this world a better one before your transition to the next world. With gratitude and love I think of your struggles, your dreams, your achievements, your courage and your strength. They live in me and flow through my veins, they inspire my existence and from them I draw strength. I thank you from the bottom of my heart. Accept these gifts, along with my gratitude and love.)

If it is the first time you do this ritual, I recommend to say something about the collected earth and the Saturnian tokens:

Dear grandparents and dear uncle (or whose graves are connected with each other through the token network), through this earth and through the tokens, which are consecrated by Saturn and connected to each other beyond distance, I can always be close to your graves. All of you other ancestors, I ask you to acknowledge this earth as symbol also for the earth of your graves and to recognize the network of tokens also as a symbol of our inseparable connection.

Play music, commune with the present spirits, have a party, do whatever you want to do.

Closing the Space

Thank you all, my ancestors who have appeared. May your blessing and guidance bring out the best in me, for the benefit of all, whom I may meet in this life. I thank you from the bottom of my heart. I hereby grant you a license to depart. Return to your resting places and do not stay in this house. But come back soon when I call you. My love and gratitude are always with you!

Thrice greatest Tehuti, make sure that all the souls called here today find their way and return to their resting places and close the veil again between this world and the hereafter. This ritual is closed.

Requiem

O Lord, grant all eternal rest. And let eternal light shine on each of them. May the souls of the ancestors rest in peace through Your mercy. Amen

Family Troubles

I know that it can be difficult to connect with the own dead relatives, be it because some of them have been abusive towards members of the family and caused traumata and grief, or because they would not have agreed with their descendants life-style, beliefs, sexuality, identification, etc. or vice versa. You can find important thoughts about these issues in the linked Sphere & Sundry article above or in BJ Swain's book, and many other places, but my own are as follows:

First of all nobody has to talk to the ancestors, there are other ways of getting help from the dead. A good example would be working with the "Lost Souls" in "purgatory", as I recently heard and read about in this great article by Agostino Taumaturgo or in the pure Shinto way. You can also tie Catholicism and pagan Roman rites together and do a kind of Parentalia Novena.

An important point that made a huge difference for me was involving a psychopomp in aiding to make contact with the dead. You can ask them to filter out unwanted ancestors, either by explicitly naming them or by asking him to not let the ones come who are not comfortable supporting your current life, or something along those lines. You can also ask them specifically to invite only your magically operand ancestors, or the artists among them, or the queer ones, and so on. Use them as a bouncer to your party.

Incarnations

Coming back to the "Saturnian coins": I came across an article on Gnome School that had a quote from a book by Henry Rogers about very intriguing objects that I can very well imagine being used for such an "etheric network":

From the period 8500-3000 OLD, a large number of artefacts known as tokens have been found. There are small clay objects of simple geometric shapes: spheres, cones, tetrahydra, cylinders, disks, lens-shaped disks, etc. tokens of this period are known as plain tokens. They are associated with the beginnings of agriculture [and] were used for record keeping… some have been found stored inside sealed, hollow clay balls forming envelopes around the tokens… these envelopes represented a way of safegaurding the record of the contract. If there was a disagreement, the envelope could be broken, and the evidence of the tokens would be inside. [3]

This magical network concept lends itself also to many other potential magical applications. Some research revealed that it is apparently also nothing really new. The famous DKMU "Ellis" aka. "Linking Sigil" and Chaos Magick 101's Sigil Matrix followed a similar line of thought. My plan is to further explore this technology of linking talismanic tokens to each other.

(1) Swain, BJ. Living Spirits: A Guide to Magic in a World of Spirits. Independently published. 2018
(2) Kambon, Ọbádélé. "Akan Ananse stories, Yorùbá Ìjàpá tales, and the Dikènga theory: worldview and structure." Contemporary Journal of African Studies 4.2 (2017): 1-36.
(3) Rogers, Henry. Writing systems: A linguistic approach. Oxford: Blackwell, 2005.
(4) translation from demotic spells with secret names of Tehuti from Louvre E 3229 papyrus (Betz PDM lxi. 63-78 and PDM Suppl. 149—62) found in: Betz, Hans Dieter, ed. The Greek magical papyri in translation, including the Demotic spells. Vol. 1. University of Chicago Press, 1996. pg. 288 and 328.
(5) Common Egyptian offering formula. It translates to: "A voice offering of bread, beer, a thousand of beef and fowl, and every good and pure thing on which a god lives"

Three Wise Kings

2019-01-15T20:00:00+01:00

(version 2.0 updated 6/01/2020)

The Three Magi, or Drei Könige as they are called here in Germany, were my favourite characters in the Christmas tale when I was a kid: their names seemed so foreign and exotic and hey: they followed a star and ended up being the first ones to visit baby Jesus and brought him gold and other stuff that I didn't even understand. Couldn't get any more magical than that for my taste.

My best memories of the Christmas season were from the times when my parents took us to the Canary Island of Fuerteventura. Not only could we spent the days playing naked on the beach while everyone back home was freezing, but also Christmas itself was very different: We just celebrated it in our small family circle without having to fulfill any grandparents', aunts' and uncles' expectations, no boring church visits, no carols we had to sing, and so on. I was looking forward to Epiphany during those holidays, because that's when the local Spanish kids received their presents delivered by the Three Magi. The Magi would come riding into town on real camels, tossing candies to the children awaiting them in awe and escorted by police cars playing "Feliz Navidad" from their megaphones!

Anyway, ever since I found myself on this magical journey I had rediscovered my interest in the Three Kings and had consecrated a piece of chalk on the last two annual Epiphany days to mark our house's door with the C + M + B initials for protection. Last year I was very excited to find out that Dr. Al Cummins has written a whole book on the Three Magi that also includes some practical chapters about devotional and magical items to make. Of course I had to have it...and gifted the book to myself as a Christmas present. This last Epiphany I found myself working all day on producing Three Kings Oil, Three Kings Chalk, and a protective talisman, as described in Al's book ¹.

The most fascinating item for me covered in the book is a seal from the Folger Manuscript Vb.26 (aka. "Book of Oberon", pg. 372 ²) that features the Three Magi's names and a SATOR square. The original manuscript's talisman description reads: "to be delivered from all fear, and against shot to be further off". In his book Dr. Al proposed it to also be used as a kind of magic circle or plate for objects to be consecrated in the Three Kings names ¹.

Having never heard of a connection between the Three Magi and the SATOR square, I did a bit of research and found some intriguing bits of information: in a group of Byzantine churches from 900 CE in Cappadocia, mural decorations name the shepherds who came to adore the Christ-child as Sator, Arepo, Teneton, in another one Peratoras ³. According to a Byzantine bible of an earlier period ⁴ and also as reported by 16th century philologist Isaac Casaubon, the names Ator, Sator, and Peratoras were supposedly the names of the Three Magi ³.

Of course their alleged names have been many throughout the ages depending on who you asked: Apellus, Amerus, Damascus; Megalath, Galgalath, Saracin; Dionysius, Rusticus, Eleutherius; Enoch, Elijah, Melchidezek; Hôrmîzdah, Îzgarad, Perôzâdh; Bathezora, Melchior, Thaddias; and many more ³. As we know, the ones that have prevailed in the West were: Caspar, Melchior, and Balthasar. Nevertheless I had found a promising connection to the SATOR square.

In his book Dr. Al suggests to draw the seal on a plate in golden colour, which I also considered. But eventually I followed a gut-feeling and decided to draw it on a sheet of Egyptian papyrus instead. Iwas satisfied with the outcome:

The accompanying consecration ritual Dr. Al proposes includes burning three candles with the Magi's names carved into them and sprinkling circles of rue and hyssop around the square ¹. I could not obtain any rue on the days before Epiphany and because I wanted it to be more "Middle Eastern" - to suit the papyrus vibe - I diverged from that, skipped the herbs and candles completely and went "full Egyptian" by burning incense instead: As a representation of the Three Magi I arranged three sticks of incense (Frankincense, Myrrh, Aloeswood) in a triangle formation in a bowl of Natron which I placed in front of a thick white candle, representing the star / Christ. I recited Psalm 72, Matthew 2:1-12, Psalms 51 and 22. The consecration of my Epiphany materia magica went really well and felt quite powerful.

Because it was also New Moon I did my monthly Stele of Jeu operation right after that, but with the slight variation of adding "Hear me and turn away this restraining spirit, in the names of Caspar Melchior and Balthasar" to the exorcism part. I had been a bit wary about even doing the Headless Rite because this New Moon was also a Solar Eclipse and the Sun conjunct Saturn, but after the whole day dedicated to the Three Magi I felt quite protected and empowered enough to do it anyways (the talisman that "delivered from fear"?).

Also, Epiphany coincided with the sun entering the headless / disk-headed Decan Kenmu, - a powerful synchronicity to the Eclipse near the headless south-node Ketu - it felt like the most auspicious headlessness moment, so I felt compelled to do it whatever it takes...also because of a powerful synchronicity that happened a few days before.

Synchronicity

The next day, a jaw-dropping synchronicity sent shivers down my spine when this blog post from the Coptic Magical Papyri research-project popped up in my Facebook feed about an Egyptian papyrus named "P. CtYBR inv. 1792" dated to the 6th or early 7th century CE that features several magical sequences, most promintently a SATOR SQUARE (!!!) in its center and next to that the Coptic names of the THREE MAGI (!!!): Melchior, Thaddias, and Bethezora! Below the magical sequences is written:

"+ Christ was born on the 29th of Khoiak. He came down upon the earth, and he rebuked all of the venomous crawling things. Your word is the lamp of my feet, oh Lord, and the light of my way."

Coincidence or not, I was left with the feeling that this was a confirmation of yesterday's work!

Update: Some months later I re-created the phylactery myself. Here are the instructions:

Use the SATOR and ALPHA-LEŌN magic square on papyrus. Optionally add the Coptic names of the Three Magi and/or the psalms below.

Σ Α Τ Ο Ρ
Α Ρ Ε Π Ο
Τ Ε Ν Ε Τ
Ο Π Ε Ρ Α
Ρ Ο Τ Α Σ

Α Λ Φ Α
Λ Ε Ω Ν
Φ Ω Ν Η
Α Ν Η Ρ

Μελχιωρ, Θαδδιας, Βαθηζωρα

(Melchiōr, Thaddias, Bathēzōra)

Λύχνος τοῖς ποσί μου ὁ νόμος σου καὶ φῶς ταῖς τρίβοις μου

(Psalm 118-105: Your word is the lamp of my feet, oh Lord, and the light of my way)

ἐπὶ ἀσπίδα καὶ βασιλίσκον ἐπιβήσῃ καὶ καταπατήσεις λέοντα καὶ δράκοντα

(Psalm 90-13Thou shalt tread on the asp and basilisk: and thou shalt trample on the lion and dragon)

Prayers to the Three Magi

These prayers are referenced in Dr. Al's book. They first one is a beautiful adoration and the second one a powerful petition. I dug up the originals and translated the second one also into German

Prayer of Epiphany

Latin original: En omnipotens astrorum conditor • Qui incar nationem tuam praeclari sideris testimonio indicasti • Quod uidentes magi oblatis maiestatem tuam muñe ribus adorauerunt • Propterea gratias agendo of feram tibi hostiam laudis ac deprecor concede mihi propitius ut in mea semper mente appareat stella iustitiae • et in tua confessione meus thesaurus sit domine mi iesu christe Amen ⁶

English: O Almighty Creator of the Heavens, who revealed thy incarnation by the testimony of a bright heavenly star, which seeing, the Magi adored thy Majesty with the offering of gifts: in thanksgiving therefore, I offer thee the sacrifice of praise and graciously beseech thee to grant to me that in my mind the star of righteousness may always appear, and that my treasure may be confessing thee, Lord Jesus Christ. Amen. ¹

German: Oh allmächtiger Schöpfer des Himmels, der seine Menschwerdung durch das Zeugnis eines hellen himmlischen Sterns offenbarte, dem die Weisen durch Opfergaben Verehrung erwiesen, lasse in meinem Geist immer der Stern der Gerechtigkeit erscheinen und dass mein Schatz dich, Herr Jesus Christus, bekenne. Amen.

Je Vous Requer

Anglo-Norman original: Je vous requer, Jaspar, Melchior, e Baltazar, rois coronez, que Jesum alastes quere quant il fust né de la virge Marie, par icel douçour que vous vers ly ustes quant vous quere ly alastes, e pur cele joye que vous ustes quant ly trovastes e vos douns ly offristes, que vous me consilez de ce dont je vous requer sicome Dieu vous oy e vos offrendres resçust. Verroi Dieu, auxi come lur offrendres reçustes, recevez huy ma oreisoun pur lur amour; e auxi come l’estoille lur apparust en orient, que lur mena a vous al lu qu’il urent grantment desire, auxi, Sire Dieu, aemplez mon desir a leesse e joie. Otreiez moi que je puisse avoir e vere ce que mon cuer desyre, a la loenge Dieu e ma Dame seinte Marie. Amen. ⁷

English translation: I entreat you, Jaspar, Melchior, and Balthazar, crowned kings, who went to seek Jesus when he was born of the Virgin Mary, for that sweetness you felt toward him when you went to seek him, and for that joy you felt when you found him and offered him your gifts, that you advise me regarding that which I ask you inasmuch as God hears you and accepted your gifts. True God, as you accepted their gifts, may you accept today my prayer on account of their love; and as the star appeared to them in the east, which led them to you in the place they had so greatly desired, so too, Lord God, you filled my desire for gladness and joy. Grant me that I may have and behold what my heart desires, for the praise of God and my Lady Saint Mary. Amen. ⁷

German translation: Ich flehe Euch an, Caspar, Melchior und Balthasar, gekrönte Könige, die sich zu Jesus begaben, als er von der Jungfrau Maria geboren wurde, bei der Süße, die Ihr ihm gegenüber empfandet, als Ihr ihn aufsuchtet, und bei Eurer Freude, als Ihr ihn fandet und ihm Eure Gaben darbrachtet, mir Rat zu geben hinsichtlich dem, was ich Euch frage, genauso wie Gott Euch anhört und Eure Gaben annahm. Wahrer Gott, wie Du ihre Gaben entgegennahmst, so mögst Du heute mein Gebet ob ihrer Liebe annehmen. Und wie ihnen der Stern im Osten erschien, der sie zu Dir an den Ort führte, nach dem sie sich so sehr sehnten, genau so erfülle mir, Herr Gott, auch mein Verlangen nach Fröhlichkeit und Wonne. Gewähre mir, dass ich bekommen und erblicken werde, was mein Herz begehrt, beim Lob Gottes und meiner heiligen Jungfrau Maria.

