Correspondence of Spirits to the Greek Alphabet

Judging from my recent blog post history, you’d be forgiven if you thought that this whole damn blog, and my whole damn practice, was just about geomancy.  Technically, that’d be wrong, but I do, indeed, talk about geomancy a lot.  There’s just a lot to talk about when it comes to that topic.  One of the things I still keep up with, albeit not as much as I’d like or as much as I’d otherwise have time for, is my old Mathēsis practice, that whole system of Greek letter mystiticsm, a kind of neo-Pythagorean quasi-Hermetic system of theurgy and meditation that works closely with the Greek gods.  I’ve made some good innovations when it comes to developing this practice, from coming up with a Tetractys-based “map” of the cosmos, as well as various other meditative and purificatory practices that, even when I’m not working in a mathētic framework, still help out one way or another.  This whole thing came about through my interest and development of grammatomancy, the Greek alphabet oracle, which I’ve found to be an excellent system of divination that I also specialize in along with geomancy.  One of my finest innovations, I think, is the Grammatēmerologion, a lunisolar calendar that maps the days, months, and years themselves to different letters of the Greek alphabet for tracking feasts, holidays, rituals, and meditations, whether according to the days purely or overlaps between the letters of the days along with astrological and astronomical phenomena.  I’ve found it incredibly helpful, and I hope that others can, as well.

One of the things I find it especially useful for is arranging the days of the lunar month, from New Moon to New Moon, to the different gods of the Hellenic pantheon and other aspects of ancient Greek and Mediterranean mythos.  However, in a naïve or simple way, the Greek letters don’t really have very many associations to the various deities, divinities, and spirits, but I wanted to see how far I could take things.  For instance, it makes sense to honor Asklēpios along with Apollōn, his father, and by extension the goddesses of health like Panakeia or Hygieia or Iasō.  But what about the more obscure divinities, like Triptolemos or Amphitritē or Themis?  I began to expand the associations I was working with to associate the Greek letters to the gods, and I ended up with…well, quite a large set, especially because I wanted to be pretty darn complete or at least reasonably so.  Yanno, just in case.

That ended up in making a table so big even I wasn’t comfortable with it, so I ended up making four tables of correspondences of the various deities and spirits of a Hellenic, Pythagorean, or generally Greek pagan practice to the letters of the Greek alphabet.  I tried to make the associations as reasonably as I could, and despite the overwhelming number of entities present in Greek myth, I tried to focus on those that tended to receive cult in classical times.  Below are those tables, as reasonably complete as I could make them.  When gaps exist in the tables, that indicates that I couldn’t find anything to fit there, but that doesn’t mean that there can’t be; perhaps this table could be expanded upon over time, and I’d look forward to it.  Heck, even for the cells that are populated, I’m sure there can be additions or changes made.

What’s also nice is that these tables can also play well with the use of the Kyranides, a famous proto-grimoire “index” of the various minerals, animals, and plants of the world according to their initial letter by their Greek names; connections between those sorts of associations according to the Greek alphabet and how they might play well with the associations given by other authors and sources would be a great thing for me to (eventually) research.

Before we begin, let me share a few resources that were helpful, instrumental, or otherwise important in helping me devise these tables of divine correspondences to the Greek alphabet:

Table I: The Table of the Whole.  This table gives the high-level associations of the letters of the Greek alphabet, both the 24 letters in use from ancient times to modern times as well as the three obsolete letters Digamma, Qoppa, and Sampi, to their various associations: those of the various forces of the cosmos of the elements, planets, and signs of the Zodiac based on Cornelius Agrippa’s associations (book I, chapter 74); the singlemost important deity for that letter of the alphabet based on its corresponding force; a sacred word of power taken from PGM CI.1-53, a holy angel for each letter taken from the Coptic magical manuscript Berlin 11346, and a general part of the body commonly associated with the letters of the Greek alphabet apart from other zodiacal associations.  Note that the three obsolete letters Digamma, Qoppa, and Sampi lack most associations, and are instead given to three classes of spirits of the dead: Digamma has Ancestors of Kin (one’s own blood- and name-related family), Qoppa has Ancestors of Work (ancestors, founders, and forebears of one’s mundane and spiritual professions and lineages), and Sampi has Ancestors of the Great (culture heroes, legendary founders of cities and civilizations, as well as forgotten and wandering dead).  Other oddities, such as the presence of Eōsphoros and Hesperos for Ēta or Zeus Euēnemos for Phi are discussed below in tables for that specific class of letters.

Letter Force Deity Word Angel Body


Taurus Aphroditē ΓΕΝΙΟΜΟΥΘΙΓ
Gemini Apollōn ΔΗΜΟΓΕΝΗΔ
Mercury Stilbōn ΕΝΚΥΚΛΙΕ
of Kin
Cancer Hermēs ΖΗΝΟΒΙΩΘΙΖ
Venus Eōsphoros and
Earth Hēra Geēros ΘΩΘΟΥΘΩΘ
Sun Hēlios ΙΑΕΟΥΩΙ
Virgo Dēmētēr ΛΟΥΛΟΕΝΗΛ
Libra Hēphaistos ΜΟΡΟΘΟΗΠΝΑΜ




Water Persephonē ΞΟΝΟΦΟΗΝΑΞ
Mars Pyroeis ΟΡΝΕΟΦΑΟ
Sagittarius Artemis ΠΥΡΟΒΑΡΥΠ
Ancestors of
Capricorn Hestia ΡΕΡΟΥΤΟΗΡ
Pisces Poseidōn ΤΑΥΡΟΠΟΛΙΤ
Jupiter Phaethōn ΥΠΕΦΕΝΟΥΡΥ
Air Zeus
Spirit Dionysos ΨΥΧΟΜΠΟΛΑΨ
Saturn Phainōn ΩΡΙΩΝ
Ancestors of
the Great

