SUBLUNAR SPACE - serpent

Restless Liburnian Spirits

2020-08-21T21:00:00+02:00

On the Croatian island of Pag, four years ago today was my serpent dream that I often refer to as my "switch" event that broke my materialist mindset. Retrospectively I have to admit it already had started a bit before that, but nevertheless it is safe to say that this day played a central role in my magical coming of age.

In summary it was a nightmare turned lucid, a dream nested within a dream, with a fuzzy threshold to wake reality, out-of-body elements and most importantly it had a meaningful symbolic climax: I was shown a shield emblazoned with a vivid red serpent on fire, staring at me.

This serpent has haunted me for weeks and inspired many in-depth research rabbit holes into at that point rather unknown fields of occult knowledge. I started practicing kundalini yoga, meditation, got eventually hooked on the western esoteric traditions and especially their Helleno-Kemetic sources.

On this same day a year later I found myself standing on the highest mountain of the island of Pag, reciting my first Headless Rite, Greek hymns to Agathosdaimon and invoking the Four Kings and initiating myself from freshman armchair magician to fully operand sorcerer.

Fast forward yet another year, again on Pag, I obsessively hunted down the remains of an altar in honor of the local pagan serpentine goddess Heia, syncretized with the Roman goddess Bona Dea.

My job at a local electronic music festival reoccurred annually, so last year at the same time I was also on Pag. I celebrated my magical anniversary and revisited some of my favorite places, but most importantly I made real-life contact with a woman who used to work at the local archeological museum. I had already emailed her the year before, asking for help in my research on the altar.

I visited her in her garden and she was happy to give me a lot of hints what other interesting places to visit on the island. Unfortunately it was the second last day of my stay so I only managed to visit one of them: a newly discovered ruin of a church on a nearby hill.

After I had left Pag we stayed in touch and things got a bit weird. She turned out to be a spiritually minded, magically interested and quirky witch type lady with shadow people and ghost encounters and I felt comfortable enough to disclose my whole magical journey that was so intimately connected to this island. She seemed genuinely excited about it and had some very interesting things to say about the house I had had my serpent dream at three years before:

Several years ago the owner of the house, who runs a construction company, took a few fine stone ornaments from a wall next to the smaller church here in town. The entire square was an enormous basilica with water well, inside walls and so on. Behind the church a famous reliqary from the 4th century was found and some other precious and rare findings. On the right of the basilica there was a graveyard. Now, there were some wild building interventions around those walls and this guy took away some tombstones!! I remember wanting those stones here in our museum but he secretly took them away in the dark of the night and under protection of our local sheriff mayor so I couldn't do anything but alert the Conservation institute. But they also didn't do anything.

This blew my mind. The construction tycoon had stolen sacred stone ornaments from a graveyard and used them to decorate the house he rented out to tourists and in which I stayed every year. The same house I woke up in when I had my weird dream!

One of the main features of the local archeological museum is the entrance to an underground Roman acqueduct entirely carved in stone by hand and over 1 kilometer long with an average width of 60 centimeters. The lady had another story to share that stuck with me:

I used to close the museum and go into the aqueduct as far as I could. The air begins to get fouler the deeper you go inside. It was always interesting to go forward but getting back was kind of creepy. It alway felt as if a Roman cohort was breathing down my neck!

It inspired me to think that maybe the football-armored zombies from my dream might actually have been Roman soldiers misinterpreted by my subconscious.

Anyway, Pag is surely haunted. I am sad that due to the Corona restrictions my annually recurring job got cancelled for this year. This is the first in seven years I can't be there. It would have been nice to celebrate my magical anniversary and to catch up with my new friend and listen to some more of her stories. Coincidentally (or not) she wrote me this week inviting me and my family to come visit, but unfortunately that collides with our plans for this year.

So visiting an ancient and enchanted olive grove from antiquity and hearing the story about the local priest with stigmata who could bilocate will have to wait until some other day.

I will be back for sure. Maybe next year? Just the gods know.

Altar of the Serpent Goddess

2018-08-25T19:30:00+02:00

Yet again, this year I returned to the rocky island of Pag to do the same job as in the last years. I was quite excited to come back to celebrate my two year serpent dream anniversary and one incredible year of invincibility. Before my trip I started doing a bit of research about the antiquity of Pag with the intention of finding some kind of mythological or historical thread to pull on in order to tip my hat to an older spirit of place in the course of ritually celebrating my magical birthday.

Well, I had barely touched the first thread I could find and a whole spaghetti bowl of delicious mess of myth and enchantment landed in my lap!