Coptic Hymn

This unique Coptic hymn is said during the Paramoun of the Nativity feast. An analysis of the hymn reveals unique characteristics. This hymn is one of the few hymns in the Coptic Church that has no translation. The unique usage of Greek, Bohairic and Sahidic Coptic suggests that the hymn was written in Upper Egypt in Late Sahidic.⁵

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Yestermeje

Coptic: ⲓⲥⲑⲉⲣⲙⲉⲅⲓ ⲁϥⲉⲛⲉ: ⲫⲁⲥⲓⲗⲉⲟⲥ ⲫⲣⲟⲓ ⲁⲛⲟⲛ: ⲕⲉⲕⲁⲡⲡⲉⲥⲓ ⲉⲫⲏⲗⲉ: ⲇⲉⲩⲇⲉ ⲡⲣⲟⲥⲕⲉⲛⲓⲥⲟⲙⲉⲛ: ⲇⲉⲩⲇⲉ ⲥⲑⲓⲛⲧⲁⲉⲡⲁⲅⲓⲥ.

ⲃⲁⲝⲓⲟ ⲃⲁⲫⲟⲛϩ ⲉⲛⲓⲙⲁⲅⲟⲥ: ⲡⲉⲣⲣⲟⲩ ⲉⲧϩⲏⲧ ⲛⲛⲓⲉⲛⲉϩ: ⲉⲛⲓⲫⲩⲗⲏ ⲧⲏⲣⲟⲩ ⲙⲡⲕⲁϩⲓ: ⲉⲛⲁⲓ ⲧⲏⲣⲉⲛ ⲧⲉⲛⲟⲩⲱϣⲧ: ⲙⲡⲉⲛⲧⲁⲩⲙⲁⲥϥ ⲉⲧϣⲉⲡⲙⲕⲁϩ.

ⲫⲗⲉⲡⲓ ⲙⲁⲅⲟⲥ ⲇⲉ ⲑⲁⲩⲙⲉ: ⲍⲱⲓ ⲛⲉⲛⲓ ⲉⲧⲁⲉⲗⲗⲟⲥⲁ (ⲉⲧⲉⲉⲗⲗⲟⲥⲁ): ⲉⲛⲓⲙⲁⲅⲟⲥ ⲁⲩⲧⲁⲥϣⲟⲩⲣⲉ (ⲉⲩⲧⲁⲥϣⲟⲩⲣⲉ): ⲑⲉⲟⲛⲁⲛ ⲙⲙⲟⲛ ⲛⲧⲁⲥ ⲉⲡⲉ: ⲕⲉ ⲛⲛⲁⲕⲝⲁⲥⲓ (ⲛⲛⲁⲕⲝⲱⲥⲓ) ⲁϫⲓⲁ.

ⲛⲓⲙⲁⲅⲟⲥ ϫⲟⲩϣⲧ ⲉⲛⲓϣⲫⲏⲣⲓ: ⲉⲫⲟⲛϩ ⲛⲛⲁⲩ ⲉⲧⲁⲩ ϯⲱⲟⲩ: ⲉⲛⲓⲙⲁⲅⲟⲥ ⲛⲛⲁⲩⲇⲱⲣⲟⲛ: ⲉⲩϩⲱⲥ ⲙⲫⲛⲟⲩϯ ⲡⲉⲛⲧⲉⲃⲉⲧϫⲫⲟϥ: ⲧϣⲉⲡⲉⲟⲩⲛⲁⲕ ⲡⲉⲧⲉⲛⲧⲟⲩⲁⲓ.

ⲓⲧⲟⲩⲡⲁⲣⲑⲉⲛⲟⲥ ⲧⲉⲕⲁⲩⲥⲁ: ⲕⲉⲏⲑⲏⲟⲩ ⲛⲛⲁⲛⲧⲣⲟⲡⲓⲥ: ⲗⲟⲅⲟⲥ :ⲉⲟⲥ ⲉⲛⲓⲫⲩⲗⲏ: ⲙⲁⲑⲁⲑⲟⲛ ⲙⲩⲥⲧⲏⲣⲓⲟⲛ: ⲑⲟⲛⲧⲟⲕⲟⲧⲟⲩ ⲉⲙⲙⲁⲛⲟⲩⲏⲗ.

ⲁⲥⲓϯ ⲡⲁⲣⲑⲉⲛⲟⲥ ⲛⲧⲉ ⲡⲁⲥ ⲛϣⲱⲡⲉ: ⲁϥⲟϫ ⲙⲡⲉⲛⲛⲟⲧⲉⲛ ⲧⲉϥⲛⲣⲟⲙⲁ (ⲧⲉϥⲛⲣⲟⲙⲉ): ⲁⲩⲫⲛⲟⲩⲧⲉ ⲁϥϣⲁⲛⲟⲩⲟⲛ: ϫⲉ ⲙⲙⲩⲥⲧⲏⲣⲓⲟⲛ: ⲡⲉⲛⲉⲧϣⲡⲱ ⲛⲉⲙⲙⲁⲛⲟⲩⲏⲗ.

ⲛⲁϭⲟⲓⲥ ⲕⲩⲣⲓⲟⲥ ⲕⲉ ⲓⲡⲟⲙⲉⲛⲓ: ⲓⲛⲉ (ⲓⲛⲁ) ⲛⲧⲟⲩ ⲑⲁⲩⲙⲁⲑⲁⲑⲟ: ⲱⲟⲩ ⲙⲫⲟⲟⲩ ⲁⲩⲗⲁⲕⲥⲁⲩⲧⲏⲥ (ⲁⲩⲗⲁⲕⲥⲉⲩⲧⲏⲥ): ⲡⲁⲥⲟⲓ ⲉⲛⲓⲫⲏⲗⲉ ⲧⲉⲥⲧⲏⲥ: ⲙⲁⲣⲉⲛⲙⲁⲕⲁⲣⲓⲍⲟⲙⲉⲛ ⲁⲩⲧⲟⲩ (ⲉⲩⲧⲟⲩ).

ⲃⲣⲡ (ⲃⲱⲣⲡ) ⲡⲛⲉⲩⲙⲁⲧⲁ ⲡⲉⲛⲧⲁϥϣⲱⲡⲉ: ⲱϣ ⲙⲙⲟϥⲡⲉ ⲡⲓⲑⲁⲩⲙⲁ: ⲡⲁⲛⲧⲁϥⲱϣ ⲟⲩⲟϩ ⲛqⲏⲧϥ: ⲱⲛⲓⲇⲉⲗⲉ ⲧⲏⲣⲟⲩ ⲙⲡⲕⲁϩⲓ: ⲙⲁⲣⲉⲛ ⲙⲁⲕⲁⲣⲓⲍⲓⲛ ⲙⲙⲟⲥ.

ⲣⲉϥⲧⲟⲥ ⲛⲧⲟⲩ ⲁⲁⲣⲟⲛ: ⲥⲉⲛⲧⲟⲩ ⲁⲅⲉⲛⲛⲉⲧⲟⲩ (ⲉⲅⲉⲛⲛⲉⲧⲟⲩ): ⲧⲉⲛⲛⲉⲥⲕⲗⲓⲑⲟⲥ ⲁⲗⲱⲥⲱ (ⲉⲗⲱⲥⲱ): ⲉⲡⲉⲛ ⲧⲟⲛϥⲣⲉⲟⲛ: ⲧⲁⲩⲧⲉ (ⲧⲟⲩⲧⲉ) ⲡⲣⲟⲥ ⲕⲉⲛⲓⲥⲱⲙⲉⲛ.

ⲧϣⲉⲣⲟϥ (ⲧϣⲁⲣⲟϥ) ⲛϩⲁⲛϫⲓϫ ⲛⲁⲁⲣⲟⲛ: ⲟⲩϣⲫⲏⲣⲓ ⲙⲡⲛⲉⲩⲙⲁ ⲛⲁϥⲕⲗⲁⲑⲟⲥ (ⲛⲁϥⲕⲗⲉⲑⲟⲥ): ⲙⲃⲉⲣⲣⲉⲡⲓ ⲣⲉϥϯϩⲟ: ⲧⲉⲛⲓⲙⲁⲅⲟⲥ ⲛϩⲉⲃⲣⲓⲟⲥ (ⲛϩⲁⲃⲣⲓⲟⲥ): ⲁⲙⲟⲓ ⲧⲉⲛⲧⲏⲣⲉⲛ ⲛⲧⲉⲛⲟⲩⲱϣⲧ.

ⲫⲟⲥ ⲁⲕϥⲟⲑⲉⲥ ⲉⲛⲓⲧⲉⲗⲉⲛ: ⲕⲉⲣⲁⲛ ⲡⲉⲡⲗⲓⲣⲓⲑⲓⲙⲁ: ⲧⲥⲁⲗⲗⲁⲧⲉⲥ ⲙⲁⲧⲉⲙⲁⲅⲟⲥ: ⲟⲩⲉⲡⲟⲩⲧⲉⲛ ⲡⲓⲥⲧⲉⲩⲥⲱⲙⲉⲛ: ϯⲙⲡⲉⲣⲣⲟⲥⲓⲁ ⲛⲧⲉ ⲟⲩⲣⲓⲥⲧⲟⲩ.

ⲡⲓⲟⲩⲱⲓⲛⲓ ⲉⲃⲟⲗqⲉⲛ ⲡⲓⲟⲩⲱⲓⲛⲓ: ⲁϥⲙⲟϩ ⲧⲏⲣⲉⲛ ⲛⲣⲉϣⲁ: ⲛⲁⲣⲓⲁⲗⲓⲛ ⲱ ⲛⲓⲙⲁⲅⲟⲥ: ⲁⲛⲓⲁⲑⲛⲁϩⲧⲉ ⲙⲁⲣⲉⲛⲛⲉϩⲧⲉ: ⲉⲑⲃⲉ ⲡϫⲓⲛⲓ ⲙⲡⲓⲣⲓⲥⲧⲟⲥ.⁵

Coptic Transliteration: isthermegi afene: phasileos phroi anon: kekappesi ephêle: deude proskenisomen: deude sthintaepagis.

baksio baphonh enimagos: perrou ethêt nnieneh: eniphulê têrou mpkahi: enai têren tenouôšt: mpentaumasf etšepmkah.

phlepi magos de thaume: zôi neni etaellosa (eteellosa): enimagos autasšoure (eutasšoure): theonan mmon ntas epe: ke nnakksasi (nnakksôsi) ajia.

nimagos joušt enišphêri: ephonh nnau etau tiôou: enimagos nnaudôron: euhôs mphnouti pentebetjphof: tšepeounak petentouai.

itouparthenos tekausa: keêthêou nnantropis: logos :eos eniphulê: mathathon mustêrion: thontokotou emmanouêl.

asiti parthenos nte pas nšôpe: afoj mpennoten tefnroma (tefnrome): auphnoute afšanouon: je mmustêrion: penetšpô nemmanouêl.

nacois kurios ke ipomeni: ine (ina) ntou thaumathatho: ôou mphoou aulaksautês (aulakseutês): pasoi eniphêle testês: marenmakarizomen autou (eutou).

brp (bôrp) pneumata pentafšôpe: ôš mmofpe pithauma: pantafôš ouoh nqêtf: ônidele têrou mpkahi: maren makarizin mmos.

reftos ntou aaron: sentou agennetou (egennetou): tennesklithos alôsô (elôsô): epen tonfreon: taute (toute) pros kenisômen.

tšerof (tšarof) nhanjij naaron: oušphêri mpneuma nafklathos (nafklethos): mberrepi reftiho: tenimagos nhebrios (nhabrios): amoi tentêren ntenouôšt.

phos akfothes enitelen: keran peplirithima: tsallates matemagos: ouepouten pisteusômen: timperrosia nte ouristou.

piouôini ebolqen piouôini: afmoh têren nreša: narialin ô nimagos: aniathnahte marennehte: ethbe pjini mpiristos.

English Translation: In the summer, the Magi offered the king understanding and worship. Come worship. Come sing strong.

Worthily, the Magi forever changed the hearts of all the tribes of the earth. These, and us all, worship Him who was born and who suffered.

The Magi looked. Truly the Living made the Magi speechless when He became God. There is no reed mat worthy of the holiness.

The Magi saw the signs revealed to them when they glorified. The Magi offered their gifts praising God who was born, who received them and whom we glorify.

And a virgin, (gave birth?) to the Incarnate Word of God. The tribes were instructed of the mystery of the Theotokos of Emmanuel.

The Ancient Being came to the virgin. She gave birth to our Mighty God. God revealed the mystery of Emmanuel that was set in motion

My Lord, the patient Lord, the Physician of wondrous glory - today He lowered himself to the tribes. Come let us bless (Him) with them.

Send the spirit (of the Magi) that came to proclaim Him. And (that) truth that was proclaimed is in Him. All you tribes of the earth, let us bless Him."

The Rod of Aaron (blossomed and gave?) birth (while also?) destroying (the unbelief?) of our hearts. Come, worship.

The censer in Aaron's hands is a spiritual sign. Its new branches are the Hebrew inquirers, the Magi, All of us come to worship.

The Light from Light has filled us all with joy. Sing O Magi. The unbelievers - let them believe because of the Coming of Christ.⁵

Interrogating the Ibis

2018-10-30T22:30:00+01:00

This article is about my preferred Tarot deck and reading method and the consecration ritual I constructed for it based on Egyptian hymns and Demotic spells to Tehuti (Thoth).

Épiphanie

In May of last year I was on holidays in a remote town in the Provence with my extended family for a few days. Before that my wife, daughter and I spent three days in the beautiful city of Marseille. Besides visiting the black madonna called Notre Dame de Confession in the ancient Abbaye St. Victor the other occult sightseeing spot I wanted to visit was the old Camoin House. It is the building where in 1760 Nicolas Conver established his cardmaking factory and engraved his famous Tarot de Marseille, the mother of most modern Tarot decks.

The winter before, I had been obsessing about the question which Tarot deck to use for divination. I had no experience with Tarot and after some research I had bought the beautiful Smith-Waite Centennial Tarot Deck which I really loved for aesthetic reasons and because Smith-Waite decks are apparently recommended for beginners. Unfortunately it did not really resonate so much with me after trying giving it a try for a few months. The detailed imagery of the minor arcana seemed sometimes a bit too detailed and confusing to me and results were too ambiguous. So I was looking for alternatives. I did not like any of the Smith-Waite derivatives and I also found Crowley's deck very unappealing. The final contestants were the Camoin Jodorowsky Tarot de Marseille deck, the Sola Busca from Scarlet Imprint, and the Hermetic Tarot and I could not really decide on one.

My question was answered in an uncanny way on the day we walked through the lovely district of Noailles in Marseille, a lively area with a lot of North African expats. We strolled through the Rue d'Aubagne, a lively small street with a lot of cafés and small shops, mostly selling goods and delicacies from the Maghreb. We approached a small intersection and suddenly I was overwhelmed by a strange "epiphanic" feeling of clarity. It was as if the time stood still for a moment and everything went quiet, just to continue normally after a short glimpse. It was uplifting and strange at the same time.