Table II: the Table of the Seven Vowels.  This table expands on the seven vowels of the Greek alphabet, which are given most strongly to the seven traditional planets.  Each planet has its own specific astral titan associated with it, such as Selēnē for the Moon or Hēlios for the Sun, but note that Venus has two astral titans for it, Eōsphoros and Hesperos, because historically this planet was reckoned as two separate entities, Eōsphoros as the Morning Star when Venus rose before the Sun and visible in the dawn hours before sunrise, and Hesperos as the Western Star when Venus set after the Sun and visible in the dusk hours after sunset.  Based on the directions associated with these letters as given in the Heptagram Rite of PGM XIII.734—1077, each of these planets may also be given to the four Elder Titans along with their mother Gaia and their father Ouranos.  Other deities may also be assigned to the planets, such as Artemis for the Moon, along with clusters of lesser deities and other spirits associated with those deities.

Letter Planet Star Titan Deities Cluster
Α Moon Selēnē Hyperiōn Hekatē,
Ε Mercury Stilbōn Koios Hermēs Dioskouroi
Η Venus Eōsphoros,
Iapetos Aphroditē Hesperides
Ι Sun Hēlios Kriōs Apollōn, Dionysos,
Eōs, Theia
Ο Mars Pyroeis Gaia Arēs, Hēphaistos,
Υ Jupiter Phaethōn Kronos Zeus,
Ω Saturn Phainōn Ouranos Kronos, Adrasteia,

Table III: the Table of the Five Complex Consonants. This table expands on the five complex or double consonants of the Greek alphabet, which are given to the four elements plus the quintessence, the meta-element of Spirit.  Each of these is presided over by one of five gods, with the four classical elements associated with Zeus, Hēra, Hadēs, and Persephonē according to the Greek philosopher Empedocles.  To distinguish this specific Zeus and Hēra from their other forms, the titles “Zeus Euēnomos” (Zeus of the Good Winds) and “Hēra Geēros” (Hera of the Earth) are given specifically to them.  Along with these major divinities, other minor divinities who often received cult and are associated with these elements are given, along with important clusters of (often-named individual) spirits and lesser gods as well as general classes of various spirits.

Letter Element Major
Cluster Spirits
Θ Earth Hēra Geēros Gaia, Rhea, Kybelē,
Mēter Theōn
Ξ Water Persephonē Aphroditē, Ōkeanos,
Tēthys, Hekatē
Seirenēs Naiades,
Φ Air Zeus Euēnemos Aiolos,
Χ Fire Hadēs Hēphaistos, Hestia,
Ψ Spirit Dionysos Promētheus, Iakkhos,

Table IV: the Table of the Twelve Simple Consonants.  This table expands on the twelve simple or single consonants of the Greek alphabet, which are given to the twelve signs of the Zodiac.  Each of these zodiac signs are assigned to one of the twelve Olympian gods according to the Orphic Scale of Twelve as given by Cornelius Agrippa (book II, chapter 14) as their prime divinity, along with lesser or alternate divinities who are closely associated with the functions, roles, and ideals of those gods.  Along with these, other sacred figures are given according to the specific body of the zodiac sign, such as the divine twins Dioskouroi to the sign of the twins of Gemini, as well as important clusters of (often-named individual) spirits and lesser gods as well as general classes of various spirits that are also associated with the major divinities of these letters.

Letter Zodiac
Cluster Spirits
Β Aries Athēna Nikē, Mētis, Pronoia,
Hēphaistos, Erikhthonios
Γ Taurus Aphroditē Erōs, Adonis, Harmonia,
Peithō, Parēgoros
Δ Gemini Apollōn Aristaios, Lētō,
Hymenaios, Asklēpios,
Hygeia, Panakeia, Iasō
Dioskouroi Mousai
Ζ Cancer Hermēs Pan, Morpheus,
Maia, Hērakles
Pleiades Panes, Oneiroi,
Κ Leo Zeus Tykhē, Nemesis, Themis,
Ganymēdēs, Hēraklēs,
Bia, Nikē, Kratos, Zēlos
Λ Virgo Dēmētēr Persephonē, Triptolemos,
Hekatē, Ploutos, Iakkhos
Asteria Hōrai
Μ Libra Hēphaistos Athēna, Kēladiōn Dikē Kyklōpes,
Ν Scorpio Arēs Phobos, Deimos,
Eris, Enyō
Π Sagittarius Artemis Lētō, Hekatē Kheirōn Nymphai,
Ρ Capricorn Hestia Pan
Σ Aquarius Hēra Hēbē, Eileithyia, Iris Ganymēdēs Hesperides,
Τ Pisces Poseidōn Prōteus, Amphitritē,
Tritōn, Nēreus,
Palaimon, Leukotheua

One of the fascinating things I find about this Table IV is that there’s a subtle logic in how the major divinities are assigned to the signs of the Zodiac based on the opposing sign.  Consider that Pan is the god most commonly associated with the actual form of the sign Capricorn, but Pan is also often associated with Hermēs in mythos, sometimes even being Hermēs’ own son; there’s an interesting dichotomy here between these two signs, with Hestia essentially being the goddess of what happens inside the home while Hermēs is the god of what happens outside the home.  Likewise, note how the famous centaur Kheiron (or Chiron in modern spelling) is the god of the form of the sign Sagittarius, the opposite sign of Gemini, which itself is associated with Apollōn, his adoptive father and also the father of Asklēpios, whom Kheiron later teaches as his pupil.  Ganymēdēs, too, was the famous cup-bearer taken up by Zeus and placed into the sky as the sign Aquarius, yet this sign itself is given to Hēra, who disapproved of Ganymēdēs, while the sign opposite of both Hēra and Ganymēdēs is none other than Leo, given to Zeus himself.  It’s kinda fascinating to see the logic and polarities going on with how the gods are given to the signs and how they play off each other in a coherent whole of reinforcing-oppositions.