Serpent Goddess

I found out that in pre-Roman times the island of Pag was inhabited by a tribe of the Illyrian people called "Liburnians" that lived along the Adriatic sea and was well known for their seafaring skills.

At the more spiritual level Illyrians were certainly much taken with the force of spells or the evil eye. Pliny’s story that there were among Illyrians those ‘who could gaze with the evil eye, cast a spell and even kill someone’ is repeated in the following century by Aldus Gellius in his compendium of table-talk among Roman intellectuals. (1)

Not much is known about their pantheon, mostly because it consisted mainly of very regional deities with changing names, almost all of them female! The only mention of names of their deities are from Roman Empire period monuments, some with interpretatio Romana.

there are two main features associated with Liburnian deities: the absolute predominance of female gods, and the lack of iconographic expression. It is as if Liburnian deities did not have an anthropomorphic character (2)

But besides plenty of depictions of a prominent solar cult in the North of Liburnia there is one other powerful symbol that is found on altars and other votive objects dedicated to their female deities:

The most significant indigenous symbol in Illyria-Dalmatia is the serpent. [...] Although the serpent is often considered a male symbol of chthonic character, the presence of the serpents in the cultic iconography related to the Illyrian female goddess should not be underestimated. (3)

Wow! Goddesses in the shape of serpents! I knew I was on the right track...

I dug deeper into finding some more information on the mentioned Roman monuments to see whether something related to Pag would come up. And it did...

A fully preserved sacrificial altar dedicated to a Liburnian deity was actually found on the island, erected by the Roman noblewoman Calpurnia in honor of the local goddess Heia syncretized with the Roman goddess Bona Dea!

I couldn't believe this series of synchronicities with my own serpentine obsession and my quite fresh connection to The Mother Goddess, all tying in with the place where all of this started! It might be connected to having just finished another novena to Our Lady of Candelaria ending on her feast day a week before...it felt like I was being directed to something.

Journey to Cissa

Anyways, excited about all my findings I travelled to Pag - mainly for my job - but now I even ended up with a mission for my magical anniversary: to acknowledge and to thank the local goddess Heia and the spirits of this place.

In the last years I always had rented a scooter to explore the island but this time my work schedule was tighter so I didn't find the time to do that and the range of accessible places to do a ritual was quite limited.

I remembered an old ruin near the villge of Caska reachable by foot in under an hour. Coincidentally the same village is also the location of most of the findings of Roman architecture and objects. Back in the days, the island of Pag was called Cissa or Gissa after this exact Roman settlement of the same name.

Caska itself is a very tiny village and is mainly consisting of tourist apartment houses along a road to the town of Metajna. According to the tourist brochure (4) several Roman artefacts were discovered there as well as a necropolis next to the sea. The ruins above the town are actually of a Roman fortress from Byzantine times that hosted a church dedicated to the patron of Pag: St. George (aha, the serpent slayer!).

Perfect! I planned to do a little hike to Caska to check out the necropolis and some excavations and to do a small ritual inside the old church of St. George.

I found it a bit confusing why there are not more remains of ancient Cissa itself if it was apparently such an important Roman outpost that gave the whole island its name. I found the answer in the same tourist guide (4): apparently the city had disappeared!

Inspired by the multitude of archaeological finds along the coastline and in the shallow waters of the cove, legends about the dramatic sinking of the famous and rich city of Kisa were passed down orally in the Novalja area for centuries. The most frequently told story was about two sisters, the good sister Bona and the evil sister Mala, and about the angel sent by God to find one good human being among the evil, corrupt population of Kisa. The angel found Bona and ordered her to flee the city, which forever disappeared into the sea in a terrible earthquake as she fled.

In the second version of the legend, the good sister with her beautiful, healthy children lived in dire poverty, while the evil sister with her pale, sickly children swam in a sea of riches. When the good sister asked her evil sister for help one day, she was rudely refused. God was greatly angered and in retribution sank the entire city, sheltering the good sister and her children on the hill top Sv. Juraj (St. George) beforehand. (4)

On Tuesday the 21st of August - my magic anniversary - I left Novalja around two in the afternoon and walked along the little road to Caska and up the hill to the Byzantine ruins. In contrast to my last year's self-initiation I wanted to keep it simple this time, but to honour my personal tradition of new beginnings happening on this island I also planned to try something new: shamanic journeying!

