tag:blogger.com,1999:blog-70539214150823428892024-03-05T04:00:34.704-05:00The Slippery SpiritHow does an ordinary American guy develop the spiritual abilities of a witch? <br>
He starts by freeing himself from the overly analytical mess that modern culture dumped into his head. <br>
<br>
But that's easier said than done.Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.comBlogger39125tag:blogger.com,1999:blog-7053921415082342889.post-17687917588377787172021-04-01T12:35:00.004-04:002021-04-14T09:46:06.339-04:00Why Are the Pentagrams Drawn that Way?<p><span> <span> </span><span> </span> </span>Some time ago, I ranted about the contemporary inclination of some modern witches to modify the invoking and banishing pentagrams. You can read that post <a href="https://spiritslip.blogspot.com/2017/02/pentagrams-traditions-and-pagan-evil.html" target="_blank">here</a>. In that post, I noted the high likelihood that people wanted to change these pentagrams because they didn't understand the logic behind the originals' creation. I've even read blogs by witches or magicians who claim, "they made it up." Well, yes, I'm sure they did at some point. But wanting to change something without understanding the principles that brought them about is disrespectful to the occult heritage, not to mention sloppy. However, if your goal is to teach a new and different method, then make your reasoning plain. But there is a difference between adding a new technique and reworking one because you think it's wrong. Both methods can exist in the world and the world won't implode, I promise. However, don't tell people, especially your coven students, that other ways are wrong while yours is right. <br /></p><p><span> <span><span> </span> </span> </span>Since my other post, I've discovered some new information that is both simple and more sensical. I would like to present that information to you, as well as offer another explanation for why the alchemical elements are found at the pentagram points we know them today.</p><p>
</p><p class="MsoNormal" style="text-indent: 0.5in;">First, we should understand some
context. The pentagram was not used as a feature in the preparation of a
magician’s (read: witch’s) circle until Éliphas Lévi in 1856. He was the first
to claim that the summoning or banishment of certain demons (his word) could be
achieved by the way in which the pentagram was drawn, by suggesting that its
upright or inverse presentation had powers over good or evil, respectively. Lévi
was the primary source material for the spiritual order responsible for the elemental
pentagrams’ creation.</p>
<p class="MsoNormal" style="text-indent: 0.5in;">The credit for creating the
invoking and banishing pentagrams goes to S. L. Macgregor Mathers, who was one
of three founders of the Hermetic Order of the Golden Dawn (GD) in the late
nineteenth century. The drawing of the pentagrams in the air was taught to
neophytes during the beginner grades. They were taught as a physical action
because they function as mudras – physical gestures that symbolize spiritual
truths to the conscious mind. This highly probable claim comes from the astute
Thelemites (students of Aleister Crowley) at their <a href="https://www.thelemistas.org/en/MSS/Bjorge/SpiritualExercises/07-pentagram">Thelemistas website</a>.
The GD pulled heavily from the works of Lévi when developing their system,
though Lévi does not specifically state how to draw pentagrams related to each
element. If Mathers had a specific source of inspiration for the pentagrams,
that source has become occluded.</p>
<p class="MsoNormal" style="text-indent: 0.5in;">The Thelemistas also suggested that
Mathers laid out the elements on the pentagram to place spirit at the top and to
arrange the remaining elements to correspond to their zodiac signs in the sky. That
clever insight agrees with the zodiac arrangement that is present in the Heavenly Cross
of the Ancient Chaldeans, the appearance of which defined the seasons of the
year and underpins all of ancient astrology. These zodiac are the angels invoked during the Lesser Banishing Ritual of the Pentagram. These same four sacred beings of heaven are described in the prophetic
dream of Ezekiel 1:10 (considered by many to be a Kabbalistic code), as well as
seen in the tarot cards of <i>The Wheel of Fortune</i> and <i>The World</i>, as commissioned by
A.E. Waite (also a GD member), which were largely based on Lévi’s card designs.
Clearly, this zodiac quaternary was a highly important symbol to the GD. Following, I have duplicated
several of the images from the Thelemistas website. This one shows the elements around the pentagram
and the corresponding zodiac:</p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizgywcLbazCIsLdd8mIHYmdOMiIHSu3hnLFHSQtNrtH1JQv3OTHqaYbOHOfcozTT1UaoLB2q6xciHRc-g7Jwtcgh_rwZCOB1jRyCbd5aMf2zRkMxPcCJLue6UOvqhQJdMR8WIKe_PsWvY/s1075/pentagram1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="275" data-original-width="1075" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizgywcLbazCIsLdd8mIHYmdOMiIHSu3hnLFHSQtNrtH1JQv3OTHqaYbOHOfcozTT1UaoLB2q6xciHRc-g7Jwtcgh_rwZCOB1jRyCbd5aMf2zRkMxPcCJLue6UOvqhQJdMR8WIKe_PsWvY/w640-h165/pentagram1.png" title="Pentagrams and elements" width="640" /></a></div><br /><br /><span style="mso-no-proof: yes;"><br /></span><p></p>
<p class="MsoNormal" style="text-indent: 0.5in;">The figure above on the left shows arrows
connecting to each other the elements which have an alchemically active nature
(air and fire), as well as a passive nature (water and earth). The speculation
is that these lines would then be used by Mathers to denote two very important
pentagrams used by the GD, the Active and Passive Spirit Pentagrams. The Active
Pentagrams can be drawn by tracing the line joining Air and Fire, while the
Passive Pentagrams could be drawn by tracing the line joining Water and Earth.
If the arm ascended, the pentagram was of an invoking quality, while if the arm
descended, it was of a banishing quality. We can see those pentagrams drawn here:</p>
<p align="center" class="MsoNormal" style="text-align: center; text-indent: 0.5in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlTJIsNycXgnBRu48e2K_2ZrmrxaHT8Xe8wvosypU6kJDbBxNZbS6lPlBFd5FehCqv7_vsnEAU6KHdlgcTEym-5n6G2s76BVlJ4cDh2Ldjqf3O8XcCh87joT6wGGkXfKU2jFdjX0JnH0k/s320/spirit+pentagrams.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="281" data-original-width="320" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlTJIsNycXgnBRu48e2K_2ZrmrxaHT8Xe8wvosypU6kJDbBxNZbS6lPlBFd5FehCqv7_vsnEAU6KHdlgcTEym-5n6G2s76BVlJ4cDh2Ldjqf3O8XcCh87joT6wGGkXfKU2jFdjX0JnH0k/w320-h281/spirit+pentagrams.png" title="Spirit Pentagrams" width="320" /></a></div><br /><span style="mso-no-proof: yes;"><br /></span><p></p>
<p class="MsoNormal" style="text-indent: 0.5in;">Interestingly, the active quality
was also the masculine quality, so these pentagrams could have been called the
Masculine and Feminine Spirit Pentagrams. Similarly, they could have been the
Expansive and Condensive Pentagrams.</p>
<p class="MsoNormal" style="text-indent: 0.5in;">It is important to note that these Spirit
pentagrams held more importance to the GD than they do to most of witchcraft
today. Many of us who are not students of the GD have never even heard of these
pentagrams, so their influence on this story can seem unlikely to us. However, because
these pentagrams communicate the union of the active and passive energies,
either toward or away from the plane of manifestation, their meaning and
importance to the GD was greater than that of any pentagram of any individual
element. This would have meant that the motions for drawing the Spirit
pentagrams took precedence over all others.</p>
<p class="MsoNormal" style="text-indent: 0.5in;">When it came time to craft the
pentagrams related to the individual elements, two of the lines that make up the
elemental pentagrams were already in use. Because the lines connecting the
active and passive elements were used for the Spirit pentagrams, the earth and
fire pentagrams were drawn using the lines that touch Spirit.</p>
<p class="MsoNormal" style="text-indent: 0.5in;">Let’s remember that the GD was a
group of Hermetic Kabbalists. This is important for two reasons. First, the
curving directions of doesil and widdershins meant little to them because their
lessons came from the straight paths between the sefirot on the Tree of Life.
The lines used to draw the elemental pentagrams are not intended to show any
particular direction of spin; they are meant to represent esoteric connections
between elements and to physically represent sacred understanding through
gesture.</p>
<p class="MsoNormal" style="text-indent: 0.5in;">The second reason is
more speculative, though interesting to note. The GD was connected to the
Hermeticists of Ancient Greece, who viewed the power of the pentagram as the
“pent-alpha,” a figure made of five A’s. Since the alpha is an angle, the
elemental pentagrams build these angles in a specific order. The instruction commonly
used to teach the elemental pentagrams is a bit of a simplification: “Draw toward
the element to invoke it, or away from the element to banish it.” However,
every angle is built from two lines, not one. Therefore, it is more correct to
teach that when invoking, draw the pentagram so the particular element is the
first angle created. Conversely, when banishing, draw the pentagram so the
particular element is the last angle created. Below left is a table showing the
order of the angles, or alphas, that are created by each of the GD elemental pentagrams.
Notice that the particular element is always the first angle created in
invoking pentagrams, while it is the last angle created in banishing
pentagrams. All of the GD pentagrams are also shown at right for comparison. </p><p class="MsoNormal" style="text-indent: 0.5in;"> <br /></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdpRn7Ippk3Lq3KD4PhimoR6O3BJPKaFFbWMegy12ixYqnzNClPikAmJM21gFVs_VKip_zQ4xMGEWaNehuPMZEexZ4hHqyxM0R5Snnw-lqM-wSaXZs4yX1xRueqkfHOT8IfHeRA5GAA5Q/s778/all+pentagrams.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="778" data-original-width="333" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdpRn7Ippk3Lq3KD4PhimoR6O3BJPKaFFbWMegy12ixYqnzNClPikAmJM21gFVs_VKip_zQ4xMGEWaNehuPMZEexZ4hHqyxM0R5Snnw-lqM-wSaXZs4yX1xRueqkfHOT8IfHeRA5GAA5Q/w274-h640/all+pentagrams.png" width="274" /></a></div><p class="MsoNormal"><!--[if gte mso 9]><xml>
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Angle Order</span></p>
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Angle Order</span></p>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Earth</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: red; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">E</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">S</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 2;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">W</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">F</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 3;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">A</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">A</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 4;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">F</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">W</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 5;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">S</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: red; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">E</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 6;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 7;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Fire</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: red; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">F</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">S</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 8;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">A</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">E</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 9;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">W</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">W</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 10;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">E</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">A</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 11;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">S</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: red; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">F</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 12;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 13;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Air</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: red; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">A</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">W</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 14;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">F</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">E</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 15;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">S</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">S</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 16;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">E</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">F</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 17;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">W</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: red; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">A</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 18;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 19;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Water</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: red; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">W</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">A</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 20;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">E</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">F</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 21;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">S</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">S</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 22;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">F</span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">E</span></p>
</td>
</tr>
<tr style="height: 15pt; mso-yfti-irow: 23; mso-yfti-lastrow: yes;">
<td nowrap="" style="border-top: none; border: 1pt solid windowtext; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt;" valign="bottom">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"> </span></p>
</td>
<td nowrap="" style="border-bottom: solid windowtext 1.0pt; border-color: currentcolor windowtext windowtext currentcolor; border-left: none; border-right: solid windowtext 1.0pt; border-style: none solid solid none; border-top: none; border-width: medium 1pt 1pt medium; height: 15pt; mso-border-bottom-alt: solid windowtext .5pt; mso-border-right-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 0.8in;" valign="bottom" width="77">
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">A</span></p>
</td>
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<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: red; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">W</span></p>
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<p class="MsoNormal" style="text-align: left; text-indent: 0.5in;">Additionally, no matter which pentagram is drawn, the elements will always follow the cyclical order through
the alchemical spheres of earth, water, air, fire, and then spirit. In some
cases, this list ascends and in others it descends. Sometimes it is split, so
it must wrap to the other end of the order like a wheel, but the pentagrams
always follow this pattern and, in every case, the banishing order of angles is
exactly the reverse of the invoking order. Notice also that the Air and Water
pentagrams are the inverse of each other. Those who are acquainted with the
alchemical properties of the elements will likely find this relationship
particularly interesting.</p>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
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Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
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<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
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</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:8.0pt;
mso-para-margin-left:0in;
line-height:107%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri",sans-serif;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
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</o:shapelayout></xml><![endif]--></p>Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com1tag:blogger.com,1999:blog-7053921415082342889.post-70659653177628902472018-10-25T13:21:00.001-04:002018-10-25T13:40:35.481-04:00The Pagan EgoThis is going to be a topic that will poke some buttons. Strap in.<br />
<br />
An issue came up among my students recently. So I'm going to share my thoughts on the ego as it expresses itself in the evolving Pagan.<br />
<br />
Most mystery schools believe (they have also found success in the application of this principle) that the ego is the largest barrier to moving energy and using one's innate paranormal powers. If you want to be a medium, you must allow your ego to be pushed aside. If you want to astral project, you must let a separation from ego happen. If you want to be a shaman, you must put yourself aside and act in the best interest of your tribe. If you want Kundalini to awaken, the ego must die.<br />
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All over the world, spiritual paths promote the management or even the outright destruction of the ego. As an evolutionary step, this makes perfect sense to me. The ego is the remnant of our instinctual programming. It is the inner voice that wants our own material needs to be met. It is why we say "<i>I</i> am hungry," or "<i>I</i> am horny." The ego is the expression of the self, seeking the pleasure and power to keep the animal continuing with as much success as possible. But it requires that we exist in our "desire body" to accomplish the directives of our egos.<br />
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People deal with ego in two ways, based on the kind of person they are. The first are those whose egos scare them. I'm one of these types myself. Perhaps we are afraid of what we might be capable if we really let our egos run the show. Perhaps we worry that we might become foolish or turn into a big spectacle. Perhaps we also worry that what we are doing is just pretend and, in the grand scheme, amounts to nothing. This kind of person gets eaten alive by the worry that he misread the signs and his religious efforts are wasted as empty gestures.<br />
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The second group deals with their egos by embracing them. They feel that their inner voice is the most important authority to which they must bend. This hat-tip to the ego is usually represented as "being authentic." Yet in these moments, there is a lack of balance as the ego gets anything it wants all the time. I've met so many "strong witches" who use the authenticity excuse to be a raging bitch. No one loves a bitchy witch.<br />
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The ego is a character with a lot of strength. It tries to assert itself at every moment. When you think you have put it in its place, it surges forward and so it needs constant discipline. I've found that the ego loves to be strong particularly in spiritual settings. It wants to feel amazing things. It wants to be the center of attention. It is capable of transforming self-worth into "vainglory." It wants us to be powerful, to be known, to be famous.<br />
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Fame is very attractive. It doesn't have to be fame from the whole country or even your town. Just the fame of a small group of friends (your coven) is enough to stroke the ego. I often see people striving hard to be famous among pagans or Wiccans. Every witch wants to be the next big pagan writer. Adonis Merlin describes these as "Sassy Swish-capes." I think it's a wonderful way to describe how melodramatically grandiose some witches can be. This makes for great theater, but horrible magic and it is annoying to be around.<br />
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Being a pagan, I have exposed myself to people and places that manifest what I can only label as supernatural. I have seen things that I would call unbelievable, but I have also seen a lot of faking.<br />
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Faking comes from the egotistic inclination to make one's life appear supernatural so one can feel special. Every ego wants to feel special, so we sometimes overact, over-react, or act blatantly fake. When people are fake, they are stroking their own egos. Witchy fakeness looks like this:<br />
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"I can see auras, you must be upset right now because I'm seeing spots of X color." (Truth: I wasn't upset at all until <i>you </i>tried to tell me some baloney about what <i>I'm </i>feeling.)<br />
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"This house is haunted. I know because I can feel spirits." (Truth: there has never been a report of a haunting in this house, ever. It was built in the 80's so it only suffers from bad interior design and an obsolete building code, not from anything supernatural.)<br />
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"I can feel the circle so strongly that I can't bring myself to walk through it." (Truth: you are a very effective performer and you should consider a career as a mime trapped inside a bubble.)<br />
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"Aries, the god of war, appeared to me through a bear I saw in the woods." (Truth: you are telling a tall tale to make yourself appear as if you are favored by the divine. You saw a bear because there are bears endemic to our woods.)<br />
<br />
That's not to say that people don't actually have these abilities. Rather, I'm stating that too many who don't have them claim that they do.<br />
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I should note that I have a very healthy skeptic living inside me (he's a scientist). I leverage this skeptic against my ego, which wants me to do and say nearly anything to get what I want. Unfortunately, the skeptic and the ego are forever in conflict. I'm getting better at recognizing the voice of each, but particularly my ego. There are times when its strength serves me, so I give it it's due, and other times when it just complicates matters, so I tell it to shut up. Keeping the balance is a daily game of checking in with the self and making constant adjustments.<br />
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I also leverage my love for my spirituality against my ego. I never want to lessen or debase my spirituality by polluting it with falsity, so I get offended when I find others being intentionally false in an attempt to heighten their own fame. The act of being truly authentic in any moment feels amazing. I get upset when I get grouped in with people who don't operate from a position of being authentic. I get annoyed because I don't want my own expression to be diminished or devalued by being characterized as false. But that's my own issue and I shouldn't take on the ownership of anyone else's opinion of me. I can't worry if they think I'm a fake or not. I should just do my own authentic thing, but not give my ego total control. The problem is that it's easier said than done.<br />
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As a way of exerting its power in a way that we are least likely to notice, the ego will root itself in a facet of our personalities. One can notice this by looking at one's archetype. I believe it is this ego-link that generates our overall personality archetype.<br />
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For example, my ego ties itself to logic and evidence. So my primary archetype is the scientist. All of my efforts to interact with the world are filtered through logic and evidence because my ego has decided that only those are valid. The only way I could ever feel a boost to my self worth was if I acted the scientist completely and was complimented for my knowledge, research or logic. Those compliments were like drugs to an addict for me and I just didn't feel as powerful if someone complemented me physically. This caused me quite the struggle when I entered witchcraft, because there is a quite a bit about witchcraft that flies in the face of logic and evidence.<br />
<br />
Similarly, one could have his ego tied to body image and youthfulness (archetype: the sex symbol). The only way this person will feel a boost to the self worth would be to be physically complemented. There are also artists who tie their egos to their creativity, so they will feel completely worthless if their art is not well-received. There are also healers and nurturers who tie their egos to their care-giving, so they will feel worthless if they can't alleviate suffering.<br />
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The best way to notice how your ego is linked to a part of your inner self and boosts your self worth is to ask yourself these questions.<br />
"What kinds of complements do I like to hear more than any other?"<br />
"If I could be renown in my town, for what reason would it be?"<br />
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I'm not claiming that finding the answers will resolve your ego and make you the master. I do believe that this work - our witch's work - will stay with us until we die; it is the struggle of this particular incarnation. However, knowing your ego's main mechanism gives you tremendous control over it.<br />
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Ultimately, those things to which we cling, because they make us feel more valid or more valuable, are simply illusions. Validity comes from the inner self and needs no ego to validate it. Resolving the overwhelming power of the ego, so that it can be activated or deactivated when and how you wish, will unlock the deeper powers of your inner self - your witchcraft. This is what the mystery schools call "self mastery" and it can only be achieved by the difficult process of knowing thyself.Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com0tag:blogger.com,1999:blog-7053921415082342889.post-40709188093481011882018-01-24T14:15:00.000-05:002019-09-25T07:52:34.081-04:00Witchcraft Works Contrary to the Western Religious TraditionBefore I can exorcise all the gook in my head that created this thesis, I have to define the Western Religious Tradition (WRT). To be simplistic, it is all of Christianity, Judaism and Islam.<br />
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But the definition actually goes more deeply than that, because these faiths occupy a dominant position in the West. They influence the greater morality of our western society in a way that is largely unseen, or at least not very obvious.<br />
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They all originated from the same concept that God made the material universe because he is a mega-powerful spirit-being. The material universe, as a creation, is separate from that which is spiritual. It is a difficult place we have to experience for a short time so that we can get the heck out of here - to a paradise - which is better than this material world here.<br />
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This kind of eschatology spread throughout the Ancient Near East. Once a part of the faiths that originated there, it became incorporated into our deeper morality and eventually our legal systems.<br />
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At its core are two ideas. The first is that something greater than this material creation, which is the spiritual being that is God, existed first. The second is that God is supremely powerful.<br />
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Extending from these ideas are deeper principles: only God has the power to create reality, creating the need for appeals to God for changes to the material world in our favor, the need for a mediator between us an God (the priesthood), that the power of God requires that we subjugate ourselves to his supremacy and lastly, that we should all be trying to get back to that spiritual thing and away from the material, because the spiritual is good and the material is bad.<br />
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For many who convert from one of the Abrahamic faiths to Witchcraft, the former principles hang on, preventing the expression of their true power. We can see this in the way Wiccan books are written. The whispers of the Western Religious Tradition infiltrates even those who claim to be pagan.<br />
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These ideas have been so pervasive in the morality of the West that most people who are non-religious agnostics will concede that most of them sound true. I have even witnessed self-proclaimed atheists operating as if these principles about the universe were true.<br />
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But what if they are not?<br />
<br />
True witchcraft views the universe from a very different point of view. Let's take each idea one at a time and examine how witches do it.<br />
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The first is that only God has the power to create reality. The witch believes that all human beings contain within them the creative power of the gods. To put it simply, if they can do it, why can't we do it? This doesn't mean we can create planets and stars and galaxies, but we can generate influence on the events of this world so that natural cause and effect will bring about certain results in line with our desires. We can essentially create happenings that the WRT calls "mind over matter" or also "miracles." This process requires both symbolic and veridical actions. The symbolic is done in ritual (casting a spell) while the veridical is done in the material world, appearing as modified behavior. These are viewed as two necessary steps to causing the desired change. First, one casts one's desires out into the universe as a kind of energetic wave. Then, one acts as if the desire has already been attained. The energy that was released will tip the balance of cause and effect events so that the desired result actually happens.<br />
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Any witch who casts spells but is unwilling to modify behavior, and in turn act upon the real world to support one's spell, isn't casting spells. They are simply doing a complex ceremony to express their wishful thinking or longing.<br />
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As a result, witches do not need to appeal to any deity to get their reality changed. Witches believe in their own creative power; belief is important to actually having that ability. Witches will request or even make deals with forces they call gods to help with the influence. But no witch who is worth his sacred salt believes that such appeals are <i>required </i>to cast spells. Working with pagan gods is simply a way for witches to build relationships with the natural forces of the universe. It also creates mental focus because each deity has a correspondence. Using the right deity helps the mind to feel more invested in the working. Below, I'll discuss in more detail the power of the mind.<br />
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Because of the belief in one's own power, witches do not need a priesthood. We believe that our inner power allows us to relate to deity directly; every witch is capable of being his own priest. So why do witches have "high priests?" When several witches develop a personal bond with each other and want to do spell work together, the high priest acts as the director of the play. He ensures that any accepted traditions are observed. He keeps everyone on the same page, creating ritual consistency. Otherwise, every witch would be trying to do a very creative, but utterly chaotic ritual. The high priest is the primary chef in the ritual kitchen.<br />
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A high priest also teaches the tradition to those who are less in-the-know. However, since paganism is an orthoprax ("right action") religion, rather than an orthodox ("right belief"), every witch is allowed to believe whatever he wants about the universe and the way it works, so long as his practice permits the uniform operation of the tradition. Despite the general uniformity of belief discussed here, no high priest is correct to tell his coven what to believe or not believe, but he can tell them "how it's done."<br />
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Obviously, without the belief that only God has power, witches do not feel the need to subjugate ourselves to any deity. We do fear the unpredictable power of the universe's forces, most of which are the representations of pagan gods, but we will try to influence those forces. The idea that we must bow down to anything is repugnant to most witches. Witchcraft is a self-empowering practice.<br />
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Finally, let's address the idea that the spiritual is more important than the material. This is a common idea in the New Age movement as well as the WRT because both claim that our purpose for being on Earth is to spiritually evolve. Aside from the philosophical comfort that people derive from believing in some insoluble part of us that won't ever stop being us ("the soul"), most people experience the world on a daily basis and find it all very common and predictable. Only the spiritual seems evocatively different from all that. Surely, the goal of the enlightened must be to become free from the mundane. Or is it?<br />
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If the material is so unimportant, why do so many witches keep bothering to interact with it through spells? Why don't they all just kill themselves to hasten their transition into the spiritual world? If the material is so awful, why are we here experiencing it at all? The witch will tell you that the material is actually a dream of experiences that we are supposed to have. Being a dream doesn't mean it's unimportant or of low value. Indeed, it is incredibly valuable because it is the dream we have made to drive our own spiritual evolution. Most have been exposed to the quote, "We are not material beings having a spiritual experience; we are spiritual beings having a material experience." Similar is the shaman's idea that we are simply spirits, collectively dreaming this world into being in every moment. To the witch, we are experiencing exactly what is most appropriate for us to evolve. This material world is an important tool that we learn to manipulate by exercising our "god-powers."<br />
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Now let's bring this topic full circle. Above, I mentioned the power of the mind in relation to appealing to spell-appropriate deities. This kind of appeal is only a manipulative tool. Similarly, incense in ritual, repetitive action, the use of certain symbols or altar tools, even the utterance of certain sounds, all help to modify the creative power that flows from the unconscious mind to increase the success of the desired change. It's important to remember that the witch is the source of the power. All these material tools have an affect on our minds by teasing and activating our senses. Certain combinations of sensory input can greatly augment the power of the mind and its success. It can cause it to fail completely, or function contrary to what it wants (i.e. curses). The ritual drama, which is simply an act of manipulating the material plane, trains the mind to perform the creative acts increasingly better. Spell craft is nothing more than self-hypnosis and behavior modification (plus a spiritual belief).<br />
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Eventually, the tools are no longer needed to generate success. Even the ritual itself stops being necessary. It is a truly adept witch who can sit quietly in a chair and achieve the same success as someone who needs a full ritual experience.<br />
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Now you know why Witchcraft is so often misunderstood and demonized. It has fundamentally contrary beliefs from the WRT and just doesn't work well in that sandbox. But more so, it empowers the religious congregation so that there is no need for a group of elevated holy men who maintain power and freely get shelter and food at the expense of the community. There are no pagan gold cathedrals and no religious city with its own army. Paganism takes spiritual and material power away from the greedy organized religions of the WRT and places them back in the hands of the common man. What could be more threatening than that?Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com0tag:blogger.com,1999:blog-7053921415082342889.post-58871491625816042222017-12-13T14:41:00.000-05:002019-01-11T07:11:01.668-05:00The Real Meaning of Io Evohe!<div class="tr_bq">
The phrase "Io Evohe" is used very commonly in Wicca, on loan from the western mystery schools. For a long time, I thought these were just "barbarous words." A little research showed they are not. I got curious if there was a translation for this phrase.</div>
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Barbarous words are made up of seed sounds strung together to create nonsensical words. We sometimes say nonsense because the sounds have a transformative nature on the mind of the speaker as a result of the particular vibrations the sounds make. Sound can transform the mind. This can be true particularly with the names of some deities, which can be chanted to modify your inner self.<br />
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The first word of the phrase is very simple. It is the Latin translation of the Egyptian, Isis, goddess of fertility.<br />
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The second word is a bit more complex. Collins English Dictionary tells us that "evohe" is a variant of "evoe," which is "an exclamation of Bacchic frenzy."<br />
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As is common when transcribing from Latin to a Germanic language, the original upsilon (u), which was often represented by the character we now know as a "v," stayed intact but was likely misunderstood. So we need not hold tightly to the spellings we can read above.<br />
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On the website, Hellenicgods.org, is an article revealing all of the many names of <a href="http://www.hellenicgods.org/Dionysos---The-Epithets" target="_blank">Dionysus</a>. A particular entry stands out (highlights mine).<br />
<div>
<blockquote class="tr_bq">
<span style="font-family: inherit;"><br /><span style="font-family: inherit;"><span style="line-height: 17px;"><span style="background-color: transparent;"><b>É</b></span><span style="background-color: transparent;"><span style="background-color: transparent; line-height: 17px;"><span style="font-family: "arial" , sans-serif; font-size: xx-small;"><b>vios</b> - (Euius; Gr. Εὔιος, ΕΥΙΟΣ) </span></span></span><span style="background-color: transparent; line-height: 17px;"><span style="font-family: "arial" , sans-serif;"><i>É</i></span></span><span style="background-color: transparent;"><span style="background-color: transparent; line-height: 17px;"><span style="font-family: "arial" , sans-serif; font-size: xx-small;"><i>vios</i> </span></span></span>is an epithet of Diónysos referring to the <span style="background-color: #6fa8dc;">ecstatic howl of joy, <i>εὐαἵ</i>, <i>εὐοἱ</i>, made by the God and those who worshipped him and participated in his orgies.</span></span></span><span style="font-family: inherit;"><span style="background-color: transparent; line-height: 17px;"><span style="font-family: inherit;"><span style="background-color: transparent; line-height: 17px;"><span style="font-family: "arial" , sans-serif; font-size: xx-small;"></span></span></span></span></span></span></blockquote>
<blockquote class="tr_bq">
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="background-color: transparent; line-height: 17px;"><span style="font-family: inherit;"><span style="background-color: transparent; line-height: 17px;"><span style="font-family: "arial" , sans-serif; font-size: xx-small;">- Lexicon entry: </span></span><span style="font-size: xx-small;"><b>Εὔιος</b> </span><span style="background-color: transparent; line-height: 17px;">(<b>Εὔἱος</b> <span style="font-style: italic;">EM391.15</span>, cf. Lat. <span style="font-style: italic;">Euhius</span>), <i>ὁ</i>, name of Bacchus, from the cry <span style="font-style: italic;">εὐαἵ, εὐοἱ</span>, in lyr. passages; <span style="font-style: italic;">Εὔιος,</span></span><span style="background-color: transparent; line-height: 17px;"> = <i>Βάκχος</i>. </span><span style="background-color: transparent; line-height: 17px;"><b>II.</b> <span style="font-style: italic;">εὔιος, ον</span>, as Adj., <span style="font-style: italic;">Bacchic</span>. (L&S p. 717, left column, edited for simplicity.)</span></span></span><span style="line-height: 17px;">- "Cornutus, the tutor of the Roman poet Persius (ed. 34-62 BCE), tells us that <span style="background-color: #6fa8dc;">the wine treaders invoked the God by various names, such as 'Bakchos' and 'Euios.'</span> [Cornutus, <i style="background-color: transparent;">Theologiae graecae compendium</i> XXIX.] Reference to these scenes was made at the Second Council of Constantinople, the Trullianum, in the year 691 A.D. Until that date the wine treaders still cried out 'Dionysos,' but this was now forbidden. [<i style="background-color: transparent;">μἡ τὸ τοῦ βδελυκτοῦ Διονύσου ὄνομα τοὑς τὴν σταϕυλὴν ἐκθλίβοντας ἐν τοῖς ληνοῖς ἐπιβοᾶν</i>, cited by P. Koukoules, <i style="background-color: transparent;">Βυζαντινῶν βίος καὶ πολιτισμός</i> , p. 293.]" (<i style="background-color: transparent;">Dionysos: Archetypal Image of Indestructible Life</i> by Carl Ker</span>ényi, 1976, Princeton Univ. Press. p. 67) </span></span></blockquote>
<blockquote class="tr_bq">
<span style="font-family: inherit;"><span style="font-family: inherit;">- (ed. <span style="line-height: 17px;"><span style="font-family: "arial" , sans-serif;"><i>É</i></span></span><span style="line-height: 17px;"><span style="font-family: "arial" , sans-serif; font-size: xx-small;"><i>vios</i></span></span><span style="line-height: 1.5;"> is a) name of Dionysos, implying, </span><i style="line-height: 1.5;">Well done, my son!</i><span style="line-height: 1.5;"> words ascribed to Zeus, when he saw Bacchus returning victoriously from combating the Giants. <span style="background-color: #6fa8dc;">Evoe, or Evan, was the exclamation with which the Bacchanals invoked their God during the celebration of his orgies.</span> (CM*p.181)</span></span></span></blockquote>
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The invocative shout mentioned above didn't just fall into obscurity. In 1903, Ginn & Company published <i style="font-family: inherit;">Allen and Greenough's New Latin Grammar for Schools and Colleges</i><span style="font-family: inherit;"> by J. B. Greenough, G. L. Kittredge, A. A. Howard, Benj. L. D'Ooge, Ed. The names of both deities above are cited as interjections of joy (highlights mine).</span></div>
<blockquote>
<span style="background-color: transparent; line-height: 17px;"><span style="font-family: inherit;">INTERJECTIONS</span></span><br />
<span style="line-height: 17px;"><span style="font-family: inherit;"><a class="permalink" href="http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0001:part=1:section=29&highlight=euhoe#chapter225" id="chapter225" style="background-color: transparent; color: black;">[*]</a> <b style="background-color: transparent;">225.</b> Some Interjections are mere natural exclamations of feeling; others are derived from inflected parts of speech, e.g. the imperatives <span class="la" style="background-color: transparent;"><a href="http://www.perseus.tufts.edu/hopper/morph?l=em&la=la&can=em0&prior=quod" style="text-decoration-line: none;" target="morph">em</a></span>, <span class="gloss" style="background-color: transparent;">lo</span> (probably for <span class="la" style="background-color: transparent;"><a href="http://www.perseus.tufts.edu/hopper/morph?l=eme&la=la&can=eme0&prior=em" style="text-decoration-line: none;" target="morph">eme</a></span>, <span class="gloss" style="background-color: transparent;">take</span>); <span class="la" style="background-color: transparent;"><a href="http://www.perseus.tufts.edu/hopper/morph?l=age&la=la&can=age0&prior=eme" style="text-decoration-line: none;" target="morph">age</a></span>, <span class="gloss" style="background-color: transparent;">come</span>, etc. Names of deities occur in <span class="la" style="background-color: transparent;"><strong><a href="http://www.perseus.tufts.edu/hopper/morph?l=hercl%C4%93&la=la&can=hercl%C4%930&prior=age" style="text-decoration-line: none;" target="morph">herclē</a></strong> </span>, <strong style="background-color: transparent;">pol</strong>(from <span class="la" style="background-color: transparent;"><strong><a href="http://www.perseus.tufts.edu/hopper/morph?l=Pollux&la=la&can=pollux0&prior=hercl%C4%93" style="text-decoration-line: none;" target="morph">Pollux</a></strong> </span>), etc. Many Latin interjections are borrowed from the Greek, as <strong style="background-color: transparent;">euge</strong><span style="background-color: transparent;">, </span><strong><span class="search_result" style="background-color: #6fa8dc;">euhoe</span></strong>, etc.</span></span></blockquote>
<span style="background-color: transparent; line-height: 17px;">
</span>
<br />
<blockquote>
<span style="line-height: 17px;"><span style="font-family: inherit;"><a class="permalink" href="http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0001:part=1:section=29&highlight=euhoe#chapter226" id="chapter226" style="background-color: transparent; color: black;">[*]</a> <b style="background-color: transparent;">226.</b> The following list comprises most of the <span style="background-color: #6fa8dc;">Interjections in common use:</span>—</span></span><br />
<span style="background-color: transparent; line-height: 17px;"><span style="font-family: inherit;"><strong>ō</strong>, <strong>ēn</strong>, <span class="la"><strong><a href="http://www.perseus.tufts.edu/hopper/morph?l=ecce&la=la&can=ecce0&prior=Pollux" style="text-decoration-line: none;" target="morph">ecce</a></strong> </span>, <strong>ehem</strong>, <span class="la"><strong><a href="http://www.perseus.tufts.edu/hopper/morph?l=papae&la=la&can=papae0&prior=ecce" style="text-decoration-line: none;" target="morph">papae</a></strong> </span>, <strong>vāh</strong> (of <em>astonishment</em>).</span></span><br />
<span style="line-height: 17px;"><span style="font-family: inherit;"><strong style="background-color: #6fa8dc;">iō</strong>, <strong style="background-color: transparent;">ēvae</strong>, <strong style="background-color: transparent;">ēvoe</strong>, <strong><span class="search_result" style="background-color: #6fa8dc;">euhoe</span></strong> (of <em style="background-color: transparent;">joy</em>).</span></span><br />
<span style="background-color: transparent; line-height: 17px;"><span style="font-family: inherit;"><span class="la"><strong><a href="http://www.perseus.tufts.edu/hopper/morph?l=heu&la=la&can=heu0&prior=papae" style="text-decoration-line: none;" target="morph">heu</a></strong> </span>, <strong>ē˘heu</strong>, <span class="la"><a href="http://www.perseus.tufts.edu/hopper/morph?l=vae&la=la&can=vae0&prior=heu" style="text-decoration-line: none;" target="morph">vae</a></span>, <span class="gloss">alas</span> (of <em>sorrow</em>).</span></span><br />
<span style="background-color: transparent; line-height: 17px;"><span style="font-family: inherit;"><strong>heus</strong>, <strong>eho</strong>, <span class="la"><a href="http://www.perseus.tufts.edu/hopper/morph?l=ehodum&la=la&can=ehodum0&prior=vae" style="text-decoration-line: none;" target="morph">ehodum</a></span>, <span class="gloss">ho</span> (of <em>calling</em>); <span class="la"><a href="http://www.perseus.tufts.edu/hopper/morph?l=st&la=la&can=st0&prior=ehodum" style="text-decoration-line: none;" target="morph">st</a></span>, <span class="gloss">hist.</span><span class="la"><strong><a href="http://www.perseus.tufts.edu/hopper/morph?l=%C3%AAia&la=la&can=%C3%AAia0&prior=st" style="text-decoration-line: none;" target="morph">êia</a></strong> </span>, <strong>euge</strong> (of <em>praise</em>).</span></span><br />
<span style="background-color: transparent; line-height: 17px;"><span style="font-family: inherit;"><span class="la"><strong><a href="http://www.perseus.tufts.edu/hopper/morph?l=pr%C5%8D&la=la&can=pr%C5%8D0&prior=%C3%AAia" style="text-decoration-line: none;" target="morph">prō</a></strong> </span>(of <em>attestation</em>): as, <span class="la"><a href="http://www.perseus.tufts.edu/hopper/morph?l=pr%C5%8D&la=la&can=pr%C5%8D1&prior=pr%C5%8D" style="text-decoration-line: none;" target="morph">prō</a> <a href="http://www.perseus.tufts.edu/hopper/morph?l=pudor&la=la&can=pudor0&prior=pr%C5%8D" style="text-decoration-line: none;" target="morph">pudor</a></span>, <span class="gloss">shame!</span><a href="http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0001:part=1:section=29&highlight=euhoe#note-link1" style="text-decoration-line: none;">1</a> Some of these have been included in the classification of adverbs. See also list of Correlatives. § 152.</span></span></blockquote>
<span style="background-color: transparent; line-height: 17px;">
<span style="font-family: inherit;"><br />I should note that the Order of the Golden Dawn was gaining popularity in Britain and America in 1903. No other occult organization had as much impact on the contemporary witchcraft movement as did the Golden Dawn. The majority of the ritual concepts that are used today were codified and transmitted by the Golden Dawn.</span></span><br />
<span style="background-color: transparent; line-height: 17px;"><span style="font-family: inherit;"><br /></span></span>
<span style="background-color: transparent; line-height: 17px;"><span style="font-family: inherit;">By shouting "Io Evohe," a witch is effectively shouting, as an exclamation of joy, the names of a female and male fertility deity, </span></span>"Isis! Bacchus!"<span style="font-family: inherit;"> Now you (and I) can put one of thousands of witch questions to bed.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Update: It was brought to my attention that all of this may not help those who want to bother with original pronunciation. For those who don't, it is always acceptable to pronounce this phrase traditionally, which is "EE-oh ee-voh-HAY."</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Both Latin and Greek had a series of rules for establishing which syllable was stressed. Usually, the "penultimate" (second to last) syllable was pronounced unless it had a short vowel in it. In that case, the emphasis shifted to the "ante-penultimate" syllable (next to the second to last, that is, the third to last). There were always exceptions that put the emphasis on the last syllable.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">In the case of "Io," there are only vowels present. Though some vowels create diphthongs, there is no diphthong for i+o, so these are separate syllables. Using the rule above and Latin pronunciation gives us "EE-oh." This is assuming the Latin O comes from the Greek omega, rather than the Greek omicron. If it was originally an omicron, the name could be spoken as "EE-aw" rhyming with the phrase "Be off."</span><br />
<br />
The other name could have several pronunciations. Church Latin pronounced V as a V, while classical Latin pronounced it as W. Also, the use of H is interesting. In Greek, the H is the vowel Eta, which sounds like "eh." Interestingly, this word has another spelling, which drops the H to become "evoe." This could be a clue that the original word was Greek and the H was the Eta, rather than the breathy letter we know in English. This means the vowel, eta, immediately precedes a diphthong of "oe." All of these vowels blend into a sound that is kind of like "oy," This would make the pronunciation something close to "EY-voy" or "EY-woy" depending on your preference for either the modern or the classic Latin pronunciation.<br />
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Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com3tag:blogger.com,1999:blog-7053921415082342889.post-67781798830844698432017-11-15T11:21:00.001-05:002019-09-25T08:29:03.644-04:00Planetary Rulers of the Hours, from Scratch<div class="MsoNormal">
As part of the Grimoiric Magical Tradition of the Middle
Ages, wisdom from more ancient cultures contributed to the development of a
complex magical theory. Alchemy, astrology, and mediumship all helped to shape
the traditions that made up a complex ceremonial magical system, parts of which have survived
to today. Within the realm of medieval astrology is a system of determining the most auspicious times for magical workings, which is still used by witches today.</div>
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<o:p></o:p></div>
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In the expanse of the sky above us, float the stars and
planets. Their movement has influenced the magical schools that have developed
around the globe since humans had the capacity to look up. Planets got their
name from the fact that they were a special kind of star that wandered through
the fixed stars (<i>planētai</i> means “wanderers”).