And there you have it!  My system of correspondences I use to categorize and organize the various gods, demigods, daimones, and spirits of the classical and mythic Hellenic world according to the letters of the Greek alphabets.  I’ve personally gotten good mileage out of it, and I hope others can, too, inasmuch as a letter-based system of mysticism might be helpful, but also to just pick out associations and links between the different entities of Hellenic mythos.

On Geomantic Figure Magic Squares

We all know and love magic squares, don’t we?  Those grids of numbers, sometimes called “qamea” (literally just meaning “amulet” or “talisman” generally in Hebrew, קמיע or qamia`), are famous in Western magic for being numerological stand-ins or conceptions of the seven planets, sure, such as the 3×3 square for Saturn, the 5×5 square for Mars, and so forth, but they’re also huge in Arabic magic, too, from which Western magicians almost certainly got the idea.  Sure, magic letter squares are ancient in the West, such as the famous Sator Square from Roman times until today, and have more modern parallels in texts like the Sacred Magic of Abramelin, but magic number squares are fun, because they combine numerical and numerological principles together in an elegant form.

Which is why I was caught off-guard when I saw these two squares online, the first from this French blog post on Arabic geomancy and the other shared in the Geomantic Study-Group on Facebook:

Well…would you take a look at that?  Geomantic magic squares!  It took me a bit to realize what I was seeing, but once it hit me, I was gobsmacked.  It might not be immediately apparent how to make a geomantic magic square, but it becomes straightforward if you consider the figures as numbers of points, such that Laetitia stands in for 7, Puer for 5, Carcer for 6, and so forth.  Sure, it’s not a traditional kind of n × n number square that goes from 1 to n², but there are plenty of other magic squares that don’t do that either in occult practice, so seeing a kind of geomantic figure magic square actually makes a lot of sense when they’re viewed as numbers of points.  In this case, the magic sum of the square—the sum of the columns or rows—is 24.

Consider that first magic square, elegant as it is.  When it’s oriented on a tilt, such that one of its diagonals is vertical, we have the four axial figures (Coniunctio, Carcer, Via, and Populus) right down the middle, and all the other figures are arranged in reverse pairs in their corresponding positions on either side of the square.  For instance, Amissio and Acquisitio are on either side of the central axis “mirroring” each other, as are Tristitia and Laetitia, Fortuna Maior and Fortuna Minor, and so forth.  This is a wonderful geometric arrangement that shows a deep and profound structure that underlies the figures, and which I find particularly beautiful.

Of course, knowing that there are at least two such geomantic figure magic squares, and seeing possibilities for variation (what if you rearranged the figures of that first magic square above such that all the entering figures were on one side and all the exiting figures on the other?), that led me to wonder, how many geomantic magic squares are there?  Are there any structural keys to them that might be useful, or any other numerical properties that could be discovered?  So, late one evening, I decided to start unraveling this little mystery.  I sat down and wrote a quick program that started with the following list of numbers:

[ 4 , 5 , 5 , 5 , 5 , 6 , 6 , 6 , 6 , 6 , 6 , 7 , 7 , 7 , 7 , 8 ]
  • Why this list?  Note that the figure magic squares rely on counting the points of the figures.  From that point of view, Puer (with five points) can be swapped by Puella, Caput Draconis, or Cauda Draconis in any given figure magic square and it would still be another valid magic square that would have the same underlying numerical structure.  There’s only one figure with four points (Via), four figures with five points (Puer, Puella, Caput Draconis, Cauda Draconis), six figures with six points (Carcer, Coniunctio, Fortuna Maior, Fortuna Minor, Amissio, Acquisitio), four figures with seven points (Albus, Rubeus, Laetitia, Tristitia), and only one figure with eight points (Populus).  If we simply focus on the point counts of the figures themselves and not the figures, we can simplify the problem statement significantly and work from there, rather than trying to figure out every possible combination of figures that would yield a magic square from the get-go.
  • How does such a list get interpreted as a 4 × 4 square?  There are 16 positions in the list, so we can consider the first four positions (indices 0 through 3) to be the top row of the square, the second four positions (indices 4 through 7) to be the second row, the third four positions (indices 8 through 11) to be the third row, and the fourth four positions (indices 12 through 15) as the fourth row, all interpreted from left to right.  Thus, the first position is the upper left corner, the second position the uppermost inside-left cell, the third position the uppermost inside-right cell, the fourth position the upper right corner, the fifth position the leftmost inside-upper cell, the sixth position the inside-upper inside-left cell, and so forth.  This kind of representation also makes things a little easier for us instead of having to recursively deal with a list of lists.
  • How do we know whether any permutation of such a list, interpreted as a 4 × 4 square, satisfies our constraints?  We need to add up the values of each row, column, and diagonal and make sure they add up to our target number (in our case, 24).