I sat down in the middle of the church remains, gave some offerings of spring-water, frankincense and mugwort from back home to my regulars, the genii loci and my ancestors and was grateful for being back on Pag. Then I plugged into my iPod and played the classic Michael Harner journeying drumming track. I closed my eyes and off I went...

...it was my first attempt of consciously visiting the underworld and unfortunately it didn't really work out. I was in a deep meditative state where I couldn't feel my body anymore and all kinds of thoughts and ideas meandered through my consciousness but it wasn't a journey. But it was all fine, I didn't have any expectations.

...half an hour later I opened my eyes and right in front of my face was a shiny black giant cicada humming around a small purple flower that grew in one of the cracks of the ancient rocks. My first thought was "oh a scarab!". It was a beautiful moment.

I walked down to Caska and along the rocky beach to a small watchtower that had been used by tuna-fishermen for centuries. I also found the remains of the "necropolis" which was a bit odd because it was right at the beach next to countless half-naked young people listening to loud music, getting sunburnt and sleeping off their hangovers from the hard party nights on this party island. I continued back to Novalja taking a small detour through one of the few beautiful pine forests.

Augusta Triumphalis

On the next day I felt a bit anxious and disappointed. Not only did my journeying attempt not really work out, but also the contrast between a rich and spiritual Roman past and today's hyper-mundane tourism-for-profit reality everywhere on the island left me a bit depressed. This did not feel like a proper anniversary at all! I needed to do something else!

The moment this thought had formed in my head I knew immediately what my goal was: to find the altar to the local serpentine goddess Heia!

I opened my laptop and connected to the awfully slow internet the tourist apartment provided and went through my sources again: what was this altar all about, who was this noblewoman Calpurnia and where in Cissa/Caska did she live?

Located somewhere in the Caska area was the estate of the well-known Roman senatorial family Calpurnii Pisones, which is indicated by the ruins of three sacrificial altars erected by Calpurnia, the daughter of Lucius Calpurnius Piso Caesoninus, Roman Consul in the year 1 B.C., and the granddaughter of Gnaeus Calpurnius Piso, Roman Consul in 23 B.C. When Calpurnia lived in Caska, her family was experiencing difficult times: in 19 B.C. her uncle was accused of murdering the young and favorite Germanicus (the nephew of the emperor Tiberius and brother of the emperor Claudius), which ended in his suicide during the court procedure in 20 B.C. Calpurnia’s father also committed suicide in 24 B.C., during rigged court proceedings for supposedly insulting the emperor. After this the family’s situation stabilized and things turned for the better. (4)

Very exciting! A haunted, decadent, Roman city that sunk after a haunted and probably decadent, Roman senatorial family had lived there!

One interesting aspect of this specific altar is that it is dedicated to the local Liburnian goddess Heia (Eia, Heja, Eja) syncretized with the Roman women-only mystery cult goddess Bona Dea whose real name was secret but assumed to be Fauna, the shy and secretive wife of Faunus. It is intriguing because Faunus and Pan are tightly connected to the god Silvanus (also Dionysus/Sabazius) who was also prominently venerated throughout Illyria. Plus, Bona Dea is usually depicted with a serpent wrapped around her arm (Asclepius connection of healing) and surrounded by serpents. Her temples were known to have hosted numerous living serpents (5). It makes a lot of sense to see her as interpretatio Romana of a local Liburnian goddess Heia.

I went through several sources on Roman votive monuments and Liburnian deities that had lists of altars and other artifacts found along the Adriatic coast to find out more about the specific altar, especially about it's current location.

One Croatian list noted the altar was found in Caska/Gramače and is stored at the Stomorica collection in Novalja, another one (5) claimed that the altar was found in a "vinyard of doctor R. Palčič" in Caska and the tourist catalog (4) only said it was "found in Gramače", which is a completely different village than Caska.

I concluded that it was probably not anymore where it was found, so most likely it must be at the aforementioned Stomorica collection, a small museum of Roman artefacts in the city center of Novalja. I went there straightaway. It was just a 10 minutes walk but closed when I arrived, so I went to the small cathedral instead and also took a look at some ancient mosaics around the corner. On the way back to my apartment I noticed the museum was open now (the church visit had paid off!). It was one room with shards of Roman pottery, some gravestones and rusty coins and pieces of different altars. I asked the lady at the entrance if she could tell me where I could find the "large Calpurnia altar" and she looked at me as if I had just ordered a Hamburger and fries. She did not know anything aside from selling tickets and postcards, so I left disappointed.