There were 5 planets visible with the naked eye to the first civilizations. <o:p></o:p></div>
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Highly accomplished astronomers, the Babylonians had a
complex theology surrounding these planets, believing that the planets were
deities, each one governing the universe from a transparent sphere, called a
“heaven,” that revolved around the Earth. Each sphere was larger than the last
and enveloped the smaller spheres, much like layers of an onion, with the Earth
at the center. </div>
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Ptolemy organized the 5 planets, along with the Sun and the
Moon, based on their speed, so 7 heavens encased the Earth with the Moon being
the fastest and closest to Earth, then Mercury, Venus, the Sun, Mars, Jupiter
and finally Saturn, which was the slowest. <o:p></o:p></div>
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The sphere outside of Saturn was the heaven that held the
field of immovable stars, including the Zodiac. Outside of that were the divine
spheres. Before birth and after death, every soul had to come or go from Earth
by passing through the heavens. As we passed through these levels, our spirits
would pick up personal qualities - affected by being exposed to the powerful vibration of these
spheres. <o:p></o:p></div>
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This was the origin of what we now know as Astrology,
because it was postulated that the spheres would influence behavior. These
heavenly spheres were viewed as endowing their power, not just on the spirits of people, but
also on the moments of the day and on the days of the week. The priests of each
deity would calculate the most auspicious times in every day to work with their
patrons.<o:p></o:p></div>
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It’s a common practice today to reference a table of the rulers of the planetary hours before casting a spell. This gives us the chance to do our spell work during a time of day that vibrates with the most appropriate magical “frequency” for the intended purpose. There are many good online calculators that can provide you
with a very quick and accurate table of hourly rulers. But what if you can’t
use an online tool? What if you’re doing your spells in a cabin in the woods
with no internet access? Every witch should have the ability to
chart the rulers of the hours. <o:p></o:p>Once you understand how these rulers came to be, you can create that chart easily from memory.</div>
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We have seven days of the week and each day belongs to one of the planetary rulers to be the primary ruler of the whole day. Sunday ("Sun-day") is the most obvious example and the primary ruler is the Sun. Monday and Saturday are ruled over by the Moon (“Moon-day”) and Saturn ("Saturn's-day"), respectively. The remaining days of the week are based on their association with Norse deities. Tuesday is ruled by Týr ("Týr's-day"), Norse god of law and heroism, who corresponds to the Roman god, Mars. Wednesday is ruled by Woden ("Woden's-day") who corresponds to the Roman god Mercury; both are gods of travelers, magic and learning. Thursday is ruled by the Norse god of thunder ("Thor's-day") and corresponds to the Roman god, Jupiter. Venus, goddess of love, who is seen in the Norse pantheon as Freya ("Freya's-day") rules Friday.</div>
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A ruler of a day governs the first hour, which begins at dawn. The rulers of each of the subsequent hours are laid out in a specific order that forever repeats throughout the 24 hours of each of the seven days of the week. Let’s start with an example day – Monday – which is ruled by
the Moon. This means that the Moon will always be the ruler of the
first hour on Mondays. Each daily period following the Moon’s governance will
be ruled by one of the remaining six planets, but always in the same sequence.
To find this sequence, write out a repeating sequence of the planets in order from
slowest to fastest. We know the Moon is ruler of the first hour on Mondays and it
is the fastest planet, so it is the last planet in the speed sequence; we must return to the slowest planet and begin the sequence again. The second
hour will be Saturn, the third will be Jupiter, then Mars, the Sun, Venus,
Mercury and lastly, the Moon again. Continue to repeat that sequence until
there are 24 rulers on your list. You have listed the sequence of the rulers of
all the hours from sunrise on any Monday, through the night time, to sunrise on
the following Tuesday morning.<br />
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If you continued the sequence into Tuesday and the remaining hours of the week, you would create a chart like the one below. Notice how the sequence for all the hours of the week flows from day into night, then into the next day, then continues without change through all the hours of each day and night for the rest of the week. The sequence determines which day of the week has arrived because of the particular ruler of the first hour. Hour 1 of the daytime always begins with sunrise. Hour 1 of the night time (or hour 13 in some tables) always begins with sunset.</div>
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In the contemporary age, the period of the day that we call
an “hour” is a specific length – always 60 minutes, each made up of 60 seconds.
But the hours ruled over by each of the planetary rulers are not always 60
minutes long. This is because the Babylonians reckoned their hour, not as a set length as we do, but as one-twelfth of the total amount of daylight time or darkness. That is, both the day time
and the night time, separately, were divided into twelve equal periods based on
sunrise and sunset. Starting on the Equinoxes, the amount of daylight we
experience between sunrise and sunset is more than 12 hours in spring and
summer and less than 12 hours in autumn and winter. So if we are in spring or
summer, when the day time totals more than 12 hours, each one-twelfth period of
that time is going to last greater than 60 minutes. In autumn or winter, each
one-twelfth period will be less than 60 minutes. Clearly, continuing to call these periods "hours" is confusing, so I will only call them periods from this point onward.<o:p></o:p></div>
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To determine the length of each period, you will first need
to know the times of sunrise and sunset. The times of sunrise and sunset are
actually calculated by astronomers based on your location on the globe and the
date of interest. They will be different for each latitude because of the
curvature of the Earth, the tilt of its axis and the date. These times are
commonly published in local newspapers and almanacs, as well as pagan calendars,
but are also readily available online through reliable sites like NOAA. For the
sake of this exercise, let’s assume that we looked in our almanac to find that our
sunrise time will be 6:42 AM, our sunset time will be 7:32 PM and we decided
that the best period for our spell will be the hour of Mars.<o:p></o:p></div>
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Step 1: Convert the sunset time into the 24-hour
clock.<br />
Simply add 12 to any time between 1:00 PM and 11:59 PM. For example, a
sunset of 7:32 PM will become 19:32. <o:p></o:p></div>
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Step 2: Convert clock
times into decimal hours.<br />
This allows us to use standard math until the very
end. The arithmetic of decimals works easily on a calculator, while
arithmetic of clock time does not. Doing these calculations on paper is even worse! You can convert clock times into decimal
hours by dividing just the minutes by 60. So our sunrise time of 6:42 AM will
become 6.78 (42 ÷ 60 = 0.78). Our sunset time of 19:32 will become 19.53 (32 ÷ 60
= 0.53).<o:p></o:p></div>
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Step 3: Subtract the smaller clock time from the larger.<br />
19.53 – 6.78 = 12.75
hours<br />
This result is the amount total of daylight time that will shine on our
Monday; there are 12.75 hours of daylight between sunrise and sunset.<o:p></o:p></div>
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Step 4: Divide this total time by 12.<br />
12.75 hours ÷ 12
periods = 1.06 hours/period<br />
This means that every period ruled by each planet,
beginning with the Moon, will be 1.06 hours long. <o:p></o:p></div>
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Step 5: Find the start and end of the period of interest.<br />
Remember that our period of interest is ruled by Mars. If we refer
to our list of the rulers of Monday, we find that Mars rules the 4<sup>th</sup>
period. Multiply the length of the periods, which we found to be
1.06 hours/period, by the number of the period for Mars on our day, which is 4.
This gives us a result of 4.24 (1.06 hours/period x 4 periods = 4.24 hours).
The Mars period will end when the next period begins, so we can multiply by 5
to find the end time: 5.30 (1.06 hours/period x 5 periods = 5.30 hours).<br />
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Step 6: Add the period start and end times to the decimal time of sunrise.<o:p></o:p></div>
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Period of Mars, starts: 6.78 (sunrise) + 4.24
hours = 11.02<o:p></o:p></div>
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Period of Mars, ends: 6.78 (sunrise) + 5.30 hours = 12.08<o:p></o:p></div>
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Step 7: Convert both of the times back to clock time.<br />
Simply multiply only the minutes by 60.<o:p></o:p></div>
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Period of Mars, starts: 11.02 becomes 11:01 AM
(.02 x 60 = 1.2 minutes, rounded to 1).<o:p></o:p></div>
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Period of Mars, ends: 12.08 becomes 12:05 PM (.08 x 60 = 4.8
minutes, rounded to 5).<o:p></o:p></div>
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Step 8: Convert any result that is 24-hour
time back to 12-hour time.<br />
Subtract 12 from any clock times from 13 to 24.<o:p></o:p></div>
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As witches, we do most of our spells after sunset, when the
darkness provides us with protection and secrecy and helps to generate the appropriate head-space. Finding
the correct period after dark often produces more difficulty because of the
transition from PM to AM at midnight. However, a simple reversal can resolve
all difficulty, though the process seems unconventional. I find that the best
way to handle the difficulty is to treat the night as if it was the day, then
work all the steps normally.<o:p></o:p></div>
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Your periods will start with sunset and will end with the
sunrise on the following date. Convert the AM times to 24-hour time, instead of
the PM times. Complete all calculations the same. At the very end, convert any
time between 13:00 and 23:59 back to 12-hour time as AM, instead of as PM.<o:p></o:p></div>
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I recommend keeping all values rounded to two decimal places
until step 7. This minimizes any distortion of the period start times. I
also find it helpful to ensure that my spell work happens at least 5 minutes
past the chosen period start time, just to be sure I’m well past any minutes
affected by rounding, putting me solidly into the correct period before I
begin.<o:p></o:p></div>
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Whenever possible, I advocate using a reliable planetary
rulers calculator, but if you can’t get to one, you should have this
technique tucked in your book of shadows as a back-up plan.<o:p></o:p></div>
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Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com0tag:blogger.com,1999:blog-7053921415082342889.post-67760909157886034822017-07-24T10:39:00.000-04:002018-06-26T09:10:38.130-04:00Writing Your own Magickal Chants<div style="margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;">
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<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Magical chants
work very much like mantras. They provide for us a device that helps to focus
our mind on the single task at hand – raising power. Just as a burning feeling
builds in a muscle when it is repeatedly used, so the energy of the witch
builds when one uses a chant. When writing magical chants, there are a
few principles to keep in mind to write the kind of chant to which generations
after you will gravitate.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
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<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">Rhythm<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">The process of
thinking is a taxing one. The mind puts incredible energy into organizing all
of the many thoughts that it processes. It is designed to seek out order, even
to the point of creating patterns when none exist. This is a by-product of our
mind clinging to the principle of cause and effect. “This happened because that
happened first, right? Doesn’t everything happen for a reason?”</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;"><br /></span></span></div>
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<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">Because the
mind loves patterns, rhythm, which is simply a pattern of sounds and silences,
activates the storage ability of the mind very easily. Adding rhythm to chants
makes them memorable, but it also makes them fun to speak, much like singing a
song or humming a tune.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Rhyme, which
is a manifestation of pattern, isn’t necessary to put in chants, but it does
help the mind to more smoothly experience the patterns that it craves.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">There are many
rhythms already present in the world today. In both poetry and music, rhythm is
typically called “beat.” Both poems and songs can provide you with some
interesting rhythms to borrow when building a new chant. Remember how
attractive – almost addictive to the ear –is the rhythm and rhyme in
Poe’s <i>The Raven</i>? There is no reason to reinvent the beat in your
chant from scratch.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
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<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">Metaphor<o:p></o:p></span></span></div>
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<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">Adding
metaphor to chants is a great way of expanding your options when trying to
compose a chant. To create metaphors, you look for associations between
concepts that may be somewhat similar. For example, if someone is a coat-tail
rider, you may also metaphorically refer to them as a flea on a dog. Fire is
symbolic of passion, because the feeling acts as quickly and completely as does
a burning flame. You can make connections between any of the properties or
characteristics of two things to establish some kind of symbolism.<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">The Germanic
peoples were particularly accomplished at a kind of metaphor called “kenning.”
A kenning is a metaphor in which the description for one well-known thing is
used to create the metaphorical name of something else. For example, if I had a
particular dog that became somewhat famous for chasing the rabbits in the yard,
I might metaphorically refer to all dogs in general as “bunny bullies,” which
is simply a kenning for the word “dog.”</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">Atmosphere<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Many witches
discount a chant’s atmosphere in an effort to score on rhythm and rhyme. Though
you may have a very rhythmic and memorable chant, filled with all kinds of
symbolism, you may still have a chant that doesn’t feel right when the circle
is cast. Atmosphere is the overall feeling that a chant conveys. It creates a
flavor, through the connotations built into the words of our cultures and
languages, helping to paint a thorough picture of the scene in which a chant is
most appropriate to use.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;"><br /></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Many nursery
rhymes feel childlike, because they were written to convey an atmosphere that
was appropriate for children. Here is the earliest printed example (1881) of
what we know today as “Ring around the Rosie.”</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Ring-a-ring-a roses</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">A pocket full of posies;</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Ashes, Ashes,</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">We all fall down!<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">Though this
the rhyme’s connection to the Black Plague is highly contested, it could still
make an excellent representation, through each line, of the symptoms, a
possible ward, more symptoms and then the deadly result of the Plague. Yet its
atmosphere is decidedly childlike.<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">To change the
atmosphere of this rhyme, one could consult a thesaurus to find words with
similar meaning, but darker connotations. I decided to consider each line and
rewrite the same message using darker verbiage. Here’s how a darker rhyme about
the Plague might look.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Big ole’ blackened bubo,</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Posy hurled high and low;</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Cinders, cinders</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">No one sees the dawn.<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">Though the
atmosphere might still feel a bit childlike, perhaps because most of us cannot
help but hear the original words in our minds when we hear that particular
rhythm, the new rhythm is decidedly darker.<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Creating a
darker atmosphere is particularly important for chants that ward or curse, as
these actions require a seriousness in our moods that help to keep us focused
on the particular intent. Here’s a chant I wrote to disturb the thoughts of
anyone who may be opposing you. It isn’t necessarily for cursing, but it can
create a kerfuffle in the mind of someone competing for the same job as you.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Stones and sticks and broken bits,</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Wreck and ruin rival wits.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
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<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">Theme<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">By leveraging
metaphor and atmosphere together, you ensure that the chant represents the
appropriate theme for your spell. Your spell’s intent should have a picture – a
kind of mental snapshot representing in one mental image everything for which
the spell is cast. That picture should be well represented by your chant.
Certainly, there are chants that are good for general use, because they
represent general pagan concepts or have very little connotations attached to
the words that comprise them. But most chants need to be thematically related
to the spell being cast. For example, the previous chant would not be
appropriate to use as a healing chant.<o:p></o:p></span></span></div>
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<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">A witch’s
spell written by children’s book writer, Mary Norton in 1943 and represented in
the Disney film, <i>Bed Knobs and Broomsticks</i>, shows lots of rhythm
and the atmosphere is just right. It is a spell for turning any creature into a
white rabbit.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-add-space: auto;">
<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">Filigree, Apogee, Pedigree, Perigee<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">What makes it
thematically correct is that it uses some higher level vocabulary including two
from science (apogee and perigee) and a word relating to animals (pedigree),
yet the words are relatively obscure for common speech, almost to the point of
being esoteric. So the mind could perfectly agree that this chant could be a
valid spell for turning a human into an animal. <i>The key here is that
the mind can agree with the appropriateness of the chant. </i>Since most
people’s minds are a bit flexible, one doesn’t have to be literal, but one
shouldn’t wander too far off target either.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">Simplicity<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">The last
quality that is important in a chant is maintaining some degree of simplicity.
Despite that the mind remembers things rather well when it has the help of
rhythm, chants need to do more than simply stick in the mind. They also need to
be spoken with ease. Unfortunately, our minds move more quickly than do our
mouths.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;"><br /></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">The sounds we
speak are made by the muscular flexibility and quickness of a variety of
structures, including lips, tongue, jaw, vocal cords and diaphragm. We use all
of these harmoniously, or else we wouldn’t speak with very much precision. We
tend to worry about speaking with precision because no one wants their
communication to be constantly misunderstood. But when we put together sounds
at which we aren’t very practiced at making repeatedly, our bodies can’t move
quickly or precisely enough to form them precisely.<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit , serif; font-size: 13.5pt;"><span style="font-family: inherit;">As a witch
gets further into the ecstatic moment – closer to the moment of release - this
precision may become so unimportant that one may be simply muttering nonsense
(rhythmically). But at the start of a chant, we need to minimize the
difficulty. Too much oral difficulty steals focus. We begin to worry, even
unconsciously, that we aren’t speaking correctly. Our brain starts putting more
and more of its focus into the acrobatics of the mouth, which means we are not
giving that focus to the intent of our spell.<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in; mso-add-space: auto;">
<span style="font-family: inherit;"><span style="font-family: inherit , serif; font-size: 13.5pt;">Some poetic
devices can be useful for creating the sought-after chant simply, but those
same devices can also work against you. Alliteration puts the same sound at the
beginning of concurrent beats. As in our previous example, “</span><span style="font-family: inherit , serif; font-size: 13.5pt;">stones and sticks and broken bits,” there are two alliterative
phrases (a repeating “s,” followed by a repeating “b”) that flow easily off the
tongue. But be wary that too many repeating sounds may be too difficult to
speak. A chant should not be a tongue twister. Unfortunately, there are no
rules that apply. You will simply have to try the chant aloud to discover if it
trips up your mouth.<o:p></o:p></span></span></div>
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<br /></div>
<div style="margin: 0in 0in 0.0001pt;">
<span style="font-size: 13.5pt;"><span style="font-family: inherit;">A great chant will check all
the boxes. It will be memorable, easy to speak without tying up the tongue,
metaphorically describe the theme of the spell and convey the atmosphere of the
theme. Often you will unconsciously know that it is a good chant because you
will find that you, as well as others who may use it, will gravitate back to
that chant over again. Well-made chants will seem to take on a life of their
own, making themselves a part of your magickal tradition.<o:p></o:p></span></span></div>
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Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com0tag:blogger.com,1999:blog-7053921415082342889.post-33136674185001478252017-07-17T08:56:00.001-04:002017-11-28T07:30:24.266-05:00Family Ancestry and VenerationThe following topic could possibly illicit some horrible reactions. Given that everyone wants to be focused on issues of racism and cultural misappropriation these days, there may be an assumption that this entry is about race. To address that, I have to first note that this is <i>my</i> blog and I can write whatever I want, because until further notice, I do still have the freedom to express myself. You, the reader, also have the freedom to navigate away from my words and not read them. Secondly, let me note that this blog entry is not about race at all, it is about families and their cultures. If you can't separate the two in your head, you need to stop reading now and go away.<br />
<br />
The honoring of our past relatives is extremely important. Without diving into an extremely long blog entry on why it's important, just follow me down this thought path. Wouldn't you rather your descendants remember and honor you, instead of completely forgetting you? If you aren't going to leave a significant mark on this world through an invention or some major discovery, don't you at least want the mark you leave (your progeny) to recognize your contribution to their existence? And if the previous is true for you, why wouldn't you want to provide the same recognition to those who were responsible for your existence so that they are not forgotten? You exist because of them. To me, that alone makes them worthy of honor.<br />
<br />
I'm not going to get into what you should do in ritual practice to honor your ancestors. Some great insights can be found in a book that I love because it is completely on target and appropriately written. It is also briefer than most books, as ancestor veneration is more about action and feeling than about research and "doing things right." If you can get it, read through <i>Weaving Memory: A Guide to Honoring the Ancestors</i> by Laura Patsouris.<br />
<br />
<blockquote class="tr_bq">
Update, Oct. 19, 2017: I've recently learned that Laura Patsouris suffered some medical issues and so her book is out of print with no hope of new editions. If you can get it at a library, I encourage you to do so, but please respect that libraries are for everyone by not stealing this book from circulation. It darkens all of us to have knowledge stolen away.</blockquote>
<blockquote class="tr_bq">
Additionally, Raven Kaldera, the Managing Editor of the imprint for Laura's book has revealed that many of the articles written for Laura's book have been reprinted in a new book, along with new material by others. The book is called <i>Calling to Our Ancestors</i> by Sarenth Odinsson. Raven writes that "over half this book is the same (as Laura's)."</blockquote>
<br />
You may think it a gripe of semantics, but I should note that what I am exploring here is not called "ancestor worship." The word <i>worship</i> is tossed around a great deal, particularly in relation to this topic and by those who understand it very little. One can show honor to a deity that one worships - indeed, honor can be one expression of worship. But worship is what one does for deities, not for the spirits of the dead. As a result, calling this "ancestor worship" is incorrect. Doing so also incorrectly communicates to those who don't understand (and may be seeking to) exactly what we are doing, allowing them to have a misguided view of what we believe. I am not addressing here whether or not the dead can become deified; that is certainly possible. Rather, I am addressing what it is correctly called when one honors one's ancestors, albeit in a ritualized manner. A commonly used and acceptable word is <i>veneration, </i>since veneration is synonymous with reverence.<br />
<br />
I should note that making appeals to ancestors for aid is also not worship, though it is an extremely common and valid magical practice. It is a practice seen in Catholic appeals to the Saints, as well as in Hoohoo appeals to the (named or unnamed) dead. One is not worshiping the dead when one makes an appeal to a dead spirit any more than one is worshiping the living when one asks for help from a living person. You can better hold onto the understanding of this concept by remembering that the dead are simply "the formerly living." One can venerate the living, but does not worship the living.<br />
<br />
Because of the importance and power of names (you can read a bit more about that in <a href="http://spiritslip.blogspot.com/2017/06/magic-words-and-sigil-magick.html" target="_blank">this entry</a>), knowing the names of your ancestors is extremely helpful and powerful. Upon first learning the name of a previously unknown ancestor, my mind swirls with speculation of the culture, the time, the whole world in which that person must have lived! Learning names breathes life into your ancestors - like peering through a window in which the past is on the other side. Of course, one can only learn names by doing research. Though you may not be good at research, it is the most effective and powerful non-ritual method of honoring your ancestors. Once you know their names, they are no longer forgotten. What could be a greater gesture of honor than making someone no longer forgotten? To advance my own practices of veneration, I have been researching my own ancestors for many years and I've worked very hard to discover their names.<br />
<br />
Does this mean one can't do ancestor veneration unless one knows the names of one's ancestors? Certainly not! It is completely valid to conduct an act of veneration for those who are unnamed. I have personally made appeals to certain unnamed ancestors asking them to reveal themselves in my research, only to have a new ancestral record become available that reveals their name!<br />
<br />
There are a few practices that are traditionally frowned upon, mostly by the Hoodoo culture, when conducting ancestor veneration. I'm going to review a few and provide my two cents about each.<br />
<br />
<ol>
<li><i>Veneration should never be conducted in a room where people sleep.</i> I have no problem with enforcing this, unless one lives in a single studio room that includes one's bed, or there are sleeping people everywhere. If the rule would exclude the practice altogether, one needs to evaluate the spirit of the rule. Some have claimed that the dead can disturb the dreams of the living and make sleeping not very restful. But then my logic asks, "if they are your family, and disturbing your dreams would make you not venerate them, why would they do that to you and halt your veneration?" If one has to put one's veneration in a bedroom, the entire arrangement should be draped in a white cloth except when in use.</li>
<li><i>Offerings of food are okay, as long as there is no salt or animal flesh provided.</i> Does this mean no ice-cream? My dad loved butter pecan ice-cream. If I was going to make an offering of food, that would be what I'd offer. But is milk an animal flesh? I have to ask why food is even necessary at all. Aren't they no longer living? I would advise not to use any kind of food in your veneration practices. I think the desire to give food to the dead comes from anthropomorphizing what is no longer human. Yes, they are "formerly living" people, but a transformation happens to them when they give up their material body. Once the dead give up their bodies, the desires that are motivated by material life fall away. All of the energy that is needed by spirits can come from the veneration practice. The salt simply comes from the tradition that salt blocks the movement of energy.</li>
<li><i>Images of the dead should not include anyone who is living.</i> I completely agree with this one and here's why. An altar is a ritual focal point. It is where you pump your magical energy. If that energy incorporates an unconscious understanding that the target is dead, yet there are images of the living present, those living people could become the recipient of that energy for the dead. That could be disturbing to the psyche of the living. It could potentially cause problems as your energy for the dead constantly bombards their personal field. Given that computer-based scanners and photo editors are easy use these days, there is no reason why the living can't be excluded from altar photographs. When in doubt, leave it out.</li>
<li><i>Ancestors who were abusive or substance-abusers in life should not be venerated in death.</i> The intent behind this rule is to prevent you from granting access to your energy to spirits with potentially hostile intent. Again, I have a tiny bit of trouble with this one for the same reason I gave in #2 above; this is an attempt to anthropomorphize the dead. According to the writings of spirtist, Allan Kardec, once spirits give up their material bodies, all of the trials that motivated their actions in life fall away. They become free from those material influences and their motivations change, as do their actions. However, he also sites the distinction between the 9 levels or types of spirit energy. Some of these are immortal and some of these are not. Those that are not have a time limit before they completely dissipate, though they will attempt to avert decay with influxes of energy from the living. According to some, these soul-remnants can retain the base inclinations of life and can make some spirits quite nasty. So I must admit, I'm willing to concede this rule and omit certain dead from my place of veneration.</li>
</ol>
<br />
Recently, I decided to have my DNA tested for the proportions of genetics contributed by each of my ancestral origins. But if I look at the research I've already done, as well as the extensive research completed by my uncle in this area, I think I can chart a solid expectation of my test results. Let's assume that my family history breaks down into 8 main lines (my 8 great-grandparents). This is what I expect.<br />
<br />
Mother's grandparents:<br />
1. Line traced to 1741; German (the earliest was a "Hessian" captured by General Washington when he crossed the Delaware)<br />
2. Line traced to 1670; German<br />
3. Line traced to 1915; records for this line are undiscovered; possibly German<br />
4. Line traced to 1590; British and Netherlander<br />
<br />
Father's grandparents:<br />
1. Line traced to 1811; German and British<br />
2. Line traced to 1622; Scots Irish and British<br />
3. Line traced to 1291; Swedish, then French, then British<br />
4. Line traced to 1794; German (Franconia/Bavaria) and from where my surname comes.<br />
<br />
Nearly all of the mentioned family lines settled in the western Maryland and south-central Pennsylvania areas as early American colonists. They were farmers and a very solid part of the colonial Pennsylvania Germans (the "Dutch"), though not of the <a href="https://en.wikipedia.org/wiki/Anabaptism" target="_blank">Anabaptist</a> groups.<br />
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I expect that my test will show a large amount of northern and central European (Germanic) heritage. I may find that most of my family is centered in one small area of Europe; I may find that there are hidden or unknown cultures about which I never knew. I don't expect to see very much from any other cultures on other continents, but it would be a fun surprise to know I had more in the mix, such as, Hispanic, African, American Indian or even a far eastern culture.<br />
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Being made up of mixed cultures means I have more complexity to tap when I honor my ancestors. Ancestral veneration practices are only partially built and executed <i>for you</i>. Mostly, they are done <i>for the dead</i>. You give them what you think they want. This means that a past ancestor may respond favorably if one uses practices that are based on one's familiar culture. Like the living, the dead prefer to have familiar things around. when one has many cultures contributing, the arrangement can become wonderfully "patchworked." Consider it like this: if you were a spirit being honored by one of your descendants, wouldn't you like to see some familiar elements from your own culture woven into the effort, instead of veneration that doesn't tip its hat to your culture in the least? As a result, your practices may seem like a cultural hodge-podge. That's entirely alright. What's most important is that you do something - anything - to show them honor and pay them some memory. Your practice can be as simple as lighting a candle, saying a prayer of honor and thanks, then blowing out the candle.Yep, it's that easy!<br />
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Ancestor veneration also achieves something wonderful. It gives you a moment of daily meditation. You can use the memory of your ancestors on which to focus, much like a mantra. These moments of meditation slowly transform your mind to be more receptive to intuitive skills. Not only will you grow closer to your familial dead, you will become more receptive to their messages and more adept at spell work in general.<br />
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Now for the racial part that is going to make people upset. Just as there were many different <i>cultures </i>produced by racially white people, there were also many cultures produced by racially black people and brown people and yellow people and red people. Every tribe, clan, country and region produced its own cultural practices that it held dear. Honoring those, rather than thinking that some are more valid or desirable than others, is what's most important during ancestor veneration. Whether you are the most racially pure person on the planet or a thoroughly blended human being, your ancestor veneration should be free of your racial issues, focusing instead on those cultural practices to which you are drawn..<br />
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This practice also teaches us - the living - that being different from each other is okay and worth celebrating. We can't celebrate diversity until we recognize diversity. We have to be willing to point out how we are different and then be open to sharing it. We have to be willing to say to each other, "I am white; you are black. Let's learn about each other so we can better value each other." Because of a fear of being labeled a racist, I believe that there is a lot of effort in the world today trying to wipe away our differences and our ancestral cultures by making our world intolerant to the act of cultural celebration. Cultural celebration is not racism, but it can be bigotry if we approach cultures that are not our own as if they are inferior to us.<br />