Starting from this list, I set out to get all the unique permutations.  Originally, I just got all 16! = 20,922,789,888,000 possible permutations, thinking that would be fine, and testing them each for fitting the target number of 24, but after running for twelve hours, and coming up with over 170,000 results with more being produced every few minutes, I realized that I’d probably be waiting for a while.  So, I rewrote the permutation code and decided to get only unique permutations (such that all the 5s in the base list of numbers are interchangeable and therefore equal, rather than treating each 5 as a unique entity).  With that change, the next run of the program took only a short while, and gave me a list of 368 templates.  We’re getting somewhere!

So, for instance, take the last template square that my program gave me, which was the list of numbers [6, 6, 5, 7, 8, 5, 6, 5, 6, 7, 6, 5, 4, 6, 7, 7].  Given that list, we can interpret it as the following template magic square:

6 6 5 7
8 5 6 5
6 7 6 5
4 6 7 7

And we can populate it with any set of figures that match the point counts accordingly, such as the one below:

Puer Laetitia
Populus Puella Carcer


Amissio Albus Acquisitio Caput
Via Coniunctio Rubeus Tristitia

Excellent; this is a totally valid geomantic figure magic square, where the point counts of each row, column, and diagonal add to 24.  To further demonstrate the templates, consider the two images of the figure magic squares I shared at the top of the post.  However, although I was able to find the first magic square given at the start of the post (the green-on-sepia one), the second one (blue with text around it) didn’t appear in the list.  After taking a close look at my code to make sure it was operating correctly, I took another look at the square itself.  It turns out that, because although all the rows and columns add to 24, one of the diagonals adds up to 20, which means it’s not a true geomantic figure magic square.  Welp!  At least now we know.

But there’s still more to find out, because we don’t have all the information yet that we set out to get.  We know that there are 368 different template squares, but that number hides an important fact: some template squares are identical in structure but are rotated or flipped around, so it’s the “same square” in a sense, just with a transformation applied.  It’s like taking the usual magic number square of Saturn and flipping it around.  So, let’s define three basic transformations:

  1. Rotating a square clockwise once.
  2. Flipping a square horizontally.
  3. Flipping a square vertically.

We know that we can rotate a square up to three times, which gets us a total of four different squares (unrotated, rotated once, rotated twice, rotated thrice).  We know that we can leave a square unflipped, flipped horizontally, flipped vertically, and flipped both horizontally and vertically.  We know that a square can be rotated but not flipped, flipped but not rotated, or both rotated and flipped.  However, it turns out that trying out all combinations of rotating and flipping gets duplicate results: for instance, flipping vertically without rotating is the same as rotating twice and flipping horizontally.  So, instead of there being 16 total transformations, there are actually only eight other templates that are identical in structure but just transformed somehow, which means that our template count of 368 is eight times too large.  If we divide 368 by 8, we get a manageable number of just 46 root templates, which isn’t bad at all.

What about total possible figure squares?  Given any template, there are four slots for figures with five points, four slots for figures with seven points, and six slots for figures with six points.  The figures of any given point count can appear in any combination amongst the positions with those points.  This means that, for any given template square, there are 4! × 4! × 6! = 414,720 different possible figure squares.  Which means that, since there are 368 templates, there are a total of 152,616,960 figure squares, each a unique 4 × 4 grid of geomantic figures that satisfy the condition that every column, row, and diagonal must have 24 points.  (At least we’ve got options.)

What about if we ignore diagonals?  The blue magic square above is almost a magic square, except that one of its diagonals adds up to 20 and not 24.  If we only focus on the rows and columns adding up to 24 and ignore diagonals, then we get a larger possible set of template squares, root template squares, and figure squares:

  • 5,904 template squares
  • 738 root template squares
  • 2,448,506,880 possible figure squares

So much for less-magic squares.  What about more-magic squares?  What if we take other subgroups of these squares besides the rows, columns, and diagonals—say, the individual quadrants of four figures at each corner of the square as well as the central quadrant, or the just the corner figures themselves, or the bows and hollows?  That’s where we might get even more interesting, more “perfect” geomantic figure magic squares, so let’s start whittling down from least magic to most magic.  Just to make sure we’re all on the same page, here are examples of the different patterns I’m considering (four columns, four rows, two diagonals, five quadrants, four bows, four hollows, one set of corners):

To keep the numbers manageable, let’s focus on root template square counts:

  • Rows and columns only: 738 root templates
  • Rows, columns, and diagonals: 46 root templates
  • Rows, columns, diagonals, and all five quadrants: 18 root templates
  • Rows, columns, diagonals, all five quadrants, bows, and hollows: 2 root templates
  • Rows, columns, diagonals, all five quadrants, bows, hollows, and the four corners: 2 root templates

With each new condition, we whittle down the total number of more-magical root templates from a larger set of less-magical root templates.  I’m sure there are other patterns that can be developed—after all, for some numeric magic squares of rank 4, there are up to 52 different patterns that add up to the magic sum—but these should be enough to prove the point that there are really two root templates that are basically as magical as we’re gonna get.  Those root templates, along with their transformations, are:

  1. [6, 4, 7, 7, 8, 6, 5, 5, 5, 7, 6, 6, 5, 7, 6, 6]
    1. Unflipped, unrotated: [6, 4, 7, 7, 8, 6, 5, 5, 5, 7, 6, 6, 5, 7, 6, 6]
    2. Unflipped, rotated once clockwise: [5, 5, 8, 6, 7, 7, 6, 4, 6, 6, 5, 7, 6, 6, 5, 7]
    3. Unflipped, rotated twice clockwise: [6, 6, 7, 5, 6, 6, 7, 5, 5, 5, 6, 8, 7, 7, 4, 6]
    4. Unflipped, rotated thrice clockwise: [7, 5, 6, 6, 7, 5, 6, 6, 4, 6, 7, 7, 6, 8, 5, 5]
    5. Flipped, unrotated: [7, 7, 4, 6, 5, 5, 6, 8, 6, 6, 7, 5, 6, 6, 7, 5]
    6. Flipped, rotated once clockwise: [6, 8, 5, 5, 4, 6, 7, 7, 7, 5, 6, 6, 7, 5, 6, 6]
    7. Flipped, rotated twice clockwise: [5, 7, 6, 6, 5, 7, 6, 6, 8, 6, 5, 5, 6, 4, 7, 7]
    8. Flipped, rotated thrice clockwise: [6, 6, 5, 7, 6, 6, 5, 7, 7, 7, 6, 4, 5, 5, 8, 6]
  2. [8, 6, 5, 5, 6, 4, 7, 7, 5, 7, 6, 6, 5, 7, 6, 6]
    1. Unflipped, unrotated: [8, 6, 5, 5, 6, 4, 7, 7, 5, 7, 6, 6, 5, 7, 6, 6]
    2. Unflipped, rotated once clockwise: [5, 5, 6, 8, 7, 7, 4, 6, 6, 6, 7, 5, 6, 6, 7, 5]
    3. Unflipped, rotated twice clockwise: [6, 6, 7, 5, 6, 6, 7, 5, 7, 7, 4, 6, 5, 5, 6, 8]
    4. Unflipped, rotated thrice clockwise: [5, 7, 6, 6, 5, 7, 6, 6, 6, 4, 7, 7, 8, 6, 5, 5]
    5. Flipped, unrotated: [5, 5, 6, 8, 7, 7, 4, 6, 6, 6, 7, 5, 6, 6, 7, 5]
    6. Flipped, rotated once clockwise: [8, 6, 5, 5, 6, 4, 7, 7, 5, 7, 6, 6, 5, 7, 6, 6]
    7. Flipped, rotated twice clockwise: [5, 7, 6, 6, 5, 7, 6, 6, 6, 4, 7, 7, 8, 6, 5, 5]
    8. Flipped, rotated thrice clockwise: [6, 6, 7, 5, 6, 6, 7, 5, 7, 7, 4, 6, 5, 5, 6, 8]

That second one, for instance, is the root template of that first figure magic square given above (green-on-sepia), unflipped and rotated clockwise twice.  So, with these, we end up with these two root template squares, from which can be developed eight others for each through rotation and reflection, meaning that there are 16 template squares that are super magical, which means that there are a total of 6,635,520 possible figure squares—414,720 per each template—once you account for all variations and combinations of figures in the slots.

That there are 16 templates based on two root templates is suggestive that, maybe, just maybe, there could be a way to assign each template to a geomantic figure.  I mean, I was hoping that there was some way we’d end up with just 16 templates, and though I was ideally hoping for 16 root templates, two root templates is pretty fine, too.  With 16 figures, there are at least two ways we can lump figures together into two groups of eight: the planetary notion of advancing or receding (advancing Populus vs. receding Via for the Moon, advancing Albus vs. receding Coniuncto for Mercury, advancing Fortuna Maior and receding Fortuna Minor for the Sun, etc.), or the notion of entering or exiting figures.  Personally, given the more equal balance of figures and the inherently structural nature of all this, I’m more inclined to give all the entering figures to one root template and all the exiting figures to the other.  As for how we might assign these templates to the figures, or which set of templates get assigned to the entering figures or exiting figures, is not something I’ve got up my sleeve at this moment, but who knows?  Maybe in the future, after doing some sort of structural analysis of the templates, some system might come up for that.

More than that, how could these squares be used?  It’s clear that they’ve got some sort of presence in geomantic magic, but as for specifically what, I’m not sure.  Unlike a geomantic chart, which reveals some process at play in the cosmos, these geomantic squares are more like my geomantic emblems project (and its subsequent posts), in that they seem to tell some sort of cosmic story based on the specific arrangement of figures present within the square or emblem.  However, like those geomantic emblems, this is largely a hammer without a nail, a mathematical and structural curiosity that definitely seems and feels important and useful, just I’m not sure how.  Still, unlike the emblems, figure squares actually have a presence in some traditions of geomancy, so at least there’s more starting off there.  Perhaps with time and more concentrated translation and studying efforts, such purposes and uses of figure squares can come to light, as well as how a potential figure rulership of the sixteen most-magical templates can play with the 414,720 different arrangements of figures on each template and how they feel or work differently, and whether different arrangements do different things.  Heck, there might be a way to assign each of the different combinations of figures on the templates to the figures themselves; after all, 414,720 is divisible by 16, yielding 25,920, which itself is divisible by 16, yielding 1620, so there might be 1620 different figure squares for each of the 256 (16 × 16) combinations of figures.  Daunting, but hey, at least we’d have options.

Also, there’s the weird bit about the target sum of the magic squares being 24.  This is a number that’s not really immediately useful in geomancy—we like to stick to 4 or 16, or some multiple thereof—but 24 is equal to 16 + 8, so I guess there’s something there.  More immediately, though, I’m reminded of the fact that 24 is the number of permutations of vowels in my system of geomantic epodes for most figures.  For instance, by giving the vowel string ΟΙΕΑ (omikron iōta epsilon alpha) to Laetitia, if we were to permute this string of vowels, we’d end up with 24 different such strings, which could be used as a chant specifically for this figure:


From that post, though, Populus only has a three-vowel string, which can be permuted only six times, but if we repeat that chant four times total, then we’d still end up with 24 strings to chant, so that still works out nicely:


So maybe 24 is one of those emergent properties of some applications of geomantic magic that could be useful for us.  Perhaps.  It’s worth exploring and experimenting with, I claim.