Back home I sent an email to the museum asking for more information about the altar, without expecting to ever get an answer. Then I looked into my sources again. If it's not in the local museum, perhaps it is still where it was found? I spent a few hours scanning the satellite view of Google maps, comparing them to archeological sketches from other sources, and virtually driving along Google Street View, peeking into peoples virtual gardens. I started getting a bit obsessed about this mission (what Mars retrograde energies can do to an person with ascendant Mars and martian personal daimon!) Must. Find. It.

I decided to do this detective work in a more logical and structured way and thought about just taking the handful of clear information I had at hand and see what to conclude from them:

a hand-drawn sketch of the altar itself
the dimensions of the altar
found in either Caska or Gramače
a few blurry photos from the tourist catalog that show a rock that might be the altar

The rock that can be seen on the photos looks a lot like the hand-drawn sketch and the photos also show an architectural structure right next to the rock, an L-shaped wall with a hole/window. In the background you can see the sea and some reddish roofs of modern houses.

It must be in a town or next to at least two houses
It must be on a clearing where the sea is visible
It must be either near Caska or Gramače

I took another tour across and over the island via Google maps, scanning for small L-shaped structures in close proximity to houses. After an hour of doing that I gave up. It was pointless.

I went back to staring at the photos. I suddenly remembered the incredible crowdsourced forensics work of bellingcat and how they could locate objects from photos based on the background landscape. Let's try this again, Mars whispered into my ear.

I looked at the photo backgrounds again, beyond the bushes and houses. I noticed the hillscape you can see beyond the sea. From Pag you can see the hills on the mainland on one side and a few more islands on the other side. Also it has long stretching coves and bays on the island itself, so it should be possible to find a place with this view.

I jumped back into the virtual Google car and drove up to Gramače first, trying to find a spot where you can see the sea from the road. I looked south-west but aside from a small island on the horizon there was no such view in this direction. I looked down the other side towards the mainland. It looked a bit like on the photo but not really. The mountains were much higher.

Then it suddenly struck me: The hill on the left side of the photo could actually be Sveti Vid, the highest mountain on the island of Pag which I had climbed for my initiation ritual last year and the lower bits on the right could be the beaches of Zrće! In that case it must be taken in or near Caska.

I "drove" to Caska and peeked towards the sea. Yess, very possible!.

The next day I walked to Caska again. The landscape from the photos was burned into my brain in all pixelated details so I was able to compare it in real-time walking the main road of Caska. I peeked up and down, left and right, trying to find hints of white rock walls near houses with similar roof-shapes as on the photos. I felt like Indiana Jones.

Then I saw it! Down very close to the beach, behind a field of very dry looking vines. There was a wall that had a hole in it. I walked down towards it and noticed that it was located in a private garden next to a very modern looking house. It's too late now to respect properties, Mars whispered. So I jumped into it and there it was! A beautiful white limestone altar, exactly the shape of the one from the sketch!

(Coordinates: 44.550010, 14.919650)

I felt a moment of joy and peace, sat down, offered again frankincense, spring water and mugwort from home and did a stuttery impromptu prayer of gratitude and devotion, and reciting the inscription of the altar:

Bonae Deae Dominae Heiae Augustae Triumphali terrae marisque Dominatrici Conservatrici mentiumque bonarum ac remediorum Potenti Deae Bene Iudicanti

(Bona Dea Domina Heia Augusta Triumphalis, the Mistress of land and sea, the Protectress, the Mistress of wisdom and medicine, the Goddess of right judgement)

This felt right. This felt good. I was satisfied. Mission accomplished. Something clicked. It almost felt like a cycle was over, an open circle closed, or a spiral turned once. I still need to find out what this actually means.

Update 28/08/2018

I was surprised to find an email in my inbox - from the director of the local museum in Novalja herself, confirming that the altar is located in a private garden in Caska and clearing up the confusion about Gramače. Apparently "gramače" is a Croatian name for a certain stone formation found in this area, but in publications it apparently got confused with the settlement of the same name north of Novalja. She also said she will send me a brochure of epigraphic monuments on the island and that there are some new things showing up:

The first inhabited part of the island is the hill Košljun, close to Caska and on the way to ferry. There you could still found interesting parts of pottery, mosaics on the floor of what seems to be a small church, graves, remnants of the fortress wall and much more. Actually it is being explored as we speak. The archaeologists usually come before and after the tourist season and they are there right now.

(1) Wilkes, John. The Illyrians. Wiley-Blackwell, 1995.