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Update, November 17, 2017: I learned from my test that I am largely Germanic. The bulk of my DNA comes from western Europe with a smaller amount from Eastern Europe and Scandinavia. I had no DNA from the British Isles, Africa, Asia or the Americas. To my surprise, I had very distant DNA that was Sephardic Jew. This shouldn't surprise me, though, since most of the Jews who were expelled from Spain by King Ferdinand settled in Germanic areas of Europe.Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com0tag:blogger.com,1999:blog-7053921415082342889.post-84465281551415005342017-06-09T11:26:00.000-04:002017-06-15T09:05:21.900-04:00Further Examinations on Pyramid and PentagramI have had a change of thinking. I would like to reexamine a couple of esoteric symbols thanks to some recent reading.<br />
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In my post on the <a href="http://spiritslip.blogspot.com/2016/09/the-witchs-pyramid-house-of-tarot-cards.html" target="_blank">Witch's Pyramid</a>, I wrote the following:<br />
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It has come to my attention that, in recent years, the Witches Pyramid has had ascribed to it a fifth principle: "To Go." I believe this is happening from a misguided attempt to correlate the pyramid with the pentagram. The pentagram is a very different symbol and does not discuss the hermetic principle symbolized by the pyramid. The pentagram is a symbol of the unity of the five elements of the universe, not the principles employed by hermetic students to understand how to evolve the spirit. Though I'm fine with people developing whatever mnemonic device they feel is helpful, I do not agree with inventing something that never was while claiming that it did. The pyramid has older names including the "Hermetic Quaternary" and the "Four Powers of the Magus." Both of these names specify four principles, not five, because the new principle that has been invented is clearly not necessary. The four principles are forward-moving principles, so to state that one must then go is redundant to the goal. It also shows a failure to understand what is being taught.</blockquote>
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The hermetic magical principles are not symbolized by the corners of the pyramid, but by the faces. There are four triangular faces representing the principles. They are supported by a square face that is hidden. Triangles are symbolic of active properties. Squares are symbolic of manifestation. The surprise to most is that we are not trying to metaphorically travel to the peak of the pyramid. Too many people assume incorrectly that the only way to symbolize the attainment of higher states of being is with a literal movement upward. However, in this case, what is revealed comes from looking at the face of the pyramid that we cannot see. On each of the active faces rests one of the elemental angels, as we saw in the Wheel of Fortune, above. On the base is the manifested figure of the Sphinx herself, for she represents the unity of the elements. Only through unifying the powers of the elements do we gain manifestation. This is the core lesson of magical work.</blockquote>
My change of thinking is not about the reinvention of the Witch's Pyramid to have 5 principles. I still believe contemporary magicians should not try to muck with an axiom that works. Rather, I am seeing more connection between the pyramid and the pentagram. This change of thinking is not simplistically caused by the fact that both feature the number 5; there are deeper connections at work. I would like to explore them and expose more of my thinking on the matter.<br />
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I also wrote in the previous entry a little about the riddle posed by the sphinx to Oedipus. Let's look at that riddle so we have it before us (Apollodorus, 3.5.8).<br />
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And having learned a riddle from the Muses, she sat on Mount Phicium, and propounded it to the Thebans. And the riddle was this: What is that which has one voice and yet becomes four-footed and two-footed and three-footed? . . . Oedipus found the solution, declaring that the riddle of the Sphinx referred to man; for as a babe he is four-footed, going on four limbs, as an adult he is two-footed, and as an old man he gets besides a third support in a staff.</blockquote>
Note that I stated that squares are symbolic of manifestation. That is an important link to understand the potential divinity in man. Our bodies are material things, made up of the four elements unified on this material level. But on a divine level, there is a reflection of our bodies ("as above, so below"). That reflection is also made up of the unified elements, but in the divine sense; the elements are not material, they are spiritual. They are the elements about which Levi spoke. They are the non-material principles that together make up the spirit. That which is opposite to the peak of the pyramid is the base of the pyramid. So if the peak is our spirit self, which is conveniently represented as a point with no dimension, the base is our body, which is also conveniently represented by the square, the symbol of the material in balance. I have already mentioned in the last entry that the base is also represented by the sphinx herself, a being still in this material plane, but incorporating all of the elements. She is the Magus.<br />
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What changed the connection between the pyramid and the pentagram was a passage from an occult writer I greatly respect, though more current than Levi. Here is a passage (translated) from <i>The Practice of Magical Evocation</i> by Franz Bardon:<br />
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When practicing evocation or invocations of beings, it is desirable to draw within the center of the circle in which one is to stand another smaller circle or a pentagram with one of its points upwards, the symbol representing man. This is then the symbolization of the small world, of man as genuine magician.</blockquote>
So here we read that Bardon reveals the symbolism of the pentagram be symbolic of man. Allow me to provide an image that may help illustrate this point. It is by Agrippa, from book two of his Three Books of Occult Philosophy, 1651.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA3OZEp5kkXOlHuQR0g9CMjdYcXDPQ0orBLh8NspFK_fhnrCVgsiBZZmOc3sQqmVAeKnbaueeIez489IUYNFnMcR2cyyvhNMQ-mHmJ4NDxuvtCYZ0cst5snjOa-4Q5TqPbAy1z3SSnq-I/s1600/gravure_dagrippa_de_nettesheim.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="311" data-original-width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA3OZEp5kkXOlHuQR0g9CMjdYcXDPQ0orBLh8NspFK_fhnrCVgsiBZZmOc3sQqmVAeKnbaueeIez489IUYNFnMcR2cyyvhNMQ-mHmJ4NDxuvtCYZ0cst5snjOa-4Q5TqPbAy1z3SSnq-I/s1600/gravure_dagrippa_de_nettesheim.jpg" /></a></div>
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Next, let's recall the associations between the pentagram and the elements, which has come down to us through tradition from the mystery schools.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLhCgjO84MvW6QAqNiCh1ppTJHsyikL50GKzBRsldQBujFyjtn9pQsjyUbCoh2ewt9AWz1aHRzEpfu3eZP_5TkcLXY7W0NVxdNwlRsUCrlUxYK1L7rwMZ7qj0kGt_mk9ZC-OGLdELXEzg/s1600/pentagram-elements.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLhCgjO84MvW6QAqNiCh1ppTJHsyikL50GKzBRsldQBujFyjtn9pQsjyUbCoh2ewt9AWz1aHRzEpfu3eZP_5TkcLXY7W0NVxdNwlRsUCrlUxYK1L7rwMZ7qj0kGt_mk9ZC-OGLdELXEzg/s1600/pentagram-elements.jpg" /></a></div>
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So we can see that the pentagram embodies both the elements and the body of man. But does this analogy only seem solid because both coincidentally incorporate the number five? Does the connection between the pyramid and the pentagram go deeper? Considering the image above, what happens if we lose one element? Five becomes four. Suppose that the element above called "spirit" is more correctly "divinity." Without the divine, one is a creature with four elements only, much like the sphinx - the base of the pyramid.</div>
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For one to travel from the base of a pyramid to its peak - to metaphorically evolve from the material plane to a divine one that is without dimension - one must travel up each (perhaps all) of the four triangular faces. To do this on a material pyramid, one would travel a distance that the Greek mathematicians called "phi"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbbwXOircmb_NbSZoHIY-aSq-6fICcu7mfnuaFSDhpKvePH0H2WclFRSvWWcHWSzlxq2mx_0iLr5ydnsvzajkKFmMapVYO9xv3vEXSVO3EvYqnOiUG52p9v5KRnmsuhUBGcgP8DrU4Gmk/s1600/pyramid_phi_proportions.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="112" data-original-width="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbbwXOircmb_NbSZoHIY-aSq-6fICcu7mfnuaFSDhpKvePH0H2WclFRSvWWcHWSzlxq2mx_0iLr5ydnsvzajkKFmMapVYO9xv3vEXSVO3EvYqnOiUG52p9v5KRnmsuhUBGcgP8DrU4Gmk/s1600/pyramid_phi_proportions.gif" /></a></div>
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The value of phi was so important to the Greeks that it was used as the basis of all of their architecture and was called the Golden Mean and the Divine Portion. Interestingly, the same value is found all over the pentagram.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR85P3BA6zXEANVzz9pgDCz85JTjlTnZx3tiE3O_8_R-DtmfdM48p-KcV6JVpbFEZ3tPnv8dbKoiYsdaks7N3X9VhjoiayvwvLajim6TLY1klHUHSSfYN682KIx5HQoALC5N0M1YSxJEw/s1600/tem-2-52.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="264" data-original-width="381" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR85P3BA6zXEANVzz9pgDCz85JTjlTnZx3tiE3O_8_R-DtmfdM48p-KcV6JVpbFEZ3tPnv8dbKoiYsdaks7N3X9VhjoiayvwvLajim6TLY1klHUHSSfYN682KIx5HQoALC5N0M1YSxJEw/s320/tem-2-52.jpeg" width="320" /></a></div>
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The shape of man's body is also packed with phi, which is illustrated by this image very well (represented by any section labeled M, where E is the value of 1).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-0LEPRTCgfQa8QfAvOTH2VAsvPiC2Dz3hckk3LbBg5_72Ejv6fKdaTCx7VGk9Dj9J68kMViOyF9Kb3qWMDoKKj3XjQ4jms04FaOg75WstMmQasIjcnYvODb9yzbWl8BGxGRzrK40CxTY/s1600/Neufert_Big_Man.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="702" data-original-width="831" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-0LEPRTCgfQa8QfAvOTH2VAsvPiC2Dz3hckk3LbBg5_72Ejv6fKdaTCx7VGk9Dj9J68kMViOyF9Kb3qWMDoKKj3XjQ4jms04FaOg75WstMmQasIjcnYvODb9yzbWl8BGxGRzrK40CxTY/s400/Neufert_Big_Man.png" width="400" /></a></div>
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So it is true that the Hermetic principles are symbolized by the faces of the pyramid, rather than by the corners. But it is also true that there is a divine relationship between the symbolism present in both the pyramid and the pentagram. Both are helpful to understanding the lessons found in the witch's pyramid as a guide to evolving the spirit. Both point to the power inherent in man.Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com1tag:blogger.com,1999:blog-7053921415082342889.post-42026918727799475932017-06-08T08:15:00.002-04:002017-06-15T08:45:39.516-04:00More Math in Magic SquaresThis entry is a continuation of my last blog entry on <a href="http://spiritslip.blogspot.com/2017/06/magic-words-and-sigil-magick.html" target="_blank">planetary sigils and kamea</a>. It is the entry with all the math and odd speculation that makes a blog entry boring. So if reading about investigation and the process of decoding puzzles isn’t your thing, feel free to skip over this one. But if you are the least bit curious about the Solomonic sigils, you might want to take a peek.<br />
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First, let’s remember that there are sigils for both the planetary intelligences and the planetary spirits. We saw in the last blog entry how those two groups of sigils are created using numerology and names.<br />
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But there are also sigils simply called “planetary seals.” Here are images from around the web of how each of the planetary sigils are traditionally drawn. I will note that the seal of Saturn is my own drawing because the web is currently circulating all sorts of non-traditional garbage for what is probably the easiest drawn seal in all of ceremonial magic. (Witches, please check your work!)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7W_1_sYn20Z-hV6aiZkRArMCaHrn4LzFehDoQ7Lhs6dn3aX0OeB6ysUdrjEmxkBTJ_ZEfp1qcmnCNVRj2_2jIpeeaeZR9TPXe5kAvERy9T6ohwVvtJDCO5bQyOupYiBQhZvBfnnQBWMo/s1600/Moon+Seal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="172" data-original-width="172" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7W_1_sYn20Z-hV6aiZkRArMCaHrn4LzFehDoQ7Lhs6dn3aX0OeB6ysUdrjEmxkBTJ_ZEfp1qcmnCNVRj2_2jIpeeaeZR9TPXe5kAvERy9T6ohwVvtJDCO5bQyOupYiBQhZvBfnnQBWMo/s200/Moon+Seal.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sigil of the Moon (9)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXkNL8oYIcaxnW0TwEZg-YQWOHDhd3ACIy7vGh4qSKgDZpCEosscsG4C7e0RL-OB1hGkKy4OnoiWBFSWGHY_7_UEJ6S8fYRIowDlQCNvA7ZV8SeXM6qLDAlTnjwkNJ_BQ7RKOF2dGIClY/s1600/Mercury+Seal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="167" data-original-width="170" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXkNL8oYIcaxnW0TwEZg-YQWOHDhd3ACIy7vGh4qSKgDZpCEosscsG4C7e0RL-OB1hGkKy4OnoiWBFSWGHY_7_UEJ6S8fYRIowDlQCNvA7ZV8SeXM6qLDAlTnjwkNJ_BQ7RKOF2dGIClY/s200/Mercury+Seal.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sigil of Mercury (8)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdi4bE1oJfVotrwaJ_raHWt5z3dMLLH1mBOfChyy_J_nf1aa5h5BRnSgBkerx8in5q6wbYDtm1iSfyizJXp5rq5UEgIKvdZCYF7VpVqHmZrx6hf2GbxvmcjkZO-8RjgLeHM1bb3sPCH94/s1600/Venus+Seal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="171" data-original-width="193" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdi4bE1oJfVotrwaJ_raHWt5z3dMLLH1mBOfChyy_J_nf1aa5h5BRnSgBkerx8in5q6wbYDtm1iSfyizJXp5rq5UEgIKvdZCYF7VpVqHmZrx6hf2GbxvmcjkZO-8RjgLeHM1bb3sPCH94/s200/Venus+Seal.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sigil of Venus (7)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk2qsPFMJpRINc8mrHOvO9FVaMkDqB_37k7WmjAPPOxJSh7niBAhilu0qBenZ15c1bqjcesI9Ow1-AJ9CL5Yf2vuyc8pZCDdoTL4nadV3DW-NP4_aIAtfgyaSWMOoOQZJk0RY3rpvaNBk/s1600/Sun+Seal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="169" data-original-width="169" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk2qsPFMJpRINc8mrHOvO9FVaMkDqB_37k7WmjAPPOxJSh7niBAhilu0qBenZ15c1bqjcesI9Ow1-AJ9CL5Yf2vuyc8pZCDdoTL4nadV3DW-NP4_aIAtfgyaSWMOoOQZJk0RY3rpvaNBk/s200/Sun+Seal.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sigil of the Sun (6)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-gUv8k5zVHWdvD28qAR5xmE1G5thOhOCj1D0RQU1yGHD-1e3RSkQkjapAnouYUzMAvLFh8CkZjvJAQJ5TlYJ8GLmUZ4_Nqe7sU7HPUlSGdhUsCXdpvC5sHkI4tp5JRmbHjQdfgajx3Rk/s1600/Mars+Seal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="160" data-original-width="180" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-gUv8k5zVHWdvD28qAR5xmE1G5thOhOCj1D0RQU1yGHD-1e3RSkQkjapAnouYUzMAvLFh8CkZjvJAQJ5TlYJ8GLmUZ4_Nqe7sU7HPUlSGdhUsCXdpvC5sHkI4tp5JRmbHjQdfgajx3Rk/s200/Mars+Seal.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sigil of Mars (5)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit5GGeNkzTLQ39E8T33ZN9_OdsiwSIjfOawaC6Uh2kgbRrhc4nwDAxdAYlroIydS4nmw2s_h3jtiRUALnjdsHrbX8ceAYAkXoeQpmkhRhJt4lUKXRas3GKVY1AuxM1YNzat_WYcGPbcM4/s1600/Jupiter+Seal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="169" data-original-width="167" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit5GGeNkzTLQ39E8T33ZN9_OdsiwSIjfOawaC6Uh2kgbRrhc4nwDAxdAYlroIydS4nmw2s_h3jtiRUALnjdsHrbX8ceAYAkXoeQpmkhRhJt4lUKXRas3GKVY1AuxM1YNzat_WYcGPbcM4/s200/Jupiter+Seal.jpg" width="197" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sigil of Jupiter (4)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6DbNy5L50m-wfiduiIqrTijF8_r2Bx3Z9LwC4uGhqYsQxaNqnbTlUhBu4l43-BJS2r1MFQiWdO-cWJHhwifetjKfyYMnFrg_8LwUFFTzocqa9XrQK7mwUdosdGyBL6zzVq12ADsqHhC4/s1600/Saturn+Seal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="170" data-original-width="170" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6DbNy5L50m-wfiduiIqrTijF8_r2Bx3Z9LwC4uGhqYsQxaNqnbTlUhBu4l43-BJS2r1MFQiWdO-cWJHhwifetjKfyYMnFrg_8LwUFFTzocqa9XrQK7mwUdosdGyBL6zzVq12ADsqHhC4/s200/Saturn+Seal.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sigil of Saturn (3)</td></tr>
</tbody></table>
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These sigils are not drawn using the same method we examined previously, but I did get curious how they were created. I also began to notice some odd characteristics of the seals and the kameas.<br />
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I first noticed that the sigil of Saturn is drawn over that planet’s kamea using a very obvious technique. The numerals are divided into three sets of three. The numerals of each of the sets are connected with lines, separate from each other. A circle starts and ends each connecting line. I’ll illustrate that here by removing the numbers and using colors so it’s easy to highlight some of the characteristics of this seal. We will observe those characteristics later.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixcYs5ivuTDVxHeEe9qVr4leZKW72P7UWP0sdnIV-_yhkYHIs1AGfT7kD3tBYQRdT0GrTWlbkJIVEHjRmS5scQYTVoiE9ftfaeKQuJNtFngZoPSmxFQRg60KRxOE6eTju8N2-9pW9Uc7s/s1600/Saturn+Kamea+drawing.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="269" data-original-width="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixcYs5ivuTDVxHeEe9qVr4leZKW72P7UWP0sdnIV-_yhkYHIs1AGfT7kD3tBYQRdT0GrTWlbkJIVEHjRmS5scQYTVoiE9ftfaeKQuJNtFngZoPSmxFQRg60KRxOE6eTju8N2-9pW9Uc7s/s1600/Saturn+Kamea+drawing.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Saturn Drawing</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh468RYH0flNSnNxROl3HQHVqOEwKMGKfhuq-aoIRRU_NZzpeh2hzr7b6Lu0RioOlEBoDkRhXnkYTqUG0Jp9LrsCqNgg0vrRQtZUi-8YXOA7GHl6C8dUuNNpjXjGQ6KdNiIP7nTuSTnhIY/s1600/Saturn+Kamea.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /><img border="0" data-original-height="291" data-original-width="284" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh468RYH0flNSnNxROl3HQHVqOEwKMGKfhuq-aoIRRU_NZzpeh2hzr7b6Lu0RioOlEBoDkRhXnkYTqUG0Jp9LrsCqNgg0vrRQtZUi-8YXOA7GHl6C8dUuNNpjXjGQ6KdNiIP7nTuSTnhIY/s200/Saturn+Kamea.png" width="195" /></a><br />
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Notice how the seal has bilateral symmetry with the axes of symmetry falling on the whole kamea's diagonals. The middle set of numerals also creates a line of symmetry (in red). The sets before and after the middle set make designs that are reflections of each other. Also, there is a convergence of lines on both sides of the center block.<br />
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I don’t know why this one planetary sigil was drawn using this technique, while the others were not. But I began to wonder what would happen if I applied these drawing methods to the other kameas. Allow me to walk you through my process.<br />
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So let’s draw on the other kameas, but only those that are based on odd numbers for now. Using the same methods we observed in the sigil of Saturn, we first write down all the numerals of each square and divide them into sets appropriate for the planetary number, then we draw out each numeral set using circles to start and end each set. Some interesting designs appear. We can see that there is bilateral symmetry in them. Again, the numeral set in the middle creates one of the lines of symmetry (in red). Each of the pairs of numeral sets on both sides of the middle set create designs that are reflections of each other. Also, all the beginnings and endings of the numeral sets straddle the diagonal (with the exception of the middle set). I’ve illustrated all of this with colors again to make it all easier to see.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHmPYE9I39HABNYoIEeBLiizHcfN7Nfpj4xNEctYhvV0xnmJng0FQPblBkCy8v_0NKEgmoG9BMr8jRNT8u7rIcaM4lHV5q7acRyN81nIvZA3rnNyqITYTWaBk7XxBCwqG84yXldj0_2A4/s1600/Mars+Kamea+drawing.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="421" data-original-width="711" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHmPYE9I39HABNYoIEeBLiizHcfN7Nfpj4xNEctYhvV0xnmJng0FQPblBkCy8v_0NKEgmoG9BMr8jRNT8u7rIcaM4lHV5q7acRyN81nIvZA3rnNyqITYTWaBk7XxBCwqG84yXldj0_2A4/s1600/Mars+Kamea+drawing.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mars Drawing</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOsgcW0-gAna5UnIYL3YpSfdeP4_j3UfJ7WPwuQt3a37xHwsZpPHenWP8aiOM0-3Y9vqrsqeTkURFvoCSPBaU8QAMm0TutiD4zlesbYKTom1GMgRkFRCvbCzMp3epZYzHFrTxw5xzE1mE/s1600/Venus+Kamea+drawing.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="420" data-original-width="729" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOsgcW0-gAna5UnIYL3YpSfdeP4_j3UfJ7WPwuQt3a37xHwsZpPHenWP8aiOM0-3Y9vqrsqeTkURFvoCSPBaU8QAMm0TutiD4zlesbYKTom1GMgRkFRCvbCzMp3epZYzHFrTxw5xzE1mE/s1600/Venus+Kamea+drawing.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Venus Drawing</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiouZiFIyN0up_VzOqBGerjKIkTRdDxbgdMl2eK5G0BUM3IFrROfmpfthbKZTN_pgu1xPaISe8CSKCzIH1_3OHo9-yPRh5R17yrOCO-k7C9Gl8UepSeQ9VgB7BqVISbNjRlsQL_bwbjOQU/s1600/Moon+Kamea+drawing.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="420" data-original-width="676" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiouZiFIyN0up_VzOqBGerjKIkTRdDxbgdMl2eK5G0BUM3IFrROfmpfthbKZTN_pgu1xPaISe8CSKCzIH1_3OHo9-yPRh5R17yrOCO-k7C9Gl8UepSeQ9VgB7BqVISbNjRlsQL_bwbjOQU/s1600/Moon+Kamea+drawing.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Moon Drawing</td></tr>
</tbody></table>
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What this shows is that the odd numbered kameas represent the symmetry inherent in mathematics. In order for all the rows and columns of blocks to sum the same, the very largest number must be placed opposite to the very smallest, then the next largest and smallest, and so on until the middle of the available numbers is reached. This isn’t magic, it’s just math. We can also see from the patterns that all of the odd numbered kameas are based on a similar numeral arrangement, but just increase their complexity as the kameas get larger. This makes the convergence that we saw on both sides of the middle block no longer the only convergence.<br />
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Let’s apply the same drawing methods to the even numbered kameas and see what happens. Jupiter and Mercury also show a bilateral symmetry. Since there is no middle numeral set, the sets simply pair up evenly without it. However, now the axes of symmetry have been rotated 45 degrees from the diagonals to the vertical and horizontal. Also, the start and end of each set has moved to the outer blocks. A convergence of lines becomes prevalent, only now all of the numeral sets is contributing. Here are more colors to illustrate all of this, though Mercury started to get visually busy, so I separated the first four numeral sets from their mates. This also helps to show the symmetry that is happening, as the first four sets create a mirror image of the last four sets. Notice also that a pentagram is starting to appear in Mercury's crossing lines.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj689kGBL3noYAEFKMwxDPs4I5SJMoV-az_FUUshZCy44VqnwanbKQ9V5ntZfVE6uenzcLHBC1vkEFDinBDT-WGUMzXy_bZRTj354ms9AH13KQzruAgVo1rCgQA6zgqvC9dfS3aB9evmV0/s1600/Jupiter+Kamea+drawing.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="380" data-original-width="599" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj689kGBL3noYAEFKMwxDPs4I5SJMoV-az_FUUshZCy44VqnwanbKQ9V5ntZfVE6uenzcLHBC1vkEFDinBDT-WGUMzXy_bZRTj354ms9AH13KQzruAgVo1rCgQA6zgqvC9dfS3aB9evmV0/s1600/Jupiter+Kamea+drawing.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jupiter Drawing</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghCHdqaZtDj2gXztPtqTSGKXcXNQzH0L7sW4oMc45RprPK-ekt_wkwh_y5Zs9V4HNFXPFskF5z98OSLPE2rnMGVw-qHvk7t7fJ4IXurEoeEsKz7Vkw6P4JvLWmk8uWjRFIYy_mY1xlDQM/s1600/Mercury+Kamea+drawing.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="346" data-original-width="1003" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghCHdqaZtDj2gXztPtqTSGKXcXNQzH0L7sW4oMc45RprPK-ekt_wkwh_y5Zs9V4HNFXPFskF5z98OSLPE2rnMGVw-qHvk7t7fJ4IXurEoeEsKz7Vkw6P4JvLWmk8uWjRFIYy_mY1xlDQM/s640/Mercury+Kamea+drawing.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mercury Drawing</td></tr>
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The odd man out in all of this is the kamea of the Sun. When we start to draw the lines from the sets, we quickly notice that there is no symmetry! Drawing it to the end shows that there is only one point of convergence to the right of center and there are several sets that force a drawn line to be back-tracked, which <i>never </i>happens in any of the other kameas. However, the sets do begin and end only on the outer blocks. I've separated the mates of the pairs, as I did in the Mercury drawing, to show the lack of symmetry.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNnugIuI5F6ZrdW4G37oraNqovxxDbfHNhQBpB21_MJiXWBj1Dv6Qy52qC6UlGAyr55WSB8Qi8Ny6J_Cl2KGidrUN6GDtXRLSilfGApIII0LgxMVZT6sOoSLTGIWsrN6ULj7qJM1g_1UE/s1600/Sun+Kamea+drawing.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="380" data-original-width="1028" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNnugIuI5F6ZrdW4G37oraNqovxxDbfHNhQBpB21_MJiXWBj1Dv6Qy52qC6UlGAyr55WSB8Qi8Ny6J_Cl2KGidrUN6GDtXRLSilfGApIII0LgxMVZT6sOoSLTGIWsrN6ULj7qJM1g_1UE/s640/Sun+Kamea+drawing.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sun Drawing</td></tr>
</tbody></table>
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Since I know that there are many different arrangements of numbers that can create a magic square still fulfilling the row and column summation rule, my first thought was that tradition had brought down to us the wrong 36-block kamea for this planet – one without symmetry. So, I tried to build a kamea that fit the rules displayed by all the other kamea. This proved impossible. Here’s why it’s impossible.<br />
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For an even numbered kamea to have bilateral symmetry, the base number must be divisible by 4, because bilateral symmetry creates a reflection (two images) on two planes, which creates quadrants of images (2 images x 2 planes = 4 images). Imagine a kaleidoscope that only produced four images inside it. Odd numbered kameas don’t have this problem because one of their numeral sets creates one of the needed lines of symmetry; a midline will always be built into those drawings. If we had kameas with a base of 10, 14, 18, 22, 26, etc., they would all show the same problem with bilateral symmetry, because they are all even numbers that are not divisible by 4. Again, this isn’t magic, it’s just math, though I will agree that math, particularly as it applies to shapes (geometry) can be very sacred.<br />
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By now you have likely wondered exactly what technique was used to create all those sigils of the planets that have come down to us - the ones at the very beginning of this entry. Well, unfortunately, no one knows. The best hypothesis I’ve seen to date was done by a clever Rosicrucian, who speculated that a counting technique was applied to the kameas. That information <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwjjqpOSmK7UAhVIySYKHbBaC-0QFggoMAA&url=http%3A%2F%2Fwww.rosae-crucis.net%2FDrawing%2520Planetary%2520Seals%2520from%2520the%2520Kameas.pdf&usg=AFQjCNF3N30Y9_w6zIRbn3FD-qeFJ9aCUA&sig2=5E6HX-hIltAfD9rCO_j8Fg" target="_blank">can be found here</a>. For now, we simply accept that it is knowledge lost to the past.<br />
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If any of you have done work with kameas and planetary sigils, please comment your insights below or link the rest of us to your pages.<br />
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Thanks for indulging my mathematical deviation.Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com1tag:blogger.com,1999:blog-7053921415082342889.post-8723362923272481382017-06-06T09:23:00.000-04:002018-08-03T10:11:10.318-04:00Magic Words and Sigil Magick<div class="MsoNormalCxSpFirst">
Recently, I was working with sigils (again). I was
reviewing the methods used by modern Hoodoo practitioners to make Key of
Solomon-style sigils. It’s fascinating stuff, but there are some elements that
are shortcut. I’ll explore sigils here in an attempt to provide connections
between several very deep topics. <o:p></o:p></div>
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I apologize in advance if something I write seems
as if I’m being cursory. One could likely write a long book about all this.
However, as this is only a blog, my goal is to show you the connections, so that
you will better experience the wonder that I felt when all this began to become
meaningful for me.<o:p></o:p></div>
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Mankind began with sounds, which he modulated in
the mouth. That led to an attempt to make symbols to represent the sounds – as
stated in the movie, The Dark Crystal, “words that stay.” Writing was born. Let’s
explore speech and writing separately.<o:p></o:p></div>
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Since much of what comes down to us in the Western
Mystery schools comes from the Kabbalah, we should start in the Ancient Near
East. Kabbalah was highly influenced by Babylonian numerology and astrology,
which was also influenced by ancient Hindu principles through trade routes. Kabbalah
then lent its systems to Greece. A bit later,
I’ll show a tiny bit how each of these cultures contributed.<o:p></o:p></div>
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Speaking is represented in myth as a very special and
creative event. Yahweh created the universe by speaking it into being. The
Memphite (Northern Egypt) creator, Ptah, created things by what was described
as an act of the heart and the tongue. It’s important to note that the people
of the ANE didn’t view ideas as living in the brain. Mummification (and
warfare) gave people an understanding that there was an organ in the skull, but
no one knew what it did. Thinking was done in the chest – in the heart – where
ideas lived. So an action of the heart and the tongue was an action of generating
an idea and then making it known to the world. This was such a powerful concept
that it led to the esoteric idea that knowing the name of a thing could give you
power over it. Certainly, it gave you
the power of creating it, because until it was named, its creation process was
not complete and so it was not a real thing. For this reason, Yahweh brought
all of the animals to Adam to be named. Each of them needed an <i>identity</i>.<o:p></o:p></div>
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The Hindus have mantras. Mantras are phrases spoken
over and over, perhaps thousands of times, to bring a desired change to your
life by manifesting what is needed. Mantras are made up of “seed sounds.” These
are the basic and core sounds used to form more complex words. Yet these sounds
are not simply utterances. They are mystical vibrations that modulate the resonance
of the universe to bring things into being. By speaking these seed sounds in
the correct order, vibrations move out into the universe to bring about the
desired changes. Often, these changes occur in the mind of the speaker.<o:p></o:p></div>
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But why does the power to create something give
you power over it? To the mythic mind, creation and destruction are the same
process. Raw materials are destroyed and remade as something else. What was mud
or an elder tree became man. What was the body of a titan, became the land, sea
and sky. To gain the power over a thing, you simply need to know what it is
called. This is the reason secret societies (like witches in covens) have
inner-circle names that are never shared. This is also the reason why divine
names become magic words of power. (A completely acceptable charm is to write
the name of a deity on paper, then fold it into a bundle to be tucked into a
mojo bag or a fold in your clothing, to summon the powers of that deity.) Any
word can be used as a magic word because it identifies an essence.<o:p></o:p></div>
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Many cultures believed, and so represented, the invention
of writing as a sacred event, often telling tales of writing systems as gifts
from their gods. Odin brought the runes to mankind; Thoth brought
hieroglyphics. Because writing was a lasting representation of a sound, which
was the word of power naming a thing, the glyph itself had the power of the
sound. It was a representation of the very essence of the created thing. <o:p></o:p></div>
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Just as alchemy was the forerunner of chemistry,
so numerology was the forerunner of mathematics. The Babylonians loved their
numbers so much that they would actually use numbers to refer to their deities
as a kind of short-hand honorific. To use a mundane example, if the number that represented
you was the number 123, I could simply refer to you in conversation like this, “123
and I had a great time in circle,” which would be a gesture of respect, because
your number is your essence. Transmitted from the Babylonians throughout the
ANE was the idea that the glyphs of sounds correspond to numbers. <o:p></o:p></div>
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Pythagoras was a clever Greek when he discovered
music theory. Vibrations could be created by mathematically dividing a
vibrating string. Interestingly, the vocal cords are simply vibrating strings
that are similarly modulated like the stretched stings of a lyre (singing). This shows a
deep connection between mathematics and vibration; as such, every sound
corresponded to a particular numerical value. If every sound has a glyph and
every sound also has a numerical value, it means that every glyph has a value.<o:p></o:p></div>
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Because speaking, singing, writing, language and
mathematics are not enough, let’s bring astronomy into this. The Magi of
Babylon were expert astronomers as well as accomplished mathematicians. In the Babylonian
sky were seven dominant heavenly bodies. Their gods ruled over sections of the
sky and were embodied by the seven observable heavenly bodies, which were
mathematically chartable. To state that they believed numerals to be divine was
an understatement! The Babylonian custom used mathematical sums as a
substitution for the names of their gods as a kind of respectful short hand - an honorific, as mentioned above. So
numbers represented their gods, but also the planets.<o:p></o:p></div>
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They assigned a number to each of the planets
based on its speed through the heavens. Saturn, the slowest planet observed,
received the smallest number, 3, followed by Jupiter, Mars, The Sun, Venus,
Mercury, and finally The Moon, which was the fastest body gaining the number 9. </div>
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Each of the assigned numbers were used to create
magic squares, or “kamea.” Kamea are traditional Babylonian and Kabbalistic grids
that contain both rows and columns equal to the planetary number. In each block
of the grid is placed every numeral from 1 through the square of the planetary
number. For example, in the kamea of Saturn, there are 3 rows of 3 columns
containing the digits 1 through 9 (3<sup>2</sup>). The numerals are placed so
that every row and column, as well as the major diagonals, have the same sum.
In the case of Saturn, each row and column has the sum of 15. However, there
are many different ways to arrange the numerals in the kamea to still
accomplish the uniform sum. So there are traditional arrangements of the digits
that have been passed down. Below are the traditional kamea of all the planets.<o:p></o:p><br />
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<br />
Aside #1: the order of planets mentioned above is also how and why the planetary hours are ordered in ceremonial magic charts. I have also seen some schools of thought that use this planetary rulership for the seven chakras.<br />
<br />
Aside #2: the short-hand honorific number of each planet is found by summing all the numbers of the planetary square. Thus, the honorific number of Saturn is 45 (1+2+3+4+5+6+7+8+9=45). This also means that the honorific of the Babylonian high god, the Sun, is 666. This is why the Bible uses this number as the "number of the beast." It is the honorific of the chief god of the oppressing culture.<br />
<br />
The idea that names held power permeated the
Kabbalah, which was used to compose some of the most famous source books for
magical systems in the world, The Keys of Solomon. Anyone who has ever opened a
cover of these books knows they are filled with Solomon’s “seals.” These seals
are simply arrangements of sigils creating designs that can be inscribed on
metals to create charms. Often, the charms are purported to allow the holder to
gain power over certain spirits or intelligences. The designs accomplish this
because they contain the names of these spirits and intelligences represented
as glyphs. The method for creating these glyphs uses sound and numerology to
create a written symbol of power.<br />
<div class="MsoNormalCxSpMiddle">
<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
In Kabbalah, each of the planetary intelligences
and spirits have a name made up of a string of sounds, just like your own name.
Their name is their word of power. Each spirit is associated with a ruling
planet, which has a kamea. If we convert the sounds in the name into numbers, then connect
the numbers using the correct kamea, we create a glyph for each name that
magically represents each spirit. <o:p></o:p></div>
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<br /></div>
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Observing just a few standards, you can use the
same method to make a sigil of your own name, or of any other word that is
powerful to you. Contemporary Hoodoo uses an adaptation of this method. It is an
easy method, but it does deviate from the Kabbalist method just a bit. I’ll
describe the Kabbalist method mentioned above a bit later. <o:p></o:p></div>
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<br /></div>
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For the hoodoo method, use the following table to
convert all the letters in your name to numbers. <o:p></o:p></div>
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<br /></div>
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Now choose the kamea that rules over your natal
zodiac. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
Now simply draw lines to connect the numerals in the
kamea in the order of the name. Here are the drawing standards that seem
apparent to me based on the sigils in the Keys of Solomon. First, no line
should ever be back-traced, which means that every time you visit a block, you
should use a unique line. It also means that when returning to a block that
already has a line-stop, you should stop at some other place in that block.