In the meantime, I’ll work on getting a proper list drawn up of all the templates for the various types of geomantic magic squares—ranging from less magic to more magic—at least just to have for reference for when further studies are or can be done on this.  This is more of a curiosity of mine and not a prioritized topic of research, but at least I know it exists and there’s the potential for further research to be done on it for future times.

De Regnis Recap

Looking back through my blog’s archives, there are a handful of series of posts I’ve made, where I’ve written about a particular topic at length over a number of posts.  Often enough, it seems, if there are more than three posts in a series, I’ll finish up with a recap post that gives links to each individual post and what they’re about, but it turns out I don’t always even when I should.  One such series I did not that long ago last year, De Regnis.  I started off each post with an introduction as to what they were about:

Although most of my writing is visible and accessible through my blog and my ebooks, there are a bunch of writing projects that I don’t necessarily intend for public release.  When I was recently going through my old documents folder on my computer, I found a writing project I had intended to be a compendium of Hermetic and Neoplatonic knowledge, guidance, and advice that would serve to document my understandings and work as a textbook unto itself, both for my benefit and any who might come after me.  This project, De Regnis or “On Kingdoms”, got pretty far along before it got abandoned, though parts of it serve as seeds or are outright cannibalized for some of my other works.  Though I have no plans to continue writing this text, I want to share some of the sections I wrote that can act as a useful introduction to some of the practices of Hermetic magic in a modern context.  My views and practices and experiences have grown considerably since then, but perhaps it can help those who are just getting started or are curious about how to fortify their own practices and views.

This ended up becoming an eight-part series, with each post focusing on several aspects of introductory Hermetic practice based on my own studies and findings:

  1. Breathing, Intonation, and Prayer
  2. Visualization, Meditation, Contemplation
  3. Divination and Notekeeping
  4. Approaching Spirits, Offerings and Sacrifices, Identification and Authentication
  5. On Spiritual Conditions and Prohibitions
  6. Altars and Sacred Spaces
  7. Supplies and Objects
  8. On Principles of Practice and Regular Practices

It might be a bit late, but better late than never.  At least this way there’s an easy index for these posts instead of someone having to trawl through for them!

A New Model of Elemental Assignments to the Geomantic Figures

We all know the basic four elements of Western occult cosmology, don’t we?  Of course we do!  We know that there’s Fire, Air, Water, and Earth, in order from least dense to most dense, or from most subtle to least subtle, whichever you prefer.  They’re even described in the Divine Poemander, the opening chapter of the Corpus Hermeticum as being fundamental (even in this same order!) to the creation of the cosmos:

And I saw an infinite sight, all things were become light, both sweet and exceeding pleasant; and I was wonderfully delighted in the beholding it. But after a little while, there was a darkness made in part, coming down obliquely, fearful and hideous, which seemed unto me to be changed into a certain moist nature, unspeakably troubled, which yielded a smoke as from Fire; and from whence proceeded a voice unutterable, and very mournful, but inarticulate, inasmuch as it seemed to have come from the Light.  Then from that Light, a certain holy Word joined itself unto Nature, and outflew the pure and unmixed Fire from the moist nature upwards on high; it was exceeding Light, and sharp, and operative withal. And the Air, which was also light, followed the Spirit and mourned up to Fire from the Earth and the Water, insomuch that it seemed to hang and depend upon it.  And the Earth and the Water stayed by themselves so mingled together, that the Earth could not be seen for the Water, but they were moved because of the Spiritual word that was carried upon them.

According to long-standing doctrine, going back to the time of Aristotle and before him even unto Empedocles, the four elements are considered to be arranged according to the two qualities each element has.  One pair of qualities exists on a spectrum from Hot to Cold, and the other from Dry to Moist.  If you take both Hot and Dry, you end up with Fire; Hot and Moist, Air; Cold and Moist, Water; Cold and Dry, Earth.  In this way, each element pertains to two qualities:

Hot Cold
Dry Fire Earth
Moist Air Water

This sort of arrangement has classically been described graphically with a kind of diamond-square diagram, showing how the four elements arise from combinations of these two qualities.  In the below diagram, Fire is represented by the upwards-pointing triangle in the upper left positioned between Hot and Dry, Air by the upwards-pointing triangle with a horizontal bar in the upper right between Hot and Wet, and so forth.

The thing about the four elements is that, while they are combinations of two qualities, they’re not necessarily static combinations thereof.  Some philosophers have specified that the elements are primarily of one quality and secondarily of the other that allows them to change into each other or react with each other in a more fluid way.  Fire, for instance, is both hot and dry, but in this fluid system, is specifically considered to be primarily hot and secondarily dry.  In the diagram above, we can see this in that, going clockwise around the diagram, the primary quality of an element is clockwise from that element’s corner, and the secondary quality is counterclockwise; in this sense, the primary quality is what that element is headed into, and the secondary quality is what that element is leaving behind.  Thus:

  • Fire is primarily hot and secondarily dry.
  • Air is primarily wet and secondarily hot.
  • Water is primarily cold and secondarily wet.
  • Earth is primarily dry and secondarily cold.

From this, let’s say that the four qualities themselves—even if they’re proto-elemental—can be ascribed to the four elements themselves, such that Heat is basically the main characteristic of Fire, Moisture of Air, Cold of Water, and Dryness of Earth.  (This offshoot of the Empedoclean-Aristotelian system is in opposition to the Stoic system, which gives Heat and Coldness to Fire and Air, and Moisture and Dryness to Water and Earth, but that doesn’t matter for the purposes of this system which is effectively unrelated.)  So, although Heat is part of both Fire and Air, Heat is more aligned towards Fire than Air.