I checked the map to see where we were, because I knew that the old Camoin House was supposed to be in this very street. I discovered that we were standing right in front of it: Number 8! I was excited! Today it looks like a normal residential house and hosts a (delicious) Tunisian restaurant on the ground floor. Nothing points to the history of this building. I immediately knew that this strange moment was a clear hint which direction to take in my Tarot deck quest.

The Open Reading

After I had jumped down the Tarot de Marseille rabbit-hole and read Jodorowsky's excellent book, I soon realized that Camoin and Jodo had altered the original Conver design and had added more little occult details into it. I did not like that approach and wanted something more genuine.

Luckily, during my research I stumbled over a great little Tarot book that resonated a lot with me. It was the work of Israeli physicist and philosopher Yoav Ben-Dov who had studied Tarot and psychomagic with Jodorowsky in Paris and subsequently created his own method of reading the Tarot which ironically seems to be the complete opposite of Jodorowsky's very esoteric system:

The open reading is my way of reading the Tarot. In a nutshell, it is based on the three following points. First, a Tarot card does not have a fixed meaning which can be learned in advance. Rather, the meaning emerges from what we can see in the card. Second, the function of each position in a spread is also not fixed. Rather, it depends on the card combination. Third, we don't start by interpreting each card separately. Instead, we first try to see the whole picture.

This concept resonated very much with my idea of how divination is meant to work. He had also created a very clear and clean reproduction of the original Conver Tarot deck that looked gorgeous and immediately became my top-pick. I bought Ben-Dov's ebook on Amazon, but had to wait a couple of months until the deck became available again after having been sold out. In the meantime I downloaded the free digital version and could already enjoy the design.

Although the minor arcana cards can be a bit difficult to interpret, I resonated much more with the CBD Tarot de Marseille than with the Smith-Waite deck. Because my past attempts of reading the cards had been so ambiguous I decided that before using this new deck I would need to properly consecrate it, hoping to improve the clarity of the message.

The Beaked Scribe

An Egyptian god I have wanted to connect with for quite some time was Tehuti, most commonly known as Thoth. If you don't know much about him here is some basic information about Tehuti from the excellent Henadology website:

[Tehuti] is the God of learning and of wisdom, depicted as an ibis-headed man, as an ibis, or, less often, as a baboon (in this form generally with a lunar crescent on his head), and frequently holding the brush and palette of a scribe, since the wisdom of which he is the master is in particular that contained in sacred texts. [Tehuti] has also strong lunar associations, to the extent of being often identified with the moon itself [...], but more systematically [Tehuti] is the God responsible for healing the wedjat, the Eye of Horus, after it was injured by Seth, and since the wedjat‘s regeneration is embodied in the waxing lunar cycle, [Tehuti] is the God who restores the light of the moon. [...] [Tehuti]'s identification with the moon probably also involves an idea known to many cultures, namely that the moon, as the nocturnal sun, symbolizes the powers of the human intelligence to supplement that which nature provides and as an intermediary between the divine and mortal realms. [Tehuti] is not only the embodiment of wisdom, but also its advocate in the world: [...] [Tehuti] is also a peacemaker who reconciles Horus and Seth and who pacifies the wrathful Goddesses, especially Sekhmet. [...]

[Tehuti] facilitates the exchange across the border between the human and divine realms in his function as lord of sacred texts. [...] Re empowers [Tehuti] by a series of formulae linked to [Tehuti]'s diverse forms—the ibis, the moon, and the baboon. First, Re grants him the authority to send forth the other Gods through spells and invocations and to check their actions in turn, this power corresponding to the ibis. Next Re bids him to “encompass the two heavens with thy beauty and thy light,” this corresponding to the moon. Finally, Re charges him with traversing the lands of the Ha-nebu, the ‘Northern Lords', a vague term for the islands of the Aegean [...], perhaps implying a circuit around the Mediterranean and thus through many foreign lands—a hymn to [Tehuti] states that he “made different the tongue of one country from another,” (Bleeker 1973, 140); this last power corresponds to the baboon.

Besides being the founder of the words of speech including magical words, he also was the demiurge who created the world through utterance. He has knowledge of true names of all creation, he has the power to heal and he's a god of justice. As a lunar god he presides over the passing of time and length of every human's life. He doesn't necessarily rule over, but at least has knowledge of all fate. Therefore he also presides over divination and prophecy.

I thought it would be a great way to start a relationship with Tehuti by dedicating my new deck to him and consecrating it by his name in a proper ritual.

Invoking the Ibis

The Greeks identified Tehuti with the divine messenger and trickster god Hermes, ruler over trade, heraldry, merchants, commerce, roads, sports, and travel. The god of boundaries and the transgression of boundaries, patron of herdsmen, thieves, graves, and heralds. Like Tehuti Hermes is described as moving freely between the worlds of the mortal and divine, and was the conductor of souls into the afterlife.

Hermes is also the son of Zeus and Zeus is the only god who knows the affairs of men, all that the Moirai (Fates) give them, and all that is not destined for them. Zeus is also the only god not affected by the decisions of the Moirai, but obeyed by them.

So a suitable planetary timing for the consecration would be the hour of Mercury on a Wednesday or Thursday. I was especially paranoid about negative spiritual residue on the cards due the production process they went through. So my choice of day was Saturday because I've had some good experiences working with Kronos/Saturn to wipe and purify items.

Also it seems very fitting to Tehuti that the hour of Mercury is followed by the hour of Luna, I imagine him dwelling right on the edge of the two. I timed the consecration in a way so it would start at the end of Mercury's hour and be done in the beginning of Luna's.

I start all of my rituals with the acknowledgement of the planetary rulers by reciting a planetary prayer from the Hygromanteia and the matching Orphic Hymn. When the rite is heavily Egyptian, like this one, I put more weight to that paradigm by acknowledging the ruling Decan.

In more complex workings I also usually banish or add the Stele of Jeu as a preliminary rite, I align myself with the Axis Mundi, and so on, but this ritual is just a consecration of a deck of Tarot cards and already polyphanic enough... You could probably skip the whole beginning and just do the hymn to Tehuti and the actual consecration, but this is what I did, so I am faithfully laying it out here:

Acknowledge the Planetary Rulers

Planetary prayer of the day.
Orphic hymn to the planet of the day.
Planetary prayer of the hour.
Orphic hymn to the planet of the hour.

Use whatever set of planetary prayers you like. I took the ones from the Hygromanteia but you might as well apply the ones from the Book of Oberon, Munich Manual, whatever you prefer to work with...

You can find different versions of the Orphic Hymns. The very recent translation by Patrick Dunn flow very well in English. Or use the free ones you can find here.

Acknowledge the Decans

The Egyptians venerated and feared the baktiu (Decans), gods ruling over time and fate, signified by stars near the ecliptic that were observed to measure slices of time and to determine which decan ruled over them. I will get deeper into this topic in a series of future posts.

For now, let's acknowledge them in this working with this hymn to the Decans found at the temple of Esna, combined with an Egyptian offering formula. To find the appropriate name of the current Decan, find out the sidereal Zodiac degree you are currently in and use the table below.

(If this whole section raises too many questions and doubts, skip it. I am just adding it here, because that's what I use for "doing the usual".)

Sign	Degree	Decan
Cancer	0° - 9.9°	Wart
Cancer	10° - 19.9°	Pehwi Heri
Cancer	20° - 29.9°	Kenmet
Leo	0° - 9.9°	Khery Kheped Kenmet
Leo	10° - 19.9°	Hat Djat
Leo	20° - 29.9°	Djat
Virgo	0° - 9.9°	Pechwi Djat
Virgo	10° - 19.9°	Djmat Heret Kheret
Virgo	20° - 29.9°	Wushahti
Libra	0° - 9.9°	Bekahti
Libra	10° - 19.9°	Ipdjes
Libra	20° - 29.9°	Sebshessen
Scorpio	0° - 9.9°	Tepi-Ah Hentet
Scorpio	10° - 19.9°	Heriyib Wiah
Scorpio	20° - 29.9°	Septi Henwi
Sagittarius	0° - 9.9°	Seshmu
Sagittarius	10° - 19.9°	Sah Seshmu
Sagittarius	20° - 29.9°	Kenmu
Capricorn	0° - 9.9°	Tepi-Ah Semed
Capricorn	10° - 19.9°	Pa-Sebah Whati
Capricorn	20° - 29.9°	Semed
Aquarius	0° - 9.9°	Seret
Aquarius	10° - 19.9°	Sah Seret
Aquarius	20° - 29.9°	Tepi-Ah Akhwi
Pisces	0° - 9.9°	Akhwi
Pisces	10° - 19.9°	Tepi-Ah Bahwi
Pisces	20° - 29.9°	Bahwi
Aries	0° - 9.9°	Khentu Heru
Aries	10° - 19.9°	Khentu Kheru
Aries	20° - 29.9°	Ked
Taurus	0° - 9.9°	Sah Ked
Taurus	10° - 19.9°	Khau
Taurus	20° - 29.9°	Aret
Gemini	0° - 9.9°	Remen Heri
Gemini	10° - 19.9°	Tjes Ark
Gemini	20° - 29.9°	Remen Kheri

Hymn to the Decans

Reverence to you, living gods, workers in the necropolis, who shine next to the disk in the evening, who recognize the hours when you come forth from the east, who announce what happens, who keep alive and kill the rebels at their wish, who shine in the sky and shoot the two countries with flames, everybody trembles when you come forth, who the star-watchers observe in your times! Greetings, children of Re, who appear at his setting, Ennead of the primeval, when you circulate daily in your orbit, living souls of the gods, daily, when you come out of the eye of Re, Messengers in the cities and districts, who shoot arrows from your mouths at the one they see from afar, the six stars and shining ones, daily, who save their Lord from every evil thing, from the shooting of the Star Gods on this day, this month, this year, in each of your hours to this day, [come, benevolent, for which I call you, as benevolent assistants in this rite for my benefit.] (1)

I call you, ruling Decan of this decade in the sign of [CURRENT ZODIAC SIGN], the one who shines on the whole inhabited and uninhabited world. I call upon you, by your name of [DECAN NAME], glorious one, of kind heart and power supreme, to bless this operation. As you cross the skies, look down to me favourably and accept my offering for your appeasing (2): Peret kheru ta, heneket, khau kau apedu, khut nebet noferet wabet ankhet netjer im. (3)

Hymn to Tehuti

Hail to you, Moon, [Tehuti],
Bull in Khmun, dweller in Hesret,
Who makes way for the gods!
Who knows the secrets,
Who records their expression,
Who distinguishes one speech from another,
Who is judge of everyone.
Keen-faced in the Ship-of-millions,
Courier of mankind,
Who knows a man by his utterance,
Who makes the deed rise against the doer.
Who contents Re,
Advises the Sole Lord,
Lets him know whatever happens;
At dawn he summons in heaven,
And forgets not yesterday's report.

Who makes safe the night-bark
Makes tranquil the day-bark,
With arms outstretched in the bow of the ship.
Pure-faced when he takes the stern-rope,
As the day-bark rejoices in the night-bark's joy,
At the feast of crossing the sky.
Who fells the fiend,
Sunders western lightland.
The Ennead in the night-bark worships [Tehuti],
They say to him: “Hail, [Son of] Re,
Praised of Re whom the gods applaud!”
They repeat what your ka wishes,
As you make way for the place of the bark,
As you act against the fiend:
You cut off his head, you break his ba,
You cast his corpse into the fire,
You are the god who slaughters him.

Nothing is done without your knowing,
Great one, son of a Great one, who came from her limbs,
Champion of Harakhti,
Wise friend in On,
Who makes the place of the gods,
Who knows the secrets,
Expounds their words.

Let us give praise to [Tehuti],
Straight plummet in the scales,
Who repulses evil,
Who accepts him who leans not on crime.
The vizier who settles cases,
Who changes turmoil to peace;
The scribe of the mat who keeps the book,
Who punishes crime,
Who accepts the submissive.
Who is sound of arm,
Wise among the ennead,
Who relates what was forgotten.
Counselor to him who errs,
Who remembers the fleeting moment,
Who reports the hour of the night,
Whose words endure forever,
Who enters duat, knows those in it, (4)

Hermes, lord of the world, who're in the heart,
O circle of Selene, spherical
And square, the founder of the words of speech,
Pleader of justice's cause, garbed in a mantle,
With winged sandals, turning airy course
Beneath earth's depths, who hold the spirit's reins,
O eye of Helios, O mighty one,
Founder of full-voiced speech, who with your lamps
Give joy to those beneath earth's depths, to mortals
Who've finished life. The prophet of events
And Dream divine you're said to be, who send
Forth oracles by day and night; you cure
All pains of mortals with your healing cares. (5)

Consecration

Light some suitable incense for cleansing, like Styrax Benzoin, Frankincense or Sage. Open the deck of cards and shuffle them in the incense smoke. Let the smoke purify the cards thoroughly while reciting the following:

Hither, O blessed one, O mighty son
Of Memory, who brings full mental powers,
In your own form both graciously appear
And graciously [consecrate these cards for me],
A pious man, [NAME], son of [YOUR MOTHER'S NAME]
That I may comprehend you by your skills
Of prophecy, by your own wond'rous deeds.
I ask you, lord, be gracious to me and [cleanse
These cards from all past influences,
([With the purifying powers of Kronos,])
And graciously consecrate these cards for me.] (5)
When I call to you, O [Tehuti], the hearing-ear,
Who listens to everything,
In your names which are great, which are divine,
ALIPS, THABLIPS, STSILIPS,
GAGARPAOTHAR, THANASIMA, QHAH,
ORTHOMENKHROÔN, BALSA, ALABAKHABEL,
HEFKAE, HEPKA, HEBIKE, NEKHEPKAI
Without deceit prophesy to me [through these cards,
At any place and any time come to me and tell me,
An answer to everything, truly, without falsehood therein]. (6)

Sources

(1) Inscription from the temple of Esna translated by me into English from the German translation I found in Alexandra von Lieven's "Der Himmel über Esna: eine Fallstudie zur religiösen Astronomie in Ägypten am Beispiel der kosmologischen Decken-und Architravinschriften im Tempel von Esna" in Vol. 64. Otto Harrassowitz Verlag, 2000. Page 43.
(2) borrowed bits from Julio Ody's essay on his attempt to work Paul Huson's Mastering Witchcraft Vassago operation
(3) Common Egyptian offering formula. It translates to: "A voice offering of bread, beer, a thousand of beef and fowl, and every good and pure thing on which a god lives"
(4) Adoration of Thoth, inscribed on a statue of Haremhab, a royal scribe and general of the army under Tutankhamun.
(5) from PGM V. 370-446 in Betz, Hans Dieter, ed. The Greek magical papyri in translation, including the Demotic spells. Vol. 1. University of Chicago Press, 1996. pg. 108.
(6) translation from demotic spells with secret names of Tehuti from Louvre E 3229 papyrus (Betz PDM lxi. 63-78 and PDM Suppl. 149—62) found in (5) pg. 288 and 328.