Second, double numbers should have a small wave or bump to show that the block
was marked twice (or more). Finally, the first numeral should be marked with a
small circle.</div>
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<br /></div>
Here is an example of the sigil
for Hagiel, the intelligence of Venus, which shows a repeated letter and parallel
lines, but no lines are completely back-traced. Notice that returning to block 3
required that we put a stop in a different part of the block, rather than
intersecting with the one that was already there.<br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 11pt;"><br /></span></span>
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Despite the rules, you can flex your creativity a
bit. It appears acceptable for the stops in each block to be rounded rather
than sharp points, or to go from block to block using arcs, rather than
straight lines, so long as the arcs are consistent. The last numeral can be
marked in many ways, such as with a final circle, a small perpendicular line, a
wave, a chevron, or simply stopping. The sigil is your creation and it carries
the power you put into it.<o:p></o:p></div>
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<br /></div>
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You can also build sigils for other words that are
powerful to you, such as “health” or “money.” You would simply use the kamea
appropriate for those purposes. These are the accepted hoodoo associations of
each of the planets.<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
Sun: Health,
vitality, ego, power, success, advancement, leadership, and growth<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
Moon:
Clairvoyance, sleep, emotions, astral travel, imagination, women, birth, and
reincarnation<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
Mars:
Male sexuality, strength, lust, anger, destruction, medical issues <o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
Mercury:
Communication, intellect, writing, contracts, information, wisdom, science,
memory<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
Jupiter:
Success, abundance, money, growth, gambling<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
Venus:
Love, pleasure, female sexuality, arts, music, beauty, luxury, social
affairs<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
Saturn:
Real estate, banks, debt, obstacles, binding, knowledge, time, discipline<o:p></o:p></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
If you are feeling a bit nefarious, you can also
build a sigil to represent another person to gain power over them.<o:p></o:p></div>
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<br /></div>
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The difference between the hoodoo version and the
Kabbalistic version is that the latter relies on sound, rather than just
letters. Rather than the names being converted based on the letters used to
write the name, they are converted based on the sounds that are used to
construct their utterance. The values of each sound can be found in the
following table (Mathers, 3). Note that the values for the sounds <i>k</i>, <i>m</i>
and <i>n</i> differ when they are final
sounds than when they are elsewhere in the word. For the sound made by <i>w</i>, use <i>v</i>. There is no letter <i>e</i>.
Short vowels are generally ignored, which leaves the sound created by an <i>e</i> represented by either the long <i>a</i> or the long <i>i</i>,<i> </i>depending on which
sounds closer. <o:p></o:p></div>
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Also note that there are values that are too large
for some kamea. In that case, simply drop zeroes until the number fits. For
example, the name “Tom” would be a strong T (9), then O (70 or 7), then a final
M (600 or 60 or 6, not 40). The name “Steve” would be S (60 or 6), a strong T
(9), a long <i>ee</i> sound, represented by
the I, Y (10 or 1), then a V (6). The final vowel is silent.<o:p></o:p></div>
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<br /></div>
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<br /></div>
<div class="MsoNormalCxSpMiddle">
Oddly, the numerology table used in hoodoo is the one
also used in so-called “Pythagorean numerology.” This is an odd name to me
because the Greeks had an alphabet of <i>sounds</i>,
just as in Kabbalah, and were big fans of assigning numbers to the <i>sounds</i> made by their alphabet. This was
a very popular process called Isopsephy and was used even for very mundane
affairs. They did not have letters that made
multiple sounds as we do in English. It seems to me that the best Pythagorean
numerology table would be based on sounds and would use the original
isopsephographic values that the Greeks used so often. That translated table
would look like this.<o:p></o:p></div>
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<br /></div>
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<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
The value for
each row in the table increases by a factor of 10. So G is worth 3 and L is
worth 30, while T is worth 300.<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<span class="apple-converted-space">Whether you
use the Hebrew, the Isopsephy or the “numerology” table to assign values, you
now have all you need to move forward in sigil magic.</span><o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
For more information on the numerology of the
Babylonians, investigate <i>Trail of the
Serpent</i> by Christian writer, Murl Vance.<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
References:<o:p></o:p></div>
<br />
<div class="MsoNormalCxSpMiddle">
Mathers, S. L. Mac Gregor. <i>The Kabbalah Unveiled</i>. Theosophical Publishing Co., New York. 1912.<o:p></o:p><br />
<br />
If you have any interest in diving into a more mathematical look at the kameas, feel free to look at my next entry, <a href="http://spiritslip.blogspot.com/2017/06/more-math-in-magic-squares.html" target="_blank">found here</a>.</div>
Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com1tag:blogger.com,1999:blog-7053921415082342889.post-22953905345822569282017-04-20T12:55:00.000-04:002017-09-14T10:52:15.051-04:00Witch’s Work using the Powers of the Witch<div class="MsoNormal">
In my particular coven, we have what is called “witch’s
work.” This is the stuff within ourselves on which we must work to become
better people and more powerful witches - to really evolve our spirits so we
can move to the next chapter in the improvement of our spirit.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I don’t know if all covens teach about witch’s work, though
I suspect not. I was taught that all covens teach it (or maybe should). But
most of the Wiccan covens I’ve encountered are not concerned with any ultimate
end goal for their existence here. Some of them show a morality that is merely borrowed
from Christianity, or no morality at all. At best, they simply go about their
lives like pagan robots, accepting only the techniques and teachings of a
favorite author, not fully understanding that there is a larger goal and a story
that transcends just the here-and-now. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
How does one know what one’s work is? I was taught that a
clue comes from one’s astrological natal chart. My experience is that this
merely scratches the surface of what the work might be. It is simply the shadow
cast on the wall by a very complex and deep problem requiring handling. The best
way to know what is one’s witch’s work is to look at one’s fears.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Fearing the Past</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Fear is a funny thing (funny-weird, not funny-haha). It has
built into it the desire to turn away from it, yet it is the very thing at
which we must look to understand how to propel our spirits forward. Any time
there is something about your life that you fear, you are receiving a clue that
the issue needs some attention. So fear is a scab – a kind of bandage – that prevents
us from seeing or even knowing that we have a wound.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This doesn’t mean that because you fear death, you should
experiment with killing people or yourself. I don’t mean that <i>everything</i> you fear is a life lesson. Fear’s job is to be a warning
that something you face in the environment may hurt you, so fear has a place
and should be respected as a useful tool. Instead, I mean that those parts of
your inner self about which you are inflexible, intolerant, and resistant, may
be the very parts of yourself at which you should look for a deeper
understanding about your inner nature, or what needs some attention. The most
useful manifestation of fear at which we should pay attention for clues into necessary
change is embarrassment. It is the condition you feel when your self-worth has been completely destroyed. When you are embarrassed about something, it’s because
you fear the judging and belittling thoughts <i>you believe</i> others think about
you. Most of the time, your belief is based on speculation, rather than true knowing. Your inner power becomes completely destroyed when you are embarrassed because you believe the speculations.<br />
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you are someone who fears commitment, you should dive
into those parts of yourself. If you fear success or learning, you should dive
into understanding why. If you fear being alone or crave control over others,
you should pay extra attention to the part of yourself from where those desires
come and why they exist in you.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I once had a teacher that seemed to have a problem defining
his identity. He was someone hungry for power, which I suspect was what brought
him to Wicca. In Wicca, one can simply do the rituals for a few years to get one’s
elevation to be a High Priest. This happens because spiritual lessons are tough
to prove that they have been successfully learned. No one wants to call out
someone as the person who can’t do witchcraft, because proving the claim is nearly impossible. As long as a witch can lead a circle well, he tends to be
elevated, even if he can’t do any of the “powers of the witch.” (I digress; more
on these later.) My point is that my “teacher” had no idea that he was a
megalomaniac and had even less inclination that he should work on that part of
himself to be a better person. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The witch’s work exists within each of us because of our
life experiences. We are the product of the experiences of our pasts. We get
hurt and so we begin to fear commitment; we get approval for our learning and so
we begin to crave knowledge. Everything that happens to us helps to shape who
we are. But often those experiences teach us behaviors that are not healthy or
helpful. They can be obsessive, avoiding, or oppressive over others. Basically, our experiences help to create baggage.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Self-Knowledge</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Greek Philosophers said, “Know thyself.” This axiom has
been the foundation of countless spiritual movements throughout the Western
Mystery Schools. The entirety of the New Age and New Thought movements are
based on this axiom, buried somewhere in their deep foundations. Yet it is the
first axiom forgotten when it comes time to do the witch’s work.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When a witch knows his inner self, he knows all of his dark faces. He
has put names to the parts of himself that makes him afraid. He knows that he
is inclined to crave power, or solitude, or love, and he knows why each of
those cravings exist. He has faced those damaging experiences that helped
to create those conditions in his personality. More so, he has freed himself from the power that those past experiences have over his current self. The
past no longer influences his decisions of the present, so his decisions are based
on what is actual, rather than on the inaccurate perceptions of the world he
thinks he remembers.<br />
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By contrast, most who are not doing the work simply have no
idea that the past created these conditions in their personality. They are not
guilty of failing to handle the baggage that is the source of their fear. Instead
they simply assume that they are free of baggage, so they believe there is no work they need to
do. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here’s a hint: being in this material world is all about becoming
a better you, with new lessons every day. School won’t end until you’re dead,
with the experience of your own death being the final lesson. So if you think
you’ve learned all the lessons of this life and can just spend the rest of it
coasting along as a powerful witch, you are just plain wrong. Stop fooling
yourself and get back to class.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>The Witch’s Classroom</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Wiccan Tradition has perpetuated a list of witch powers.
These are powers that can play two roles in the evolution of a witch. The first
happens when one or more powers are pre-existing in a mild form. They can be
clues to a person that one is a witch at all. This is not an exclusively witchcraft
kind of thing; the truth is that anyone has the ability to develop all of these
powers. However, everyone has a few powers that are more difficult to develop and
a few that are easier to develop. Yet many witches can mark at least one of
these powers as the one that blossomed in them to such a degree that they became called to study witchcraft. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The second role that the powers of the witch play is to
function like a crucible, burning away the parts of our personality that limit
us. The efforts through which we go in our studies of the powers of the witch
help to refine our spirits. This happens because there is something built into
these powers that exercise all of the intuitive parts of the human spirit. As
we work with the intuitive, we are brought face to face with the parts of ourselves with which we
are not comfortable. As we exercise each of our inner qualities, they get
stronger, which makes each of our inner qualities better. Yet the powers of the
witch will effect no change if one simply assumes that one’s work is done and so stops trying. As with any system, “the system works, if you work it.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The best public source for the witch's powers comes from Charles
Godfrey Leland’s 1890 work, <i>Aradia, or
the Gospel of the Witches</i>. Here is the list of powers as Leland presented
it. I will elaborate on each one.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>1. To bless or curse with
power, friends or enemies</i> <o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .75in;">
This power deals with the ability
to cast spells. As this is not a treatise on the nature of spell work, I will
not provide details, but suffice it to state that spell work is the ability to
cause positive or negative events to occur in others’ lives through the effort
of sheer will.<o:p></o:p></div>
<div class="MsoNormal">
<i>2. To converse with
spirits<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .75in;">
This power deals with the ability
to be clairaudient. The witch is capable of sensing, which is more so a mental
sense, the thoughts of non-corporeal beings. These could be spirits that were formerly
alive or environmental spirits that never had a body.<o:p></o:p></div>
<div class="MsoNormal">
<i>3. To find hidden
treasures in ancient ruins<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .75in;">
This is the power of dowsing. It
can be done using dowsing rods, pendulums or other divinatory methods that
point to locations. The “treasures” mentioned here are not necessarily of
monetary value.<o:p></o:p></div>
<div class="MsoNormal">
<i>4. To conjure the spirits
of priests who died leaving treasures<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .75in;">
The “conjure” used here denotes
this power as being very different from #2. This is the power to cause a spirit
of a previously living being to create a physical manifestation, usually in
smoke, or to perceive the spirit (clairvoyance), to pass along knowledge. In common
parlance, this power is called “necromancy.”<o:p></o:p></div>
<div class="MsoNormal">
<i>5. To understand the
voice of the wind<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .75in;">
This is the power to interpret the
impending weather. It is not “weather magic” as many believe. Weather magic is
actually a product of #1, for as you bring positive events into your own life,
you bring the weather that is best for you. Instead, this power is simply a knowledge
of what the weather will be before it happens, through the observation of
patterns. Basically, it is a kind of meteorologic forecast, but using
experience instead of scientific sensors.<o:p></o:p></div>
<div class="MsoNormal">
<i>6. To change water into
wine<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .75in;">
Many incorrectly call this power “transmutation”
and it would seem that it is an application of alchemy. In fact, it is the
ability to cause “intoxication” from water, usually by the addition of the
correct entheogenic plants, or through the process of fermentation. This power is
an extension of shamanism and herbalism.<o:p></o:p></div>
<div class="MsoNormal">
<i>7. To divine with cards<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .75in;">
One of the forms of divination,
this is the power of understanding the unseen using a common, mundane tool. Cards
are only one of many possible tools.<o:p></o:p></div>
<div class="MsoNormal">
<i>8. To know the secrets of
the hand<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .75in;">
Better known as “palmistry,” this
is the power to understand a person’s inner nature by reading the lines on the
palm. By understanding one’s nature, a witch can also predict likely futures. This
latter ability is what turns a rather academic study of palm lines and bumps
into an intuitive and very magickal art.<o:p></o:p></div>
<div class="MsoNormal">
<i>9. To cure diseases<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .75in;">
This power is an application of
herbalism, but also of energetic healing such as reiki and shamanism. It deals
with any power that takes away disease, including the disease of the emotions
and the mind.<o:p></o:p></div>
<div class="MsoNormal">
<i>10. To make those who are
ugly, beautiful<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-left: .75in;">
This power is also called “glamoury”
and is part of love magic. It is the power to manipulate the perceptions of
onlookers in any way that succeeds. It can be achieved by changing the physical
using make-up and clothing, modifying perceptions of character, or spells that
modify the situation to produce favorable conditions for love. It is not a
power that causes love where there was no chance of it happening. It creates
the most fertile possible garden for love.<o:p></o:p></div>
<div class="MsoNormal">
<i>11. To tame wild beasts<o:p></o:p></i></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal" style="margin-left: .75in;">
This is the power to learn and
understand the communication and behavior patterns of animals so that they work
for the witch, rather than in opposition to him or simply ignorant of him.
Examples of this can be seen in the efforts of popular trainers such as the
dog, horse or cat whisperers. But this power goes more deeply because it
incorporates the witch’s understanding of the spiritual role those animals play
in the larger web of which we are all a part.<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto;">
EDIT (21 April 2017): Many
people think this list is incomplete. They claim that the witch has 13 powers,
not 11. This comes from the popular poem listing 13 powers, which was an expansion of Leland's list and published in 2003 by Silver Ravenwolf in her book <i>Solitary Witch</i>. It is a wonderful poem and adds powers like astrology and weather magic. Certainly, these are powers that witches use. Any intuitive power that a witch exercises will help them to evolve the spirit. That poem is the first time that the witch's powers were represented as a kind of witch-dowry that can be passed on in ritual, somewhat the way reiki attunements are transferred.<br />
<br />
<b>Goal Oriented</b><br />
<br />
Some people also wonder why the list doesn't cite the powers that they hear about in movies or the
pop culture of witches, like psychokinesis or astral projection. The list seems
incomplete because many people don't realize that this is not so much a list of powers,
as it is a list of goals. Witches don’t do anything unless there is an end goal
in mind, whether that be healing, causing love to bloom, finding information,
or whatever. Most of the “powers” that people think should be on this list are
just other methods to accomplish one of the listed goals. Getting good at
astral projection seems like a nice idea, but what good is it if you aren’t
using it for a reason. Projection for the sake of projecting is a useless
endeavor, other than the experience it provides to you. <o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto;">
The
ultimate goal of this existence is to learn power to be helpful. As witches
move through the effort to learn each of these powers, we become better and
more helpful people. It is the goal of the witch - of anyone in a village - to
serve his people. Throughout the history of mankind, the powerful in a tribe
became healers and helpers, because they knew that everyone had a role to play
to help humanity survive this wild material plane. <o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: 0in; mso-add-space: auto;">
<br /></div>
Many
witches will tell you that anyone who tries to use his powers to harm his people
will find his powers robbed from him. The paradox of power is that it is
actually just a loan of experiences from the universe. If you abuse it, you
will lose it.<br />
<div class="MsoListParagraphCxSpLast" style="margin-left: 0in; mso-add-space: auto;">
<o:p></o:p></div>
Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com0tag:blogger.com,1999:blog-7053921415082342889.post-53164554169952780732017-03-24T10:45:00.001-04:002018-01-24T08:26:31.564-05:00A Pagan LifestyleI am a critical person; it's built into my personality as an "internal processor" and it is part of my "witches work" to juggle it until the day I die. I won't deny it, but I'm also not going to sugar-coat it. However, I will attempt (as I regularly do) to channel this trait into a positive characteristic rather than a destructive one.<br />
<br />
A rant that regularly passes through my head comes from the criticism I exact against many contemporary pagans. In my opinion, most self-identified pagans don't live a very pagan lifestyle. They call themselves pagans, but they don't act as if their pagan-ness is driving the decisions of their world.<br />
<br />
It is accepted that Wicca is a pagan religion. It is said that all Wiccans are pagan, but not all pagans are Wiccan. Wiccans are typically called "witches." It is very possible for someone to be a non-pagan witch. An example would be a Curandera, a Hispanic spiritual healer who uses ritualized actions to seek the involvement of the power of the Christian God and Angels. It's also possible to be a pagan believer, but to do no witchcraft.<br />
<br />
What would be examples of pagan-ness expressing itself? If you are pagan, ask yourself these questions:<br />
<br />
<ul>
<li>Do you step on an insect without understanding its journey at that moment in time, even if you find it completely intrusive?</li>
<li>Do you recycle, even if your town doesn't provide it?</li>
<li>Do you know the names of the trees in your yard or on your block? Are they native plants or are they completely invisible to you?</li>
<li>Do you cook with the herbs from your magical collection? Have you ever actually done a spell at your kitchen stove (your "hearth")?</li>
<li>Do you worry about the chemistry that goes down the drain with your laundry soap?</li>
<li>Do you wonder what's in your soap that isn't soap, or in your canned goods that isn't food?</li>
<li>Do you avoid the outdoors because it's humid, has mosquitoes, or you can't get a cell signal?</li>
<li>Do you throw things in the trash completely unthinking of where they go next?</li>
<li>Do you have any idea how many things in your home - in the room with you now - are made of plastic?</li>
</ul>
<div>
I know some (or many) of the examples of a pagan mindset seem to be very much part of the modern "environmental" movement. Efforts to recycle or keep the oceans clean, or protect tuna, or prevent dog fighting, or prevent glaciers from melting, all stem from a pagan mindset. </div>
<div>
<br /></div>
<div>
This means that a great number of people, of all different religions, have a pagan mindset, or at least the seeds of one. It is the result of tens of thousands of years of being tribal people, living in close concert with the land. We can imprint whatever culture - whatever religion - on top of it we want; we can obscure it in many ways. Yet it will always rise to the surface because humanity has spent the majority of its evolution being close to and part of the web of life. It is a quiet calling at the back of our minds. That kind of lifestyle can't simply and completely disappear. It is an instinct that is built into our DNA. Yet we do have the ability to avoid it, or to focus on an empty pleasure that makes us feel and believe we are fulfilled.</div>
<div>
<br /></div>
<div>
From time to time science will reveal a study that proves this connection. The <a href="http://www.dec.ny.gov/lands/90720.html#Reference" target="_blank">state of New York, Department of Environmental Conservation</a> has prepared an excellent web page highlighting some of this research. The studies prove that living as a part of nature is essential to the correct functioning of our bodies and minds (and by extension, our spirits). Our very lives depend on us maintaining a connection with unspoiled nature. By not living a pagan lifestyle, we are harming ourselves. The fact that an environmental movement exists at all is evidence that something deep inside humanity wants us to be working harmoniously with nature, rather than in opposition to it.</div>
<div>
<br /></div>
<div>
In addition to the environmental movement, pagan-ness hides throughout our modern world because the instinct to be pagan seeps out of humans when we aren't looking. It shows up in Disney movies about an American Indian princess, or the birth of a lion cub, or the story of a girl who can talk to the ocean. It lasts in the wishes we make as we blow out birthday candles. It drives the movement to leave cities for a rural life, or to buy a tiny house, or the farm-to-table movement. It keeps the herbal medicine industry alive. It sings about the satisfaction in a hard-working life that enriches Country music. The pagan way of life speaks quietly to us from a memory that is older than language itself. </div>
<div>
<br /></div>
<div>
I have watched too many pagans operate as if they are no different from the Christian or the Agnostic or the Atheist or the Jew next door. Few pagans these days have any idea how to live a pagan lifestyle, but more sadly, even fewer of them even care to try. </div>
<div>
<br /></div>
<div>
As time passes, humanity moves more and more away from these memories. Many of us now operate by using a product briefly, then discarding it. We have even begun to discard things before their usefulness is gone, so that we can have the things that we are told we ought to have - the newest phone, a bigger house, better clothes and even the newest medications. As a species, humanity is drifting away from its inclination to be connected to nature - to be pagan - and that drift is making our species unhealthy. </div>
<div>
<br /></div>
<div>
I'm not saying that, to be a contemporary pagan one must sell everything and go live in a yurt or join a commune. I'm simply asking that people who claim to be pagan spend some time allowing their pagan-ness to express itself in small ways throughout their lives, even if it goes contrary to popular culture and social media. I urge pagans to do whatever it takes to avoid the trap in which they suppress their pagan natures to become part of the contemporary age. There are many ways to be a part of this age without obscuring one's pagan side.</div>
<div>
<br /></div>
<div>
When I first converted to paganism, it was because I attended a ritual that made me remember this inner pagan memory. I discovered something inside myself that felt very ancient, yet very correct.<br />
<br />
I also had high hopes for the other pagans I encountered. I thought that we were part of an awakening of something buried deep within humanity. Over the years, my disappointment has grown as more and more pagans I encounter show they have no idea how to live a life that honors nature, or even gives nature a thought.<br />
<br />
Update (January 24, 2018): Happy New Year! I want to address the presence of a movement in neo-paganism that is gaining ground. More and more these days, I find people who call themselves "technopagan." This is a spirituality that promotes the spiritual evolution of man through the progression and application of his technological advances. The idea here is that mankind is intelligent because nature made us that way, so all the tech produced by humans is part of Nature's design. Since we have invented the means to augment ourselves, we should be doing so as part of our natural, evolutionary journey.<br />
<br />
I can agree with this perspective to a point. I don't think that technology is necessarily in opposition to paganism, but I think much of today's technology definitely is.<br />
<br />
I keep my own home clean and orderly using a practice my mother taught me. The act of "using" a tool is a 3-step process; it includes taking it from its storage place, using it as was designed, and finally (this is the important part) putting it back into it's storage place. To put it more simply, if one doesn't have time to put something back where it belongs, one doesn't have time to use it, at all. Resolving the use of the tool requires ensuring it is handled correctly when it is no longer useful.<br />
<br />
Inventors produce machines. The machines are mass produced so that everyone can evolve. Eventually, the machines wear out or become obsolete. Then the machines are thrown into a pit and buried, where all of the materials we invented decay. Ew. My problem with the technological age is that is fails on its follow through at the end of the inventive process. It is this failure that is anti-pagan. The things we invented were done so only to produce a desired effect. At no point during the development, design and use do we consider how we are going to undo the invention when the time comes -- how we are going to dispose of the invention and its materials. This disposal is an important step because it not only considers the health of the natural system of which we are a part, it also considers the effect of the invention and its core materials on human beings, which are part of that natural system.<br />
<br />
What good is a nuclear power plant if we have no process to ensure that the radioactive waste it produces doesn't harm the natural world? What good is a cell phone in every pocket if its batteries create toxic runoff? What good is a diamond laser if its gem was produced by an oppressive regime that cuts off the hands of the poor? What benefit has a sterile plastic syringe when it drifts from beach to beach and eventually kills sea life?<br />
<br />
I like the benefits that technology provides, but all of us, including myself, need to think through any invention to its very end to ensure it doesn't cause harm after it provides its benefit. If technology was handled this way, it would be entirely pagan.<br />
<br />
Given that this lack of follow-through is the dominant MO, I have to wonder if "technopagan" is even the correct name for this movement. Its advocates claim that they are using technology to spiritually evolve. It is the focus on the spirit, specifically, that makes this a religion. But there is a religion in the world for every person who considers deity and one's own spiritual journey. So why call oneself pagan? Is someone a pagan only because one uses technology in ritual? Is it the use of spells that makes someone a pagan? Certainly, there are Christians who use spell work. There are also Jewish mystics who use a process that could be called magick. Just using magic doesn't make someone a pagan; pagan is a mindset that seeks a close relationship with the way the natural systems typically work. I suspect that a better word for these people is "technomage."</div>
Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com3tag:blogger.com,1999:blog-7053921415082342889.post-37059917338134850472017-02-13T11:15:00.000-05:002018-08-03T09:47:12.309-04:00Pentagrams, Traditions and Pagan EvilI've recently noticed a modification or reworking to a practice that has been around for a long time. The invoking and banishing pentagrams have been used in magick, as a result of ceremonial influence, for about the last 150 years. However, I've recently noticed that there has been a new form of invoking and banishing pentagrams circulating on the internet. I'm not entirely sure why someone decided that reinvention was necessary, but I decided to explore the topic.<br />
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The earth banishing pentagram is more commonly known from its use in the <a href="http://thelemapedia.org/index.php/Lesser_Ritual_of_the_Pentagram" target="_blank">Lesser Banishing Ritual of the Pentagram</a> ("LBRP" for short). The LBRP is a kind of energetic prayer, which incorporates visualization, body movements and vocal intonation. It originated as a Jewish prayer and many original elements are still present. Personally, I don't do the LBRP <i>ever</i>, for the same reason I don't do the Tibetan prayer to the dead or the Christian mass. They simply are not my religion. The Golden Dawn may use magic, much like many pagan traditions (including my own), but that doesn't mean it is a pagan religion. </div>
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It stands to reason that if there is a pentagram that banishes, there must be one for the reverse of that, which is accepted to be invocation. It also follows that there must be a pentagram for each of the other elements also. So we find that there is both an invocation and banishing pentagram for each of the elements. All of them have a traditional drawing technique used to create them. The techniques come from the Golden Dawn by way of Eliphas Levi. Both Levi and the GD by extension, base much of their magical principles on the Kabbalah. I have been unable to determine if the techniques for drawing the pentagrams extend back into Kabbalah, or if they began in the late 19th century with the western mystery schools already mentioned. </div>
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A digression: banishing is not the opposite of invocation, though it can function to do something similar. The word "invocation" comes from the Latin meaning "call upon" (not "call in"). An invocation is a means of speaking to a being, to ask, or perhaps to implore, its <i>attention</i>. Only its attention or consideration is being called, not its presence. To achieve the presence of a being, you must do an <i>evocation</i>, which comes from the Latin for "call forth." To evoke a deity is to bring it into your presence, so banishing is completely the opposite of evocation. Incidentally, those who are drawing into themselves the presence of the Goddess every Full Moon are not invoking or evoking, they are actually <i>introvoking </i>("to call within"). Digression finished; back to the pentagrams.</div>
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The traditional method of drawing each of the invoking and banishing pentagrams can be seen in this graphic from an article over at Llewellyn.com:</div>
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<a href="http://www.llewellyn.com/blog/wp-content/uploads/2011/10/InBanElPents-copy.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://www.llewellyn.com/blog/wp-content/uploads/2011/10/InBanElPents-copy.gif" width="320" /></a></div>
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For the sake of reference, let's also glance at the placement of the elements at each of the points of the pentagram:<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://www.thoughtco.com/thmb/oYyVlZItJEBcoJhFu0vxGUjQMm4=/768x0/filters:no_upscale():max_bytes(150000):strip_icc():format(webp)/5elements-569ff3695f9b58eba4ae1afc.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://www.thoughtco.com/thmb/oYyVlZItJEBcoJhFu0vxGUjQMm4=/768x0/filters:no_upscale():max_bytes(150000):strip_icc():format(webp)/5elements-569ff3695f9b58eba4ae1afc.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Catherine Beyer</td></tr>
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From these graphics, one can see that an invoking pentagram always moves <i>toward </i>the invoked element, while the banishing pentagram always moves <i>away from</i> the banished element. This is an obvious (to me) logic behind the directions of the drawing motions. This also means by consequence that the Air invoking pentagram is the same as the Water banishing pentagram and vice versa. Because each point on the pentagram is made up of two lines, you may be asking why the particular lines are used to start each type of pentagram. For me, the line that intersects with Spirit is the default one to start each motion because it is more elevated (spiritually, not just literally). So even though one could do an earth invoking pentagram by beginning at water, beginning at spirit is more accepted.<br />
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The new drawing technique I have seen must have some reasoning behind its pattern. Since the human mind loves patterns and order, as opposed to chaos, when it can't find understanding, it will remake the world around it to fit into a comfortable pattern.<br />
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The new method I've seen capitalizes on the fact there are two lines converging at each point. The theory behind it's pattern (I speculate) must be based on the idea that one of the lines is an invocation line and one is a banishing line. In this new method, both the invoking and banishing pentagrams begin at the element of interest. The invocation drawing then progresses around the figure clockwise, while the other progresses counter-clockwise (or the reverse of this in the Southern hemisphere). I get the idea behind this, but it leads me to two points (rants, actually) that I feel might need to be explored.<br />
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The first is the idea that anyone can remake the accepted format for these drawings. Yes one can do anything one wants in the comfort of one's own circle and tradition. This is the Scott Cunningham philosophy and it is a wonderful one. However, once one steps outside of one's own circle to begin interacting with the greater world (the internet is a venue that does this), one needs to consider what one is teaching to others. It is irresponsible and even dangerous to listen to that inner voice that says, "I'm going to circulate my own way as if it's the right way until enough people start doing it my way, because I think the traditions need to be changed."<br />
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Traditions exist for three reasons. The first is that they build power around a coherent idea that does not change. They create an "egregore." This is a body of aetheric power that exists to give a thought form a kind of non-corporeal life. Creating a egregore takes a great deal of energy. The more energy put toward a egregore, either by a greater number of people or people over time (or both), the greater its power. This is why ancient charms work and must be crafted according to specific instruction. This is why a spell has specific words in it and certain herbs. The egregore is like a boat designed to carry you successfully across a chaotic sea of magickal energy. Why would anyone want to start building a boat from scratch when there are plenty of free boats already made and known for their success?<br />
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The second reason traditions are followed is because they work. A person, or multiple people, over the course of decades, tried a tradition and tweaked it until it produced the best possible results. The tradition has then been passed down to you as a formula for instant success. Changing it is nothing short of starting from scratch. Again, why would you want to rebuild the boat when there is one that already works very well?<br />
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The third reason is that traditions unify people. They create constancy over time and between people so that they can share in the comfort that a familiar practice provides. Consider a recipe that one of your parents might have made while you were growing up. Maybe it was a lasagna, or pancakes on the weekends. Wouldn't it be great to make that recipe for your own kids so you can share with them the comforting feeling you felt when you were their age? Wouldn't it be great for them to make the same recipe for their own kids so the same sharing can happen with their own kids? The tradition has bound you to your kids and to your grand kids, in turn. This is why traditions are important. They are supposed to unify us, not restrict our sense of selves. Traditions allow workings with others to have the comfort that comes from predictability and consistency. If you are a solitary practitioner who has never experienced traditional coven work, you have missed one half of the spiritual lessons of Wicca. We are not alone on this Earth or in this life, so working with others is part of our existence. Traditions turn a mere group of people into a Ritual Body. Also, by moving a practice into tradition, it becomes reflexive, because it becomes stored into the long term memory. This means that the conscious mind can focus on other things while the subconscious mind executes the practices of tradition unconsciously, much like the muscle memory of a martial art. Don't you find it easier to cast a circle when the words are committed to memory than when you have to read the casting from a page? Doesn't it feel more fun - even more meaningful - to be in a flash-mob when you know the dance? This is why children have patty cake games, handshakes, jump rope rhymes, or pop-culture poems that they repeat with their friends. This is why line dancing is so popular. There is an attraction to be "in the know" with the words, the dance, the actions that make one feel a part of the group energy.<br />
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My second rant inspired by redrawing these pentagrams is the idea of deosil and widdershins. Most of contemporary paganism has incorrectly evolved the idea that deosil (mimicking the circling direction of the sun) is for positive magic, while widdershins (the opposite circle from deosil) is only for negative magic. This is all complete BALONEY and is utterly anti-pagan. Contemporary pagans need to wake up to the idea that they are being surreptitiously Christianized. It is leading to a generation of pagans who are spooked by some crazy idea of retribution. If you truly believe as a pagan, you don't believe in the Devil or some ominous darkness that will come get you if you do a spell of harm. I will admit, that this is a difficult concept from which to free oneself these days.<br />
