(Update 1/9/2018: Interested in more about these entities? Check out my more polished, fleshed-out writeup over on this page!)
After all this time, I’m finally getting around to reading Michael Cecchetelli’s excellent text the Book of Abrasax, however slowly that might be. I’m still just getting into the material, but it’s already off to a good start, especially since he starts off with a ritual I already use frequently: the Calling of the Sevenths, also called the heptagram or heptasphere rite. I use this daily in my morning ritual schema, as well as whenever I need a quick rebalancing and recharging. What’s interesting is that Cecchetelli adds in a bit after the intonation of the vowels by calling on four barbarous words of power in a manner reminiscent of the LBRP. It’s interesting, and I like the effect. It also reminded me of Stephen Flowers’ Hermetic Magic, where he also introduces the heptagram ritual along with a calling of the quarters, but using different words of power and introducing divine images or godforms to associate with the words. It’s interesting stuff, and I don’t know why I wasn’t using this before. (Flowers also used these same words to form the working circle of the magus, as shown on the book’s cover).
Flowers’ work is based on the Greek Magical Papyri (specifically here II.104ff, XII.87ff), which forms the basis for the associations of the names and images with the cardinal directions. Cecchetelli uses a different set of names for the cardinal directions but doesn’t include the images, and I don’t know off the top of my head where he got his associations of the names with the directions from. Neither text offers associations of names with the depths, the heights, or the center, even though both authors incorporate the names into the heptagram/heptasphere ritual which make use of these three directions. In my own experiments, I combined these two sets of names by using Flowers’ attribution of the names to the cardinal directions and used the two other names from Cecchetelli’s list for the vertical dimension (with the spelling corrected to conform with the most commonly seen forms of the words).
With all that in mind, my resulting list of associations between names, directions, planets, vowels, and images becomes this:
- East: ΕΡΒΗΘ (ERBĒTH). A winged dragon with a crown of clouds rising above the horizon.
- North: ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ (SESENGENBARPHARANGĒS). An infant child sitting atop a blossoming lotus.
- West: ΑΒΛΑΝΑΘΑΝΑΛΒΑ (ABLANATHANALBA). A crocodile with the tail of a snake arising from the waters.
- South: ΛΕΡΘΕΞΑΝΑΞ (LERTHEXANAX). A falcon with its wings stretching out to their full wingspan.
- Down: ΔΑΜΝΑΜΕΝΕΥΣ (DAMNAMENEUS). A young maiden looking forward with a torch in her left hand and a spear in her right.
- Up: ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ (AKRAMMAKHAMAREI). An old man looking downward with a ring of keys in his right hand and a staff in his left.
Although the divine images for the cardinal directions came from the PGM via Flowers, no images were given for ΔΑΜΝΑΜΕΝΕΥΣ or ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ; these I came up with based on what was revealed to be after asking the names and the spiritual entities associated with them. They seem to work well for me, though admittedly aren’t traditional and are influenced by their planetary associations. I prefer Flowers’ attributions of the names to the directions over Cecchetelli’s mostly because I can find more extant texts with the same or similar words and directions.
Though there are six names given above, there are seven points of the heptagram ritual; the point missing from the above list is the center point. I reserve this point for my own HGA, using his name as a word of power in its own right and focusing on his appearance as he appears to me. You might do the same, or reserve it for your patron/matron deity, other agathodaimonic entity, or your own divine Self using your craft name (a la the Headless Rite‘s “I am thy prophet Moses/Ankh-Af-Na-Khonsu…”).
When used with the heptagram ritual, the words of power essentially correspond to calling the quarters or the Watchtowers, but in a non-angelic or early Hermetic manner. Although Flowers and Cecchetelli both keep themselves to the four cardinal directions, I like the added use of the third dimension plus my own HGA being with me (once that connection is forged, any method to keep that connection open or make it stronger helps). So, to call the respective directions using these names, I’d probably go with a structure like the following, visualizing the proper divine image for each name:
ΕΡΒΗΘ, take thy place before me!
ΑΒΛΑΝΑΘΑΝΑΛΒΑ, take thy place behind me!
ΛΕΡΘΕΞΑΝΑΞ, take thy place at my right!
ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ, take thy place at my left!
ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ, take thy place in the heights!
ΔΑΜΝΑΜΕΝΕΥΣ, take thy place in the depths!
(name of HGA), take thy place with me, now and at all times, here and in all places!
Of course, I wanted to do a bit of research in what these names mean, if they mean anything at all. In a lot of cases when it comes to these barbarous words of power, there is no etymology to be found, though interesting conjectures might be made or results found through gematria and isopsephy. ΕΡΒΗΘ is part of a frequently-seen Setian formula in the PGM, usually in damaging or harmful contexts; ΑΒΛΑΝΑΘΑΝΑΛΒΑ and ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ are very common words used all throughout the PGM though with no known origin besides a possible Hebrew or Aramaic etymology, but often used for beneficial purposes. ΛΕΡΘΕΞΑΝΑΞ is part of a much longer word known as the Aberamen formula, itself a palindrome which contains the name of Thoth. ΔΑΜΝΑΜΕΝΕΥΣ is known to be one of the six Ephesia Grammata, hypothesized to refer to the Sun since ancient times, but has also been seen in the PGM for love and luck. ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ is a word I’ve come to know as a Semitic phrase translated to “cast off the nets”, as in any boundaries or bindings that would prevent a ritual from working. Beyond this, unfortunately, my research skills don’t turn up much.
As for the images, those are a bit easier, given that we know already to look at Greco-Egyptian symbolism. Serpents are often seen as forces of great power, especially that of vital or creative essence; being both of the earth (crawling) and of the sky (flying), the flying serpent is not unlike the image of the Aztec god Quetzalcoatl, with whom ΕΡΒΗΘ shares some similarities. Falcons are solar symbols, and is known to be the countenance of the Egyptian god Horus or Ra, depending on the timeframe. Crocodiles are seen as gateways to the underworld and an animal of Set, countering the lighter images of the winged serpent and falcon. The lotus is, much as in Eastern symbolism, an image of purity and eternity, and combined with the image of the infant symbolizes divinity being born into the world (the North is the Egyptian direction of holiness and immortality). The images of the keyring and staff as well as of the torch and spear are a little more modern, to me, since they were things I “tuned into”, and so don’t have clear Egyptian correspondences. The keyring and staff suggest the power over freedom (unlocking and locking as well as barring from and supporting one), while the torch and spear suggest active force (illumination, flammability, battle, direction).
Regardless of their occult meaning, the words work, which is the important thing. For those who already do or have experience with the LBRP or calling the quarters/Watchtowers, you already know more or less what to expect with this. When I use the calls of the names after the heptagram rite, I end up feeling distinct presences at the directions, kinda like guardians or gatekeepers, neither wrathful nor peaceful. I like it, and it makes me feel safer and more powerful all at once. It’s probably something I should’ve been doing in some form by this point, but I’ll also probably tweak and change it as needed until I come up with something a little more stable and fixed. Using all six names isn’t strictly necessary; the four cardinal directions alone will suffice, using either Flowers’ or Cecchetelli’s associations of the names to the directions, but I prefer to use all six. Using that extra third dimension helps me establish a magical zone or operant field, much as using the Qabbalistic Cross, “parting of the veil”, L(B/I)R(P/H), or what-have-you.