Consulting the Book of Tehuti

Everytime I have a need to consult with Tehuti through the Tarot, I take the deck out of its box and shuffle the cards. While I am doing that I envision the Ibis-headed god shuffling the cards through me and I speak the following invocation:

I call to you, O Tehuti, In your names which are great, which are divine, ALIPS, THABLIPS, STSILIPS, GAGARPAOTHAR, THANASIMA, QHAH, ORTHOMENKHROÔN, BALSA, ALABAKHABEL, HEFKAE, HEPKA, HEBIKE, NEKHEPKAI, Show me the truth by these cards.

Then I speak out the desired way of consulting with him: the number of cards to be used and if they are more than one I define what their positions represent. For example:

"Using one card, answer my following question..."
"Using two cards, representing the two choices I have concerning ... tell me what to expect"
"Using three cards, representing from left to right: the past, the present, and the future, answer me concerning..."

After, I shuffle a bit more until I have the feeling that I need to stop and lay the agreed number of cards down in front of me. I interpret them intuitively using Ben-Dov's Open Reading method.

In addition I check the common interpretations found in the usually frowned upon little white book that comes with the deck and treat it like a "second layer" on top of my initial intuitive interpretation to see the bigger picture.

Skype with the Scribe

After the ambiguous experiences I had had before, using the Smith-Waite deck, consulting this Tehuti consecrated CBD Tarot feels like a crystal-clear, Dolby Surround, Full-HD, video-conference uplink directly to the Ibis-headed god. So far I've always had mind-blowing readings with very straight-forward answers. But I have to admit that I only read for myself and not for others. I will still have to try that out. After initial doubts I know fully trust my Tarot and almost treat it like an intimate companion. It travels with me most of the time. Sounds cheesy? Yeah it does! I didn't expect such a strong link to happen at all, it just did.

Tehuti rules over prophecy in general, so you can use the above ritual also to consecrate other divination tools. I am looking forward to apply an adapted version of the ritual to a set of four Japanese 100¥ coins I recently found and use them in the way Sam Block laid out his Four Coin Divination of Hermes.

Rehoboam's Cheat Sheet

2018-05-08T20:00:00+02:00

(updated 20/01/2019)

Pay attention, my dearest son Rehoboam, to the details of this art of mine, your father Solomon, regarding the things in which the entire attention of Hygromanteia lies...

For talisman and sigil creation, as well as for other minor spells that don't fall into my usual PGM inspired practice I like using the days and hours and their angels and daimons from the Hygromanteia. The inspiration came from Gordon White who uses them in his sigil practice.

This is a cheat sheet in the sense that it is a searchable digital document and features different language options for the prayers and conjurations. I switched from using the more popular 15th century Codex Harleianus 5596 manuscript version of the Hygromanteia to the 16th century Codex Monacensis 70 because it's the only one featuring the lists of the angels and the daimons of the hours I could find in Greek online and because the planetary prayers are shorter and more to the point. It suits me well because as adoration of the planetary deities I usually already recite the Orphic Hymns beforehand.

The German translations have been done by myself and are freely available (Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) license). The English translations are copied from The Magical Treatise of Solomon - or Hygromanteia by Ioannis Marathakis and fixed where needed. All rights remain reserved.

The Epistle to Rehoboam

it is absolutely necessary to find the proper hour in order to accomplish your will. At first recite the prayer of the planet that rules this hour and then conjure the angel and the servant, that is to say, the demon.

Afterwards, draw the characters of the planet with the appropriate ink and incense. The lord and ruler of the hour will grant you the power he owns.

The Hours of the Days

Hour Elections

Day	Hour	Ruler	Purpose
☉	1	☉	[Begin an adress]
☉	2	♀	it is good for getting the love of lords, great men and rulers
☉	3	☿	good for encounters with lords
☉	4	☽	for addressing to lords
☉	5	♄	for preventing encounters
☉	6	♃	for appearing before lords
☉	7	♂	take care to do nothing
☉	8	☉	do anything you need regarding lords
☉	9	♀	the same regarding ladies
☉	10	☿	for making a petition
☉	11	☽	start an address
☉	12	♄	do nothing
☉	13	♃	speak in aid of friends
☉	14	♂	for preventing an address
☉	15	☉	for sending dreams to a king
☉	16	♀	for sending dreams to a lady
☉	17	☿	do nothing
☉	18	☽	a good hour for working
☉	19	♄	take care to do nothing
☉	20	♃	for getting the love of lords
☉	21	♂	for restraining somebody's activities
☉	22	☉	for appearing before a king
☉	23	♀	for appearing before a lady
☉	24	☿	rest
☽	1	☽	it is good for making a talisman for buying or selling
☽	2	♄	bad hour
☽	3	♃	good hour for opening workshops
☽	4	♂	for restraining workshops
☽	5	☉	for beginning to sell
☽	6	♀	for dealings
☽	7	☿	for going on a journey
☽	8	☽	for buying
☽	9	♄	for restraining
☽	10	♃	set up a business, [f 241)
☽	11	♂	for preventing luck
☽	12	☉	set up a business
☽	13	♀	rest
☽	14	☿	for earning a living
☽	15	☽	work on your affairs
☽	16	♄	do not work on anything
☽	17	♃	write and speak (for your affairs)
☽	18	♂	for restraining and hindering
☽	19	☉	start plans
☽	20	♀	rest and work on affairs
☽	21	☿	move and stir affairs
☽	22	☽	reckon your plan
☽	23	♄	do not work on anything
☽	24	♃	open your workshop
♂	1	♂	it is good for making a talisman for winning at war and the similar
♂	2	☉	for taking loot
♂	3	♀	for displaying your (military) skills
♂	4	☿	for going to war
♂	5	☽	for going and returning
♂	6	♄	beware of the war
♂	7	♃	for appearing before enemies
♂	8	♂	ask for aid
♂	9	☉	for taking loot from a castle
♂	10	♀	for doing mighty deeds
♂	11	☿	for standing out
♂	12	☽	hour for despoiling slain enemies
♂	13	♄	be careful
♂	14	♃	for bringing someone into discredit
♂	15	♂	for asking aid for your salvation
♂	16	☉	useless
♂	17	♀	for rising in honor
♂	18	☿	for escaping
♂	19	☽	for winning over opponents
♂	20	♄	for marching against enemies
♂	21	♃	for keeping concealed
♂	22	♂	pray to God
♂	23	☉	for appearing at war
♂	24	♀	enviable hour
☿	1	☿	it is good for making (a talisman) for invisibility and the similar; also for teaching children
☿	2	☽	for resting and cheering
☿	3	♄	useless hour
☿	4	♃	for practicing alchemy
☿	5	♂	for revealing secret things
☿	6	☉	for finding treasures
☿	7	♀	for dominating a woman
☿	8	☿	for making (a talisman) regarding the decision of a tribunal
☿	9	☽	for cohabiting with a woman
☿	10	♄	be careful
☿	11	♃	begin whatever you want
☿	12	♂	do nothing
☿	13	☉	win over a discourse
☿	14	♀	begin praying
☿	15	☿	for making (a talisman) concerning dreams
☿	16	☽	for casting binding spells
☿	17	♄	useless hour
☿	18	♃	for harming people
☿	19	♂	for making retribution
☿	20	☉	hour useful for everything» [f 242]
☿	21	♀	for sending dreams
☿	22	☿	for teaching
☿	23	☽	hour for casting binding spells
☿	24	♄	useless hour
♃	1	♃	it is good for making (a talisman) concerning the healing of any man or animal
♃	2	♂	useless hour
♃	3	☉	for appearing before kings
♃	4	♀	for appearing before a lady
♃	5	☿	for the learning of rhetoric
♃	6	☽	for changing residence
♃	7	♄	be careful at this hour
♃	8	♃	good and blessed hour
♃	9	♂	hour for causing jealousy
♃	10	☉	for making (a talisman) concerning the benefit of your body
♃	11	♀	for healing a woman
♃	12	☿	for emigrating far away
♃	13	☽	for success
♃	14	♄	useless hour
♃	15	♃	hour for every kind of healing
♃	16	♂	for making surgical incisions
♃	17	☉	for healing kings
♃	18	♀	for healing a lady
♃	19	☿	for not being afraid of robbers
♃	20	☽	useful hour
♃	21	♄	useless hour
♃	22	♃	in this useful hour do whatever you want
♃	23	♂	for causing hassles
♃	24	☉	make (a talisman) regarding decisions of tribunals and lords
♀	1	♀	make (a talisman) concerning love and affection
♀	2	☿	for messages of matchmaking
♀	3	☽	good for everything
♀	4	♄	obstacles of love
♀	5	♃	for gifts and pleasant conversations
♀	6	♂	for causing jealousy in love
♀	7	☉	good hour, beneficial for love
♀	8	♀	good hour for making (a talisman) concerning love
♀	9	☿	hour for messages concerning engagements
♀	10	☽	good hour, if you want to do something
♀	11	♄	it is a useless hour
♀	12	♃	for making agreements
♀	13	♂	begin an engagement
♀	14	☉	for binding a couple with a spell
♀	15	♀	for binding someone with love spells
♀	16	☿	for sending dreams of love
♀	17	☽	good hour
♀	18	♄	for sending dreams of hatred
♀	19	♃	for making (talismans) towards any beneficial aim
♀	20	♂	do nothing
♀	21	☉	good hour
♀	22	♀	an hour of love
♀	23	☿	hour for alchemy
♀	24	☽	for restraining (love)
♄	1	♄	it is an hour for making (a talisman) for the harm of your enemies; that is to say, for striking men with illness
♄	2	♃	for causing a shipwreck
♄	3	♂	for setting up enchantments
♄	4	☉	for making lords fight each other
♄	5	♀	for making a couple hate each other
♄	6	☿	useful for finding a treasure
♄	7	☽	for speaking with demons
♄	8	♄	for performing basin divination
♄	9	♃	for performing skull divination
♄	10	♂	for causing peoples to plunge into the sea
♄	11	☉	for making litigants mad at each other
♄	12	♀	for causing fear and enmity
♄	13	☿	beneficial for discovering secret things
♄	14	☽	for seeing people long dead
♄	15	♄	for seeing visions by water divination
♄	16	♃	useful for teaching
♄	17	♂	very malign hour
♄	18	☉	useless hour
♄	19	♀	for gaining money in dice
♄	20	☿	for restraining every good thing
♄	21	☽	hour without virtue
♄	22	♄	for causing visions
♄	23	♃	useful for profit
♄	24	♂	hour for hassle and enmity