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Deosil doesn't not mean "goodness and light" and widdershins doesn't mean "evil, darkness and harm." Each direction is simply an energetic polarity, much like the north and south pole of a magnet or the + and - of an electrical wire, not the moral polarity of good and evil. There are appropriate times to use each polarity based on how one wishes to drive the energy of the circle. But at no point does widdershins generate evil. What generates evil is an evil intent, which can be used regardless of the direction the circle is cast. (I may have to explore the pagan idea of morality in another post; it tends to make most people upset.) Witches, please stop this rigid policing of circles and spells to be conducted only deosil, because anything else is evil.<br />
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Suffice it to say, there is no reason to be redrawing the invocation and banishing pentagrams. The traditional ones (given above) work fine and exist within the body of a solid and powerful egregore. Adherence to the deosil=goodness falacy should not motivate turning one's back on a working body of practice.</div>
Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com1tag:blogger.com,1999:blog-7053921415082342889.post-85486790077331260512017-01-18T08:59:00.000-05:002019-06-21T10:27:40.682-04:00What Makes a Witch Powerful?Power. I can't begin to unpack all of the sludge that human beings pack into the connotations of this word. Instead, I'd like to direct this topic to what really matters as we consider the concept of power particularly as witches.<br />
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As always, the following is my opinion and speculation. It is bound to bend the point on some witches' hats, so if you don't like it, you can leave a comment below. Remember though that I retain the ability to delete you if you write disrespectfully. How's that for power?<br />
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Most of us probably have the idea that a witch's power is like the energy bar of a magical character in a video game. Really "powerful" witches have a larger power bar than weaker ones. Spell casting uses up this power so that weaker witches can't cast as much or use powerful spells the same way really powerful witches can.<br />
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Hogwash. Power is not quite like the gasoline that fills up a fuel tank. There are times when it can seem this way, because your spell work can influence your stamina. Your stamina rests completely in the body, which uses energy that can become used up. But that's not what most witches are talking about when they talk of powerful witches. More so, I think they mean that a powerful witch is one who can get things done and, when they receive their intended result, they receive it in spades. Anyone can do this, so if you think because of the circumstances of your life, you will never be one of those <i>powerful </i>witches, you are wrong about yourself.<br />
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When it comes to spell work, there is only one thing that matters: the spell succeeds. Even if one has very little stamina, or if a witch is new to spell working, success can be frequent. Does this mean that the newbie witch is inherently powerful? It does not.<br />
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Let's review what makes a spell succeed. You may find it helpful to review the entry on the <a href="http://spiritslip.blogspot.com/2016/09/the-witchs-pyramid-house-of-tarot-cards.html" target="_blank">Witch's Pyramid</a>.<br />
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1. Intent. You know what you want and you can <i>clearly and accurately visualize</i> it being in your life.<br />
2. Concentration. You are able to retain that vision in your mind's eye <i>without it wavering</i>.<br />
3. Ecstasy. You are able to reach an emotional/ecstatic high to <i>force the intent</i> to radiate outward.<br />
4. Confidence. You have <i>no doubts</i> that your spell will succeed.<br />
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If you can do all of these things, a spell will succeed. You don't even have to be a witch to do it. I have experienced non-witches who have these abilities as a result of some other profession - being an actor, for example - who have reported to me that they have suspicions that if they want something badly, it will come into their lives. They didn't realize they were doing spell work. Spell work is an occult practice, which only means that it's a practice that not many people know about. But that doesn't mean it doesn't happen all the time. The hatching of butterflies is also occult - not many people witness it - but it happens all the time.<br />
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What all this means is that what really makes a witch "powerful" is actually skill, because each of the abilities listed above can be developed, through practice, <i>by anyone</i>. I'm not at all suggesting that these abilities are easy to learn. They each contain within them lessons that are difficult and confusing. The witch's work is to walk whatever path is required to learn those four abilities. Most likely, one will have to deal with one's own internal ego to master them. So rather than say that a witch who is good at spell work is powerful, it may be more correct to say that the witch is skillful or practiced. Even if your stamina fails and you are a puddle on the floor, you can still cast spells quietly inside your mind.<br />
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You may still be asking, "But what about the raw energy that witches use to make spells happen?" If you think that you, or any witch, is restricted by a font of power that can run dry when it is tapped too heavily, you are still in the video game mindset. If you ever find that your spell work fails, this is likely the cause, because you believe that your power can be all used up, so your spell no longer has the confidence to continue and will dissipate before it causes real change.<br />
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Instead, consider the infinite and divine web to which we are all connected. The planet on which we walk, the air we breathe, the sun, moon and stars that shine light on us, and the innumerable deities to whom we can appeal, are all a part of the natural web that connects us. If you can use up all the power residing in the earth, then you will deplete the power for spell working. If you can use up all the power of the sun, then you will deplete it. If you can use up all the power of every star in the sky, then you can deplete it. Why would you ever think that the fountain of power could ever run dry? The aether - that stuff from which all spells originate - is limitless.Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com1tag:blogger.com,1999:blog-7053921415082342889.post-34946834451005472682016-12-17T14:41:00.002-05:002021-06-25T21:33:21.083-04:00A Challenging Correspondence: WisteriaEvery Spring in the American South, when the weather begins to warm, but just before most of the trees produce the majority of their leaves, wisteria blooms. The air gets a scent that is nearly indescribable - something like a cross between the most scrumptious elements of lilac and grape jelly. It is a smell that heralds the Spring; its a smell that makes me feel both at peace and sexually charged. It is an odor so captivating and infectious that it seems to make my brain feel alarmed. I feel a similar alarm when my intuition thinks that spellwork is being done within my field. I become so shocked by my own reaction to the smell of wisteria that I crave possessing it for use in glamour workings. It's attractive power is that blatant to me.<br />
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The first time I notice the odor for the year, I realize that I have a very short time to collect wisteria blossoms. They last only about 2-3 weeks, especially if the springtime comes on quickly and warmly. Like many flowers, once they are gone, you have lost them for another 11 months. If you smell something like grape jelly long after the trees have their leaves, you are most likely smelling kudzu, which has a similar odor, but is not as captivating.<br />
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Once one has wisteria blossoms in one's collection, how are they used? For what kinds of spells are they best? What magickal correspondence fits? For years I have been waffling over which correspondence list is appropriate. I have been leveraging the Doctrine of Signatures as best I could. One year I was convinced that is was an herb of Saturn, because it is a poisonous plant. The next year, I was more convinced that it better fit with Venus because it was a flower with such a powerful beauty to its fragrance. But this year, I feel like I have a more solid correspondence than every before. Here's how I came to my conclusions.<br />
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Wisteria in the USA could be any one of three plants from the Pea family. The native American wisteria is <i>Wisteria frutescens</i> and produces no scent that humans can detect. It is a smaller bloom than the other two more invasive species that actually produce a detectable odor. Japanese wisteria is <i>Wisteria floribunda</i> and Chinese wisteria is <i>Wisteria sinensis</i>, both of which are aggressive invasive species capable of wreaking havoc to forests and southern porches alike. The Chinese wisteria produces the strongest smell, so when we capture or copy the odor of wisteria, we are most likely referencing that species.<br />
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Historical use of wisteria cannot be discounted in our investigation for a correspondence. A magickal egregore has been established, though not as solidly as with some other flowering herbs. Unfortunately, writings about wisteria are scarce and brief in Neo-Pagan works. This of course excludes the internet, which is rife with the same plagiarized blurbs, mindlessly reproduced over and over, with no references or solid explanations. I was able to find a few writings in which I could place some confidence.<br />
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Cat Yronwode, in her extensive hoodoo writings, notes that the scent was more popular in the 1920's and <a href="http://www.luckymojo.com/spells/recipes.html" target="_blank">lists some hoodoo-based recipes</a> for simulating the fragrance with perfumer's chemicals. Interestingly, the recipes were to create a Yula Perfume Oil, which was a "death oil." Personally, I find the idea that a death oil could be attractive like a love oil to be terribly ingenious, but that's a topic for sitting in a bar with a good bottle of wine.<br />
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In 1989, <i>Wylundt's Book of Incense</i>, by Stephen Smith, revealed that the correspondence for "Wisteria Chinesis" was Venus and Air. There is no indication from which of the book's references Smith got his correspondence for this herb. Many later writers seem to be continuing with that correspondence. I can't help but wonder if the association was made simply because of the pretty odor. This seems to be the most popular plagiarized association on the internet.<br />
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Scott Cunningham says nothing about the plant parts of wisteria, but states in his <i>Encyclopedia of Magical Herbs (1985) </i>that "wisteria oil" has the power of protection. Nothing more is specified in the book, such as what this oil actually is, or how one might call upon that power of protection. He also makes a wisteria reference in his <i>Magical Herbalism</i> (1982) where he writes, in the list of the magical powers of scented oils, "Wisteria is used to contact other planes of consciousness and existence, and to bring illumination." That information is a bit more helpful.<br />
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In <i>Wicca: the Complete Craft </i>(2001), D. J. Conway echoes the uses given by Cunningham, but instead writes that wisteria is an "oil of Saturn."<br />
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Gerina Dunwich states in her book, <i>Herbal Magick </i>(2002), that wisteria is an herb used for Candlemas (Imbolc) and the Summer Solstice Sabbats. Though nice to know, this doesn't point us to a useful correspondence. The bloom time of wisteria is most often in March or April, which is after Candlemas and way before the Solstice, depending on one's location. Wisteria isn't native to northern Europe, where the sabbats were observed, and was not brought to Britain until as late as 1816. Use at Ostara seems more likely to me.<br />
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In 2006, Lady Rhea and Eve LeFay published <i>The Enchanted Formulary</i>, which listed wisteria as an ingredient in "Venus," a love oil. It was also present in an oil recipe called "Voodoo Nights." Neither of these recipes necessarily point to any particular correspondence.<br />
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Despite the commonplace use of Venus, sources do not agree on the correspondence of wisteria. Cunningham's idea of communication seems to put the herb under the rulership of Mercury. This made the most sense to me since mercurial plants tend to be vines or "travelers" of a sort. Yet I was not convinced until I rechecked my Doctrine of Signatures so that I could consider the plant's medicinal energetics. Chinese wisteria is known as "zi teng" in Traditional Chinese Medicine, where it is used to treat intestinal worms. Wisteria is also used in a Japanese medicinal formula called "WTTC" (wisteria, trapa, terminalia, coix). This formula was developed about 60 years ago for the treatment of gastrointestinal cancers. Interestingly, the astrological ruler of the intestines is Virgo. Virgo actually has its <i>ancient </i>rulership under Mercury! The energetics of the plant seems to me to point to the correspondence of wisteria being Virgo, by virtue of Mercury, an Air sign. I have more confidence in this correspondence than any other I have associated before.<br />
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As with most flowers, wisteria blossoms are too delicate to produce an essential oil. In these cases, organic solvents are used to extract the essence, producing what are called "absolutes." To date, wisteria <i>flower</i> essential oil is impossible and no one is producing a wisteria absolute. I have seen most dealers selling either a "fragrance oil," which is likely synthetic perfume chemicals, or a wisteria "essential oil blend" that is designed to simulate the fragrance of wisteria. There are some <a href="http://www.alchemy-works.com/incense_wisteria.html" target="_blank">excellent products</a> available.<br />
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<a href="http://www.naturesnote.com/Wisteria-Aromatherapy-Essential-Oil-p/425234245112.htm" target="_blank">One company</a> claims to actually produce wisteria essential oil, which is not impossible if one uses non-flower plant parts. This would mean that the EO wouldn't smell at all like wisteria flowers. The label of this product does not reveal what plants parts were used in its making, or if there is any floral odor present in the final product. Unfortunately, many "kitchen witches" who are producing what they call "essential oils" are actually fragrance oils, infused oils or oil blends. Few realize that putting the words "essential oil" on a bottle, according to US labeling law, defines the process used to produce the oil. If the oil was not separated from the plant by steam distillation, it is not an essential oil.<br />
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An old perfumer's technique is to use a bellows to draw the volatile scents from a closed chamber filled with blossoms across thin plates spread with beef or pig tallow, which would then take on the odor. This process is called "enfleurage" and the resulting scented fats are called "pomades." The pomades were then used in beauty products and the odor could be later extracted back out of the pomade into a solvent. A similar technique would be to repeatedly infuse batches of the blossoms in a warm neutral smelling oil (hot or cold enfleurage). This latter method seems more accommodating to modern kitchens, requiring no specialized equipment, but may require large quantities of blooms. Fortunately, the aggressive nature of wisteria ensures that it is often plentiful.Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com2tag:blogger.com,1999:blog-7053921415082342889.post-54034249563486584022016-09-01T12:52:00.002-04:002017-09-14T11:09:04.774-04:00The Witch's Pyramid: a House of Tarot Cards<div class="MsoNormalCxSpFirst">
Why do we use magic? Is it so that we can cast spells to
get what we want? Well, yes, but if that’s all you think it does, you're
missing the point. Using magic is not about filling your life with all the material
crap you might desire. Magic is the divine power that permeates the universe,
so if you simply suck on it like a calf from a teat, you will be back to repeat
this life over and over again, never ascending beyond the earthly plane. The best
reason to use magic is to evolve into higher beings – to ascend. The path to
ascension lies in learning how to use magic.<o:p></o:p></div>
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Does this mean that the material plane is bad and
we should seek to escape from it? It does not. Too many people already seek
to escape the lessons of growth found on the material plane by seeking some
amazing afterlife. The paradox behind the lesson of magic is that only by
embracing that we exist in this material world for now, can we move to the next
step. There is yet another step to take and it is only by facing the lessons that are immediately before us can we transition to the next stage in our journey. Think of
it this way. When you are taking a road-trip, you might stop at a diner to get
something to eat. When you are done, you move on, not because you hated the
diner and because the next stop is so much better than the diner, but because
your purpose for being at the diner has been fulfilled. It is just one stop on
the journey. It is a stop at which you got some food, got some rest, but
possibly also met some interesting people – perhaps your server or another
traveler – that helped you to enjoy your dining experience or to appreciate
something else about the world or even to learn that you really hate eating borscht. Like the diner, the material plane is not
better or worse than the step to which we are going, it is simply the step at
which we are now. Since this is where we are now, let’s do what we are here to do, which is experience it without being deviated from the idea that we are still on a journey.<o:p></o:p></div>
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Let’s follow the metaphor further. While at the
diner, you might be served an amazing meal and a truly divine pecan pie! Could
the pie be so good that you never want to leave the diner ever again? I have
not yet had a pie that good, but you might still enjoy it better than any pie
you’ve ever had before. And yet, when the pie is eaten, you get back in the car
and continue on. You do not stay in the diner until closing, gorging yourself
on slice after slice of pie. Similarly, becoming mired in the pleasures of the
material plane does not serve your journey. Pleasure is one of the lessons to
experience here, but so are fear and discontent. All of these things are here for us to experience
because that’s what our job is while we are here. They are not blessed or
sinful, they simply are. But by becoming so damaged by hardship that you seek
to escape this world, or allowing yourself to become driven to load all of your
experiences with only pleasure, are the surest ways to miss learning the
lessons of the material plane. They are the surest ways of returning here again
and again until it finally clicks what your real work in this world should be.<o:p></o:p></div>
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Those who study Wicca or other related magical
systems are well aware of the Witch’s Pyramid. It guides the inner study of
the witch such that magical work can become possible. But from where did this
lesson emerge and what does it really mean to the witch? So many Wiccans with
whom I’ve crossed paths tend to confuse the lessons of the pyramid or only
grasp it in a limited way. They certainly do not really concern themselves with applying its teachings to improve.<br />
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Despite the old origins of its story, the rise to prominence
of the Witches Pyramid started with the Hermetic Kabbalah occultist, Eliphas
Levi (Alphonse Louis Constant) in the mid nineteenth century. His writings
comprised the most influential and the majority of the source material from
which the Golden Dawn created their system, as well as those of the occultist
and tarotist, Oswald Wirth. The Golden Dawn, in turn, greatly influenced Gerald
Gardner and the New Forest coven. This is why so much of Levi’s writings are
still present in contemporary Wicca today. If we go back to the source
material, we find some interesting lessons about how magic functions as a
mechanism to evolve mankind.<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
To assist my thesis, I’m going to refer to certain
cards of a particular tarot deck, because the signposts of the magical work
towards mankind’s evolution were conveniently placed there. One caveat: In the
last 200 years, attempts have been made to link tarot cards to the glyphs of
Egypt and the system of Kabbalah. I am
making no such attempt. This entry is not claiming to link all tarot cards with
any ancient esoteric or occult doctrine. To be sure, A. E. Waite redesigned the
trumps of the tarot to fit his speculation that they were a repository of
esoteric knowledge. Maybe he was right and maybe he was wrong. I’m not claiming
either. I’m simply using the deck designed by Waite because it borrowed some of
Levi’s symbols and composed them into a system of iconography that helps to
explain how mankind can evolve using the philosophy of the Witch’s Pyramid.<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Just what is magic,
exactly? Levi reveals this about magic in the <i>Dogma et Rituel de la Haute Magie (translated by A. E. Waite, 1896)</i>:</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
Magic is the traditional science of the secrets of
Nature which has been transmitted to us from the Magi. By means of this science
the adept is invested with a species of relative omnipotence and can operate
superhumanly, that is, after a manner which transcends the normal possibility
of men.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Magi is simply an
archaic word meaning “masters.” They are simply people who have figured it all
out. Aren’t those the same guys who followed that star on Christmas morning?
Yep, they were the wisest magicians from three different cultures. The gifts they gave
were symbols of occult knowledge, not simply material wealth. Did you ever
notice how the characters of Mary and Joseph, who were poor nomads, were never
represented being thrilled that gold was given to their infant son? The story
does not tell of them taking the gold around the town, trying to buy a nicer
room for their newborn. The fact that three very valuable things – royal gifts –
were just placed into the ownership of an infant in their care doesn’t faze
them at all. Perhaps this is because the Magi didn’t actually give them
material goods, but instead something symbolic. But this is a digression.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
In the middle ages, "the
secrets of Nature" were researched by alchemists and theologians. It was
believed that the keys to understanding the true face of the divine lied in
studying the natural world around us. Most alchemists were priests, monks and
friars. Alchemy led to “physic,” which led to chemistry and eventually to modern
medicine and the scientific method of test and repeat. Today the secrets of
Nature are sought only by the scientific and technological disciplines.
Somewhere along the way, science and religion became estranged. They have never
reconciled. What we are really discussing here is not the separation of science and religion but the estrangement of logic and faith. Levi tells us that this is not at all beneficial, though perhaps necessary.<br />
<br />
Read what Levi writes about the power of magic:<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
. . . there exists in Nature a force which is
immeasurably more powerful than steam, and a single man, who is able to adapt
and direct it, might change thereby the face of the whole world. . . . By the direction
of this agent it is possible to modify the very order of the seasons; to
produce at night the phenomena of day; to correspond instantaneously between
one extremity of the earth and the other; to see, like Apollonius, what is
taking place on the other side of the world; to heal or injure at a distance;
to give speech a universal success and reverberation.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Levi’s words are
describing exactly what has happened in our modern world thanks to technology. We can
create isolated environments that allow crops to grow all year, we can turn to
dust whole nations of people from afar, we can light up the night and talk
with people around the world, all with the flick of a switch. All of these
things are amazing creations. Certainly, if we were to show them to a person at
the time of the birth of Jesus, or even a monk in the Middle Ages, we would surely be
thought of as adept magicians, super-humans or possibly even gods. So how do we get there? What steps must we take so that we can use this power and evolve?<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSrwqIyb_tVQYcxagYxhKsFKAeLbs8N5k9sOmE451l6B08T9x7zDILgGO8uqkBUA9k8EtR96YuYmHygCrvCdOm8-mpOAMPCmIjl-mHEGlUB47E-8naCbdt9FYLSvnA-NkkSmUQjFT7Ic/s1600/RWS_Tarot_01_Magician.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSrwqIyb_tVQYcxagYxhKsFKAeLbs8N5k9sOmE451l6B08T9x7zDILgGO8uqkBUA9k8EtR96YuYmHygCrvCdOm8-mpOAMPCmIjl-mHEGlUB47E-8naCbdt9FYLSvnA-NkkSmUQjFT7Ic/s320/RWS_Tarot_01_Magician.jpg" width="181" /></a>The first tarot card
we should inspect is The Magician. This is our first evolutionary signpost. Here
we find a person with great focus on his face. This man represents mankind, learning
our magical lessons. One hand holds a white, double-sided wand above his head and the other points to the ground. The particular wand he uses is not like the rough staff that lies on the table; instead, it is symbolic of divine grace, purity and power. The ground, where the man is
pointing, represents the plane of the material and the plane of solid
manifestation. The magician is attempting to function as a conduit, to transform
divine power into material existence. He stands in a garden of flowers (material desires) attempting to tap into the power of the divine above him -- trying to call it down to earth. What tools does he use to do this? They
are the four elements, which are symbolically laid out before him on the table. The message
here is that working with divine power requires application of the four
elements to make divine power manifest in this world. Above his head is the symbol
of infinity marking him as one with the potential to join with the infinite divine. Unfortunately,
the Magician is functioning separately from the elements. He views the divine
power as outside of himself rather than as within and part of him, which is why they lay on the square table before him (look for this shape later). Traditionally, the card
represents a magus, but the subtleties of the symbols show that science and technology are yet unable to reconcile with faith. The elements
of Nature are things to be manipulated by him, rather than powers with which he
unifies to elevate himself. This is where most of us begin -- with the use of tools -- so we should not be surprised that this card is number 1.<br />
<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
How do we incorporate the elements into ourselves to achieve evolution? That answer lies in the Witch’s Pyramid.<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
The elements of the Witch’s
Pyramid – elements that nearly every witch can recite – are traditionally “to know, to will, to
dare, to keep silent.” This is the order that it is most often regurgitated,
presumably because it flows off the tongue or out of the memory more easily that
way. But let’s look at what Levi says about each step:<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
To attain the SANCTUM REGNUM, in other words, the
knowledge and power of the Magi, there are four indispensable conditions – an
intelligence illuminated by study, an intrepidity which nothing can check, a
will which cannot be broken, and a prudence which nothing can corrupt and
nothing intoxicate. TO KNOW, TO DARE, TO WILL, TO KEEP SILENCE – such are the
four words of the Magus, inscribed upon the four symbolical forms of the
sphinx.<o:p></o:p></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Notice the order of the
four steps. Here is what Levi says about why they are put in that order: “In
order to DARE we must KNOW; in order to WILL, we must DARE; we must WILL to
possess empire and to reign we must BE SILENT.” So we see that one lesson flows
from the one before it.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
To recap what each one
means:<o:p></o:p></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
TO KNOW - an intelligence illuminated by study<o:p></o:p></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
TO DARE - an intrepidity (courage) which nothing
can check<o:p></o:p></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
TO WILL - a will which cannot be broken<o:p></o:p></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
TO KEEP SILENCE - a prudence which nothing can
corrupt and nothing intoxicate<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<div class="separator" style="clear: both; text-align: center;">
</div>
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAvQc2MnaAXzl6mSrqCZ_vZ8e7liWMXoW-7msio4D0ggzsc344ntM53vHTTAXh-wtPPlZZmEWjNt5iYzqAS1EoYet8u3bNF1ej7JdEChcMjbXCBfB548lAgHLwGO81k9vKBcm2RX-u5QA/s1600/2016-08-14_195302.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAvQc2MnaAXzl6mSrqCZ_vZ8e7liWMXoW-7msio4D0ggzsc344ntM53vHTTAXh-wtPPlZZmEWjNt5iYzqAS1EoYet8u3bNF1ej7JdEChcMjbXCBfB548lAgHLwGO81k9vKBcm2RX-u5QA/s320/2016-08-14_195302.png" width="215" /></a>Levi connects these
four lessons to the four symbolical forms of the sphinx. The “symbol of the
sphinx” is the pyramid, which is why these four lessons collectively have the
name “Witch’s Pyramid.” Unfortunately, the images of sphinxes in different
cultures of the real world do not compose all of the imagery that make them
effective esoteric symbols. Instead, we must reconstruct the esoteric sphinx
using Levi’s description:<br />
<blockquote class="tr_bq">
. . . his the human head, in order to possess speech; his
the eagle’s wings, in order to scale the heights; his the bull’s flanks, in
order to furrow the depths; his the lion’s talons, to make a way on the right
and the left, before and behind.</blockquote>
So the traditional image of the sphinx, which
is usually the winged body of a lion with the head of a man, is incomplete. The esoteric sphinx would be more correct with the winged body of a bull that has the
head of a man and the claws of a lion. The body of the bull is essential to
incorporate the strength of that elemental power, which we will examine
shortly.<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br />
How did these particular symbols get into the
sphinx as representations of each element? Each of these four elements are
present because of their astrological correspondences. The man is Aquarius, a
sign of air. The bull is Taurus, a sign of earth. The lion is Leo, a sign of
fire. The eagle is Scorpius, a sign of water. But there are three star signs
for each of the elements, so why use these particular signs of the zodiac? Because
these constellations made up a group of special constellations in ancient
Babylon, which is where western astronomy and the mysteries of Kabbalah began to form. They were the
constellations that rose at dawn on the Solstices and Equinoxes each year, and
so were known as “royal signs.” As such, they represent the great cross that
connect the four cardinal points of the sky.
The Biblical prophet, Ezekiel, was exiled by the Babylonians and likely
incorporated these symbols into his vision, which he wrote into his book that
was later canonized. (Those who discount the Bible as a useless book of myth
fail to capitalize on the rich esoteric symbology, especially Kabbalistic, which
is hidden within.)</div>
<div class="MsoNormalCxSpMiddle">
<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Through their astrology, the qualities of the sphinx represent the four elements with which we must work to achieve mastery. Levi describes what we are called to do if we are to gain this mastery: <o:p></o:p><br />
<br /></div>
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in;">
You are called to be king of air, water, earth and
fire; but to reign over these four living creatures of symbolism, it is
necessary to conquer and enchain them. He who aspires to be a sage and to know
the Great Enigma of Nature must be the heir and despoiler of the sphinx ....<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUiEQGO4HdrFr4GhXrE_aZsOdlZ-AoD2a6pUeJY7lELTZsC_ZSh-2rV151Fx9EiUn0Kr7wHCrCMSxWjE-J8ApFVijrDpn5eTvl_tJbp0bP0aozDTvN9i18kcOWWVq9papTLdqsqyqMmwI/s1600/RWS_Tarot_10_Wheel_of_Fortune.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUiEQGO4HdrFr4GhXrE_aZsOdlZ-AoD2a6pUeJY7lELTZsC_ZSh-2rV151Fx9EiUn0Kr7wHCrCMSxWjE-J8ApFVijrDpn5eTvl_tJbp0bP0aozDTvN9i18kcOWWVq9papTLdqsqyqMmwI/s320/RWS_Tarot_10_Wheel_of_Fortune.jpg" width="185" /></a>The symbols of Ezekiel were woven into the tarot
card The Wheel of Fortune. A more correct name for this card would be “the
cycle of karma” or “the cycle of reincarnation.” Karma is not a system of
payback or come-uppance as most people believe. Karma is the life path or
purpose that is most true for each of us. It is our path to godhood. When we deviate
from it, we experience hardship. But when we pay <!--[if gte vml 1]><v:shape
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signs and follow our true path, life improves. Here the wheel represents our
continually regenerating lives on the material plane. We repeat our life lessons,
both easy and difficult, going up and down the wheel. In control of the wheel
is the sphinx, which has already incorporated the four elements into herself. She
is an integrated human that is not bound by the cycle of rebirth, yet remains connected to the material world. She poses
to us her riddle every time we go around the wheel (the mystery of rebirth). The
four elemental angels (angel means “messenger”) surround the wheel as watchers
and keepers of the records of our progress.<br />
<br />
The Greeks told a tale of the sphinx in the
epic of Oedipus. In that tale, the sphinx related an important riddle that, if
answered, would allow Oedipus to rise to royal status. This story is symbolic
of the life journey. Oedipus represents each of us attempting to master the
four elements of Nature. Mastery would allow us to become elevated to a status
higher than our normal human selves (transcending the normal possibility of mankind). The essence of the riddle is to ask what
kind of creature can transform – become malleable and adaptable – as the
journey of life passes. The answer of this very esoteric of
riddles is that only mankind holds the power of ascending. Levi states for us:</div>
<div class="MsoNormalCxSpMiddle">
<blockquote class="tr_bq">
The
combination of these four types of face and being represents the Created
Universe, a complete and eternal entity, Man in fact, the Microcosm; and this is
the first formula of the mystical explanation of the enigma of the Sphinx.</blockquote>
Only
man has the ability to overcome his limitations to transform into more than he
is now.<br />
<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
What does it mean to “master the elements?” Levi tells us that too. <o:p></o:p><br />
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: .5in; mso-add-space: auto;">
You
are called to be king of air, water, earth and fire; but to reign over these
four living creatures of symbolism, it is necessary to conquer and enchain
them. He who aspires to be a sage and to know the Great Enigma of Nature must
be the heir and despoiler of the sphinx: his the human head, in order to
possess speech; his the eagle’s wings, in order to scale the heights; his the
bull’s flanks, in order to furrow the depths; his the lion’s talons, to make a
way on the right and the left, before and behind.<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
What do we need to do to “conquer and enchain” them? In more modern words, you are tasked with defeating
your fears. To find mastery and do it well, you must not fear to stretch your mind
as far as it can go, be ambitious to great heights of success, have the
strength to face and master your darker self, and have the fierceness to fight
against any opposition. Only by conquering your fears can you become a complete master
of your life. You must become the sphinx. The great secret of Hermetic
philosophy is that the power to do that – the power of all four elements – is inside you
right now. Four “angels” are inside you right now. The very transformative
power of the divine is inside you right now. You have the ability to transform
yourself right now to be great. You simply need to overcome your fear and do
the work.<o:p></o:p></div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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these directions one at a time. First is to “possess speech.” We have already
seen a clarification of this when Levi told us that this condition was about “an
intelligence illuminated by study.” The link between speech and intellect is
not a new one. A thorough understanding of anything is the mark of a great
orator. Those who fear knowledge will always speak with the ignorance of a
child or an idiot. You can see the unfortunate side of this lesson represented
in the tarot card of the Fool. The boy turns into the abyss, away from the
mountains and the light of the sun, which represent the sharp truths of intellectual
pursuits capped by the cold snow of logic and the brilliance of inspiration. He
is happier to avert his eyes in ignorance than to embrace real knowledge, and
in so doing, we walks blindly into destruction. Only his animal instinct (the
dog at his heels), which he completely ignores, seeks to avert him from
complete oblivion.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyufbhH_4EDO-OzNz10iCYXlcKPPKuZCvXIL2A9ivnnaga-rcYH0-TrkemeBRQNfyO-uMwbHzwQKhR4gh6f5lN22xJQQYs8ozRnzcjEAIBmfYAtRBWJmVNsBGG49f8AjcKET9Iimp97Lo/s1600/RWS_Tarot_14_Temperance.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyufbhH_4EDO-OzNz10iCYXlcKPPKuZCvXIL2A9ivnnaga-rcYH0-TrkemeBRQNfyO-uMwbHzwQKhR4gh6f5lN22xJQQYs8ozRnzcjEAIBmfYAtRBWJmVNsBGG49f8AjcKET9Iimp97Lo/s320/RWS_Tarot_14_Temperance.jpg" width="184" /></a><br />
To accomplish this lesson, we must be like the figure in the
card Temperance. Unlike any of the other figures representing the four elements,
this figure has wings. Most tend to explain this by claiming that he is an
angel and indeed he is, but not more so than any of the non-winged figures we
will meet. This figure has wings because, despite that he is a water-bearer and just like the star sign Aquarius, he represents the element of air. The brilliant
light of intelligence shines from his head. He focuses intently on pouring water
from one vessel into another, despite the unsteady endeavor of standing with one
foot on the sure earth and the other in the uncertainty of water. It is a precise
operation that he could not do without an understanding of the properties of the
water, the cups and the physical laws that govern the world. Also, the
pouring act attempts to portion the water, which is an intellectual act of
measurement. Despite being divine, this figure is very much a scientist. Behind
him is the long path that leads to the crown of achievement.<o:p></o:p></div>
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mean to “furrow the depths?” Remember that the gift of the bull is
fearlessness. To furrow means to plow or dig out. “Depths” are the deeper
places of the inner self. To plow or dig out the deeper places of the inner
self means we must be willing to examine our inner selves and dig out from what we hide. We must have courage in spite of what we find in the depths, no
matter how ugly or repulsive to us. We see this represented in the card of the
Hermit. Here is a man with a one small lantern to light his way. Gone is the
brilliant sun seen in other cards. The crown from the last card has become his
guide; his lantern is lit only with the light of hope. He has dressed
himself in drab robes that obscure who he is, for his station in life is now
irrelevant, as it is to all who do introspective work. His only task now is to look within and so, rather than stare into
the distance, his eyes are closed in quiet contemplation. His companion is a
staff, symbolic of the element of fire, the element of desire. He leans on his deep
desire to discover himself – to find the inner answers that cannot be found in
the external landscape. To him, the outer world, being irrelevant to his work,
is barren of life and the sky is devoid of guiding stars.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1XxW3q-oNfhQLf4AD7Bf_G18569LiNuwpfTr9lZkIw36VFwmOiKUrSai5tCkmEidz4VpWVtjPAzJ8_LzcX_gsgpEUSRCJHe4Q6ue-oVBTy1TmRtF-9JgTro-2rsXkaJ4Z5Rwia-HOumI/s1600/RWS_Tarot_08_Strength.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1XxW3q-oNfhQLf4AD7Bf_G18569LiNuwpfTr9lZkIw36VFwmOiKUrSai5tCkmEidz4VpWVtjPAzJ8_LzcX_gsgpEUSRCJHe4Q6ue-oVBTy1TmRtF-9JgTro-2rsXkaJ4Z5Rwia-HOumI/s320/RWS_Tarot_08_Strength.jpg" width="177" /></a>We must “make way on the
right and the left, before and behind.” This condition asks us to overcome the
fear of opposition. External obstacles must be torn away with the lion’s claws, no
matter from which direction they arise to challenge our wills. Because this is
a condition of the will, our will must be fierce, <!--[if gte vml 1]><v:shape
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lion! In the card of Strength, we see a figure that is demure, but not afraid
to face the ferocity of a lion. With very little struggle, she closes the fang-filled
jaws of the lion. Fearless, she exerts complete control over the animal despite that it
could kill her.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbeJqTSpWNWdDnxDyjrqvE7RVAS7NveYc-elcUkHgLK-8Zysb7ubdKhhjnsO2CFOJPifkLGfFDaVdlY-XY3lH58eES8gbzaKDnuOO77W9WgTrl7o0zDkkzTVuBGLANJwX9wLPccaT1pK0/s1600/RWS_Tarot_07_Chariot.jpg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbeJqTSpWNWdDnxDyjrqvE7RVAS7NveYc-elcUkHgLK-8Zysb7ubdKhhjnsO2CFOJPifkLGfFDaVdlY-XY3lH58eES8gbzaKDnuOO77W9WgTrl7o0zDkkzTVuBGLANJwX9wLPccaT1pK0/s320/RWS_Tarot_07_Chariot.jpg" width="181" /></a>“Scaling the heights”
is what we do when we do not fear to succeed. This lesson speaks of ambition and wisdom.
This is not the ambition of greed; it is the ambition of achievement. The
latter is a reward unto itself and provides a boon to all mankind, rather than
simply to the individual. Not being afraid to try for a goal that seems out of
reach is the lesson of the eagle. Again, the Fool card, by being a card without
value and with a degrading name, shows us who we will be if we do not aspire to
be more. Conquering a fear of success is what turns us into the figure in
the Chariot card. Here we see a warrior returning from a battle in his chariot,
the vehicle of war. His vehicle is lashed to sphinxes of two opposite colors
before him, which he commands. They are the duality of the universe – yin and
yang, male and female, light and dark, this and not-this. He has shown that he
is not afraid of the labels and boxes of the world that seek to categorize us.