We also know that certain elements—more properly, certain qualities of the elements—cannot be together lest they cancel each other out because of their inherent opposition.  Heat and Cold cancel each other out, as do Moisture and Dryness.  Thus, when we say that Fire and Water cancel each other out, it’s really their elemental qualities that cancel each other out, leaving behind a mess.  What remains when different elements cancel each other out, or some combination of elements reinforcing each other in some ways or reducing each other in other ways, can be instructive in how to alchemically understand these elemental reactions from a basic principle.

Now consider the 16 geomantic figures.  Each figure, as we all know by now, is represented by four rows, each row having one or two dots.  Each row represents one of the four elements: from top to bottom, they’re Fire, Air, Water, and Earth.  A single dot in a row signifies the presence or activity of that element in the figure, while two dots in a row signifies its absence or passivity.  Thus, Laetitia (with only one dot in the topmost Fire row and two dots in the other rows) has only Fire active, and so forth.  We know that there are many different ways to assign the elements to the figures, some being more recent than others, and the way I like to assign them has the benefit of being one of the oldest used in Western geomancy…mostly, with the figures Laetitia and Rubeus swapped around so that Laetitia is ruled by Fire and Rubeus by Air.  Moreover, my way of assigning the elements also has a benefit of giving each figure both a primary and a secondary elemental ruler, which has come in use in various techniques more often than I had originally anticipated.

Still, what would happen if we used a different method beyond overall signification to assign the figures to the elements?  What would happen if we took the structure of the figures themselves as the sole key to understand their elemental affinities based on what’s present, what’s absent, what cancels out, and what reinforces each other?  Knowing that certain elemental qualities do just that when put together, what would happen if we took that structural approach to the elements active within a geomantic figure?  For instance, Puer has Fire, Air, and Earth active; we know that because of their opposing qualities, Air (Hot and Wet) and Earth (Cold and Dry) cancel each other out, leaving only Fire behind, giving Puer a basically fiery nature.  What if we took this approach to all the figures, seeing what came out of such elemental interactions amongst the elements present within a geomantic figure?

Fire First
Remainder Result
Laetitia Hot
Hot ×2 Hot
Amissio Hot
Ø Null
Puer Hot
Rubeus Hot
Coniunctio Hot
Wet ×2 Wet
Acquisitio Hot
Ø Null
Puella Hot
Via Hot
Ø Null
Albus Cold
Populus Ø Null
Carcer Hot


Dry ×2 Dry




Cold ×2 Cold
Tristitia Cold

Note the overall results we get:

  • Eight figures end up with an actual element that represents them, four being a result of that element being the only active one in that figure (e.g. Laetitia, being Fire, because only Fire is active), and four being a result of that element being active, its opposing element being inactive, and the other two elements that cancel out being active (e.g. Puer, being Fire, because Fire is active but so is Air and Earth, which cancel each other out).
  • Four figures end up with being not an actual element, but a single quality, because it contains the two elements active in that figure that have that quality, with the other qualities of those elements canceling out (e.g. Fortuna Minor is pure Heat, because Fire and Air are active within it, both elements of Heat, though the dryness of Fire and moisture of Air cancel each other out).
  • Four figures end up with being null and void of any element or quality.  One is trivial, Populus, because it just has nothing active in it to begin with, but the other three (Via, Amissio, and Acquisitio) are combinations of only opposing elements that all cancel each other out somehow.

If we separate out those eight figures that end up with an element into a “pure element” group (where the figure consists of only that single element itself) and a “muddled element” group (where the figure consists of that element plus two other elements that oppose each other and cancel out), we end up with a neat grouping of four groups of four figures.  Even nicer is that the Pure Element, Muddled Element, and Single Quality groups all have each figure representing one of the four elements (the Single Quality representing elements by means of their most closely associated quality, e.g. Fire by Heat, Water by Cold).  That leaves us with a convenient scheme for assigning the figures to the elements in a new way…

Fire Air Water Earth
Laetitia Rubeus Albus Tristitia
Puer Cauda
Coniunctio Fortuna

…mostly.  The Null Quality group of figures (Via, Populus, Amissio, and Acquisitio) don’t fall into the same patterns as the rest because…well, they’re all null and void and empty of any single element or quality.  We’ll get to those later.

First, note that the Pure Element, Muddled Element, and Single Quality groups, we see a process of descension from one element to the next.  Descension is the process by which the elemental rows of a geomantic figure are “shifted” downwards such that the Fire line gets shifted down to the Air line, Air down to Water, Water down to Earth, and Earth cycles back up again to Air; I discussed this and the corresponding reverse technique, ascension, in an earlier post of mine from 2014.  Moreover, note that all these groups descend into the proper elements ruling that figure in lockstep, so that if we take the Fire figure from one group and descend it into the Air figure of that same group, the other Fire figures from the other groups also descend into the Air figures of those groups.  That’s actually a pretty neat reinforcing of this new system of assigning elements to the figures, and in a conveniently regular, structural way.

It’s with the Null Quality figures (Via, Populus, Amissio, and Acquisitio) that that pattern breaks down.  We know that Amissio and Acquisitio descend into each other in a two-stage cycle of descension, while Via and Albus descend into themselves without a change.  We can’t use the process of descension like we did before to make a cycle of elements within a quality group of figures, and because of their null quality, we can’t just look at the elements present in the figures themselves to determine what element they might be aligned with as a whole in this system.  So…what next?