Angels and Daimons of the Hours

Day	Hour	Ruler	Angel of the Hour	Phonetic	Daimon of the Hour	Phonetic
☉	1	☉	Μιχαηλ	Michaēl	’Ασμουαι	Asmouai
☉	2	♀	Αρφαναηλ	Arphanaēl	Ορναι	Ornai
☉	3	☿	Περουηλ	Perouēl	Πηρραθ	Pērrath
☉	4	☽	Ιωραηλ	Iōraēl	Σιληδων	Silēdōn
☉	5	♄	Πιελ	Piel	Σιτρος	Sitros
☉	6	♃	Ιωχθ	Iōchth	Ζηφαρ	Zēphar
☉	7	♂	Πελ	Pel	Μανιηρ	Maniēr
☉	8	☉	Ιοραν	Ioran	Οσμιε	Osmie
☉	9	♀	Καταηλ	Kataēl	Πνιξ	Pnix
☉	10	☿	Βιδουηλ	Bidouēl	Γηρατ	Gērat
☉	11	☽	Ηδιηλ	Ēdiēl	Νηστα	Nēsta
☉	12	♄	Σαναηλ	Sanaēl	Πελιωρ	Peliōr
☉	13	♃	Οψιηλ	Opsiēl	Ο Ιστος	Hoistos
☉	14	♂	Τεραηλ	Teraēl	Απιος	Apios
☉	15	☉	Λυσιελ	Lysiel	Νηγμος	Nēgmos
☉	16	♀	Ναλουηλ	Nalouēl	Αραξ	Arax
☉	17	☿	Ορκιηλ	Orkiēl	Νηστριαφ	Nēstriaph
☉	18	☽	Περιηλ	Periēl	Ασκινος	Askinos
☉	19	♄	Ιαρηλ	Iarēl	Κινοπιγος	Kinopigos
☉	20	♃	Αθουηλ	Athouēl	Αραψ	Araps
☉	21	♂	Θαμανιηλ	Thamaniēl	Ταρταρουηλ	Tartarouēl
☉	22	☉	Βραδηλ	Bradēl	Μελμεθ	Melmeth
☉	23	♀	Κλινος	Klinos	Μηθριδανου	Mēthridanou
☉	24	☿	Ιων	Iōn	Φροδαινος	Phrodainos
☽	1	☽	Γαβριηλ	Gabriēl	Μαμονας	Mamonas
☽	2	♄	Φαρσαφβηλ	Pharsaphbēl	Σκολιων	Skoliōn
☽	3	♃	Πινδωηλ	Pindōēl	Θετιδωφ	Thetidōph
☽	4	♂	Κοτπηλ	Kotpēl	Αρβαν	Arban
☽	5	☉	Κελεκιηλ	Kelekiēl	Αζαν	Azan
☽	6	♀	Ταριηλ	Tariēl	Μεμαχθ	Memachth
☽	7	☿	Μνιηλ	Mniēl	Σκαμιδινος	Skamidinos
☽	8	☽	Εζεκιηλ	Ezekiēl	Στιρφαν	Stirphan
☽	9	♄	Ιωηλ	Iōēl	Γιραμ	Giram
☽	10	♃	Σιναηλ	Sinaēl	Μενακτινος	Menaktinos
☽	11	♂	Μεναηλ	Menaēl	Μεκακτινος	Mekaktinos
☽	12	☉	'Ροχαηλ	Rochaēl	Μεξιφων	Mexiphōn
☽	13	♀	Αρησιηλ	Arēsiēl	Ουτολωχ	Outolōch
☽	14	☿	Τραπηδωηλ	Trapēdōēl	Νυκτιδων	Nyktidōn
☽	15	☽	Ακινατιελ	Akinatiel	Ουιστος	Ouistos
☽	16	♄	Οργανιελ	Organiel	Κασιερωφ	Kasierōph
☽	17	♃	'Ρωματιηλ	Rōmatiēl	Κησιεποπος	Kēsiepopos
☽	18	♂	Σελπιδων	Selpidōn	Ανδροφαι	Androphai
☽	19	☉	Οuτιτωμ	Outitōm	Νιωεχ	Niōech
☽	20	♀	Μεταβιηλ	Metabiēl	Ενταυρος	Hentauros
☽	21	☿	Ακβαηλ	Akbaēl	Συριτωρ Φλιναφε	Syritōr Phlinaphe
☽	22	☽	Εικονιηλ	Eikoniēl	Κυκνιτ	Kyknit
☽	23	♄	Γενηκιηλ	Genēkiēl	Κηνοψ	Kēnops
☽	24	♃	Κροτιηλ	Krotiēl	Σαρκιδων	Sarkidōn
♂	1	♂	Σαμουηλ	Samouēl	Κακιστων	Kakistōn
♂	2	☉	Ιασμηλ	Iasmēl	Λιθριδων	Lithridōn
♂	3	♀	Φρερεηλ	Phrereēl	Μαιλωθ	Mailōth
♂	4	☿	Ευδηλ	Eudēl	Σαραπιδιε	Sarapidie
♂	5	☽	Πικτωηλ	Piktōēl	Ταρταρουηλ	Tartarouēl
♂	6	♄	Οκαηλ	Okaēl	Κερινουδαλος	Kerinoudalos
♂	7	♃	Γναθαηλ	Gnathaēl	Κλινοτιος	Klinotios
♂	8	♂	Περγανιηλ	Perganiēl	Τυρρυτωρ	Tyrrytōr
♂	9	☉	Γεστιηλ	Gestiēl	Πληλαταν	Plēlatan
♂	10	♀	Λεγμιελ	Legmiel	Συθλος	Sythlos
♂	11	☿	Ναχωηλ	Nachōēl	Οσθριδιε	Osthridie
♂	12	☽	Οκναν	Oknan	Ομιμοτ	Omimot
♂	13	♄	Γορφιλ	Gorphil	Απρωξ	Aprōx
♂	14	♃	Πατιηλ	Patiēl	Σκωην	Skōēn
♂	15	♂	Παρταν	Partan	Προφαι	Prophai
♂	16	☉	Σαλτιηλ	Saltiēl	Αχλιτωλ	Achlitōl
♂	17	♀	Αβαηλ	Abaēl	Ορναν	Ornan
♂	18	☿	Στραγιηλ	Stragiēl	Χαλμωθ	Chalmōth
♂	19	☽	Οπαδοuηλ	Opadouēl	Τοuδδεδην	Touddedēn
♂	20	♄	Μαρνιηλ	Marniēl	Τεφρα	Tephra
♂	21	♃	Μεθνιηλ	Methniēl	Νιραν	Niran
♂	22	♂	Στιρωηλ	Stirōēl	'Ρακιρω	Rakirō
♂	23	☉	Ισματιηλ	Ismatiēl	Ιργοτιε	Irgotie
♂	24	♀	Τριζιωηλ	Triziōēl	Γεγαωρ	Gegaōr
☿	1	☿	Ουριηλ	Ouriēl	Λουτζιφερ	Loutzipher
☿	2	☽	Αρακηλ	Arakēl	Γουκουμωρ	Goukoumōr
☿	3	♄	Μιεμφιηλ	Miemphiēl	Εισπνιρυξ	Heispniryx
☿	4	♃	Τρωσιηλ	Trōsiēl	Μιδωκητ	Midōkēt
☿	5	♂	Χαρτισιελ	Chartisiel	Νταδαδιφ	Ntadadiph
☿	6	☉	Σφυκινοηλ	Sphykinoēl	Σκιντογηρ	Skintogēr
☿	7	♀	Οuλωδιας	Oulōdias	Φνιδωτας	Phnidōtas
☿	8	☿	Καλβαγιελ	Kalbagiel	Καραταν	Karatan
☿	9	☽	Σκιταμιηλ	Skitamiēl	Μιαγ	Miag
☿	10	♄	Τιρωηλ	Tirōēl	Γατζαρ	Gatzar
☿	11	♃	Μιελ	Miel	Πνιδωρ	Pnidōr
☿	12	♂	Χαρακιηλ	Charakiēl	Τοιβλας	Toiblas
☿	13	☉	Υδρωηλ	Ydrōēl	Ταξιπων	Taxipōn
☿	14	♀	Σιδρηλ	Sidrēl	Οφιταν	Ophitan
☿	15	☿	Παραπιηλ	Parapiēl	Αβλυχος	Ablychos
☿	16	☽	Μουρουηλ	Mourouēl	Μαλακις	Malakis
☿	17	♄	Κουρταηλ	Kourtaēl	Βλεμιγχ	Blemigch
☿	18	♃	Κουπεηλ	Koupeēl	Χειρων	Cheirōn
☿	19	♂	Περανιηλ	Peraniēl	Εφιππας	Hephippas
☿	20	☉	Σανταηλ	Santaēl	Ορκισταφ	Orkistaph
☿	21	♀	Κατζιελ	Katziel	Λογιναφ	Loginaph
☿	22	☿	Λουλιελ	Louliel	Φαρως	Pharōs
☿	23	☽	Σαλταηλ	Saltaēl	'Ροκτατ	Roktat
☿	24	♄	Γαβτελ	Gabtel	Οπναξ	Opnax
♃	1	♃	'Ραφαηλ	Raphaēl	Μελτιφρων	Meltiphrōn
♃	2	♂	Περνιφελ	Perniphel	Οχλος	Ochlos
♃	3	☉	Κισφαηλ	Kisphaēl	Ουηρος	Ouēros
♃	4	♀	Καλιηλ	Kaliēl	θαφωτ	Thaphōt
♃	5	☿	Γλωστας	Glōstas	Τζιππατ	Tzippat
♃	6	☽	Μνιμεηλ	Mnimeēl	Αμωρ	Amōr
♃	7	♄	Χαλριηλ	Chalriēl	Ορφωρ	Orphōr
♃	8	♃	Σκιαηλ	Skiaēl	Ουταητ	Outaēt
♃	9	♂	Μισοελ	Misoel	Εργωτας	Hergōtas
♃	10	☉	Δαλβωθ	Dalbōth	Αζουβουλ	Azouboul
♃	11	♀	Χαρτωηλ	Chartōēl	Απληξ	Aplēx
♃	12	☿	Κιφαρ	Kiphar	Σιγως	Sigōs
♃	13	☽	Σιτιοηλ	Sitioēl	Ασμοδας	Asmodas
♃	14	♄	Βοκιελ	Bokiel	Ουωχ	Ouōch
♃	15	♃	Σενοηλ	Senoēl	Νικοκεπ	Nikokep
♃	16	♂	Οριατορ	Oriator	Κοπινος	Kopinos
♃	17	☉	Χυμεριηλ	Chymeriēl	Καητε	Kaēte
♃	18	♀	Ορφνιηλ	Orphniēl	Λαστωρ	Lastōr
♃	19	☿	Κιδουηλ	Kidouēl	Επιη	Hepiē
♃	20	☽	Γοθ	Goth	Οργαν	Organ
♃	21	♄	Φισναελ	Phisnael	Νιεριερ	Nierier
♃	22	♃	Καρααηλ	Karaaēl	Ουαλιελος	Oualielos
♃	23	♂	Κωνδαρ	Kōndar	Γαλιελιωρ	Galieliōr
♃	24	☉	Κισπωλ	Kispōl	Χουκαν	Choukan
♀	1	♀	Αγαθουηλ	Agathouēl	Γουλιων	Gouliōn
♀	2	☿	Νιδουηλ	Nidouēl	Βιζηκ	Bizēk
♀	3	☽	Αμφιλοηλ	Amphiloēl	Ζορζοραθ	Zorzorath
♀	4	♄	Κανικελ	Kanikel	'Ραφιωφ	Raphiōph
♀	5	♃	Σελινιελ	Seliniel	Ερμαγ	Hermag
♀	6	♂	Καρκανφερ	Karkanpher	Κερινουδαλος	Kerinoudalos
♀	7	☉	“Ανιελ	Aniel	Ταβαλταλις	Tabaltalis
♀	8	♀	Μουριηλ	Mouriēl	Θαφνιξ	Thaphnix
♀	9	☿	Τοφατιηλ	Tophatiēl	’Ελιασεμ	Heliasem
♀	10	☽	Σκιρτουηλ	Skirtouēl	Αμιχ	Amich
♀	11	♄	Αρμωηλ	Armōēl	Γ αλγιδων	Galgidōn
♀	12	♃	Οτραηλ	Otraēl	Εφιριτ	Hephirit
♀	13	♂	Ταλκιδονιος	Talkidonios	Στραγετ	Straget
♀	14	☉	'Ρουδιηλ	Roudiēl	Ανθηρος	Anthēros
♀	15	♀	Θηκιελ	Thēkiel	Πηζητος	Pēzētos
♀	16	☿	Γλυκιδωλ	Glykidōl	Απριξ	Aprix
♀	17	☽	Ψαλματιος	PSalmatios	Νιφων	Niphōn
♀	18	♄	Σταυφνηλ	Stauphnēl	Οτριχος	Otrichos
♀	19	♃	Δεαυκων	Deaukōn	Χιμερι	Chimeri
♀	20	♂	Ασφοδηλ	Asphodēl	Μελυ	Mely
♀	21	☉	Πετιλωλ	Petilōl	Καπνιθελ	Kapnithel
♀	22	♀	Γοργιελ	Gorgiel	Ταχμαν	Tachman
♀	23	☿	Βαταανιηλ	Bataaniēl	Ουκισεμ	Oukisem
♀	24	☽	Πολιων	Poliōn	Ουνιφρηρ	Ouniphrēr
♄	1	♄	Σαβαπιελ	Sabapiel	Κληνδατωρ	Klēndatōr
♄	2	♃	Σαλωηλ	Salōēl	Χειριμ	Cheirim
♄	3	♂	Βεσαηλ	Besaēl	Σπινδωρ	Spindōr
♄	4	☉	Αβαηλ	Abaēl	Κεριακ	Keriak
♄	5	♀	Γ ιελμων	Gielmōn	Νικεμ	Nikem
♄	6	☿	'Ρεταηλ	Retaēl	Μωριηλ	Mōriēl
♄	7	☽	Πελαφιηλ	Pelaphiēl	Συνιγειρωμ	Synigeirōm
♄	8	♄	Σαμωσαν	Samōsan	Αφιος	Aphios
♄	9	♃	Πλετανιξ	Pletanix	Θοριος	Thorios
♄	10	♂	Μαρμιχαηλ	Marmichaēl	Στελφα	Stelpha
♄	11	☉	Ντεχαριγξ	Ntecharigx	Κυπως	Kypōs
♄	12	♀	Αρκιηλ	Arkiēl	Σκαρ	Skar
♄	13	☿	Γεαβιηλ	Geabiēl	Τηχαρ	Tēchar
♄	14	☽	Πιτριηλ	Pitriēl	Ακρωκ	Akrōk
♄	15	♄	Γολγοηλ	Golgoēl	Αργιταν	Argitan
♄	16	♃	Σανιπιηλ	Sanipiēl	Ατομεος	Atomeos
♄	17	♂	Βελαραηλ	Belaraēl	Γ νωτας	Gnōtas
♄	18	☉	Οπιαελ	Opiael	Μερκου	Merkou
♄	19	♀	Οφχινηλ	Ophchinēl	Εναριταρ	Henaritar
♄	20	☿	Πατριηλ	Patriēl	Νιουχαν	Niouchan
♄	21	☽	Ιανιηλ	Ianiēl	Αμφου	Amphou
♄	22	♄	Κονδιηνηλ	Kondiēnēl	Μανκως	Mankōs
♄	23	♃	Ουξουνουηλ	Ouxounouēl	Μοιγρων	Moigrōn
♄	24	♂	Θαναηλ	Thanaēl	Νιγρισφ	Nigrisph

Planetary Prayers

Kronos

Greek: Ο θεος ο αιωνιος, το ασχετον κρατος, ο παντα οικονομων επι τα της ημων σωτηριας, δος ημιν χαριν, ινα υποταξω τον δεινα πλανητην εις το εμον θελημα. ορκιζω σε, πλανητα Κρονε, εις την οδον σου και εις τον αεραν σου και εις την κληρονομιαν σου και εις τον ουρανον σου και εις την λαμψιν και ενεργειαν σου και εις τα ονοματα σου ταυτα· Γασιαλ, Αγουνσαελ, Ατασσερ, Βελτολιελ, Μεντζατζια, ινα μοι δωσεις χαριν και ενεργειαν και δυναμιν εις την ωραν, εν η κυριευεις.

Phonetic Greek: O theos o aiōnios, to ascheton kratos, o panta oikonomōn epi ta tēs ēmōn sōtērias, dos ēmin charin, ina hypotaxō ton deina planētēn eis to emon thelēma. Orkizō se, planēta Krone, eis tēn odon sou kai eis ton aeran sou kai eis tēn klēronomian sou kai eis ton ouranon sou kai eis tēn lampsin kai energeian sou kai eis ta onomata sou tauta· Gasial, Agounsael, Atasser, Beltoliel, Mentzatzia, ina moi dōseis charin kai energeian kai dynamin eis tēn ōran, en ē kyrieueis.

English: Eternal God, irresistible might, who arranges everything towards our salvation, give me the grace to subdue so and so planet to my will. I conjure you, planet Kronos, by your orbit, by your air, by your properties, by your heaven, by your brightness, by your virtue and in your following names: Gasial, Agounsael, Atasser, Beltoliel, Mentzatzia, grant me grace, virtue and power during the hour that you rule.

Deutsch: Ewiger Gott, unwiderstehliche Macht, der alles für unserer Erlösung anordnet, schenke mir die Gunst, den Planeten meinem Willen zu unterwerfen. Ich beschwöre dich, den Planeten Kronos, bei deiner Bahn, bei deiner Luft, bei deinen Eigenschaften, bei deinem Himmel, bei deiner Helligkeit, bei deiner Tugend und bei deinen folgenden Namen: Gasial, Agounsael, Atasser, Beltoliel, Mentzatzia, gewähre mir Gnade, Tugend und Macht während der Stunde, die du beherrschst.

Characters:

Draw the characters of Kronos with the dross of lead and with vinegar. Cense them with sulfur. Draw them on a male kid's parchment.

Zeus

Greek: Κυριε και θεε, πατερ παντοκρατωρ, ο δημιουργος ορατων και αορατων, ο βασιλευς των βασιλευοντων και κυριος των κυριευοντων, επιδος ημιν δυναμιν χαριτος, ινα ο Ζευς υποταγη ημιν, οτι παντα δυνατα σοι, κυριε. ορκιζω σε, Ζευ, εις την σοφιαν σου και εις την γνωσιν σου και εις την ιαματικην σου ενεργειαν και εις την ουρανιον πορειαν, εν η περιπατεις, και εις τα ονοματα ταυτα, Ανωφ, Ορσιτα, Ατνοξ, Ονιγευι, Ατζινιελ, Ανκανιτει, Τυνεος, Γενιερ, Κανιπτζα, ινα υποκλινης εν εμοι την χαριν σου εις την δουλειαν τουτην, εν η ποιω.