(2) Matijašić, Robert. "The iconography of indigenous cults in northern Liburnia." Akti VIII. međunarodnog kolokvija o problemima rimskog provincijalnog umjetničkog stvaralaštva. Goledn Marketing, Tehnička knjiga, 2005.

(3) Prusac, Marina. "Hybrid Deities in South Dalmatia."

(4) Caska Cove Brochure

(5) Brouwer, Hendrik HJ. Bona Dea. Vol. 127. Brill, 1989.

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 :)

The Serpent Seal

2017-05-01T18:00:00+02:00

Last August I went on a business trip together with my friend and colleague J. and in the first evening we were invited to a dinner buffet by our customer where we enjoyed great seafood and white wine.

Back at the studio apartment where we stayed J. went straight to bed but I felt slightly tipsy from the wine and spent another hour playing around with my portable audio synthesizer before going to bed. My small room had just a queen size bed, a small table and a closet and there was this weird little door next to the table that led to a dark and empty but quite large storage space behind the wall. Somehow it made me a bit anxious and I put the table in front of the door and went to sleep.

I had an amazingly vivid dream in the morning. I was chased by a group of Zombies in full American football armour and I was with a friend trying to figure out what to do. There was a barbecue grill and we decided to throw lance sized meat skewers at the attackers. Suddenly my friend transformed into a zombie too and started throwing skewers at me. The football zombies learned from him and also attacked me with the skewers I had thrown at them. At this point my dream became lucid and I was able to stop the time in a Matrix like effect and the skewers stopped in front of me in mid-air.

The scenery changed to a dark solemn room made of stone, kind of like in a medieval castle and in a dramatic light and soundscape I was presented a large iron shield with an emblem on it that was alive and moved. It was a large red serpent ablaze in flames, rising up in a double S shape staring at me with bright red eyes. The only feeling I had at this moment was that this was of incredibly great importance.

(sketch i drew right after waking up)

Suddenly I was in my hometown on the street and I could see the football zombies again, still far away but heading towards me. There were also three yound midget girls in dresses with creepy faces that came towards me. I freaked out when I realized I no longer had control over this dream and I wanted to wake up.

I jumped up in bed, happy that it had just been a bad dream and while details from it were already rapidly fading from my memory I saw the serpent shield before my inner eye, clear and bright. I got up from bed and stumbled out into the hallway heading towards the bathroom. I walked by J.'s door that was open a crack and I could catch a glimpse of her foot sticking out of her bed. I opened the door to the bathroom and went inside. I locked the door and when I turned back around towards the toilet it was gone.

Instead there was a staircase leading downwards. I was shocked and slowly aproached the stairs that went in a right angle spiralling down in a square like manner. I slowly walked down the steps and it was quite dark. I waited until my eyes adapted to the twilight and I saw a large hallway of some kind of abandoned floor in the building. There were a lot of spiderwebs and everything covered under thick layers of dust and rubble. I saw a stray cat or rat rushing by. Then I noticed a strange movement in the shadow and saw what looked like reflection of light in a pair of dark eyes. I freaked out and realized that nothing of this made any sense and that I was still stuck in a dream. I really wanted to wake up.

I opened my eyes and I was still lying in bed. But I couldn't move. I was completely paralyzed. Panic. I could see myself lie in bed unable to move.

But I was still down there on this creepy staircase in the dark and the eyes were gone. Shit. Panic. I ran upstairs back to the light into the bathroom. I jumped through the hallway into my bedroom.

I woke up so quickly I almost fell out of bed. My heart was racing. Am I awake? I was able to move normally. I sat on the edge of my bed trying to make any sense of what had just happened and I was very thirsty. I got up and went out into the hallway heading towards the bathroom. I walked by J.'s door that was open a crack and I could catch a glimpse of her foot sticking out of her bed. Oh my god I thought. Total déjà-vu. I opened the door to the bathroom and everything seemed normal. I sat down on the toilet and drank a lot of water from the tap and when I closed ny eyes I could see the shield with the fiery serpent seal.

Sceptical sidenote:

there was wine involved and the strange small door and the liminal space behind probably influenced my dream. Our apartment was across two floors with steep stairs leading from the kitchen and livingroom up to another floor with bath and bedrooms. Also I think I remember I saw a dead lizard or snake on the side of the road the day before. That doesn't explain why the serpent in my dream was burning though and why it was so out of context of the rest of my dream. But it was a dream, so I guess anything is possible. But the sleep paralysis and dream in a dream with out of body sensation couln't have been just from the wine. Otherwise I definetly would want to buy some bottles of that.