He can be fully himself, in control of any condition to which he is challenged. Likewise in war, prudence and
silence are important. Spies are all around and multiple battalions must all be
placed correctly. Prudence is the wisdom to manage all of the material assets in
your arsenal to bring about your success, but without the unnecessary loss of
life. Such important management is impossible if you spend too much time boasting
of your plans, thus allowing others to influence or disrupt your management.<o:p></o:p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjddtyBaygGsuv1PY3zvwcNp3M135UEGC9-CfMgzJSs8YHaZs5Wcs8gv4fs6koSfOdA5brBojpQIHQIjSP8YO3RPTI76YgjXg8xlQcCGEOd7KBZY3hD6CC9UDHIVT9yDKlZFKZ8jWh6KSw/s1600/RWS_Tarot_15_Devil.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjddtyBaygGsuv1PY3zvwcNp3M135UEGC9-CfMgzJSs8YHaZs5Wcs8gv4fs6koSfOdA5brBojpQIHQIjSP8YO3RPTI76YgjXg8xlQcCGEOd7KBZY3hD6CC9UDHIVT9yDKlZFKZ8jWh6KSw/s320/RWS_Tarot_15_Devil.jpg" width="183" /></a>What happens to us if we do not conquer our fear
and use the lessons of the pyramid to evolve? There are several cards that suggest
to us what might occur, but the best card to examine is the Devil. Here is an
animalistic figure with the same physical posture as the magician, for it is
what he has become. However, now the wand, the link to the divine power, is
missing. The figure stands on a black stone cube, a square like the table in front of the Magician, symbolizing the rigid
stability of the material plane. To this same block are chained two humans that
are horned as though they have devolved away from humanity towards a more
animal state. They are chained to the block of the material, unable to break
free from this plane because they rely too heavily on all that it offers. That
reliance has caused them to actually move away from being human towards a less
evolved (more animal) state of being. These humans are prisoners to everything
they desire from the material world. They are incapable of viewing anything
beyond it. By using this particular title, "The Devil," this card also evokes subtle fears
inside the mind. Those who see devils in shadows are so consumed by their fear
that they never see the truth - that what they are seeing are only shadows. They
will fain to inspect the true nature of what actually creates the silhouette. They
allow their fear to make them believe that shadows have more power than they
do. Does this card refer to the mythic demon of the Bible? Perhaps. The
proper name of the Devil, Satan, translates as “the adversary.” It is a complex
concept embodying everything that is antithetical to progress. If the Biblical character
is not an anthropomorphic being, but is instead a state of being, one which is
devoid of courage, wisdom, generosity and justice, then this card may represent
that state. This card ultimately symbolizes what happens to us when we become a
prisoner to the material garden of desire in which the magician stands - a
prisoner to the turning wheel on which the sphinx sits.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidjh5Pf8noqjKDVrzLjLJModd30Mk3kOGkBmDoZE6xDuDyhxgCW6ohLvtRsbaC8U6r4GiobduFwjbr-T7B1kt3kwtS2d3qsh6Y6IvJgl9AfozRJhIZV0WqGuUbiLv23K4b2x_Ekyw6gqk/s1600/RWS_Tarot_21_World.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidjh5Pf8noqjKDVrzLjLJModd30Mk3kOGkBmDoZE6xDuDyhxgCW6ohLvtRsbaC8U6r4GiobduFwjbr-T7B1kt3kwtS2d3qsh6Y6IvJgl9AfozRJhIZV0WqGuUbiLv23K4b2x_Ekyw6gqk/s320/RWS_Tarot_21_World.jpg" width="183" /></a>The completion of man’s evolution is seen in the
tarot trump of The World. Perhaps a better name for this card would be “the Universe,”
for that’s what essentially opens up to us when we incorporate the lessons of
magic and gain mastery. The garland is the divine boundary between our material
world and the void out of which all <!--[if gte vml 1]><v:shape id="Picture_x0020_12"
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the beginning of time; the area inside it is the divine area inside the magic
circle, which is at once, both and neither a particular time or a place. The
symbols of cosmic vastness, which floated above the heads of the Magician and Strength,
are now wrapped around this divine boundary. The figure is female, as was the
sphinx, because here, the four elements of the material world have separated
from that first figure to stay behind on the material plane. She represents us
once we have moved to the higher plane, no longer needing interaction with the
material in the way we once did. Also, she is the Sophia (wisdom), which was
present with the divine at the time of creation. The wands now exist in both hands because she
is no longer simply a passive wire for power; she can now freely draw in and
project power at will. She has become the Magus. This card is an image of the
great work, which alchemists and Hermeticists called the “Magnum Opus.” The
ultimate goal of the Magnum Opus is to master the power of creation – a power
that is only accessible to man and to the divine – to become masters of
ourselves and our world, so that we can ascend one step closer to being one
with the great divine. <o:p></o:p><br />
<br />
<b>Addendum (in my own opinion)</b><br />
It has come to my attention that, in recent years, the Witches Pyramid has had ascribed to it a fifth principle: "To Go." I believe this is happening from a misguided attempt to correlate the pyramid with the pentagram. The pentagram is a very different symbol and does not discuss the hermetic principle symbolized by the pyramid. The pentagram is a symbol of the unity of the five elements of the universe, not the principles employed by hermetic students to understand how to evolve the spirit. Though I'm fine with people developing whatever mnemonic device they feel is helpful, I do not agree with inventing something that never was while claiming that it did. The pyramid has older names including the "Hermetic Quaternary" and the "Four Powers of the Magus." Both of these names specify four principles, not five, because the new principle that has been invented is clearly not necessary. The four principles are forward-moving principles, so to state that one must then go is redundant to the goal. It also shows a failure to understand what is being taught.<br />
<br />
The hermetic magical principles are not symbolized by the corners of the pyramid, but by the faces. There are four triangular faces representing the principles. They are supported by a square face that is hidden. Triangles are symbolic of active properties. Squares are symbolic of manifestation. The surprise to most is that we are not trying to metaphorically travel to the peak of the pyramid. Too many people assume incorrectly that the only way to symbolize the attainment of higher states of being is with a literal movement upward. However, in this case, what is revealed comes from looking at the face of the pyramid that we cannot see. On each of the active faces rests one of the elemental angels, as we saw in the Wheel of Fortune, above. On the base is the manifested figure of the Sphinx herself, for she represents the unity of the elements. Only through unifying the powers of the elements do we gain manifestation. This is the core lesson of magical work.<br />
<br />
To help visualize this, I will provide you with a teaching tool that I use with my own students: A paper pyramid that you fold and keep as a visual aid. I also keep one of these in my library, on which I reflect from time to time. Just cut around the outer edge and fold on the grey lines, then glue together.</div>
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Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com5tag:blogger.com,1999:blog-7053921415082342889.post-74242559352040134112016-07-25T20:19:00.001-04:002018-12-07T07:51:25.457-05:00Blood of the DragonToday's entry is all about Magickal Inks. Rarely have I encountered a body of recipes and lore with more fluff, bunk and horse hockey than this one. The internet is nine-months pregnant with stolen recipes that amount to nothing.<br />
<br />
They amount to nothing because most of the people self-publishing these stolen writings are just passing along a recipe created by someone else so they can seem more knowledgeable, more experienced or more witchy. Basically, they are witches of cut-and-paste. They have not worked with the stuff one itch. I can tell they haven't because the recipes they provide don't work. I don't mean they don't work for me, or that I had trouble with them. I mean their ingredients are chemically incompatible. Is there a chance these are simply subterfuge to prevent someone really knowing "witch secrets?" Yeah that's a possibility. But I find the best way to keep a secret is to keep silent. Now why does that ring a bell?<br />
<br />
The popular, known magickal inks are basically just dragon's blood resin that has had its vibration modified with the addition of herbs of specific powers - dragon's blood ink, bat's blood ink, dove's blood ink. The exception is butterfly blood ink, which is based on saffron.<br />
<br />
Being an inquisitive witch, I decided to spatter my work space with red, and did I ever! Be warned: the first lesson of dragon's blood resin is that it's relatively messy. With practice, it becomes less messy, but if this is your first go 'round with dragon's blood, you are in for it, so get prepared. It helps if you attempt this recipe only after you have some experience working with herbs and their preparations. It really isn't a project for a complete beginner.<br />
<br />
I feel the need to have a short tirade, which is one I had with my brother recently who wanted to make his own soap, but said it was becoming too difficult. Most of what you will find online is based on a cup of this or teaspoons of that. Frankly, this is hogwash cooking. No good recipe ever gained consistency or quality with those kinds of measurements. If you want to produce anything, even in small batches for a witch of one or two, <i>and do them well</i>, get yourself a few essential precision instruments. Get a digital scale that can measure in grams, preferably to the hundredth of a gram. Get yourself some quality glassware, like a few small beakers and certainly a graduated cylinder of 10 and 25 ml. Get yourself a pharmacy-grade mortar with a matched pestle (not one of those cheap ones made of marble or granite for mixing guacamole). Lastly, some disposable bulb droppers come in very handy and are inexpensive by the hundred. Take your herbal craft as seriously as you take your magickal craft. Do it well or don't do it at all.<br />
<br />
As with all recipes, I began by trying out a few of them. I could tell they wouldn't quite work out because of my own experience with herbs and kitchen chemistry. But I plodded through and wasted some materials anyway. Then I decided it was time for some homework.<br />
<br />
I'm going to share a few facts so you will have an understanding why certain mistakes are made with this recipe. It will allow you to follow me as I debunk what's all over the internet.<br />
<br />
Checking in Wikipedia, you will find that this stuff is a plant resin and that there are several species of plant resin that can be called "dragon's blood." My own experience with botany tells me that common plant names can be misleading, so I began to unpack each one.<br />
<br />
There are really only two plants that are of value here. The first is the most common form of dragon's blood, and it comes from the genus Daemonorops. This is the resin you will find most often for sale in markets and online. If the genus of the resin is not given, you should assume you are buying this one. It is a <i>water soluble</i> resin and when used medicinally, will actually cause blood to thin and flow profusely.<br />
<br />
The other plant used for this resin is the genus Dracaena, also known as "Medieval dragon's blood" or sometimes "true dragon's blood." This resin hates water, being <i>soluble in ethanol</i> (that's the alcohol we can drink), and will make open wounds stop bleeding.<br />
<br />
Medicinally speaking, these two plants couldn't be more different, which points to their internal chemistry. Sprinkling them each on ignited charcoal will make you wonder if they are the same, though there are some subtle odorous similarities between them. Visibly, the Dracaena looks substantially darker - more like blood - than the other, which appears to me like a pinkish talc. When still as a resinous lump, or "rock," the Dracaena can look nearly black; it very much resembles a scab!<br />
<br />
The best way to dissolve a resin effectively is for the resin to be powdered. For me, a mortar and pestle is great for some resins, but it wasn't very effective for dragon's blood because the stuff is really, really hard. It didn't really give up to my grinding without giving me more than a workout and a bruise in the center of my palm. Contrary to popular belief, the mortar is not for pounding. Pounding produces projectiles and lots of mess. If your material doesn't give up in the mortar with firm pressure and a twisting, swirling or swaying motion, it's time to move to more mechanical means. I decided to sacrifice my $8 coffee grinder, which up until then had been reserved only for herbs. Powdering dragon's blood was a process of grind, sift and repeat. Eventually, I got some great fine powder. I also ended up with a grinder that could not be used for any other herb ever again, so I labeled the grinder, "For Dracaena sp. ONLY" and shopped for a new $8 coffee grinder to replace it.<br />
<br />
Here's the first clue to creating a great ink recipe: remember that these two different resins have different solvents. I decided to test just how resistant they both were to their non-preferred solvent. I dissolved Daemonorops in water, as it preferred, and then began to add small amounts of ethanol. Adding ethanol to the mixture caused the Daemonorops to precipitate - condense - after very little alcohol. It hated ethanol so much, it dropped right out of the solution. By the way, when you use water as a solvent for herbs, you're making an infusion. In America, we incorrectly apply the term "tea," rather than the correct "tisane," but that's all you've made.<br />
<br />
Next, I copied the previous steps, but dissolved Dracaena in ethanol, which it did wonderfully. I added small amounts of distilled water over time. The resin held up rather well, but at about 50% water, the solution began to break down, becoming "grainy," which is a sign that the resin wanted to precipitate out of the solution.<br />
<br />
All of he internet recipes I had encountered so far included resin, alcohol and water. In the proportions I tested and in the recipes I tried, neither of the resins would dissolve in the solvent. Some recipes also included gum arabic as a thickener. So I thought that maybe that was the key.<br />
<br />
First I tried hydrating my own gum arabic. That was for the birds! It may be water soluble, but only just barely and takes a great deal of effort and frustration to mix it up. Next, I purchased prepared liquid gum arabic from my art store after discovering that it is a tool used by watercolor artists. What a boon that was! Here's another warning: adding water in any form to a recipe may require a preservative to prevent mold, depending on the concentration of other chemicals in your mix, like ethanol.<br />
<br />
After a few more recipe attempts, I discovered that gum arabic also hates ethanol, even more than Daemonorpos hates it! The droplets of gum turned into a slimy worm at the bottom of the jar, unwilling to play nice with the liquid. Ugh!<br />
<br />
It was time for a return to the drawing board, literally. I thought to myself, "What is ink really for?" The answer was simple: making lines. But it is not for just any lines; it is for lines on paper, which means it has to act correctly on paper to make writing legible and drawing precise. So I began to read about inks. The best inks flow from a pen without being so thick that they bind the pen, but also without being so thin that they run or bleed everywhere. They need to be somewhat coherent, which has a bit to do with the fiber of the paper, but more to do with the viscosity of the ink. Additionally, when they dry, their lines should have a balanced color across the stroke, not dark at the edges and lighter in the center, which is a sign of being too dilute to deposit color evenly as the solvent dries away from the particulates.<br />
<br />
By the way, there are two functional categories of ink. The first is a chemical stain of the page, as in the case of oak gall ink. The second is a suspended fine particulate that lays on top of the page, though may absorb into the fiber a little. Most inks are the latter, even in today's pens, and that's also what dragons blood resin is.<br />
<br />
While working with the mess that Dracaena created, I realized that its resin was <i>remarkably </i>sticky. The only thing that cleans it up is more ethanol, but ethanol does that very well. It is basically like a glue. When the solvent is gone, it stops flowing and stays put, but as long as there is solvent, it will break down and move along. So it seemed logical to me that the right amount of solvent would allow the resin to do the job without any gum arabic. I began to test different solvent-to-solute ratios. I also tested different proofs of ethanol. All of these tests were done using a quill pen and a brass calligraphy tip, which I used to draw lines on standard, inexpensive printer paper.<br />
<br />
Since Dracaena hates water, it's best to use alcohol with the highest proof possible. Some states won't sell you anything with a proof higher than 151 (75.5% ethanol). This worked okay, but not great. If you can buy a higher proof in your area, I certainly recommend it. I have to drive to the next state, but doing so let's me buy nearly pure rectified spirit (190 proof; 95% ethanol). Using drink-ready booze like vodka, rum or gin will not work because their proofs simply are not high enough.<br />
<br />
Since this blog entry is already too long, here's what I determined is a great way to make dragon's blood ink. It turned out that a simple recipe was best.<br />
<br />
Measure three parts of <i>high proof </i>ethanol into jar #1 (ex: 30 ml). Add to the ethanol one part finely powdered Dracaena resin (ex: 10 g). Close jar #1 and shake well for 10 minutes. Filter the contents of jar #1 through 2 layers of muslin into a glass cup with a spout. Be sure to squeeze out as much solvent as possible and be sure to wear gloves. Discard the marc, filter and your gloves. Slowly warm the filtered resin to drive off some ethanol until it reduces in volume by one third. Pour the liquid resin into storage or gift jars. Clean up with more ethanol and lots of paper towels.<br />
<br />
This can now function as a base ink to be modified with other herbs for various magickal purposes. I usually just add a few drops of an appropriate essential oil, but sometimes I don't have an EO with the correct correspondence, so I have to use solid herb. In that case, I add powdered herb into the ethanol along with the resin and filter them together. If making traditional dragon's blood ink, add a couple drops of cinnamon essential oil at the end, or add powdered cinnamon into the solvent with the Dracaena to impart the traditional Mars energy. Empower and label.<br />
<br />
Wow, that final recipe was kind of simple!Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com2tag:blogger.com,1999:blog-7053921415082342889.post-77590701748825966882016-01-25T08:57:00.000-05:002016-10-05T12:09:55.866-04:00From Beyond the GraveA great deal happened in my life in 2015. Around Thanksgiving, my relationship ended causing me to move from the cute home with access to 1/3 of an acre of growing things, to an apartment with no outside to call my own. I hope to spend more of my time focusing on the meditational portion of my studies.<br />
<br />
Secondly, my mother passed late in the year, only 3 months after she found she had two tumors on her pancreas. She had been living in an independent-living apartment, but while she was in the hospital, she stated at one point that she was never going to meet the minimum functionality to return there, so us kids should get all her things packed up and moved out. I think it was also clear to her, and to all of us, that she was not likely to live through this illness at all. So as we packed up her apartment, everyone asked each other what we should throw away, or divide amongst ourselves, or put into storage. Having not yet moved into my new apartment, I told everyone that I wasn't sure yet what I would be needing, so if they didn't want something, it should be stored so I could go through it later when I moved in. As we went through it all, I thought over and over again how little of it mom really used. She was quite a collector of stuff "for a rainy day."<br />
<br />
Everything was stored for about a month; when mom passes, it got moved to my new home.<br />
<br />
Last week, as I unpacked, I unpacked two lives. The first was my own, which I had integrated with my partner and now tried to pull apart. This was packed and transported one room at a time over several weeks, since I was moving just a couple of minutes away. The second was that of my mother's which was put in boxes as she was dying. In the new place, I have very limited space so I had to be very clever with where I put things. An old friend of mine once told me that the best way to prepare for a long trip away from home is to spend the month prior to the trip living out of a suitcase. If you find that you don't have something you need, you can then pack it. Unfortunately, I didn't have the chance to do that, so my first few days in my new apartment was filled with lots of "I need to remember to go back and pack that."<br />
<br />
Interestingly though, I thought that would happen much more than it did. More often, I found myself saying, "Mom had one of those," which I would then find in one of the boxes from her apartment. This began happening so often that it felt like it was more that just coincidence; it felt like synchronicity. It was as if my mother had collected all of that stuff for my new start. I became my mother's rainy day. Though she wasn't not present in body, I could feel her with me, helping me make a new start.<br />
<br />
As my studies progress, I know my mother will be a valuable resource to me. I don't feel that she is gone so much as I feel she is transformed.Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com1tag:blogger.com,1999:blog-7053921415082342889.post-86101345632922596942015-01-28T12:33:00.001-05:002015-01-28T12:33:10.935-05:00My own studiesReaders,
I realize that a long time has passed since I made an entry. This is largely because I have been exercising some discipline against starting more projects before any long-running projects have been completed. Also, I am spending much of my free time focusing on my own spiritual studies. Rest assured that I will have another interesting entry in a couple of weeks. Thanks for your patience.Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com0tag:blogger.com,1999:blog-7053921415082342889.post-40339987090036059592014-08-31T14:47:00.000-04:002017-06-05T07:53:42.166-04:00Four Thieves' VinegarA recipe for powerful Hoodoo work, this medicinal remedy has four thousand variations. It was allegedly developed during the second wave of the Plague in Europe. I got curious about its origins and so I started looking backwards into the records of the Plague.<br />
<br />
Here's what I discovered and the opinions that I generated.<br />
<br />
<div class="MsoNormal">
Since there was no pharmaceutical industry as it exists now,
nature was the people’s pharmacy throughout the middle ages. Plants were
adopted into in use by the medical community, having borrowed such knowledge
from wise pagan men and women healers.</div>
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<br /></div>
<div class="MsoNormal">
During the second wave of the Plague in <st1:place w:st="on">Europe</st1:place>,
four individuals allegedly made it their business to rob the homes and very bodies
of those who had died of the Plague, but did not contract the infection
themselves. When questioned by the courts upon their capture, they revealed
that they crafted a medicinal vinegar, which they regularly drank and wore on
their clothes to protect them. To allay a sentence of execution, they revealed
to the courts the recipe they used. Thus, the recipe became known as “four thieves’
vinegar.”</div>
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<br /></div>
<div class="MsoNormal">
So horrible was the nature of the plague in Europe that any
remedy effective at stopping the disease, especially if revealed to an official
court of law, would have been instantly circulated, at least amongst the medical
community, who would have had the influence and education to remark for history
how they escaped such horrors. Here are some examples of the attempt to do just
that.</div>
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<br /></div>
<div class="MsoNormal">
In 1720, Dr. Joseph Browne published a pamphlet in <st1:city w:st="on">London</st1:city> called, <i>A Practical Treatise of the Plague.</i> It
stated intent to reveal the proper methods “used by the most learned Physicians
of those Times,” to prevent the plague from spreading. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On p. 55, the author announces a section “Of Preservatives,
or such Things as have Power, and are most proper, to prevent the Infection in
pestilential Times.” This section is filled with a variety of herbal recipes delivered
from noted most learned Physicians, and vinegar features in most. No
mention of the four thieves is made.</div>
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<br /></div>
<div class="MsoNormal">
In 1721, Parker published a pamphlet titled, <i>The Late Dreadful Plague at Marseilles,</i>
whose subtitle indicated it was a comparison of the 1665 plague in <st1:place w:st="on">London</st1:place> and professed to
reveal the remedies to keep people safe. This work states several remedies of
note.</div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
Besure keep your House Fresh, Airy
and moderately Cool: Strew it with Cooling Refreshing Herbs, as Roses, Violets,
Rosemary, Lavender, Time, Sage, Rue, Mint, Wormwood, Sweet marjoram, <i>etc</i>. And Wash it often with Vinegar and
Water, which is an admirable thing to Kill Damp, and Destroy the Infection – A very
good preservative Breakfast in a Morning is a piece of Bread, rubbed well over
with Garlick, with or without Butter; and with Rue, Sage, or Sorrel we very
well with Vinegar, and laid on it, drinking after it a Glass of Sack, or good
strong Drink<i>.<o:p></o:p></i></div>
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<br /></div>
<div class="MsoNormal">
Despite the primitive concept of infection of the day as a
kind of foul air, it is clear from the antibacterial properties of the herbs
recommended that the remedy would work to reduce the presence of surface and
possibly airborne bacteria, if only with the use of vinegar, which is an
effective edible disinfectant.</div>
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<br /></div>
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Further, the pamphlet states:</div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<i> </i>The College of Physicians in their
particular Directions for the <i>Plague</i>,
which they published in the Great Sickness Year in <st1:place w:st="on"><st1:city w:st="on"><i>London</i></st1:city></st1:place>,
1665, by express Order of the King & Council, <i>p</i>. 10. ordered Persons whose Business obliged them to go Abroad,
and about Streets, to WEAR and carry about them, <i>Snake Root, Rue, Angelica, Myrrhe, Wormwood,</i> etc.</div>
<div class="MsoNormal" style="margin-left: .5in;">
Also to Take <i>Angelica, Rue, Myrrhe</i>,
and <i>Camphire</i>, beat these all
together, and with Wax make this Mixture into round Ball, to WEAR ABOUT THEIR
NECKS, to preserve from, and keep off the Infection.</div>
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<br /></div>
<div class="MsoNormal">
It is clear that by this year, certain herbs are known as
particularly helpful in making the body resistant against the infection. These herbs
are similar to contemporary recipes of the vinegar, but again, no mention of
the infamous thieves is made.</div>
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<br /></div>
<div class="MsoNormal">
Daniel Defoe, in his <i>Journal
of the Plague Year,</i> written in 1722 about the year 1665, writes of a woman
who nursed the sick, but never took ill because she washed her head in vinegar,
sprinkled her head-cloths with it such that they were always wet, snuffed
vinegar up her nose, and held a cloth wet with vinegar to her mouth to avoid
stench. Her husband avoided infection by “holding garlic and rue in his mouth” (105).
Similarly, the local butcher would not take money out of the hands of his
customers, preferring instead that they drop them into a bucket of vinegar.</div>
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<br /></div>
<div class="MsoNormal">
In 1725, R. Bradley published an English translation of Noel
Chommel’s work, <i>Dictionaire Oeconomique</i>,
which the translator states on his title page was “done into English from the
Second Edition, lately printed at <st1:place w:st="on">Paris</st1:place>.
. . .” Though the original could not be found, listings of it were found in
catalogs of private libraries. It had a publish date of 1718, but also an
earlier date of 1709, which could be the date of the first edition. The catalog
entries did not specify their edition, either because the owner found it
unnecessary information, or because the books did not have but one edition to
date.</div>
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<br /></div>
<div class="MsoNormal">
Bradley’s entry titled “Plague” includes several treatments,
but in particular a passage about a preservative for “poor people,” which is
called <i>Vinegar of Ernest</i>. It includes
many of the similar ingredients, a preparation method, and dosing
recommendations given in the <st1:place w:st="on">Newcastle</st1:place>,
1770 recipe to follow. Here is a medicinal vinegar that does have a name but is
not the one of legend. This is the only occurrence of this name I could find
for this remedy.</div>
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<br /></div>
<div class="MsoNormal">
There is also an entry for Plague Water, which is intended
for horses and has a great number of herbs in its recipe.</div>
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<br /></div>
<div class="MsoNormal">
In 1732 <i>The Compleat
City and Country Cook </i>was published in <st1:city w:st="on">London</st1:city>. It represented one of <st1:place w:st="on">Europe</st1:place>’s first formal cookbooks for making food,
desserts, cosmetics and medicines. Page 197 gives the recipe for “Plague Water,”
which is essentially a medicinal beer that is then distilled to form an
alcoholic extract. Some of the ingredients are similar to contemporary recipes.
The thieves are not mentioned.</div>
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<br /></div>
<div class="MsoNormal">
A similar recipe, but with fewer ingredients, to the one
stated in Bradley’s translation above is the “Plague Water” given in the 1739
book, <i>The Compleat Housewife </i>(235).
However, this book and its contents are intended for human consumption rather
than for horses.</div>
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<br /></div>
<div class="MsoNormal">
The herbs used in these cookbooks are similar to those
already encountered in the recipes above.</div>
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<br /></div>
<div class="MsoNormal">
In 1745, Dr. Theophilus Lobb of <st1:city w:st="on">London</st1:city> published his <i>Letters Relating to the Plague and other Contagious Distempers. </i>Like
Defoe, he notes a nurse who cared for the sick and avoided infection by washing
her head and face in vinegar. When she has affected by a particularly strong
odor of the sick, she snuffed vinegar into her nose and never succumbed to the
disease (91-92). Similarly, there is a recommendation to wash parts of the body
exposed to the air with vinegar mixed with <st1:country-region w:st="on">Hungary</st1:country-region> water or Rose water (92-93).
Nurses were to wash their hands with this mixture both before and after they
touched the sick (165). The sides, ceiling and floor of the infirmary were to
be washed with hot vinegar twice daily (156). It was further recommended that
those who must handle the bodies of the dead should do so with gloves dipped in
vinegar (93). </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Clearly, the use of vinegar is favored over even herbs.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Incidentally, <st1:country-region w:st="on">Hungary</st1:country-region> water was both a perfume
and a medicine known to those in the mid seventeenth century, to be both worn
and ingested. Its primary ingredient was rosemary, though some recipes also
added lavender, mint, sage, marjoram, orange blossom and lemon. The addition of
vinegar to <st1:country-region w:st="on">Hungary</st1:country-region>
water is remarkably similar to the recipe of four thieves’ vinegar. If I was a
peasant, unable to purchase a preparation of <st1:country-region w:st="on">Hungary</st1:country-region> water, I would attempt to
make my own using wild herbs. Upon adding vinegar as recommended above, I would
produce a blend very similar to four thieves’ vinegar.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
An advertisement clipping cited for Saturday, October 20,
1770 of the <i>Newcastle Courant</i>, which
began as a news publication in 1710, cites a recipe for “Thieves Vinegar.” Among
the application information is instruction for snuffing up the nose and
carrying a pieces of sponge dipped in the solution to be held to the mouth for
frequent smelling. <st1:city w:st="on">Newcastle</st1:city> is an area in
northern <st1:country-region w:st="on">England</st1:country-region> near the
border with <st1:place w:st="on">Scotland</st1:place>.
If a recipe of this nature had already made its way this far north, it was
surely known in <st1:city w:st="on">London</st1:city>.
No reference to a vinegar useful against illness is given in this newspaper
prior to this listing.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In his <i>Philosophical
Magazine: Comprehending the Various Branches of Science, the Liberal and Fine
Arts, Agriculture, Manufactures, and Commerce, Vol. 15 </i>(1803), Alexander
Tilloch reprints a letter written to him by William Henry regarding a scented
vinegar that William’s father encountered “more than fifteen years ago . . .”.
William stated that “the <i>vinaigre des
quatre voleurs</i> had gained much reputation in obviating infection. . . .”
The time of this remedy, based on the story and the book’s publish date, is
roughly 1785.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In 1828, Thomas Breyerly and John Timbs edited a volume of
curious blurbs about anecdotes and popular culture that had been printed to
their day. Their <i>Mirror of Literature,
Amusement and Instruction, Vol. 12</i>, included an entry about four thieves
vinegar, credited to one “W. H. H.” The article points to another work
published in 1749 that claims that Richard Forthave of Bishopsgate-street, <st1:place w:st="on">London</st1:place>, was noted for his therapeutic
vinegar, whose surname was eventually corrupted into the currently used title
of the vinegar. This is the only occurrence of this claim. Despite Forthave’s
alleged success with a treatment against the most noted plague to wreck <st1:place w:st="on">Europe</st1:place>, no other publication bearing the name of Forthave
is present, either in 1749 or 1828. In my opinion, any remedy so successful, by
1749 would have been copied and published, just as have other recipes for perfumes,
food, or other remedies of the day. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here is what I believe. Many herbal remedies existed amongst
a people threatened by plague. Frequent admonishments were published against
the quackery that was sold to the frightened and poorly educated faced with the
prospect of dropping dead on the street. In an effort to lessen or end the rate
of death, or to forward their name and Christian reputation by circulating
instruction to those without an ability to purchase medical services to treat them,
published works about plague remedies attempted to relay the methods of
preparation and use. Those folk remedies listed above show that a common
formula was known at the time, but it seems the recipe did not yet have a
legend. At some point around the first half of the eighteenth century, the
publishing of a common anti-plague folk formula increased the validity of its
use. As publishing became more prolific, the formula became more highly
circulated. The employment of legend, whether intentional or as a result of
natural social interactions, helped to promote the use of the vinegar recipe. Perhaps
the name of Forthave helped to inspire a tall tale in the mind of the public,
perhaps not. It could be that Forthave himself added vinegar to <st1:country-region w:st="on">Hungary</st1:country-region> water or
a similar herbal recipe for his own production line. There is no way of knowing
without more evidence.</div>
<div class="MsoNormal">
<br /></div>
<br />
<div class="MsoNormal">
Published evidence shows that the legend of the four Plague
thieves did not begin in the fifteenth century in <st1:state w:st="on">Auvergne</st1:state>; it did not begin in the seventeenth
century in Toulousse. Evidence of published works shows that it did not even
begin in 1720, <st1:city w:st="on">Marseilles</st1:city>.