Phonetic Greek: Kyrie kai thee, pater pantokratōr, o dēmiourgos oratōn kai aoratōn, o basileus tōn basileuontōn kai kyrios tōn kyrieuontōn, epidos ēmin dynamin charitos, ina o Zeus hypotagē ēmin, oti panta dynata soi, kyrie. Orkizō se, Zeu, eis tēn sophian sou kai eis tēn gnōsin sou kai eis tēn iamatikēn sou energeian kai eis tēn ouranion poreian, en ē peripateis, kai eis ta onomata tauta, Anōph, Orsita, Atnox, Onigeui, Atziniel, Ankanitei, Tyneos, Genier, Kaniptza, ina hypoklinēs en emoi tēn charin sou eis tēn douleian toutēn, en ē poiō.

English: Lord God, almighty father, creator of things visible and invisible, King of kings and Lord of lords, give me the power of your grace in order to subdue Zeus, for everything is possible to you, Lord I conjure you, Zeus, by your wisdom, by your knowledge, by your curative virtue, by the heavenly orbit you follow and by your following names: Anōph, Orsita, Atnox, Onigeui, Atziniel, Ankanitei, Tyneos, Genier, Kaniptza, grant your grace in this operation I attempt.

Deutsch: Herr, Gott, allmächtiger Vater, Schöpfer der sichtbaren und unsichtbaren Dinge, König der Könige und Herr der Herren, gib mir die Macht deiner Gnade, um Zeus zu unterwerfen, denn dir ist alles möglich, Herr, ich beschwöre dich, Zeus, bei der Weisheit, bei deinem Wissen, bei deiner heilenden Tugend, bei der himmlischen Umlaufbahn, der du folgst, und bei deinen folgenden Namen: Anoph, Orsita, Atnox, Onigeui, Atziniel, Ankanitei, Tyneos, Genier, Kaniptza, gewähre deine Gnade für dieses Werk, das ich zu vollbringen suche.

Characters:

Draw the characters of Zeus with the dross of silver and with rose water. Cense them with myrrh. Draw them on an unborn calf's parchment.

Ares

Greek: Ο θεος ο φοβερος, ο θεος ο αδιηγητος, ο θεος ο αθεωρητος, ον ειδεν ουδεις των ανθρωπων ουδε ιδειν δυναται, ον οι αβυσσοι ιδοντες εφριξαν και οι ζωντες απενεκρωθησαν. Χαριτωσον ημας, ινα δυνηθωμεν υποταξαι τον Αρεα τον πλανητην. Ορκιζω σε, Αρη πυρινε, εις τον θεον τον κτισαντα τας νοερας ουσιας και πασαν την πυρινην στρατιαν ορκιζω σε εις τας ενεργειας σου και εις την οδοιποριαν σου και εις την λαμψιν σου και εις τα ονοματα ταυτα Ουτατ, Νουητ, Χορηζη, Τινιαη, Δαχλι, Αμπιρα, Νολιεμ, Σιατ, ’Αδιχαηλ, Τζανας, Πλησυμ, ινα μοι δωσης την χαριν σου δια ταυτην την δουλειαν.

Phonetic Greek: O theos o phoberos, o theos o adiēgētos, o theos o atheōrētos, on eiden oudeis tōn anthrōpōn oude idein dynatai, on oi abyssoi idontes ephrixan kai oi zōntes apenekrōthēsan. Charitōson ēmas, ina dynēthōmen hypotaxai ton Area ton planētēn. Orkizō se, Arē purine, eis ton theon ton ktisanta tas noeras ousias kai pasan tēn purinēn stratian orkizō se eis tas energeias sou kai eis tēn odoiporian sou kai eis tēn lampsin sou kai eis ta onomata tauta Outat, Nouēt, Chorēzē, Tiniaē, Dachli, Ampira, Noliem, Siat, Adichaēl, Tzanas, Plēsym, ina moi dōsēs tēn charin sou dia tautēn tēn douleian.

English: Dreadful God, indescribable God, invisible God, whom no man has seen nor can see, whom the abysses saw and bristled and the living became lifeless, give us your grace in order to be able to subdue the planet Ares. I conjure you, fiery Ares, by God who created the intellectual natures and the whole fiery host. I conjure you by your virtues, by your orbit, by your brightness and in your following names: Outat, Nouēt, Chorēzē, Tiniaē, Dachli, Ampira, Noliem, Siat, Adichaēl, Tzanas, Plēsym, grant your grace in my present action.

Deutsch: Schrecklicher Gott, unbeschreiblicher Gott, unsichtbarer Gott, den niemand gesehen hat, noch sehen kann, den die Abgründe sahen und sich sträubten, und die Lebenden wurden leblos, gib uns deine Gnade, um den Planeten Ares bezwingen zu können. Ich beschwöre dich, feuriger Ares, bei Gott, der die geistige Substanz und alle feurigen Heere erschaffen hat. Ich beschwöre dich bei deinen Tugenden, bei deiner Bahn, bei deiner Helligkeit und bei deinen folgenden Namen: Outat, Nouēt, Chorēzē, Tiniaē, Dachli, Ampira, Noliem, Siat, Adichal, Tzanas, Plēsym, gewähre deine Gnade für mein gegenwärtiges Werk.

Characters:

Draw the characters of Ares with pure cinnabar and rose water. Cense them with dried human blood. Draw them on a seal's parchment1 and the ruler will grant you .

Helios

Greek: Βασιλευ των βασιλευοντων και κυριε των κυριευοντων, η υπεραρχιος φυσις, δυναμις αεναε, φως ακατανοητον, φως απειρον, ο μονος πλουσιοπαροχος, ο χορηγος του ελεους, επισκεψαι ημας δια της σης χαριτος και ευεργεσιας, οπαις τον παροντα πλανητην τον Ηλιον, ινα δυνηθυιμεν υποτοξοι και κατασχειν αυτου την ενεργειαν ορκιζω σε Ηλιε αφαυστε, ακατεργαστε, ημεροφεγγης, εις τον χρονικον σου κυκλον και εις τους τεσσαρας σου καιρους και εις την οδον σου και εις τας ακτινας σου και εις τος πτερυγας σου και εις τας ενεργειας σου και εις τα ονοματα σου ταυτα Γλιβιωδ, Αντικον, Λιθετιουδ, Αχριπαλ, Ελβιουλ, Αυτιουρ, Νοτιωλιοσημ, Οωγην, Γωδασωρ, Τουλδωραφ, Ηνιυαν εις ταυτα τα ονοματα ορκιζω σε μη παρακουσης μου, αλλα δια της χαριτος της σης συνεργησον εις ταυτην την δουλειαν.

Phonetic Greek: Basileu tōn basileuontōn kai kyrie tōn kyrieuontōn, ē yperarchios physis, dynamis aenae, phōs akatanoēton, phōs apeiron, o monos plousioparochos, o chorēgos toy eleous, episkepsai ēmas dia tēs sēs charitos kai euergesias, opais ton paronta planētēn ton Ēlion, ina dynēthuimen hypotoxoi kai kataschein autou tēn energeian orkizō se Ēlie aphauste, akatergaste, ēmeropheggēs, eis ton chronikon sou kyklon kai eis tous tessaras soy kairous kai eis tēn odon soy kai eis tas aktinas soy kai eis tos pterugas sou kai eis tas energeias sou kai eis ta onomata sou tauta Glibiōd, Antikon, Lithetioud, Achripal, Elbioul, Autiour, Notiōliosēm, Oōgēn, Gōdasōr, Touldōraph, Ēniuan eis tauta ta onomata orkizō se mē parakousēs mou, alla dia tēs charitos tēs sēs synergēson eis tautēn tēn douleian.

English: King of kings and Lord of lords, supreme essence, eternal power, incomprehensible light, infinite light, the only generous, the dispenser of mercy, look upon us with your grace and benevolence, so that we will be able to subdue this planet, Helios, and possess its virtue. I conjure you, untouched, unconquered Helios who shines at day, by your annual cycle, by your four seasons, by your orbit, by your rays, by your wings, by your virtues and in your following names: Glibiōd, Antikon, Lethetioud, Achripal, Elbioul, Autiour, Notiōliosēm, Oōgēn, Gōdasōr, Touldōraph, Ēniuan. In these names I conjure you; do not disobey me, but assist my present work by your grace.

Deutsch: König der Könige und Herr der Herren, höchstes Wesen, ewige Kraft, unbegreifliches Licht, unendliches Licht, der einzige Großzügige, der Spender der Barmherzigkeit, schau auf uns mit deiner Gnade und deinem Wohlwollen an, damit wir diesen Planeten, Helios, bezwingen und seine Tugend erlangen können. Ich beschwöre dich, unberührter, unbesiegter Helios, der am Tag strahlt, bei deinem jährlichen Zyklus, bei deinen vier Jahreszeiten, bei deiner Bahn, bei deinen Strahlen, bei deinen Flügeln, bei deinen Tugenden und bei deinen folgenden Namen: Glibiōd, Antikon, Lethetioud, Achripal, Elbioul, Autiour, Notiōliosēm, Oōgēn, Gōdasōr, Touldōraph, Ēniuan. Bei diesen Namen beschwöre ich dich; verweigere mir nicht den Gehorsam, sondern unterstütze mein gegenwärtiges Werk durch deine Gnade.

Characters:

Draw the characters of the Helios with gold or orpiment plates and water. Cense them with nutmeg. Draw them on a parchment from a human fetus or on a foal's parchment.

Aphrodite

Greek: Ο θεος ο μονος αγαθος, ο ανεξικακος εν φιλανθρωπια, ο υπεραπειρον εχων της αγαθοτητος το ανεξιχνιαστον πελαγος, παρ’ ου της φιλιας η ευσπλαγχνια, προσπιπτω τη ση φιλανθρωπια, 'ινα δωσης ημιν δυναμιν και χαριν, ινα την ενεγρειαν χρηστην και πεπληρωμενην δωσης εις εμε τον πλανητην τουτον, δια να ποιησω ταδε· ορκιζω σε, ωραιοτατη και γλυκεια Αφροδιτη εις την χαριν σου και εις την οδον σου και εις την ενεργειαν σου και εις την γλυκυτητα σου και εις τα ονοματα ταυτα· Ηρεθ, Λαβαμ, Συαρ, Σατηρ, Τουιδ, Τουτιμαρ, 'Ρεσφοδωμ, Σιρωφ, Κακεμ, Σετιαπ. εις ταυτα δε ορκιζω σε, ινα μη παρακουσης μου, αλλα την σην χαριν εμοιγε δωσης, οπως το δεινα ποιησω.

Phonetic Greek: O theos o monos agathos, o anexikakos en philanthrōpia, o yperapeiron echōn tēs agathotētos to anexichniaston pelagos, par’ ou tēs philias ē eusplagchnia, prospiptō tē sē philanthrōpia, 'ina dōsēs ēmin dynamin kai charin, ina tēn enegreian chrēstēn kai peplērōmenēn dōsēs eis eme ton planētēn touton, dia na poiēsō tade· orkizō se, ōraiotatē kai glykeia Aphroditē eis tēn charin sou kai eis tēn odon sou kai eis tēn energeian sou kai eis tēn glykutēta sou kai eis ta onomata tauta· Ēreth, Labam, Suar, Satēr, Touid, Toutimar, Resphodōm, Sirōph, Kakem, Setiap. eis tauta de orkizō se, ina mē parakousēs mou, alla tēn sēn charin emoige dōsēs, opōs to deina poiēsō.

English: O God, the only benevolent, who keeps off the evil by your philanthropy, who infinitely possesses the inscrutable sea of goodness, from whom derives the compassion of love, I beg your philanthropy, grant me the power and the grace, so that I may possess the virtue of this planet effectively and fully, in order to do such and such. I conjure you, most beautiful and sweet Aphrodite, by your grace, by your orbit, by your virtue, by your sweetness, and in your following names: Ēreth, Labam, Suar, Satēr, Touid, Toutimar, Resphodōm, Sirōph, Kakem, Setiap. I conjure you in your above names, do not disobey me, but grant me your grace in order to do such and such.

Deutsch: O Gott, der einzige Wohltäter, der das Böse durch deine Menschenliebe fernhälst, der ewig das unergründliche Meer der Güte besitzt, von dem das Mitgefühl der Liebe stammt, ich bitte bei deiner Menschenliebe, gewähre mir die Kraft und die Gnade, damit ich die Tugend dieses Planeten wirkungsvoll und vollständig besitzen darf, um das und das zu tun. Ich beschwöre dich, die schönste und süßeste Aphrodite, bei deiner Gnade, bei deiner Bahn, bei deiner Tugend, bei deiner Süße und bei deinen folgenden Namen: Ēreth, Labam, Suar, Satēr, Touid, Totimar, Respodōm, Sirōph, Kakem, Setiap. Ich beschwöre dich in deinen obigen Namen, mißachte mich nicht, sondern gewähre mir deine Gnade, um so etwas zu tun.

Characters:

Draw the characters of Venus with the blood of a bat, or with pure lapis lazuli and rose water, on a pup's or on an unborn fawn's parchment. Cense with mastic and labdanum.

Hermes

Greek: Παντοκρατωρ κυριε, ο ευρετης της σοφιας και της γνωσεως, ο των ουρανιων και υπερουρανιων τεχνιτης, παντεποπτα και παντοδυναμε, ευεργετησον ημιν χαριν, οιαν του σου πλανητου Ερμου εγκατελιπες, ινα δυνηθωμεν πραξαι το δεινα · ορκιζω σε, Ερμης πανσοφε, λογιωτατε και συνετωτατε, ευσυναπτε και εγρηγορωτατε, εις την σοφιαν σου και εις την λογιοτητα σου και εις την ζωνην, εν η περιπατεις, χαι εις τα ονοματα ταυτα· Νηφαν, Πιουτ, Νομην, Σελακ, Μερεπων, Στεμηνος, Καζητοκ, Μιωτ, 'ινα μοι υποκλινης την χαριν σου και την ενεργειαν σου εις την πραξιν ταυτην, εν η βουλομαι ποιησαι.

Phonetic Greek: Pantokratōr kyrie, o euretēs tēs sophias kai tēs gnōseōs, o tōn ouraniōn kai yperouraniōn technitēs, pantepopta kai pantodyname, euergetēson ēmin charin, oian tou sou planētou Hermou egkatelipes, ina dynēthōmen praxai to deina · orkizō se, Hermēs pansophe, logiōtate kai synetōtate, eusynapte kai egrēgorōtate, eis tēn sophian sou kai eis tēn logiotēta sou kai eis tēn zōnēn, en ē peripateis, chai eis ta onomata tauta· Nēphan, Piout, Nomēn, Selak, Merepōn, Stemēnos, Kazētok, Miōt, 'ina moi hypoklinēs tēn charin sou kai tēn energeian sou eis tēn praxin tautēn, en ē boulomai poiēsai.

English: Almighty Lord, the inventor of wisdom and knowledge, the maker of the celestial and supercelestial things, omnispective and omnipotent, grant us the grace you bequeathed to your planet Hermes, so that we may do such and such. I conjure you, all wise, most erudite, most intelligent, adaptable, most watchful Hermes, by your wisdom, by your erudition, by the orbit you follow and by the following names: Nēphan, Piout, Nomēn, Selak, Merepōn, Stemēnos, Kazētok, Miōt; grant your grace and your virtue to the operation I wish to attempt.

Deutsch: Allmächtiger Herr, der Erfinder der Weisheit und des Wissens, der Schöpfer der Dinge im und jenseits des Himmels, allwissend und allmächtig, gewähre uns die Gnade, die du deinem Planeten Hermes hinterlassen hast, damit wir das und das tun können. Ich beschwöre dich, ewig weiser, gelehrtester, klügster, anpassungsfähigster, wachsamster Hermes, bei deiner Weisheit, bei deiner Gelehrsamkeit, bei der Umlaufbahn, der du folgst und bei den folgenden Namen: Nēphan, Piout, Nomēn, Selak, Merepōn, Stemēnos, Kazētok, Miōt; Gewähre deine Gnade und deine Tugend für dieses Werk, das ich zu vollbringen suche.

Characters:

Draw the characters of Mercury with the blood of an ox, of an ass or of a lamb, or with rust and water on virgin parchment, and cense them with the skin of a hare and frankincense.

Selene

Greek: Δεσποτα κυριε, ο δεσποζων ζωντων τε και νεκρων, ο εν σοφια κατασκευασας τον ανθρωπον, ινα δεσποζη των υπο σου γενομενων χτισματων εν οσιοτητι και συνεσει, συνεργησον μοι, ινα δυνηθω ο δουλος σου χαριν λαβειν και οποταξαι τον πλανητην την Σεληνην και τελειωσαι το εργον, ο επεχειρισθην ορκιζω σε Σεληνην, του ουρανου ωραιοτατη πορφυρα και της νυκτος παραμυθια. ορκιζιυ σε εις την οδον σου χαι εις την ανακαινισιν σου και εις αναμετρητους βαθμους, εν οις κατερχει, και εις τα ονοματα ταυτα- Σαβαηλ, Βοαηλ, Ωνιτζηρ, Σπαρου, Σωρτηρχα, Γαβηδ, Ουτουπων, Καιπολης, Γωμεδην, Μαρηβατ. εις ταυτα σε ορκιζω, Σεληνη, ινα μοι υποκλινης την χαριν σου και την ενεργειαν σου εις την δουλειαν ταυτην, εν η επιχειριζομαι.

Phonetic Greek: Despota kyrie, o despozōn zōntōn te kai nekrōn, o en sophia kataskeuasas ton anthrōpon, ina despozē tōn hypo sou genomenōn chtismatōn en osiotēti kai synesei, synergēson moi, ina dynēthō o doulos sou charin labein kai opotaxai ton planētēn tēn Selēnēn kai teleiōsai to ergon, o epecheiristhēn orkizō se Selēnēn, tou ouranou ōraiotatē porphura kai tēs nyktos paramythia. orkiziu se eis tēn odon sou chai eis tēn anakainisin sou kai eis anametrētous bathmous, en ois katerchei, kai eis ta onomata tauta- Sabaēl, Boaēl, Ōnitzēr, Sparou, Sōrtērcha, Gabēd, Outoupōn, Kaipolēs, Gōmedēn, Marēbat. eis tauta se orkizō, Selēnē, ina moi hypoklinēs tēn charin sou kai tēn energeian sou eis tēn douleian tautēn, en ē epicheirizomai.

English: Lord and master, the ruler of the living and the dead, who fashioned man by your wisdom, in order to dominate your creatures with piety and prudence, assist me, your servant, so that I may receive the grace to subdue the planet Selene and finish the operation I have started. I conjure you, Selene, most beautiful purple of the heaven and consolation of the night. I conjure you by your orbit, by your renewal, by the innumerable degrees you pass through and in your following names: Sabaēl, Boaēl, Ōnitzēr, Sparou, Sōrtērcha, Gabēd, Outoupōn, Kaipolēs, Gōmedēn, Marēbat. In the above names I conjure you, Selene, grant your grace and your virtue to the operation I attempt.

Deutsch: Herr und Meister, Herrscher über die Lebenden und die Toten, der den Menschen in deiner Weisheit geformt hast, um deine Geschöpfe durch Frömmigkeit und Klugheit zu beherrschen, hilf mir, deinem Diener, damit ich die Gnade erhalte, den Planeten Selene zu beherrschen und das Werk zu vollbringen, das ich begonnen habe. Ich beschwöre dich, Selene, schönstes Purpur des Himmels und Trost der Nacht. Ich beschwöre dich bei deiner Umlaufbahn, bei deiner Erneuerung, bei den unzähligen Graden, die du durchläufst und bei deinen folgenden Namen: Sabaēl, Boaēl, Ōnitzēr, Sparou, Sōrtērcha, Gabēd, Outoupōn, Kaipolēs, Gōmedēn, Marēbat. Bei den obigen Namen beschwöre ich dich, Selene, gewähre dem Werk, das ich zu vollbringen suche deine Gnade und deine Tugend.

Prayer of the Angels

Greek: Ορκιζω σε, ω αγγελε [δεινα], οστις κυριευεις την ωραν ταυτην και ει συ βαλλομενος προς προβλεψιν και υπουργιαν του ανθρωπινου γενους, [δεινα], ο παντοτε προθυμος, δυνατος και ανδρειος και οξυς, ορκιζω σε εις τον θεον, ος σε εταξε φυλαττειν την ωραν ταυτην, ινα εισαι συνεργος μου μετα του υποτακτικου σου του [δεινα] δαιμονος, ος επροεταχθη να εναι δουλος εις την ωραν ταυτην και εσυς να μοι συνεργησεται και να ποιησεται την δουλειαν ταυτην, να εναι δοκιμος, καλη και αληθινη.

Phonetic Greek: Orkizō se, ō angele [NN], ostis kyrieueis tēn ōran tautēn kai ei su ballomenos pros problepsin kai hypourgian tou anthrōpinou genous, [NN], o pantote prothymos, dynatos kai andreios kai oxus, orkizō se eis ton theon, os se etaxe phylattein tēn ōran tautēn, ina eisai synergos mou meta tou hypotaktikou sou tou [NN] daimonos, os eproetachthē na enai doylos eis tēn ōran tautēn kai esus na moi synergēsetai kai na poiēsetai tēn douleian tautēn, na enai dokimos, kalē kai alēthinē.

English: I conjure you, angel [so and so] who rules this hour and who is appointed for the provision and the service of mankind; angel [so and so], eager at all times, strong, brave and sharp, I conjure you by God, who ordered you to guard this hour, to be my collaborator, together with your submissive demon [so and so], who is appointed to be servant at his hour. Cooperate with me, and make my work effective, good and true.

Deutsch: Ich beschwöre dich, Engel [so und so], Herrscher über diese Stunde, der der Vorsehung und Sorge der Menschheit folgt; Engel [so und so], allzeit eifrig, stark, mutig und pünktlich, ich beschwöre ich dich bei Gott, der dir befohlen hat, über diese Stunde zu wachen, mein Partner zu sein, zusammen mit deinem ergebenen Dämonen [so und so], der als Diener in seiner Stunde beauftragt wurde. Begleite mich und mache mein Werk wirkungsvoll, gut und wahr.

Sphere of Horus

2018-05-06T18:00:00+02:00

(Version 1.1 - 07/05/2018)

Horus the Saviour

Ever since he knocked on my door I have wanted to integrate Horus more into my ritual practice than the adorations he already receives on an irregular basis. I am currently involved in a year long exploration of the Egyptian Decans (not the Rune Soup Decan Walk), specifically in their final Egyptian forms during the Ptolemaic era (more details about this will come in a future post). The Decan of a few weeks ago (♓3) was symbolized as Heru-pa-khered / Harpocrates (Horus the Child) in his common depiction as a nude youngster seated on a lotus flower wearing a side-lock and holding a finger to his mouth.

In my research about him I discovered that magical stelae of Horus in this form called "cippi" were erected in public places such as the forecourts of temples. His image is often surmounted by a head of the god Bes, and he is grasping snakes, scorpions, and other dangerous wild animals in his hands to signify his dominance over these symbols of mortal danger. They appear to have been used typically by pouring water over them which was collected at the bottom and drunk for protection and healing.

An ancient Egyptian spell to be spoken over such a cippus can be found in Borghout's spell collection (1):

An adoration of Horus, to glorify him, To say on the water and on the land. Words spoken by Thoth, the saviour of this god:
Hail to you. God, son of a god! Hail to you, heir, son of an heir! Hail to you, bull, son of a bull, whom the divine cow bore.
Hail to you, Horuss, who came forth from Osiris, whom the goddess Isis bore. I have spoken in your name, I have recited with your magic, I have spoken with your spells, I have conjured with your conjurations, which your heart has devised — they are your sorcery — which have come forth from your mouth, which your father Geb has entrusted to you, which your mother Nut has given to you, which you have been taught by the Majesty of the Foremost One of Letopolis in order to ensure your protection, to renew your safeguarding, to close the mouth of any reptile which is in heaven, which is in the earth, which is in the water, to keep the people alive, to propitiate the gods, to glorify Re with your hymns.
Come quickly to me on this day like the one did for you who handles the steering oar of the divine bark. May you drive away for me all lions on the desert plateau, all crocodiles in the river, all biting snakes in their holes! May you render them for me like pebbles on the desert hills, like potsherds of a jar along the street. May you exorcize for me the pulsating poison that is in all the limbs of this man who is suffering. Take care not to be negligent when you speak about it!
See, it will come for you when you are coming for it, with your words directed against it. See, your name is involved therein on this day! I have created the awe for you through your magic — and you have grown in prestige through your magic spells — to keep alive those who suffer from an oppressed throat.
Praise is given to you by mankind; righteousness is adored in your appearance. All the gods are invoked in your likeness.
See, your name is invoked on this day: 'I am Horus the Saviour who ensures protection for you'.
(J. F. Borghouts, Ancient Egyptian Magical Texts, Brill - Leiden, 1978, Spell 123)

Having such protective and healing properties, wouldn't Harpocrates be predestined for protective magic such as banishing? Yes! So, let's do it...

The Sphere of Horus

Most of my spellwork is PGM influenced, so naturally I don't do much elaborate ritualized banishing and use mainly phylactery talismans for protection. But since some nasty experiences in my recent past that I attribute to negative spiritual influence, I have become more paranoid about better protection. The LBRP or it's thelemic derivatives don't really feel fitting in my workings.

My favourite banishing rite has always been Jason Miller's excellent “Sphere of Heka” from his poweful book "Protection and Reversal Magic" (2).

Inspired by Harpocrates the Saviour I took the opportunity and modified Jason's ritual to make it even more Greco-Egyptian than it already was. I dubbed it Sphere of Horus.

This version uses Greek instead of Latin and invokes different guardians of the cardinal directions.

Many thanks to my Facebook buddy and fellow mage Lazaridés at the foot of mount Olympos for the invaluable translation work!

Part 1: Conjuring the Column

Begin by standing and facing east. Imagine that you are at the very center of the universe. Take a deep inhalation and imagine that above you, emanating from the highest heavens descends a column on pure white light. This light enters the crown of your head and passes through you, down into the ground. This white light has the qualities of purification and centering. Exhale and intone the following:

Greek	Phonetic	Translation
Iέρακος Κάθοδος	Ierakos Kathodos	The descent of the falcon

Take another deep inhalation and imagine that a reddish colored light from beneath you rises through the column and passes through you upwards. Whereas the white light was purifying, this light is vitalizing. Exhale and intone the following:

Greek	Phonetic	Translation
Οφεως 'Ανοδος	Opheōs Anodos	The ascent of the serpent

Inhale again and feel the two energies entering into you from above and below. Exhale and feel the two energies flow throughout your body, impregnating every cell of your being with their power. Feel your connection between earth and sky, underworld and heavens.

With your right hand. point at your third eye and intone: I (eeh).
Move your right hand over your heart and open your hand so that your palm faces your chest and intone: A (ah).
Most your hand lower over your genitals and turn the palm upwards, connecting the thumb and forefinger. Intone: Ω (oh).

This portion of the rite grounds, centers, purifies, and empowers you so that you are in a proper position to exercise authority over the forces that you wish to banish. The Falcon and the Serpent are universal symbols of chthonic and ouranic forces. By conjuring the column you take in the totality of all that is, above and below. After the column, you invoke the divine by the ancient formula of IAΩ.

Part 2: Delineating the Boundaries

Still standing within the column, pronounce to the powers that be:

Greek	Phonetic	Translation
Eκάς, εκάς εστέ βέβηλοι!	Hekas, hekas este bebeloi	Afar, afar, all the profane!

Make a fist with your left hand and place it against your chest over your heart, cover it with your right hand and apply about five pounds of pressure there and imagine that the force that you summoned forth from the column begins to concentrate at the heart. Imagine that this power, drawn by the physical pressure and force of will, takes the shape of a gray sphere about the size of a baseball. Visualize this until you have it very clear in your mind. Release the pressure, and in one motion step forward with your left foot and throw your arms outward in what is called the Sign of the Enterer. As you make this sign, see the sphere at your heart grow. As it grows and spreads, it pushes back all malefic forces and harmful spirits. It grows past your body and continues until it stops where you wish to make the boundary, forming a wall of grayish astral force. Intone:

Greek	Phonetic	Translation
Kύκλον Κατάσχω!	Kyklon Katas-chō	I seize the circle!

Take your wand or knife of the art in your hand, and extend your arm straight out. The tip of the tool (or your finger, when working without tools) should touch the edge of the circle that you want to make. If you have extended the circle past the walls of the room that you are in, then you can simply point towards the edge. Pivot, or walk the edge of your circle and intone the following:

Greek	Phonetic	Translation
Καθιερώ και ευλογώ τούτο τον κύκλο, ότι ασπίς μου έστηκε , φυλλάτειν με και άπαντες εν το κύκλο τιαύτον , απο παντός πονηρού, εις το όνομα της Μεγάλου και Αητήττου Ἥλιου Αρποκράτου! Ψοϊ φνουθι νινθηρ!	Kathierō kai eylogō touto ton kyklo, oti aspis mou estēke, phyllatein me kai apantes en to kyklo tiauton, apo pantos ponērou, eis to onoma tēs Megalou kai Aētēttou Heliou Harpokratou! Psoi Phnouti Ninthēr!	I consecrate and bless this circle, that it may shield and protect me and all inside against all evil in the name of the most powerful and invincible Helios Harpocrates! [Egyptian:] Fate, the god of the gods

Consider that this sphere is an invisible and impenetrable fortress surrounding you, keeping out all harmful forces and spirits of ill-intent.