These claims about the beginning of the legend are hearsay, completely
unsubstantiated and most likely are myth. I applaud Graycloak for his
scholarship. However, the authors of the sources he cited never should have
made their claims without more solid evidence.</div>
Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com0tag:blogger.com,1999:blog-7053921415082342889.post-89941566290942485672014-05-26T10:18:00.002-04:002017-01-19T07:32:05.028-05:00Obsessed with PaganismWe have all encountered obsessed Christians. (I don't write this post to be anti-Christian. The Christian doctrine of proselytization makes the obsessed, pushy kind very visible and annoying, which helps me make my point in this post.) We have all been trapped by the awkwardness of their guerrilla preaching. They have backed us into corners, trapped us at supermarket checkout lines, caught us at the mailbox or on a subway. They always have something to say about their own spirituality. The feeling I get from them is not unlike being solicited by a panhandler, except I am willing to offer my coins to one in need. For the proselytizer, I have nothing to offer but the grumpy feeling that my own faith is being insulted and belittled.<br />
<br />
Unfortunately, that obsessed spirituality isn't unique to Christianity; in fact, it extends itself into paganism. There are those who don't just live their paganism, they obsess over it. Every trip they take is a "pilgrimage." Every chill they feel is a brush by a spirit. Every dream they have is prophetic. Every leaf that falls is a "blessing by the goddess." Everything they write is a reflection on a magickal principle. This isn't just living as a spiritually mindful person, this is excess.<br />
<br />
And it is ANNOYING!<br />
<br />
The best places to find these people are at pagan festivals and online pagan groups. They are easy to notice because they have very far reaching magickal names more appropriate to a Tolkien story and they always seem to be playing at the witch oneupmanship game. If you find an interesting rock that calls to you, they find a magickal amulet placed in their dreams by an alien from another dimension. Sheesh! Here are my favorite phrases about those kinds of people:<br />
He has a crack in his cauldron.<br />
Her broom is losing its bristles.<br />
She's a card shy of a tarot deck.<br />
The point on her hat is bent.<br />
His animal totem is the March Hare.<br />
<br />
I tend to think excessive pagans are the current age's version of the hippie. I also think they are trying to escape the complexities of the modern age by retreating into a land of pretend. Though this post was largely just my own rantings, I write it to urge everyone: please don't become one of "those witches." Excess isn't pretty, even if you are of good intention. It really just makes people appease you with a smile while they plot the best way to call the men in the white coats. AWKWARD!Fen Cihttp://www.blogger.com/profile/17030309300358350222noreply@blogger.com1tag:blogger.com,1999:blog-7053921415082342889.post-81630860840428524242013-10-06T12:50:00.000-04:002019-10-26T07:27:20.300-04:00Travel Well<div style="clear: both; text-align: left;">
<span style="font-family: inherit;">There is a Norse charm called the <span style="line-height: 19.1875px;"><span style="font-family: "times" , "times new roman" , serif;">Vegvísir.</span></span> It comes from the Huld Manuscript, which was collected in Iceland in approx. 1860, but allegedly contains much older information. The <span style="line-height: 19.1875px;">Vegvísir (</span>Iclandic for "sign post") is intended to provide the holder of the charm with the ability to pass through rough weather without getting lost.</span></div>
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<span style="line-height: 19.1875px;">[Edit, May 2014: The original Huld Manuscript image is given below by request.]</span></span></div>
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<span style="font-family: inherit; line-height: 19.1875px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOyXzXFLtjZIyOZfdt7Xx-GTpWZij-fXHCwRgBl3CMiiwOAzFYqnQblYTanJfLgU7FM6QpxYJMKVaUT8HqpTDSdhuOqGmrwSedvLmxCOBBE-QICPDRm2gM5prpOgmTVPMx0fNZwN_1BJU/s1600/Huld-Vegvisir.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOyXzXFLtjZIyOZfdt7Xx-GTpWZij-fXHCwRgBl3CMiiwOAzFYqnQblYTanJfLgU7FM6QpxYJMKVaUT8HqpTDSdhuOqGmrwSedvLmxCOBBE-QICPDRm2gM5prpOgmTVPMx0fNZwN_1BJU/s1600/Huld-Vegvisir.JPG" width="197" /></a></span></div>
<span style="font-family: inherit;">The internet has tons of images of this charm. Most of these images are photos of tattoos, already indellible in someone's skin. Unfortunately, I found all of them to be wrong. Looking at the original manuscript will reveal that there are lines making up the <span style="line-height: 19.1875px;">Vegvísir symbols that are not present on the internet versions. So if you plan to make and use this charm, particularly in a permanent capacity (like a tattoo), you will want to get it right.</span></span><br />
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<span style="font-family: inherit;"><span style="line-height: 19.1875px;"><br /></span><span style="line-height: 19.1875px;">The </span><span style="line-height: 19.1875px;">Vegvísir is made up of eight staves radiating from a center point. Each of the staves terminate in a combination of lines that make up a symbol. It is speculated that these symbols are created in much the same method as bind runes, but instead using the Ogham tree alphabet.</span></span></div>
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<span style="font-family: inherit;"><span style="line-height: 19.1875px;"><br /></span><span style="line-height: 19.1875px;">The original drawing of this charm in the Huld Manuscript is represented as fitting inside a square. The staves of the charm at 2, 5, 7 and 10 o'clock are longer than the others so as to fit into the imagined corners of the square. However, little change is made to the power of the charm by making the staves all the same length. This effectively fits the charm inside a circle. There is no change to the charm because the symbols themselves have not changed.</span></span><br />
<span style="font-family: inherit;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span>
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<span style="font-family: "times" , "times new roman" , serif;">This popular block-line representation is a good example of what you will find online:</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidfylryLekh35k8MALVlWhQ7oINk3dPJE-Zz5oHPhF_q5E2w5r_jv76255wgQ_F_1YnkLlkvuILZxR8e6jrZ0LhtbsUTPcyHUJhsN-Q86WDSjAtlnf19s_VZyQYelaVpJYMn2AuShEsA_8/s1600/Vegvisir-IC.jpg" imageanchor="1" style="background-color: white; margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidfylryLekh35k8MALVlWhQ7oINk3dPJE-Zz5oHPhF_q5E2w5r_jv76255wgQ_F_1YnkLlkvuILZxR8e6jrZ0LhtbsUTPcyHUJhsN-Q86WDSjAtlnf19s_VZyQYelaVpJYMn2AuShEsA_8/s1600/Vegvisir-IC.jpg" width="200" /></span></a></div>
<span style="font-family: inherit;"><span style="line-height: 19.1875px;"><br /></span>But when we draw the charm from the original manuscript in the same block-line style, we see this:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwV4feyqH4gkNg14yo-U9agifV6-I7GB3axEKH3niP_lIau0Rcr1s7lxU0vSu3qFClhQvBKxd16o2F9mRX8MPCpn47FZWo4zguTIkt59YzJidf7q2xPTq1GMvTU6LckZ1gjBrocr_7ma5Y/s1600/Vegvisir-C.JPG" imageanchor="1" style="background-color: white; margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwV4feyqH4gkNg14yo-U9agifV6-I7GB3axEKH3niP_lIau0Rcr1s7lxU0vSu3qFClhQvBKxd16o2F9mRX8MPCpn47FZWo4zguTIkt59YzJidf7q2xPTq1GMvTU6LckZ1gjBrocr_7ma5Y/s1600/Vegvisir-C.JPG" width="200" /></span></a></div>
<span style="font-family: inherit;">It may be difficult to see the differences, so let's compare them side by side. The popular charm is on the left, while the correct charm is on the right; the differences are indicated by the red arrows.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT5KbZs0bwwPPvXbgGf2AdykJBjVw9ItqrWq4z-oXwjU_03T3QWCZQr1EasBIoXXt5XCtlI2IDuW_ddObP0is4D7TnkJCnJkdxdq_GwOxmJlX27skcELyQa9XQlbjRT6zd1IZfrcANAyJB/s1600/Vegvisir-comp.JPG" imageanchor="1" style="background-color: white; margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT5KbZs0bwwPPvXbgGf2AdykJBjVw9ItqrWq4z-oXwjU_03T3QWCZQr1EasBIoXXt5XCtlI2IDuW_ddObP0is4D7TnkJCnJkdxdq_GwOxmJlX27skcELyQa9XQlbjRT6zd1IZfrcANAyJB/s1600/Vegvisir-comp.JPG" width="400" /></span></a></div>
<span style="font-family: inherit;">These changes may not seem like much. But given the subtleties of both the Rune and the Ogham alphabets, the addition or subtraction of a single line can completely change the meaning of a stave.</span><br />
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<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Do yourself a favor before your next tattoo. Make sure that the magickal symbol you are going to be wearing for the rest of your life is the symbol you think it is. </span></span></div>
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<span style="font-family: inherit;">If you would like a clean version of the correct <span style="line-height: 19.1875px;">Vegvísir that is large and free of red arrows, just <b style="font-style: italic; text-decoration: underline;">write to me</b> at fen.alraun@gmail.com and I will send it to you.</span><span style="line-height: 19.1875px;"> </span><span style="line-height: 19.1875px;">DO NOT PUT YOUR EMAIL IN THE COMMENTS SECTION!</span></span></span><br />
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Note, 9/6/2014: I have modified the original, high res drawing to create a version that is square and without any interior circle, just as is the original manuscript drawing. It is also available by <i>email </i>request. I can also provide a cleaned-up, high contrast version of the original manuscript image. However, I will not be your tattoo designer. If you want to modify what I send you, that's up to you, but please don't ask me to modify the designs to be exactly what you want. </span></div>
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<span style="font-family: inherit;"><span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 19.1875px;"><br /></span></span>Note, 9/13/2014: I want to address a couple of questions that I get rather frequently about this charm. Before I do so, I should note that no one has yet interpreted this charm with any confidence. What I state about this charm is based solely on my experience with charms in history, folklore and contemporary magickal studies (both eclectic and ceremonial).</span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The idea that the symbols at the end of each stave come from Ogham, which is an Irish magical alphabet, originally seemed unlikely. The Gemanic people had their own alphabet that they believed to be divine. Replacing it with another seemed preposterous. However, I should note that there is no indication that this charm is any older than 1860. The Huld Manuscript has been claimed to represent information that is older than its date, but that is only speculation by one contemporary author. So it is highly possible that the manuscript writer was influenced by scholarship on the Ogham alphabet.</span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The rest of the manuscript likely includes all of the information to understand the charms themselves. It gives 379 lists of numeral systems, runes and symbolic alphabets. Some appear to be based on runes, but those toward the end of the work appear to take major influence from the angelic symbols created by the writings of Dr. John Dee in the late sixteenth century, which had a profound impact on the Rosicrucians and nearly every Western Mystery school since his time. As the nineteenth century was experiencing a surge in interest in mysticism, this is not surprising.</span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Modern representations of this charm show it with two elements that were not present in the original image. The first is a central ring, which is generally empty. My own thoughts on this variation is that its presence does not change the symbol. The ring simply represents the self, as would the converging lines at the center of the charm. In the same way that a zero holds the same value as a blank space, an empty ring would represent the same meaning as no ring at all.</span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">A second common design seen these days is an outer ring of runes. This is merely a design choice and bears no meaning to the usefulness of the charm. Most often, this ring is simply the whole runic alphabet written clockwise around the outer edge - the equivalent of writing ABCDEFG...XYZ around the outside of the design. To the contemporary eye, this design may appear like a preschool mnemonic device for the alphabet, (which would not be a very adult tattoo). But to the ancient Germanic people, their system of writing was more than that, it was a gift of divine symbols. To represent them as a design in this manner might be considered quite wonderful. As for using the design with the <span style="font-family: "times" , "times new roman" , serif;">Vegvísir</span>, my personal opinion is to keep any charm unadorned and un-disturbed by markings that do not belong. </span></span></div>
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<span style="font-family: inherit;"><span style="background-color: white;"><br /></span>I was questioned in the past if the charm must be presented in any particular orientation. I do not believe that it must. Most charms that are directional have some kind of indication of their orientation. Most often, this is a string of text, the reading of which promotes a logic to the orientation of a charm. Where that kind of indication is not obvious, the charm will have a symbol to indicate the top. Most of the time this is a symbol for the divine, which is commonly represented near the top as a gesture of respect. This is seen frequently in the seals of Solomon as a small six-rayed star. Runic writing was regularly written in any direction. It has been found written from top to bottom, bottom to top, left to right, right to left, in spirals and labyrinths. The goal of runes is to communicate by presenting information. Those who are literate have been taught to understand context and do not need to apply rules of orientation. Based on this, I do not believe that orientation is important. I believe the charm is intended to ward against 8 kinds of threats to promote safe travel, so long as the symbols on each stave are correctly drawn.</span><br />
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<span style="font-family: inherit;">For a very thorough page of scholarship on the <span style="font-family: "times" , "times new roman" , serif;">Vegvísir</span>, as well as other similar charms, see Joseph's work at: <a href="http://users.on.net/~starbase/galdrastafir/galdrastafir.htm">http://users.on.net/~starbase/galdrastafir/galdrastafir.htm</a></span></div>
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<a href="http://users.on.net/~starbase/galdrastafir/galdrastafir.htm"><span style="font-family: inherit;"><br /></span></a></div>
<span style="font-family: inherit;"><span 19.1875px="" imes="" line-height:="" new="" roman="" serif="" times="">I've had many requests for the "correct" <span style="font-family: "times" , "times new roman" , serif;">Vegvísir </span>drawing over the past year. I would love to see some of the tattoos that are now carrying this correct charm around the globe. If I send you the drawing of the correct charm, please send back pics of your completed tattoo. </span>
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<span style="font-family: inherit;"><span 19.1875px="" imes="" line-height:="" new="" roman="" serif="" times=""><br /></span><span 19.1875px="" imes="" line-height:="" new="" roman="" serif="" times="">Update 10/31/2014: Merry Samhain and a Happy Pagan New Year to all! Mexx, one of my readers, has agreed to provide a pic of his new </span><span style="line-height: 19.1875px;">Vegvísir </span><span 19.1875px="" imes="" line-height:="" new="" roman="" serif="" times="">tattoo! I think it turned out really well (the symbol on the right). It is coupled with the </span><span style="font-family: "times" , "times new roman" , serif;">Ægishjálmur</span>, which is customarily called "the Helm of Awe" (on the left). They are great examples of using the runic alphabet as a decorative border. Thanks, Mexx!</span></div>
<span style="font-family: inherit;"><span 19.1875px="" imes="" line-height:="" new="" roman="" serif="" times=""><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf_eLvH3tTq0lvlCPpr4grXdOZTp167SByCEsUqnVs6MccM-8HLEGYxdCwdyzIQAEHcJp-mew86tCivbx3yma5WftBHaM-3xyp6gfcFeaZlXAIQicS39IxkS_-1pCM_tghb86LubQcvkQ/s1600/IMG_20141030_220132.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf_eLvH3tTq0lvlCPpr4grXdOZTp167SByCEsUqnVs6MccM-8HLEGYxdCwdyzIQAEHcJp-mew86tCivbx3yma5WftBHaM-3xyp6gfcFeaZlXAIQicS39IxkS_-1pCM_tghb86LubQcvkQ/s1600/IMG_20141030_220132.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: small;">Mexx with correct <span style="line-height: 19.1875px;">Vegvísir on the right</span></span><br />
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<span style="font-family: inherit;">Update 6/22/2015: Thanks to Google, some of the updates I have been doing lately got wiped away. So I apologize if your tattoo was erased. I'm going to try to put them back.</span><br />
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<span style="font-family: inherit;">Here is the tattoo of Rodrigo from Brasil. He elected to go with the original manuscript lines. Classic and powerful!</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipnYqpfrrPAQvoe2WoGbzVSlu3ueS5vlbNIMv1nhR7LhgvfdfNolW7xOKJZfxww4V1VO8dYxQgOA8Ro5PZWZ-x-rJ6jUlpZ5Q-ljfHEWrYVzyJC6pXZAszOzIfV_swbA6vw-oFBVOBNYI/s1600/Rodrigo-tat.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipnYqpfrrPAQvoe2WoGbzVSlu3ueS5vlbNIMv1nhR7LhgvfdfNolW7xOKJZfxww4V1VO8dYxQgOA8Ro5PZWZ-x-rJ6jUlpZ5Q-ljfHEWrYVzyJC6pXZAszOzIfV_swbA6vw-oFBVOBNYI/s320/Rodrigo-tat.jpg" width="239" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Rodrigo's Vegvísir </span></td></tr>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="background-color: white;"><span style="line-height: 19.1875px;"></span></span><br /></span>
<span style="font-family: inherit;"><span style="background-color: white;"><span style="line-height: 19.1875px;"></span></span>
<span style="background-color: white;"><span style="line-height: 19.1875px;"></span></span>This is what Rik from Rotterdam chose. He decided that the round design was right for him. It looks great!<span style="background-color: white;"><span style="line-height: 19.1875px;"></span></span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGHzCL6Hlz_ypSbe-4reuwRlF6i87zsClJlF2W8fjMGCYnK3pDyW29XclU0lbpkCZHf9yQe4yZ2YJN_XkzD3BokfafpmxnYkvzqGNUwvs-wDI_I1P-ujuHmNNcliSY8SWy16YVUmheDNc/s1600/rik-tat.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGHzCL6Hlz_ypSbe-4reuwRlF6i87zsClJlF2W8fjMGCYnK3pDyW29XclU0lbpkCZHf9yQe4yZ2YJN_XkzD3BokfafpmxnYkvzqGNUwvs-wDI_I1P-ujuHmNNcliSY8SWy16YVUmheDNc/s320/rik-tat.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Rik's Vegvísir </span></td></tr>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">One of my readers, Cheradenine, sent an image of his tat, which he got several years ago. Thanks for sharing!</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil5J2AxVrgCbvzvTew-Kvmx_tLdUzJFGloYT98xnlrbPi2x9oqs48Ib8ueMI99yyE29Mf-tej97rwhwZOBsx59HmgWvQxZ4NM3sjnMzIPIvyRyRX-2Wgl4Iizg7AJL4c5vWDXXb5v8qVk/s1600/hyPjLey.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil5J2AxVrgCbvzvTew-Kvmx_tLdUzJFGloYT98xnlrbPi2x9oqs48Ib8ueMI99yyE29Mf-tej97rwhwZOBsx59HmgWvQxZ4NM3sjnMzIPIvyRyRX-2Wgl4Iizg7AJL4c5vWDXXb5v8qVk/s320/hyPjLey.png" width="240" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Vegvisir on Cheradenine</span></td></tr>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Randy went with the square design. It turned out great!</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijtS3l8gxvPzTOmuFufFcEkDkfQwoNwQrZ0GDWhQEDWuSjX9VzNdioNWiY0bUUGWPbk9gqHEMc79d-cZ4F8bSZ5dK6VaENJhrDEbOz8WhTqRzinydxva24_qjs5keMft67sYfuaoqEhW4/s1600/Randys+Vegvisir.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijtS3l8gxvPzTOmuFufFcEkDkfQwoNwQrZ0GDWhQEDWuSjX9VzNdioNWiY0bUUGWPbk9gqHEMc79d-cZ4F8bSZ5dK6VaENJhrDEbOz8WhTqRzinydxva24_qjs5keMft67sYfuaoqEhW4/s320/Randys+Vegvisir.JPG" width="240" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Randy's Vegvísir</span></td></tr>
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<span style="font-family: inherit;">Natalie put one on her leg! Safe travels!</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg19Xsjou5q5K63US-KeQsViC9RaIwE4hzXIUgIwpMddNUaK0pP-ILSxcHrxL2kwJPzMoLh6nVX_tF-MeJ4Sua087BvaIfmJGh81bhMX4Q6bpAkOIep63sKvTC6pEnYLtVUAcKLwGL8HdQ/s1600/Natalie+Vegvisir.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg19Xsjou5q5K63US-KeQsViC9RaIwE4hzXIUgIwpMddNUaK0pP-ILSxcHrxL2kwJPzMoLh6nVX_tF-MeJ4Sua087BvaIfmJGh81bhMX4Q6bpAkOIep63sKvTC6pEnYLtVUAcKLwGL8HdQ/s320/Natalie+Vegvisir.jpg" width="198" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Natalie's Vegvísir</span></td></tr>
</tbody></table>
<span style="font-family: inherit;">Here's Charith's Vegvísir, done with some shading. Well done!</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBeOe9E7x0rlzJngGebKr3vn7s5SzQ296fu5oWHby8ZlbAxe-JF7myHdEGGPfb076DuU92qxOfPE8ytAStg-uVn9B0KJ_GfNeg5qnAqxnu1Zro9y673iXQBQNZa_H0wGTB-iHlDKNu1nk/s1600/IMG_20170211_143051.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img alt="" border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBeOe9E7x0rlzJngGebKr3vn7s5SzQ296fu5oWHby8ZlbAxe-JF7myHdEGGPfb076DuU92qxOfPE8ytAStg-uVn9B0KJ_GfNeg5qnAqxnu1Zro9y673iXQBQNZa_H0wGTB-iHlDKNu1nk/s320/IMG_20170211_143051.jpg" title="Charith's Vegvísir" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Charith's Vegvísir</span></td></tr>
</tbody></table>
<span style="font-family: inherit;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span>Update 11/14/2016: Over the years of thinking about this charm, I played with the idea that each stave might represent a ward against one of eight different kinds of threats to travel. But in recent months my mind has taken a different path. Since it is a charm against getting lost, I began to speculate that each stave is a door key or charm of orientation to travel the 8 Norse world (Earth, Midgard, is the center, so it doesn't have a charm). In other words, perhaps this is a charm for trance/journey work for use by a Northern Shaman. I've decided that the possibility of this could only be determined by "translating" or uncovering the meaning behind each stave.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">However, I'm also considering that there may not be any meaning for each separate stave. Perhaps each stave is <b><i>not </i></b>a separate charm with its own meaning and only together do they create the charm against getting lost. That mentality may be driven by the idea of bind runes, which the staves on the charm very much resemble. Bind runes are charms made of several other glyphs, each with their own meaning when alone. In this case, the whole charm, simply is the whole charm. We wouldn't look at the letter P and ask, "what does the round bump mean?" or "then what does the lower stalk under the bump mean?" We would simply take it for what it is, as a whole.</span><span style="font-family: inherit;"> The Vegvísir, though a complex arrangement of lines and curves, is the entirety of the charm. Breaking it apart would be just as useless as breaking up the letter P into its parts but expecting to still read the sound in that letter.</span><br />
<span style="font-family: inherit;"><br />
Here's How Becky's tattoo turned out. I think the foot was a highly appropriate place to put her tat.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghFQhvZNi5Rp-UcyutRxHGmMzUIcIhqSMxwMo9PcqCiLEq79K_93WLJFUfKNNm4Bxo7o6d3IjL_Mtfh6d5Op_KcaqBluCJLsfAeUJ_SHQUH4NRP4o5kI7Mx32FCI_jVyfhkjfpTwCCXKo/s1600/tatt.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghFQhvZNi5Rp-UcyutRxHGmMzUIcIhqSMxwMo9PcqCiLEq79K_93WLJFUfKNNm4Bxo7o6d3IjL_Mtfh6d5Op_KcaqBluCJLsfAeUJ_SHQUH4NRP4o5kI7Mx32FCI_jVyfhkjfpTwCCXKo/s320/tatt.jpg" width="176" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Vegvísir on Becky's foot</span></td></tr>
</tbody></table>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Ismael put it in the center of his back. How wonderful!</span></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNoJ4DmoTjVL6kcqjKT1HpVZrjNdBnu_zpIBIIC78FCdQxvdsK8w9iec30zcUx0YFKt7KkrZoDZYm72uiXUQF6iWd3cyBJFeZt1Hht-_Hb4hOymnuz6qVkP0rnobgS9c1PIxhlFFY3Uk/s1600/DSC_0504.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="1600" data-original-width="1073" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNoJ4DmoTjVL6kcqjKT1HpVZrjNdBnu_zpIBIIC78FCdQxvdsK8w9iec30zcUx0YFKt7KkrZoDZYm72uiXUQF6iWd3cyBJFeZt1Hht-_Hb4hOymnuz6qVkP0rnobgS9c1PIxhlFFY3Uk/s320/DSC_0504.jpg" width="214" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Ismael's Vegvísir</span></td></tr>
</tbody></table>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Dagmar used the design directly from the manuscript. Very well done.</span></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTiEZblRYb9sK7bimpVpEGCds6H3uaaF7Jni2zs4hd7KDG4OSM6UQJmrgyFc15C9WS7932lucJpmbB_l8auG7oOggSZ0-Cn5riFQv0Whft5CiAhs8Z_cbI6Nkjf3CAVpx7FqANc3k2L2Y/s1600/Dagmar%2527s+tat.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTiEZblRYb9sK7bimpVpEGCds6H3uaaF7Jni2zs4hd7KDG4OSM6UQJmrgyFc15C9WS7932lucJpmbB_l8auG7oOggSZ0-Cn5riFQv0Whft5CiAhs8Z_cbI6Nkjf3CAVpx7FqANc3k2L2Y/s320/Dagmar%2527s+tat.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;">Dagmar's Vegvísir</span></td></tr>
</tbody></table>
And Melody did the same. This is becoming a very popular design of this charm.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG_xlyobA9N6nCRirBvMNhVm5WQMa1j8sXj-W62fZ3gLyfV7ilzH-GOugJoGsvseSyqqiaTfQnABzeuYinNPoeg92V6w9mSNgjnCt-zWVnLQm2BcS4oni4EeSP-Xmn0HPIvYEOyHcccAc/s1600/20170912_155351.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG_xlyobA9N6nCRirBvMNhVm5WQMa1j8sXj-W62fZ3gLyfV7ilzH-GOugJoGsvseSyqqiaTfQnABzeuYinNPoeg92V6w9mSNgjnCt-zWVnLQm2BcS4oni4EeSP-Xmn0HPIvYEOyHcccAc/s320/20170912_155351.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-weight: normal;">Melody's Vegvísir</span></td></tr>
</tbody></table>
<span style="font-family: inherit;"><span style="font-family: inherit;">Here is GK's version of the charm.</span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiBytPFD1e_jsETjpYCuaw0RZsl5Q4lTV92yLYB-CxxY3yhU38uzQs-yep7cuPfDvQakajfWBbYZNgG3Me-cw4JdvS_8FV34X3hNeUB-9DsluAWp_Xt1MqCfzZS_cNdI4LZOzET24QodE/s1600/IMG_20171017_144701.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiBytPFD1e_jsETjpYCuaw0RZsl5Q4lTV92yLYB-CxxY3yhU38uzQs-yep7cuPfDvQakajfWBbYZNgG3Me-cw4JdvS_8FV34X3hNeUB-9DsluAWp_Xt1MqCfzZS_cNdI4LZOzET24QodE/s320/IMG_20171017_144701.jpg" width="240" /></a></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_J4xxBejaSc_ADgfbWo7y6R_ljWKPQaicAvgEl1IXNJKuHzuGse-kVuhj8UNGjWqA8cXmZqMDUfIW1LrcqVMLdDjdTEBqD1KgfQ1ef6DPbJfA59jI4GBs06hFLPsEcos8PMhYG8vIzvA/s1600/IMG_20171018_120204.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_J4xxBejaSc_ADgfbWo7y6R_ljWKPQaicAvgEl1IXNJKuHzuGse-kVuhj8UNGjWqA8cXmZqMDUfIW1LrcqVMLdDjdTEBqD1KgfQ1ef6DPbJfA59jI4GBs06hFLPsEcos8PMhYG8vIzvA/s320/IMG_20171018_120204.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">GK's Vegvísir</td></tr>
</tbody></table>
I wanted to include Bev's tattoo also, since it is so attractive. She linked to it earlier in the comments.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmiHtOm1nrWS_ro-vvhnEnQi-MtVFtcidzSaz-VuJtD10xeOam9E-5WMiVfrj5vaLpQcSXtmuj5Jj03q68iCT8-xIDu8yxDTSLdBN4WwEsaK8A_qGqHc4HK20y-4d0TfDQ_60u1cTsYt8/s1600/Bevs+tat.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="423" data-original-width="564" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmiHtOm1nrWS_ro-vvhnEnQi-MtVFtcidzSaz-VuJtD10xeOam9E-5WMiVfrj5vaLpQcSXtmuj5Jj03q68iCT8-xIDu8yxDTSLdBN4WwEsaK8A_qGqHc4HK20y-4d0TfDQ_60u1cTsYt8/s320/Bevs+tat.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bev's Vegvísir</td></tr>
</tbody></table>
This is a shot from Nick's photo shoot. You can see the amazing design of the charm with an arrow through it.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiavqXboZyUVAXSRN-VRFjmXFOqzvlsaK6JkQJZhKIU0moBtiiEkvV453UMJHe1bNhCxke3pqNWu_TYllf1dRKf7p0LMIq8_RTf_mgQrweS9H_7qcq4KqyF11mzWZH5IC16KCiAGoGdJw/s1600/_MG_8385.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1067" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiavqXboZyUVAXSRN-VRFjmXFOqzvlsaK6JkQJZhKIU0moBtiiEkvV453UMJHe1bNhCxke3pqNWu_TYllf1dRKf7p0LMIq8_RTf_mgQrweS9H_7qcq4KqyF11mzWZH5IC16KCiAGoGdJw/s640/_MG_8385.jpg" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nick's Vegvísir</td></tr>
</tbody></table>
Topher is apparently a collector of tattoos and he recently added the charm to his collection.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQLvEugZFlrt0RPiJvN3p5peIS0CjZNzgrlj2GVaOPU4QFxHT2hBKCRJoAM-CeNtvWfFOlhOZGg80H2mJVOr2xRoMEl-1GynbcXIDnyHPOeBL0mt8Pqfh2b2eqqzmKL-YLZ0TDVzUCK9s/s1600/IMG_1510843157126.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="675" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQLvEugZFlrt0RPiJvN3p5peIS0CjZNzgrlj2GVaOPU4QFxHT2hBKCRJoAM-CeNtvWfFOlhOZGg80H2mJVOr2xRoMEl-1GynbcXIDnyHPOeBL0mt8Pqfh2b2eqqzmKL-YLZ0TDVzUCK9s/s320/IMG_1510843157126.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Topher's Vegvísir</td></tr>
</tbody></table>
<br />
<span style="font-family: inherit;">Update: 8/25/2017: There are one or two points that I feel it important to state obviously, because so many of my fellow online writers seem unable or unwilling to do so. I have already mentioned these accurately above, but I hope to make these points abundantly clear here. </span><br />
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;"><span style="font-family: inherit;">First, the earliest known date for the Vegvísir is 1880, which is the age of the text in which it was first found. That text is the Huld Manuscript. The charm was <i>not </i>part of the Galdrabok and anyone claiming that is in error. The charm was published at the end of Stephen Flowers' 1989 work <i>The Galdrabok: an Icelandic Grimoire</i>, after his translation of the actual Galdrabok, in an appendix called, "Appendix A: Other Icelandic Sources." Flowers specifically gives the date of the charm in that text, but so many readers hungry to find some nugget of ancient knowledge seem to gloss over the date, incorrectly attributing this charm to the Galdrabok itself. There have been other representations of the charm, but always later than the Huld Manuscript.</span></span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;">Second, Flowers writes of the date of the Huld manuscript, "The material contained in these spells is, however, much older, as can be seen when compared to the contents of the Galdrabok" (p. 83). Based on what comparison? His claim should more correctly be characterized as his own speculation. He cites no sources and does not describe his comparative methodology. I find it a feature of poor writing to state a speculative claim as if it was fact. A good writer assumes that the reader might not be able to follow the trail of logic being presented, so one should describe it. Simply writing "as can be seen" is an assuming way of sounding scholarly while placing the burden of executing the comparison with the reader, thus side-stepping any need to specify the comparisons directly. It's obfuscation at its best. It would be more accurate to claim, "I believe the material contained in these spells is, however, much older, after a comparison to the contents of the Galdrabok." He should then reveal what comparisons led him to this conclusion.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">For those interested in leaving a comment, don’t be one of these people:</span><br />
<span style="font-family: inherit;"> Q: “You know those runes that are often written around the charm online? What do they mean?” (No example provided)</span><br />
<span style="font-family: inherit;"> A: No, I’m afraid I can’t read your mind through the internet; but even if I could, I’m not a linguist and I cannot read the runes in their original language; but, even if I could, I would do what the rest of that industry does and charge you a fee for asking for a translation service.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"> Q: “What do each of the sides of the charm mean?”</span><br />
<span style="font-family: inherit;"> A: No one really knows. This blog contains all the speculation that springs from that lack of knowing. Did you miss that part?</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"> Q: “Can you send me the charm, only change it by adding runes and the style and the ...”</span><br />
<span style="font-family: inherit;"> A: No! I can’t send you what I don’t have. I’m not your personal tattoo designer. I’ve clearly stated what I have to offer. The rest is up to you.</span></div>
Unknownnoreply@blogger.com116tag:blogger.com,1999:blog-7053921415082342889.post-8224170730880963402013-06-30T21:19:00.000-04:002015-06-17T12:51:44.046-04:00A Survey of Florida Water, the Hoodoo Holy Water<div class="MsoNormalCxSpFirst">
<st1:state w:st="on">Florida</st1:state>
water is a traditional scent blend of unisex perfume, or more correctly, an eau
de toilette. When one blends notes of citrus, lavender and a spice like
cinnamon and/or clove, one has blended “Florida Water.” At one time, there was
no one correct formula for this scent. It was usually made by pharmacists
(“druggists” or “chemists”) to meet the demand in their area, though large
companies were manufacturing it for sale world-wide. Pharmaceutical trade publications printed dozens of formula suggestions over the years for druggists
to blend in their stores. Formulations for this scent stayed relatively close
to a culturally accepted scent concept so that passers-by would know that one was wearing <st1:state w:st="on">florida</st1:state> water as opposed
to something else, like rose water or geranium water. </div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
Because the scent was inexpensive, readily
available and socially endorsed, it became a perfume useful for making any
environment pleasant to the visitation of ancestral spirits. Over time, it
became the scent necessary for attraction of all things positive.</div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
The Lanman and Kemp-Barclay company has been the
largest commercial producer of the eau de toilette for two hundred years. The
Lanman and Kemp-Barclay history page states that the name of this scent is
derived from the fabled fountain of youth that Spanish explorers believed was
present in <st1:state w:st="on">Florida</st1:state>. Since that time the name “Florida Water” has become a protected trademark. In 1901, Lanman and Kemp Barclay
sued another producer and secured a trademark of the name, “Florida Water.” Unfortunately,
the name “Florida Water” is no longer a suitable title for what once was a cultural blend, because if you attempt to sell your cultural blend, you are breaking the law. A new name of the classic blend might be found by
returning to the apothecary tradition of using Latin descriptors to name
compounds. The Latin phrase “aqua <st1:place w:st="on">florida</st1:place>”
means “blooming water.”</div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
Like many inexpensive perfumes of today, manufacturers
no longer use pure essential oils and clean solvents. Instead, chemical-laced denatured solvents and artificial “fragrances” are all that companies are willing to
provide. Those who seek a quality product, free of the “fake” smell present in
manufactured <st1:state w:st="on">florida</st1:state>
water, have no other option than to make the scent themselves. </div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
A popular contemporary proponent and teacher of
hoodoo practices features heavily the use of the artificial product in her writings.
Naturally, she offers the manufactured scent for sale in her store. I am left
to wonder how any magickal working is supposed to feel powerful by virtue of
the special meaning placed on the ceremony, when the atmosphere is scented by
an artificial and cheaply produced bottle of chemicals rather than a
painstakingly produced bouquet of natural essences.</div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
The writer’s hoodoo information site provides a
recipe for <st1:state w:st="on">florida</st1:state>
water, for those who feel interested in making their own. Her formula is widely
copied throughout cyberspace with little consideration for the validity of the
formula, or any credit that should be due the author. My own survey of historic <st1:state w:st="on">florida</st1:state> water recipes
leaves me with the idea that her recipe, which is from 1937, is somewhat non-traditional,
if not slightly misleading. The recipe includes both musk and jasmine, two
scents which are possibly disagreeable in <st1:state w:st="on">florida</st1:state> water.</div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
For <st1:state w:st="on">florida</st1:state>
water to be truly unisex, as was proposed in Victorian manuals of etiquette,
excessively flowery notes could not predominate. The blend was touted as a
summer refresher and skin tonic, which would have been inappropriate for use by
the working gentleman if flowery notes predominated. In the May 26, 1902 issue
of The America Druggist and Pharmaceutical Record, this opinion is efficiently stated on p.