Part 3: Invoking the Guardians

The last section of the ritual invokes the four winds as guardians to the four comers of our sphere.

Face East and visualize Henkhisesui standing at the eastern edge of the circle facing the center. The Egyptian east wind, Henkhisesui, sometimes occurs in anthropomorphic shape, and has a ram’s head, but he is occasionally figured as a winged beetle with the head of a ram. Make the gesture of conjuring and invoke:

Phonetic	Translation
Orkizo Henkhisesui!	I conjure Henkhisesui!

Face South and visualize Shehbui standing at the southern edge of the circle facing the center. The Egyptian South wind Shehbui, is represented as a man with a lion’s head, and wings. Make the gesture of conjuring and invoke:

Phonetic	Translation
Orkizo Shehbui!	I conjure Shebui!

Face West and visualize Hutjaiwi standing at the western edge of the circle facing the center. The Egyptian West wind, Hutjaiwi, has a serpent's head on the body of a winged man. Make the gesture of conjuring and invoke:

Phonetic	Translation
Orkizo Hutjaiwi!	I conjure Hutjaiwi!

Face North and visualize Qebui standing at the northern edge of the circle facing the center. The Egyptian North wind was called Qebui, and is pictured as a four-headed ram with wings. Make the gesture of conjuring and invoke:

Phonetic	Translation
Orkizo Qebui!	I conjure Qebui!

Face East and imagine all four guardians in their corners protecting the circle. Intone the following:

Greek	Phonetic	Translation
Προ μου Henkhisesui, οπισω μου Hutjaiwi, επι δεξια Shehbui, επαριστερα Qebui.	Pro mou Henkhisesui, opisō mou Hutjaiwi, epi dexia Shehbui, eparistera Qebui.	Before me Henkhisesui, behind me Hutjaiwi, to my right Shehbui, to my left Qebui.

Of course you may also use the Greek Anemoi wind spirits instead:

Greek	Phonetic	Direction
Ευρο!	Euro	East
Νότο	Noto	South
Ζέφυρο	Zephyro	West
Βορέα	Borea	North

Part 4: Closing

Take a single deep breath and bring your hands together in front of your heart is if you are praying. Intone:

Greek	Phonetic	Translation
Eκάς, εκάς οι βέβηλοι, εις το όνομα του Παντοδυνάμου Φρη Σαβαωθ Αβρασαξ ΙΑΩ!	Hekas, hekas oi bebēloi, eis to onoma tou Pantodynamou Phrē Sabaōth Abrasax IAŌ!	Away, away o profane, in the name of the most powerful Phrē Sabaoth Abrasax IAO!

Confirmation

I wrote Jason Miller and told him about this variant of his banishing ritual and he loved it and encouraged me to publish it!

I have successfully used the Sphere of Horus to remove potentially harmful spiritual residue after having to apply Gordon's Hoodoo Hex to an obnoxious neighbor. First I wasn't completely sure if it worked but then my cat walked into the room, let himself fall on his side, stretching all paws out and gave me his usual blinky look of total relaxation. I fully trust his judgement! He might be a really bad hunter, but he usually seems to be quite aware of things from the other side.

Here is the Sphere of Horus as a Google document for nicer print layout, also including Jason's original descending dove and Hekate

(1) Borghouts, Joris Frans, ed. Ancient Egyptian magical texts. Vol. 9. Brill, 1978.

(2) Miller, Jason, Protection and Reversal Magick. New Page Books; 1 edition, 2006.

Ophiouchos

2018-02-22T18:00:00+01:00

or Conquering Shai-Hulud

(Version 1.2 - 29/10/2018)

Last week's New Moon has been a very special occasion for me.

Having Followed a suggestion by my occultist pen-pal Len W. to perform the Stele of Jeu rite on New Moon every month (the night sky is headless), this last one marked the half-year anniversary since I started on the day of the Great American Eclipse last summer - my self initiation.

This last one was an eclipse too. To me it felt like a turning point or "levelling up". Besides the semi-anniversary aspect, it has been the most powerful performance of this ritual ever, with lasting effects.

Inspired by Spiro' report I have wanted to perform the ritual in demotic Greek for quite some time now, as that's the language it was originally composed in. I finally got around to doing that and I have to say that despite my stumbling over the words and pronounciation of this unfamiliar language it felt very poetic and emotionally gripping.

As if that were not enough of a challenge I also worked up the courage to modify the Headless Rite to give it a darker and potentially more dangerous twist - just to see how it would effect the outcome. I have been fascinated by ancient myths around solar eclipses about the sun being devoured by dragons or serpents like in Egyptian and Slavic skylore.

During a solar eclipse that always occur on New Moon for obvious astronomical reasons, it's not only the night sky that is headless, but also the day sky on the other side of the globe! This occasion seemed auspicious to try to approach the dark and slithering ancient dragon in its attempt to swallow the sun right at its climax and divert some of it's indomitable serpentine energy into myself.

I remembered a very powerful Greek prayer to the old snake from a ritual by the German magical order of Fraternitas Saturni and I incorporated it into the Headless Rite after the part of self-exorcism and divine ascension. This is the Call to the Serpent:

ho ophis, ho archaios
ho drakon, ho megas
ho en kai ho on kai ho zon
eis tous ainonas ton ainonon
meta tou pneumato sou!

It translates roughly to the following:

The primeval serpent
the great dragon
who was and who is
and who lives through the aeons of aeons
He is with your spirit!

I like to start many of my rituals with orphic hymns to the planetary gods of the hour and the day, so for this one I chose the hymn to Phanes, the Protogonos, as it suits the occasion and ritual perfectly.

Here is the full ritual in phonetic Greek, followed by my personal report, which I recommend skipping to avoid spoilers if you want to try it out yourself :)

Akephalos Ophiouchos Ritual

Preparation

Wait until the climax of the eclipse has been reached to catch the moon's waxing energy alongside the serpentine power.

Light Myrrh incense as an offering to Phanes, anoint yourself with some holy oil, wear the papyrus strip with the six names and the auspicious sign as described in the Stele of Jeu. Meditate until you feel ready. Face towards the celestial North and recite the words:

Orphic Hymn to Protogonos

Protogonon kaleo diphyé, megan, aitheroplagkton,
ôiogené, chryseaisin agallomenon pterygessi,
tayroboan, genesin makaron thnetôn t' anthropon,
sperma polymneston, polyorgion, Érikepaion,
arreton, kryphion roizetora, pamphaes ernos,
osson os skotoessan apemayrosas omichlen
pante dinetheis pterygon ripais kata kosmon
lampron agon phaos agnon, aph' ou se Phaneta kiklesko
éde Priepon anakta kai Antaygen elikopon.
alla, makar, polymeti, polyspore, baine gegethôs
es teletén agian polypoikilon orgiophantais.

Stele of Jeu With Call to the Serpent

Se kalō, ton akephalon,
ton ktisanta gēn kai ouranon,
ton ktisanta nykta kai ēmeran,
se ton ktisanta phōs kai skotos.
Sy ei Osoronnōphris, on oudeis eide pōpote.
Sy ei Iabas! Sy ei Iapōs!
Sy diekrinas to dikaion kai to adikon.
Sy epoiēsas thēly kai arren.
Sy edeixas sporan kai kaprous.
Sy epoiēsas tous anthrōpous allēlophilein kai allēlomisein.
Egō eimi Mousēs o prophētēs sou,
ō paredōkas ta mysteria sou ta synteloumena Israēl.

Sy edeixas ygron kai chēron kai pasan trophēn.
Epakouson mou! Egō eimi aggelos tou Phaprō Osoronnōphris.
Touto estin sou to onoma to alēthinon to paradidomenon tois prophētais Israēl.
Epakouson mou.
Arbathiaō reibet athelebersēth ara blatha albeth ebenphchi chitasgoē ibaōth iaō

Eisakouson moth kai apostrepson to daimonion touto.
Epikaloumai se, ton en tō kenō pneymati deinon kai aoraton theon.
Arogogorobraō sochou modoriō phalarchaō ooo

Agie Akephale! Apallaxon ton deina apo tou synechontos ayton daimonos.
Roubriaō mari ōdam baabnabaōth ass adōnai aphniaō ithōlēth abrasach aēōōy
Ischyre Akephale! Apallaxon ton deina apo tou synechontos ayton daimonos.
Mabarraiō ioēl kotha athorēbalō abraōth Apallaxon ton deina.
Aōth abraōth basym isak sabaōth iaō

outos estin o kyrios tōn theōn.
outos estin o kyrios tēs oikoumenēs.
outos estin on oi anemoi phobountai.
outos estin o poiēsas phōnēs prostagmati eaytou panta.
Kyrie! Basiley! Dynasta! Boēthe! Sōson psychēn.
Ieou pyr iou pyr iaōt iaēō ioou abrasach sabriam oo yy ey oo yy adōnaie
Ēdē, ēdē, eyaggelos tou theou.
Anlala lai gaia apa diachanna choryn

(center yourself in the universe, omnipresent in all eons)

(call to the serpent:)

ho ophis, ho archaios
ho drakon, ho megas
ho en kai ho on kai ho zon
eis tous ainonas ton ainonon
meta tou pneumato mou!

(continue Headless Rite:)

Egō eimi o Akephalos Daimōn, en tois posin echōn tēn orasin.
Egō eimi o Ischyros, o echōn to pyr to athanaton.
Egō eimi ē Alētheia, o misōn adikēmata ginesthai en tō kosmō.
Egō eimi o astraptōn kai brontōn.
Egō eimi ou estin o idrōs ombros epipiptōn epi tēn gēn ina ocheyē.
Egō eimi ou to stoma kaietai di’ olou.
Egō eimi gennōn kai apogennōn.
Egō eimi ē Charis tou Aiōnos.
Onoma moi kardia periezōsmenē ophin.
Exelthe kai akolouthēson.

(the divine vowels:)

Aié aiôi éôiaé aé iô ôé aiéoueuôai eai uo iaô iôé oau aeé uôuô

(call to the serpent again:)

ho ophis, ho archaios
ho drakon, ho megas
ho en kai ho on kai ho zon
eis tous ainonas ton ainonon
meta tou pneumato mou!

(the six names, greatest name that adds to 9999:)

Chabrach phneschér phichro phnurô phôchô bôch

(subject to me all daimons...:)

Ypotaxon moi panta ta daimonia, ina moi ē ypekoos pas daimōn ouranios kai aitherios kai epigeios kai ypogeios kai chersaios kai enydros kai pasa epipompē kai mastix ē theou. Kai estai soi ta daiamonia panta ypekoa. Estin de to agathon zōdion·

(meditate until you feel ready to leave)

Personal Report

I usually do most of my rituals outside in a park nearby at my favourite quiet spot.

It was slightly snowing when I left the house walked towards my "temple". I already started breathing deeply and in a slow rhythm to prepare mentally.

After arriving I did the planetary prayer to Zeus and closed my eyes for a brief meditation. Right after that I followed a gut feeling and walked away from my usual spot to a more secluded one as I somehow didn't feel enough "privacy".

Closer to the naked branches of some wintery trees I felt more secure and I lit my Myrrh incense stick and put on the papyrus crown I usually use for the Headless Rite. Facing North, after some minutes of quiet breathing I started reciting the Hymn to Protogonos. It felt strange to not do it in my mother language, but powerful.

I continued with the Stele of Jeu text but couldn't help but feel like there was someone nearby. I read the words slowly, trying to get into a rhythm and to pronounce everything correctly. After the first paragraph I turned around to see if someone was there. Nothing. The usual paranoia. I continued.

I visualized myself growing slowly as I spoke the words. The Earth became smaller and smaller under my feet. As I gazed upwards into the dark sky I had a vision of a black serpentine body moving amorphously like seeing it deep under a surface of water. Although I looked up, it felt like the movement was far below me. It was a sense of loss of orientation.

As I continued to recite the text, I imagined myself floating downwards towards the pile of slithering scales. I myself was gigantic. I could see the entire universe. But I realized the draconian creature under me was much, much bigger. I felt a hint of fear, but pushed it away and I was approaching the part of the barbarous words and self-exorcism, so I put a lot of effort into sounding authoritative.

There it was again, the feeling of being watched! I recited the powerful call to the serpent and saw myself floating towards it again, sinking down - now it did not seem as gigantic as before. I felt courageous and I resisted the urge to turn around again in paranoia and I spontaneously started turning slowly around my own axis, tracing a spiral around myself with the incense stick.

I created a whirling vortex around me, circling around the Northern celestial pole above me, and around the serpent below me. The flux pulled the snake up in a kind of dancing motion. It spiralled around me creating a gigantic tunnel of energy and I was in its center, controlling the rotation. I have never had such strong images during a ritual and such a physical feeling of energy flowing through my body.

When I spoke the "subject to me all daimons..." formula the vortex slowly faded from my mind's vision and I was back in the park. It started snowing more heavily and I felt high like on cocaine. Pumped with energy I had the urge to flex all my muscles at once very strongly up to the point where I felt a strain in my neck. I focussed on my breath to calm down a bit, stuck the incense stick into the ground and stared at its glowing tip for a while.

On the way home I felt very high and I could hear my heart pumping. I envisioned having slit shaped reptilian pupils and it made me smile. I turned my phone back on from flight mode and received a text message.

It was Ricardo, a fellow mage friend who knew that I was out to do the ritual. I expected him to ask how it went, but instead I read:

He wrote me that he had meditated like every evening and because he knew I was out for the rite, he had spontaneously tried to visualise remotely watching me performing it. I was speechless when he continued to tell me that he had a blurry vision of slowly approaching me from behind, seeing me wearing a crown and holding a stick in my hand, being surrounded by a vortex of energy. He came closer and tried to touch my shoulder when suddenly he felt a surge of energy pushing him back, completely losing me out of sight. He even talked about my location, which wasn't exactly where I had been but only around 150 meters away from where I had done the ritual. He did not know beforehand which park I would go to. I was shocked!

I could hardly sleep that night, it felt as if I had had too much coffee. Until today, a whole week later I feel pumped with physical energy and very mindful of my presence in the here and now, almost like when microdosing psychedelics.

One negative outcome of the performance is that my ego seems overly boosted. I lack my usual humbleness and feel almost a bit arrogant from time to time and my patience level is lower than usual. I feel distant waves of aggression lurking under the surface. But I am aware of the differences and it's all under control.

Overall I must say it has been an amazing experience.

The next morning images from the movie "Dune" came into my mind, of the main protagonist Paul Atreides running towards the giant sandworm called Shai-Hulud to climb and ride it. See for yourself :)