280:</div>
<div class="MsoNormalCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: .5in;">
<br /></div>
<div class="MsoNormalCxSpMiddle" style="margin-left: .5in; mso-add-space: auto; text-indent: .5in;">
Some of the ingredients often seen in formulas and the use of
which are to be avoided, are musk, rose, rose geranium, citronella, orris and
the floral odors from pomade washings of their synthetic equivalents. The
addition of these sometimes gives an odor that is positively disagreeable and
invariably impart a cloying quality or heaviness that effectively kills the
refreshing odor that should be a characteristic of a good Florida Water. </div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
The earliest Florida Water recipe I found came
from the Canadian Pharmaceutical Journal, November, 1875. That recipe had only
six scents, the most minor of which was musk. I found musk present in ten (plus one suggesting it be optional) out of forty four recipes between the years of
1875 and 1920. Rose was present in only twelve of the recipes and jasmine in
only one. Compare this with bergamot, which is present in all but five recipes,
and lavender, which is missing in only one recipe, and these flowery scents
become unnecessary and forgettable.</div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
In the September 1902 issue of American Druggist
and Pharmaceutical Record, another formula is given on p. 186 with the notice
that “Florida Water is simply a spiced lavender water.” That recipe adds some
surprising notes of caraway and spearmint, all of which would create a cooling
affect in summer, while adding a spicy note by way of a scent less sharp than
cinnamon or clove.</div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
The only scents that are clearly common to most of
the recipes are citrus in the largest quantity (made up of combinations of bergamot,
lemon, orange, and neroli), lavender, and a spicy note (often cinnamon and/or
clove, but possibly others). In all cases, the citrus maintains a greater proportion of the final product than lavender. Unusual
additions include rosemary, thyme, turmeric, balsam, and melissa.</div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
Below is an example recipe that adequately
represents the minimum necessary components, in typical proportions, to allow
one to make a basic version of <st1:state w:st="on">florida</st1:state>
water, or rather, “Aqua Florida.” This recipe comes from the Canadian
Pharmaceutical Journal of September 1878. Additional notes can be blended into
the bouquet if the reader desires to personalize the preparation. Proportions
are given as published, but are also shown reduced to 1/32<sup>nd</sup> of the
original to allow for a personal-sized batch to be made. For those who fancy
themselves an armchair druggist, the provided conversion into milliliters will
permit division to any size. It should be noted that one “drop” was typically equivalent to one minim; greater accuracy to the minim is thus achieved by using a bulb
dropper, rather than the drop applicator built into the necks of commercial essential
oil bottles.</div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<div class="MsoNormalCxSpMiddle">
<u>Original</u> <u>1/32<sup>nd</sup></u> <u>SU</u> </div>
<div class="MsoNormalCxSpMiddle">
Oil bergamot 4 fl. ounces 60 drops 118.4
ml</div>
<div class="MsoNormalCxSpMiddle">
Oil lemon 6 fl. ounces 90 drops 177.6 ml</div>
<div class="MsoNormalCxSpMiddle">
Oil cloves 6
drachms 11 drops 22.2 ml</div>
<div class="MsoNormalCxSpMiddle">
Oil cinnamon 6
drachms 11 drops 22.2 ml</div>
<div class="MsoNormalCxSpMiddle">
Oil lavender 1 fl. ounce 15 drops 29.6 ml</div>
<div class="MsoNormalCxSpMiddle">
Alcohol (pure ethanol) 3
½ gallons 14 fl. ounces 13,244 ml</div>
<div class="MsoNormalCxSpMiddle">
Aqua (distilled water) 6
pints 3 fl. ounces 2,838 ml</div>
<div class="MsoNormalCxSpMiddle">
Total Yeild: 4.35
gallons 17.37 fl. ounces 16,452 ml</div>
<div class="MsoNormalCxSpMiddle">
Mix the oils into the alcohol and
shake to blend. After two days, add the water. Keep away from strong light. The blend grows better with age. For external use only.</div>
<div class="MsoNormalCxSpMiddle">
<br /></div>
<br />
<div class="MsoNormal">
<br /></div>
Unknownnoreply@blogger.com11tag:blogger.com,1999:blog-7053921415082342889.post-68149841866678228052012-11-18T15:26:00.002-05:002017-01-19T08:27:22.195-05:00Alraun the Spirit RootAn alraun is a magickal charm composed of a plant part, typically a root and traditionally the root of the mandrake plant, that is used as a corporeal domicile by a helping familiar spirit.<br />
<br />
Because of the connection between them, any reading or research about the alraun invariably forces one to research the mandrake. But during my study, I have come to question a couple of connections that are unclear. I have therefore come to these conclusions, which I will discuss:<br />
<br />
<ol>
<li>The alraun has a uniquely Germanic name despite that the traditional alraun plant - the mandrake - does not grow in any Germanic area, signaling possible confusion between the mandrake and another plant more common to Germanic latitudes.</li>
<li>The lore of the mandrake has become so notorious that any original alraun lore has become potentially obscured through cultural marriage with the mandrake. Consequently, exposure of unadulterated alraun lore has become impossible.</li>
</ol>
<br />
In contemporary usage, the german word for the mandrake plant is “alraune.” All of the living Germanic languages have a similar word. None of these words directly refer to any plant except for the mandrake plant. This poses a serious problem since the mandrake plant grows only around the Mediterranean, having a distribution no further north than the mountains of Italy.<br />
<br />
The lore of the mandrake plant may originate in the 3rd c. BC, when Appollonius of Rhodes, who wrote the story of Jason and the Argonauts, revealed a plant that sprang up from the ground where the juices of the damaged liver of Prometheus dripped onto the ground.<br />
<br />
<blockquote class="tr_bq">
She [Medea] spake, and brought a casket wherein lay many drugs, some for healing, others for killing . . . . and Medea meanwhile took from the hollow casket a charm which men say is called the charm of Prometheus. If a man should anoint his body therewithal, having first appeased the Maiden, the only-begotten [Hecate], with sacrifice by night, surely that man could not be wounded by the stroke of bronze nor would he flinch from blazing fire; but for that day he would prove superior both in prowess and in might. It shot up first- born when the ravening eagle on the rugged flanks of Caucasus let drip to the earth the blood-like ichor of tortured Prometheus. . . . And beneath, the dark earth shook and bellowed when the Titanian root was cut; and the son of Iapetus [Prometheus] himself groaned, his soul distraught with pain (Book III, 828).</blockquote>
<br />
Based on the description above, this is a plant known by the ancient Greeks to be an anesthetic against “blazing fire.” It required a ceremonial sacrifice and when picked would cause the earth to shake and Prometheus to groan. Lee claimed that the plant has been identified as the Corycian crocus (281), but its description also matches the plant called the male mandrake by Pedanius Dioscorides (Book IV, 76). Interestingly, Hecate was often associated with dogs, an animal we shall soon see is strongly associated with mandrakes during harvest.<br />
<br />
Dioscorides, in his famous materia medica of the 1st c. describes the highly anesthetic qualities of the plant, stating that it is used useful during surgery by causing a “dead sleep.” In fact, the use of mandrake as an anesthetic continued until the eventual adoption of anesthetic ether as late as the mid 1800’s.<br />
<br />
The Bible reveals the most famous quality of the mandrake: how to collect it using an animal tied to its roots. In Genesis (largely accepted as being written in the 6th or 5th c. BCE) we learn that whoever uproots the mandrake must die (Frazer, 393). Josephus ties this tale to the description of the herb he calls Baaras, which has been identified by many scholars as the mandrake, by stating that the animal to uproot the herb should be a dog. Neither source states exactly what particular action actually kills the animal. Frazer's suggestion that the action is a kind of "charge" (395) sounds both mysterious and divine.<br />
<br />
The mandrake is simply a plant with a vaguely humanoid shape, but coupled with the ability of the plant to bring about sleep, the herb gained significant magical associations (Carter, 144). Also known throughout the Ancient Near East as a powerful aphrodisiac, it produces small fruits known as love apples. The many folk names for the mandrake all express the sentiment that the root housed spirits, though more commonly evil ones. Incidentally, I wouldn't be surprised if the mandrake was actually the plant referenced in the Biblical story of the fall in the Garden of Eden, but that is an examination for a Biblical exegesis. M.R. Lee’s paper expertly outlines how the idea of spirits in a plant root as well as the ceremonies surrounding how the alraun came to be.<br />
<br />
In Armenia and other parts of Europe, where the mandrake does not grow, lore exists that the fleshy, humanoid shape of the bryony root was substituted for the mandrake (Frazer, 395).<br />
<br />
Cultural transmission may explain how the Germanic people came to believe in a root in which a spirit lives, and even the ceremonies surrounding the use of the plant as a spirit poppet, though the deeply animistic characteristics of celto-Germanic spirituality does not need cultural transmission to inspire such a concept. Nonetheless, it does not explain why the Germanic people have their own linguistic family of names for the plant.<br />
<br />
The connection could possibly be related to beer, or rather brewing. History shows that Mandrake was used as an additive in beer and wine to produce an anesthetic drink. The Greeks used the mandrake to produce a wine designed to bring about an easy, aphrodisiac effect as well as complete unconsciousness. With the dosage correctly measured, the brew could produce a semi-lucid trance state not unlike a shamanic trance used by holy men and seers to gain knowledge. The mandrake herb, after being passed from the Romans to the Germanic tribes in the first century, could have been renamed by the Germans as an herb for brewing an insightful shamans brew. The reader should recall that the mandrake was an herb of the goddess Hecate, who was associated with magic at crossroads. The German word “alraun” could come from the word “alruna” after the Valkyrie, Alruna, who is associated with crossroads, or from the words “ale rune” (Simek). Shamanic practices in Celto-Germanic culture are linked to crossroads because they are places of transition, where the edges of different worlds meet.<br />
<br />
Primarily in Germany (Lee, 281) the herb is also known as the “gallows man.” Dr. William Turner cites in 1568 that a doctor in Cologne taught his students that the mandrake only grew under the gallows as a result of the emissions of the dead that hung there (Carter, 146). In folklore, those who die on the gallows are buried at crossroads. These are interesting ideas considering that the runes themselves were inspired when Odin (patron of crossroads and travelers) hung himself on the world tree and become inspired to discover the runes - an experience believed by many scholars to be a description of a shamanic trance. Could there have been an earlier herb used by the Germanic peoples to enter trance, whose name was later applied to the mandrake as the herb and its powers culturally migrated northward from the Mediterranean? This idea is likely, thought what the original herb might have been is no longer known.<br />
<br />
Scopolamine, the psychotropic chemical found in the mandrake is found in other plants of the Solanaceae family, namely Belladonna, Nightshade, Datura, Henbane and other ingredients typically used in recipes for witch's flying ointments. However, the depressive nature of scopolamine alone is more likely to produce unconsciousness than hallucinations, unless another chemical modified the mixture, and with it, the response of the body.<br />
<br />
The lore that surrounds the mandrake has become linked to the alraun as a general principle, so there is no way of knowing which elements of the original alraun ceremony (if there was one) correctly belong to the Germanic alraun, and which belong to the use of the mandrake root, specifically. In my study of alrauns (and mandrakes by default) I have run across an exhausting list of rules that must be followed when gathering and using mandrake and alrauns. Here are some of them.<br />
<br />
<ul>
<li>The root grows under gallows or over graves as a result of the excretions of the dead</li>
<li>To gather the root, it must be at before dawn, or at least at night</li>
<li>It must be a Friday</li>
<li>It must be a new moon</li>
<li>You must face west</li>
<li>You must make a sign of the cross three times over the plant</li>
<li>You must offer the plant some of your blood</li>
<li>You must spill on the plant the urine of a woman or menstrual blood</li>
<li>You must dig up most of the root by digging around it, but leave the very bottom root fibers attached</li>
<li>You must stop up your ears before pulling it free to prevent its screams from killing you</li>
<li>You must tie a dog to the root and force the dog to pull it out, sacrificing the dog.</li>
<li>You must bathe the root in water and/or wine immediately</li>
<li>You must keep the root in a box decorated to look like a coffin</li>
<li>You must give the root a funerary shroud that is white and/or red</li>
<li>You must bathe the root every Friday with water, wine, milk, honey, and/or the owner's blood</li>
<li>You must give the root a new white shirt every first Friday (the day of Venus)</li>
<li>You must bequeath the root to your youngest son</li>
<li>To accept the root, your youngest son must bury his father with a loaf of white bread and a piece of money</li>
<li>You can buy an alraun, but you must not sell it for less than you paid for it.</li>
</ul>
You can see how many hoops there are through which one must jump to maintain this root. Much of this comes from the mandrake lore, which was believed to be a place where evil spirits were apt to reside. The useful common thread behind most of this practice employs the rule of putting your money where your mouth is. If you want power in the alraun, you have to do the work to put it there. Traditionally, you treated the alraun just like you would a dead ancestor.<br />
<br />
The alraun itself is no longer an idea tied only to the mandrake root. Any root can be used to host a spirit if the proper processes are followed. But an alraun is not a host for just any spirit you can call upon. You should consider these points before beginning. The smartest advice I've found when beginning such a process are these three points from a local witch, Nalaya Oddly.<br />
<br />
<blockquote class="tr_bq">
1. Many spirit forms desire the experience of entering a physical body, having never done so before, and they will be rather sinister in their attempts to gain that access. As a result, the alraun should be opened as a host to <i>only a particular spirit that you know well.</i> (Therefore, this spirit must carry a name that you use to summon it. Since names are actually words of power bound to a being, using the spirit's name exerts your control over it's occupation of the root).<br />
2. You should have a good working relationship with the spirit through trance work. <i>It should be a spirit whose behavior you can safely control.</i><br />
3. The inhabited alraun is not a pet. <i>It requires a great deal of routine responsibility</i> to keep it working positively for you. You must treat it with respect and honor it as its magic formulae require you to do. No spell works out well if you execute it halfheartedly.</blockquote>
<br />
The occupied alraun is different than a spirit occupying an object through direct spirit possession. During possession, the spirit must expel significant energy to remain attached to something material. As a consequence, this attachment does not last very long. The ceremony of creating the alraun is not only an invitation to the spirit to use the body of the plant root, it is also a vow from you that you will feed the spirit with your own energy. You do this by honoring the spirit through repetitious ritual.<br />
<br />
Because the spirit is invited to occupy the alraun, it gains a stronger link to it such that it can feel more corporeal, pleasing the spirit, which longs for a proper corporeal life. By giving the spirit a body in which to occasionally reside and receive your adoration, it becomes more powerful and thus a more effective agent for getting things done for you. A similar practice is used in hoodoo magick known as a “spirit box.”<br />
<br />
The alraun ritual accomplishes two things. First, it creates a contract between you and the spirit in which you promise to honor and feed it, while it promises to act for you in the aetheric world. Second, it creates a corporeal body protected by you and your magic that no other spirit can occupy. You magically “lock” the root against all spirits except the one you name.<br />
<br />
The mandrake is the most traditionally used root, because its lore is both old and related to spirit possession and its root is often bifurcated, making it resemble human legs. Another common root is bryony, used more often than the mandrake by those in central and northern Europe. Roots used in America can be any that are large and fleshy, but that will dry without rotting. Some commonly used have been American Ginseng (Panax quinquefolius), carrots, parsnips, parsley root, mature Queen Anne’s Lace, and the dandelion (particularly appropriate because the herb belongs to the goddess, Hecate).<br />
<br />
To maintain the alraun, you must provide it with three things.<br />
1. The alraun requires a box to act as its resting place. Like any human being when it is no longer alive, the body resides in a coffin, which is more than just a holding place for the body after the spirit leaves, it is a special container expressing your honor of the ancestor and acting as a sacred doorway to the otherworld. In the case of the alraun, the spirit comes and goes from the plant root as it journeys to complete what you ask of it. The alraun coffin does not have to be an actual coffin; it can be any box into which the alraun fits, but it must be ornately decorated by you. These decorations are usually those that are appropriate funerary motifs, because the box should have the feel of being a coffin. The more honor you represent in the decoration of the coffin, the more honor you pay to the spirit of the alraun, and thus the deeper will be your bond with the spirit.<br />
<br />
Along with a coffin, the dead should have a funerary shroud. The shroud is simply a red, white or black cloth made from a high quality fabric like silk or linen. This shroud must be periodically changed as it ages, just as you would change an ancestor's funeral shroud. The funeral “shirt” can be very simply made by stitching together the parallel edges of a strip of cloth to make a tube long enough to completely contain the alraun.<br />
<br />
2. The alraun requires regular feeding. By feeding the alraun regularly, you honor the cyclical nature of pagan time. You echo the regular visits to a dead ancestor's grave site. You set aside mundane time to augment the magickal working. Just as people need three meals per day, so spirits need regular "meals" of energy to keep working. Feeding can consist of a ceremony to honor it or providing the favorite food of the spirit, if is has one (wine is a standard substitute). The goal is to make the alraun spirit powerful enough to execute the tasks you request of it. The repeated attention is actually reinforced intention. It flatters the spirit and provides it energy to get work done. The best schedule is one that uses your tables of correspondence. Honor it on the day of the deity that it feels most like. If it has an astrological connection, use that day of the week. If you want to use a particular phase of the moon, or other astrological event, that works well also. The goal-schedule is that you should do something to honor it at least once monthly.<br />
<br />
3. Because the alraun is not a pet, you should have clear expectations of it. It should be a resource to which you can turn when you want a spiritual helper to do magical work. If you keep it constantly locked in it's box, the alraun spirit will grow bored and will wander away in search of someone more willing to honor it regularly.<br />
<br />
<h3 style="text-align: center;">
<b>The Alraun Ritual</b></h3>
<br />
So now that you know all about working with the alraun, how do you actually get the spirit into the plant root? There is no specific ceremony I could find. However, there are patterns in the folklore that can reveal how one can work with this particular magickal power. Here are some suggestions if you are going to write your own alraun invocation ritual.<br />
<br />
1. The moment you decide you are going to create an alraun is the moment you begin to rouse nearby spirits. They will feel your intent to create a corporeal body. If you are particularly intuitive, you may notice an increase in spiritual presences in your vicinity. This should subside when the chosen spirit is finally fixed to the root. You should have at least a visiting relationship with the spirit you will ask into the alraun and you should know its name. That means you have spent time with your spirit in dreams, journeys, meditations, or other trance states. The name can be one that you have invented, but it must be one that encompasses the essence of a single spirit in your mind. You must <i>know </i>the spirit to gain a successful invocation.<br />
<br />
2. Decide "the what" and "the how" of the root you will use. This will employ your knowledge, or research of magickal herbalism. You might choose a root associated with a particular astrological purpose or deity. It is possible to have alrauns that function as magickal specialists, each with their own working purpose, but maintaining that can be tiresome; a generalist alruan is most common. You should also set up a process for gathering this root by employing electional astrology so that the plant is collected or purchased at the most auspicious time for the end result.<br />
<br />
3. When you know how big the root will be, you should design the "coffin" to hold it. This can be a wooden cigar box that you paint, or a box you make yourself. Many craft stores sell small pre-made boxes in the shape of a coffin for Halloween. The symbols you use should be symbols of honor and respect, symbols of your patron gods, and symbols of death or transition such as skulls, spirals, portals. You can paint them or draw them with markers, or even decoupage images clipped from magazines. The interior should look comfortable and restful. The point is to make it look reverent and special to you. Remember that it is your energy that feeds the alraun, so you must enjoy and appreciate all of the details of the experience.<br />
<br />
4. Decide where the coffin will reside. You don't put all of your energy into a magickal tool only to store it with the dust bunnies under your bed. It should have a place of reverence, but not a place that it will be unnecessarily disturbed by pets, children or curious house guests.<br />
<br />
5. Create the invocation ritual. This should ideally be executed inside a protective circle to reinforce that only the particular spirit you invite will be the one that takes up residence in the alraun. Once the circle is cast, you should conduct the ceremony much like a funeral. Ask the spirit into the circle with you and take time to speak directly to the spirit. Talk openly about the qualities of the spirit as you know them. Use the spirit's name often to reinforce in your intent exactly which essence you are letting into the alraun. Let it know that you have honored it by spending time crafting its body and coffin. Pledge that you will honor and feed it with regular acts of reverence. The root should be carved or marked with symbol(s) that are for the target spirit. These can be a bindrune of the spirit's name, or a symbol that has been revealed during your workings with the spirit. Most spirits have a sigil. Tell the spirit that this root is for it alone, to act as its body - as its home. Create the image of an open door in your mind and raise power. Tell the spirit you will help it into its new home, which is where you wish it to reside until you call upon it for help. At the moment you are about to release your power, tell the spirit to pass through the door, then release your power into the alraun. The ceremony is done. Close the box and the circle. Ground and center.<br />
<br />
6. Don't forget to honor the alraun regularly. I find that once per week is sufficient. I like to annoint the alruan and give a short prayer of honor. I have made up my own herbal oil blend that I use only for this. You can make your own also, so long as the blend feels appropriate for you.<br />
<br />
<u>References</u><br />
<u><br /></u>
Apollonius Rhodius. Argonautica. Book III, 828. Translated by Seaton, R. C. Loeb Classical Library Volume 001. London, William Heinemann Ltd, 1912.<br />
<br />
Carter, AJ. "Myths and mandrakes." <i>Journal of the Royal Society of Medicine</i>. 2003; <b>96</b>:144-147.<br />
<br />
Dioscorides. <i>Materia Madeica</i>. First Century. Book IV, 76.<br />
<br />
Frazer, James George. "Jacob and the Mandrakes." <i>Folklore in the Old Testament, </i>1919. <i>Volume 2,</i> p. 372.<br />
<br />
Josephus. Wars of the Jews, Book VII, Chapter VI, 3<br />
<br />
Lee, MR. "The Solanaceae II: The mandrake (<i>Mandragora officinarum</i>); in league with the Devil." <i>Journal of the Royal College Physicians, Edinburgh</i>. 2006; <b>36</b>: 278-285.<br />
<br />
Oddly, Nalaya. "Working with Alrauns." Something Oddly. website composed April 12, 2011. at: http://somethingoddly.blogspot.com/2011/04/working-with-alrauns.html<br />
<br />
Simek, Rudolf. Dictionary of Northern Mythology. Brewer, 2008.<br />
<br />
<u>Other Sources</u><br />
<br />
Huson, Paul. Mastering Witchcraft: A Practical Guide for Witches, Warlocks, and Covens. New York: G.P. Putnam’s Sons, 1970.<br />
Pennick, Nigel. Practical Magic in the Northern Tradition. Leicestershire, UK: Thoth Publications, 2002.<br />
Thompson, C.J.S. The Mystic Mandrake. London: Rider, 1934.<br />
Leland, Charles Godfrey. Gypsy Sorcery and Fortune Telling, chapter 10.<br />
"The Sacred Flora." Harper's New Monthy Magazine. Vol 42 (June-Nov, 1870), 731.<br />
Grimm, Jacob. "Alraun." Deutsche Mythologie. Vol II, p. 1154.<br />
Silberer, H. "The Homonculus." The Psychoanalytic Review. 1919. Volume 6, pg. 206<br />
Newman, William R. Promethean Ambitions: Alchemy and the Quest to Perfect Nature, pg. 208.<br />
Heiser, Charles B. “Nightshades, The Paradoxical Plant“, (131-136). W. H. Freeman & Co.<br />
Christian, Paul. “The History and Practice of Magic” (402-403). Kessinger Publishing.<br />
Illes, Judika. "Mandrake." The Element Encyclopedia of Witchcraft.<br />
Larson, Gerald James, C. Scott Littleton, and Jaan Puhvel. Myth in Indo-European Antiquity. p. 157<br />
Simoons, Frederick J. "Mandrake, a Root in Human Form." Plants of Life, Plants of Death. 1998. p. 127<br />
<br />
<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7053921415082342889.post-10828697040092532412012-10-14T11:00:00.000-04:002017-11-17T08:09:23.325-05:00AbracadabraFor years I have been fascinated
by the use of and power in magic words. Recently, my over-analytic brain has
fallen upon the old word “abracadabra” and wondered why it is what it is. I
have also wondered if it shouldn't be in greater use these days. Certainly, a
word with so much fame shouldn't be forgotten in the world of witchcraft.<br />
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The <a href="http://www.etymonline.com/index.php"><span style="color: cyan;">Online Etymology Dictionary</span></a> tells
us that the word is a . . .<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
magical formula, 1690s, from Latin
(Q. Severus Sammonicus, 2c.), from Late Gk. Abraxas, cabalistic or gnostic
name for the supreme god, and thus a word of power. It was written out in a
triangle shape and worn around the neck to ward off sickness, etc. Another
magical word, from a mid-15c. writing, was ananizapta.</div>
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<br /></div>
<div class="MsoNormal">
This is interesting, albeit
brief. It doesn’t really explain the use of the spell. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://en.wikipedia.org/wiki/Abracadabra"><span style="color: cyan;">Wikipedia</span></a> has this to say about the
word:<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b><i>Abracadabra</i></b><br />
Abracadabra is an incantation used as a magic word in stage magic tricks, and historically was believed to have healing powers when inscribed on an amulet. The word is thought to have its origin in the Aramaic language, but numerous, conflicting folk etymologies are associated with it. </div>
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<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
History:<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
The first known mention of the word
was in the third century AD in a book called<span class="apple-converted-space"> </span><i>Liber
Medicinalis</i><span class="apple-converted-space"> </span>(sometimes
known as<span class="apple-converted-space"> </span><i>De Medicina Praecepta Saluberrima</i>) by<span class="apple-converted-space"> </span>Quintus Serenus
Sammonicus,<sup>[1]</sup><span class="apple-converted-space"> </span>physician<span class="apple-converted-space"> </span>to the<span class="apple-converted-space"> </span>Roman emperor<span class="apple-converted-space"> </span>Caracalla, who prescribed that<span class="apple-converted-space"> </span>malaria<sup>[2]</sup>sufferers wear an amulet containing
the word written in the form of a triangle:<sup>[3]</sup></div>
<div align="center" class="MsoNormal" style="margin-left: .5in; text-align: center;">
A -
B - R - A - C - A - D - A - B - R - A<br />
A - B - R - A - C - A - D - A - B - R<br />
A - B - R - A - C - A - D - A - B<br />
A - B - R - A - C - A - D - A<br />
A - B - R - A - C - A - D<br />
A - B - R - A - C - A<br />
A - B - R - A - C<br />
A - B - R - A<br />
A - B - R<br />
A - B<br />
A</div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
This, he explained, diminishes the
hold over the patient of the spirit of the disease.<sup>[<i><span style="mso-bidi-font-style: italic;">citation needed</span></i>]</sup><span class="apple-converted-space"> </span>Other Roman emperors, including Geta<span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span>Alexander Severus, were followers of the
medical teachings of Serenus Sammonicus and may have used the incantation as
well.<sup>[1][<i><span style="mso-bidi-font-style: italic;">citation needed</span></i>]<o:p></o:p></sup></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
It was used as a<span class="apple-converted-space"> </span>magical formula<span class="apple-converted-space"> </span>by
the<span class="apple-converted-space"> </span>Gnostics<span class="apple-converted-space"> </span>of the sect of<span class="apple-converted-space"> </span>Basilides<span class="apple-converted-space"> </span>in invoking the aid of beneficent
spirits against disease and misfortune.<sup>[4]</sup><span class="apple-converted-space"> </span>It is found on<span class="apple-converted-space"> </span>Abraxas stones<span class="apple-converted-space"> </span>which
were worn as amulets. Subsequently, its use spread beyond the Gnostics.</div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
The Puritan minister<span class="apple-converted-space"> </span>Increase Mather<span class="apple-converted-space"> </span>dismissed
the word as bereft of power.<span class="apple-converted-space"> </span>Daniel Defoe<span class="apple-converted-space"> </span>also wrote dismissively about Londoners
who posted the word on their doorways to ward off sickness during the<span class="apple-converted-space"> </span>Great Plague of
London.<sup>[5]</sup><span class="apple-converted-space"> </span>But<span class="apple-converted-space"> </span>Aleister Crowley<span class="apple-converted-space"> </span>regarded
it as possessing great power; he said its true form is<span class="apple-converted-space"> </span>abrahadabra.<sup>[6]<o:p></o:p></sup></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
The word is now commonly used as an<span class="apple-converted-space"> </span>incantation<span class="apple-converted-space"> </span>by stage magicians. It is also applied<span class="apple-converted-space"> </span>contemptuously<span class="apple-converted-space"> </span>to a
conception or hypothesis which purports to be a simple solution of apparently
insoluble phenomena.</div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
Aleister Crowley replaced the C in Abracadabra with an H, which the Hermetic Order of the Golden Dawn in their Neophyte ritual linked with Breath and Life[2] as well as with the god Horus.[3] Aleister Crowley had taken the place of Horus or the Hierus officer[3] in the Golden Dawn's Neophyte ritual,[4] which means that he personally gave the response explaining the meaning of the letter H.<br />
<br />
<ol start="1" style="margin-top: 0in;" type="1">
<li class="MsoNormal"><span class="reference-text"><span style="font-family: "arial"; font-size: 8pt;">Vollmer, Friedrich.</span></span><span class="apple-converted-space"><span style="font-family: "arial"; font-size: 8pt;"> </span></span><span class="reference-text"><i><span style="font-family: "arial"; font-size: 8pt;">Quinti Sereni Liber
Medicinalis</span></i></span><span class="reference-text"><span style="font-family: "arial"; font-size: 8pt;">. <st1:city w:st="on"><st1:place w:st="on">Leipzig</st1:place></st1:city>: Teubner, 1916.</span></span><span style="font-family: "arial"; font-size: 8.0pt;"><o:p></o:p></span></li>
<li class="MsoNormal"><span class="reference-text"><span style="font-family: "arial"; font-size: 8pt;">The Tenacious Buzz of Malaria".</span></span><span class="apple-converted-space"><span style="font-family: "arial"; font-size: 8pt;"> </span></span><span class="reference-text"><i><span style="font-family: "arial"; font-size: 8pt;">Wall Street
Journal</span></i></span><span class="reference-text"><span style="font-family: "arial"; font-size: 8pt;">. July 10, 2010.</span></span><span style="font-family: "arial"; font-size: 8.0pt;"><o:p></o:p></span></li>
<li class="MsoNormal"><span class="reference-text"><span style="font-family: "arial"; font-size: 8pt;">Bartleby</span></span><span style="font-family: "arial"; font-size: 8.0pt;"><o:p></o:p></span></li>
<li class="MsoNormal"><span class="citationbook"><span style="font-family: "arial"; font-size: 8pt;">"Abracadabra".</span></span><span class="apple-converted-space"><span style="font-family: "arial"; font-size: 8pt;"> </span></span><span class="citationbook"><i><span style="font-family: "arial"; font-size: 8pt;">Encyclopædia
Britannica</span></i></span><span class="apple-converted-space"><span style="font-family: "arial"; font-size: 8pt;"> </span></span><span class="citationbook"><span style="font-family: "arial"; font-size: 8pt;">(11th ed.). 1911.</span></span><span style="font-family: "arial"; font-size: 8.0pt;"><o:p></o:p></span></li>
<li class="MsoNormal"><span class="reference-text"><span style="font-family: "arial"; font-size: 8pt;">Daniel Defoe.</span></span><span class="apple-converted-space"><span style="font-family: "arial"; font-size: 8pt;"> </span></span><span class="reference-text"><span style="font-family: "arial"; font-size: 8pt;"><i>A Journal of the Plague Year</i>. <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>, Dent, 1911
(1722)</span></span><span style="font-family: "arial"; font-size: 8.0pt;"><o:p></o:p></span></li>
<li class="MsoNormal"><span class="citationbook"><span style="font-family: "arial"; font-size: 8pt;">Guiley, Rosemary
(2006). "Abracadabra".</span></span><span class="apple-converted-space"><span style="font-family: "arial"; font-size: 8pt;"> </span></span><span class="citationbook"><i><span style="font-family: "arial"; font-size: 8pt;">The Encyclopedia of
Magic and Alchemy</span></i></span><span class="citationbook"><span style="font-family: "arial"; font-size: 8pt;">. Visionary Living
Inc..</span></span><span class="apple-converted-space"><span style="font-family: "arial"; font-size: 8pt;"> </span></span><span class="citationbook"><span style="font-family: "arial"; font-size: 8pt;">ISBN 0-8160-6048-7.</span></span><span style="font-family: "arial"; font-size: 8.0pt;"><o:p></o:p></span></li>
</ol>
</div>
<br />
<div class="MsoNormal">
Aliester Crowley aside, nothing is stated
of the actual origin, though the note about its Aramaic origin has me curious.
The part about magicians is the most interesting part, however, because that is
how the word is used currently. I have my own memories of entertainers using the word
during the most mysterious part of a magic trick – the part just before the end
of the trick when there is supposed to be something mystical happening behind
the scenes to produce the desired operation. But why would a charm of destruction be used as an incantation for creation?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is revealed by the Brit, Michael Quinion, who writes
about the word on his site <a href="http://www.worldwidewords.org/qa/qa-abr1.htm"><span style="color: white;">World Wide Words</span></a>:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
What we know for sure is that it
was first recorded in a Latin medical poem,<span class="apple-converted-space"> </span><em>De
medicina praecepta</em>, by the Roman physician Quintus Serenus
Sammonicus in the second century AD. It’s believed to have come into English
via French and Latin from a Greek word<span class="apple-converted-space"> </span><i>abrasadabra</i><span class="apple-converted-space"> </span>(the
change from<span class="apple-converted-space"> </span><i>s</i><span class="apple-converted-space"> </span>to<span class="apple-converted-space"> </span><i>c</i><span class="apple-converted-space"> </span>seems
to have been through a confused transliteration of the Greek). Serenus
Sammonicus said that to get well a sick person should wear an amulet around the
neck, a piece of parchment inscribed with a triangular formula derived from the
word, which acts like a funnel to drive the sickness out of the body:</div>
<div align="center" class="MsoNormal" style="margin-left: .5in; text-align: center;">
A B
R A C A D A B R A<br />
A B R A C A D A B R<br />
A B R A C A D A B<br />
A B R A C A D A<br />
A B R A C A D<br />
A B R A C A<br />
A B R A C<br />
A B R A<br />
A B R<br />
A B<br />
A</div>
<div class="MsoNormal" style="margin-left: .5in;">
However, it seems likely that<span class="apple-converted-space"> </span><i>abracadabra</i><span class="apple-converted-space"> </span>is
older and that it derives from one of the Semitic languages, though nobody can
say for sure, because there is no written record before Serenus Sammonicus. For
what it’s worth, here are some theories:</div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo1; tab-stops: list 1.0in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;"> </span><!--[endif]-->It’s
from the Aramaic phrase<span class="apple-converted-space"> </span><i>avra
kehdabra</i>, meaning “I will create as I speak”.</div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo1; tab-stops: list 1.0in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;"> </span><!--[endif]-->The
source is three Hebrew words,<span class="apple-converted-space"> </span><i>ab</i><span class="apple-converted-space"> </span>(father),<span class="apple-converted-space"> </span><i>ben</i><span class="apple-converted-space"> </span>(son), and<span class="apple-converted-space"> </span><i>ruach acadosch</i><span class="apple-converted-space"> </span>(holy
spirit).</div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo1; tab-stops: list 1.0in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;"> </span><!--[endif]-->It’s
from the Chaldean<span class="apple-converted-space"> </span><i>abbada ke dabra</i>, meaning “perish like
the word”.</div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo1; tab-stops: list 1.0in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;"> </span><!--[endif]-->It
originated with a Gnostic sect in <st1:city w:st="on">Alexandria</st1:city>
called the Basilidians and was probably based on<span class="apple-converted-space"> </span><i>Abrasax</i>, the name of their supreme deity
(<i>Abraxas</i><span class="apple-converted-space"> </span>in
Latin sources).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here Mr. Quinion reveals the Aramaic origin phrase, which
makes perfect sense to use if one is engaged in creation, as in the case of the stage magician mentioned above. The Chaldean phrase
is an excellent phrase to use when destroying illness, or
anything else for that matter, as a kind of sympathetic magick. Could these be two distinct spells, possibly related, that became confused as one operation? In linguistic history, the language of the Chaldeans was gradually replaced by Aramaic. One need not strain to see that the older form of <i>ke dabra</i> evolved into <i>kehdabra</i> – the noun form of "word" evolved into the verb used to speak words. I think it likely that two phrases with similar
sounds have been confused – culturally combined – into one word that is used
for both creation and for destruction. Most witches realize that creation and
destruction are actually the same thing.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lets review what makes this charm a kind of sympathetic magic. The wearer shows the fever how to leave by making the glyph
that represents it (the writing) systematically decrease on the paper. Here is
an obvious example:</div>
<div align="center" class="MsoNormal" style="text-align: center;">
FEVER</div>
<div align="center" class="MsoNormal" style="text-align: center;">
FEVE</div>
<div align="center" class="MsoNormal" style="text-align: center;">
FEV</div>
<div align="center" class="MsoNormal" style="text-align: center;">
FE</div>
<div align="center" class="MsoNormal" style="text-align: center;">
F</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Names are important magical words because they unite the
identity of a person or thing, which is its very essence, into a symbol on a
page or a sound to be spoken. Many creation myths tell the story of deities
speaking things into being simply by naming them aloud. Eliphas Levi tells us that, “In
magic, to have said is to have done” (quoted in Cavendish, vol. 5, 1418.) In
ancient <st1:country -region="-region" w:st="on">Egypt</st1:country>, <st1:place w:st="on">Isis</st1:place> uses the name of Re to save him from a snake wound
before using the powerful name for herself (Budge, 124). (I reused these ideas from a paper I wrote back in college on incantations and names as words of power.)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Personally, using the power name of a revered deity as a charm of lessening is a little bit improper. If the pyramid were to be read from bottom to top however, the power of a protective deity would be invoked. I would not use the power name of a supreme deity as
an example for decrease unless the deity was known as a destroyer or Cthonic type. To the Chrisitans, Abrasax
may have been demonized into a malevolent spirit, so writing the name in a
lessening manner would have been representative of lessening an evil force. Ultimately,
all we can say with certainty is that the motivation behind the spell is not
obviously revealed through its design without more information about the spell
operations.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The 1911 version of the Encyclopedia Britannica gives more
specific uses for the lessening charm and reveals an alternative pattern that may
shed light more deeply into the spell working.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b><span style="font-variant: small-caps;">Abracadabra</span></b>, a word
analogous to<span class="apple-converted-space"> </span>Abraxas<span class="apple-converted-space"> </span>(<i>q.v.</i>), used as a magical formula by the
Gnostics of the sect of Basilides in invoking the aid of beneficent spirits
against disease and misfortune. It is found on Abraxas stones which were worn
as amulets. Subsequently its use spread beyond the Gnostics, and in modern
times it is applied contemptuously (<i>e.g.</i><span class="apple-converted-space"> </span>by
the early opponents of the evolution theory) to a conception or hypothesis
which purports to be a simple solution of apparently insoluble phenomena. The
Gnostic physician Serenus Sammonicus gave precise instructions as to its
mystical use in averting or curing agues and fevers generally. The paper on
which the word was written had to be folded in the form of a cross, suspended
from the neck by a strip of linen so as to rest on the pit of the stomach, worn
in this way for nine days, and then, before sunrise, cast behind the wearer
into a stream running to the east. The letters were usually arranged as a
triangle in one of the following ways:—</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://upload.wikimedia.org/wikipedia/commons/thumb/c/cd/Abracadabra.jpg/300px-Abracadabra.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" src="http://upload.wikimedia.org/wikipedia/commons/thumb/c/cd/Abracadabra.jpg/300px-Abracadabra.jpg" /></span></a></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
This is new information. The fact that the charm was found on Abraxas stones is significant because it places the charm in popular use among the Gnostics, which puts the height of use squarely in the first century AD. It also undeniably ties the charm (or a version of it) to that deity.<br />
<br />
Notice how the design on the above right (fever-lessening) shows the
word being reduced from both ends, rather than just one end, as is seen on the left. Doing so almost
perfectly leaves the name of the god, Abrasax written twice down each side of
the pattern, which is quite protective magically. The word glyph would then
create a wedge-shaped protective shield using the name of the supreme deity. Because
the word “abracadabra” is not quite palindromic, it misses naming the god and is not useful in that kind of charm.<br />
<br />
If
the Near Eastern spells of creation and destruction were confused with the name of the god, Abrasax
because they used similar words, it would explain why there are two representations of this charm. The word pyramid on the above left uses the creation/destruction blended phrase, while the one on the above right uses the deity's name, and in both is the evolution of how these two separate concepts became confused. Cleaning up this confusion would mean understanding these are two separate kinds of charms and separating the two charms with unique words. The charm on the left would be a spell of increase or decrease, in which the power is inherent in the word (i.e. an incantation), while the one on the right would be a charm to invoke the protection of a specific deity. The charm for invocation would no longer be based on the
Aramaic or Chaldean phrase. Instead, it would be based on a palindromic
application of Abraxas (in Latin) to produce the name of the deity down both sides of the glyph. The invocation charm would then look
like this:</div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
ABRAXAXARBA</div>
<div align="center" class="MsoNormal" style="text-align: center;">
BRAXAXARB</div>
<div align="center" class="MsoNormal" style="text-align: center;">
RAXAXAR</div>
<div align="center" class="MsoNormal" style="text-align: center;">
AXAXA</div>
<div align="center" class="MsoNormal" style="text-align: center;">
XAX</div>
<div align="center" class="MsoNormal" style="text-align: center;">
A</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
Using the same principle, a similar protective charm could be made by writing the name on paper of any protective deity of your choice. Folding some protective herbs inside the bundle and holding it on your person would be an excellent folk charm. However, not all names begin and end with the same letter, so a modification may need to be used. Here is a charm of protection to Achilles, who wards against ailments of the blood:<br />
<div style="text-align: center;">
ACHILESELIHCA</div>
<div style="text-align: center;">
CHILESELIHC</div>
<div style="text-align: center;">
HILESELIH</div>
<div style="text-align: center;">
ILESELI</div>
<div style="text-align: center;">
LESEL</div>
<div style="text-align: center;">
ESE</div>
<div style="text-align: center;">
S</div>
<div style="text-align: center;">
<br /></div>
As a spell-worker, I wouldn't be opposed to separating these spells from each other, as I believe they began. Making them into separate spells for creation, destruction and the protection of Abraxas would be fine, but one would have to be sure to use the specific words of power for the correct purpose: the Aramaic phrase for creation, the Chaldean phrase for destruction and the name of Abraxas for that protective power.<br />
<br />
<br />
References:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Budge, E. A. Wallis, trans. <u>The Book of the Dead</u>. <st1:place w:st="on">New York</st1:place>: Bell
Publishing Co., 1960.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Cavendish, Richard. “Incantation.” Vol. 5 of <u>Man, Myth
& Magic</u>. 1983 ed.</div>
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