Take a close look at the figures we already have charted, and follow along with my next bit of logic.  For one, we know that all the odd figures are either in the Pure Element or Muddled Element group, which means all the even figures must be in the Single Quality or Null Quality group.  On top of that, if we look at the figures that are already charted to the elements, we can note that Fire and Air figures are all mobile, and Water and Earth figures are all stable.  This suggests that Via and Amissio (the mobile Null Quality figures) should be given to Fire and Air somehow, and Populus and Acquisitio (the stable Null Quality figures) to Water and Earth somehow.  We’re getting somewhere!

The Null Quality figures share more similarities with the Single Quality figures because they’re both sets of even figures.  Even though the Single Quality figures follow a process of descension between one element and the next, we also see that figures that belong to opposing elements (Fire and Water, Air and Earth) are also inverses of each other (inversion being one of the structural transformations of geomantic figures, this one specifically replacing odd points with even points and vice versa).  This can be used as a pattern for the Null Quality figures, too, such that inverse Null Quality figures are given to opposing elements. This means that we have two possible solutions:

  1. Via to Fire, Amissio to Air, Populus to Water, Acquisitio to Earth
  2. Amissio to Fire, Via to Air, Acquisitio to Water, Populus to Earth

At this point, I don’t think there’s any structural argument that could be made for one choice over the other, so I shift to a symbolic one.  In many Hermetic and Platonic systems of thought, when it comes to pure activity or pure passivity (though there are many other alternatives to such terms!), Fire and Water are often thought of as perfect examplars, so much so that the Hexagram is literally interpreted as a divine union of masculine/ejective/active Fire (represented by the upwards-pointing triangle) and feminine/receptive/passive Water (represented by the downwards-pointing triangle).  Taking it a step further, in some interpretations of this mystical formation of the hexagram, this combination of Fire and Water produces the element of Air.  If we translate this into geomantic figures, we can consider “pure activity” (Fire) to best be represented by the figure Via (which could, I suppose, be taken as the simplest possible representation of the phallus, being a single erect line, or as the number 1 which is also historically considered to be masculine or active), and “pure passivity” (Water) as Populus (which, likewise, could be seen as the walls of the birth canal or vulva, as well as the number 2 which is considered feminine or passive).  If we give Via to Fire and Populus to Water, this means that we’d give Amissio to Air and Acquisitio to Earth.  Note how this actually works nicely for us, because the Null Quality figure we give to Air is itself composed of Fire and Water, matching with that mystical elemental interpretation of the Hexagram from before.

Now we can complete our table from before:

Fire Air Water Earth
Laetitia Rubeus Albus Tristitia
Puer Cauda
Coniunctio Fortuna
Via Amissio Populus Acquisitio

Next, can we impose an ordering onto the figures given these elemental assignments and quality groups?  Probably!  Not that orders matter much in Western geomancy as opposed to Arabic geomancy, but it could be something useful as well, inasmuch as any of this might be useful.  The order I would naturally think would be useful would be to have all sixteen figures grouped primarily by element—so all four Fire figures first, then the four Air figures, and so on—and then, within that group, the most representative of that element down to the least representative, which would suggest we start with the Pure Element figure and end with the Null Quality figure.  So, which comes second, the Muddled Element or the Single Quality?  I would suggest that the Single Quality figure is more like the element than the Muddled Element figure, because the Single Quality is representative of the…well, single quality that is representative of that element and, though it has some things canceling out within the figure, those things that cancel out based on their corresponding elements active within the figure are still harmonious and agreeable to the overall element itself.  Meanwhile, the Muddled Element is more removed due to the presence of other opposing elements that fight within itself, dragging it down further away from a pure expression of its overall element.  These rules would get us an order like the following:

  1. Laetitia
  2. Fortuna Minor
  3. Puer
  4. Via
  5. Rubeus
  6. Coniunctio
  7. Cauda Draconis
  8. Amissio
  9. Albus
  10. Fortuna Maior
  11. Caput Draconis
  12. Populus
  13. Tristitia
  14. Carcer
  15. Puella
  16. Acquisitio

So, what does this leave us with, and where does this leave us?  We have here a new way to associate the geomantic figures to the traditional elements in a way that’s substantially different from either the usual structural method that I prefer or a more zodiacal method that’s also in common use by authors like John Michael Greer and those immersed in Golden Dawn-like systems, though there is still a good amount of overlap between this kind of elemental assignment and the structural method with eight of the figures retaining their same element (all four Pure Element figures plus Fortuna Minor, Coniunctio, Carcer, and Populus).  This is not a method I’ve encountered before in any geomantic text I’m familiar with, and I’m inclined to say it’s pretty much a novel approach to assigning the elements to the figures, though considering how straightforward the process was, or at least how simple the idea behind it was, I’d be honestly surprised that such a thing hasn’t been thought of before now.

I don’t mean to supplant the major two existing systems of elemental assignments of the geomantic figures (the planetary-zodiacal method or the structural method) or their variations as found throughout the literature; personally, I’m still inclined to keep to my structural method of elemental assignments instead of this combinatoric method, as it’s what I’ve most closely worked with for years, and I’ve gotten exceedingly good mileage out of it.  To me, all the above is something like a curiosity, a “what if” experiment of potential.  Still, even as an experiment, this combinatoric method could have more interesting applications outside pure divination, and I’m thinking more along the lines of alchemy, magic, or other such applications where it’s truly the action, nonaction, interaction, and reaction of the elements themselves among the figures is what matters.  We can alchemically-geomantically view the cosmos as arising from:

  • 4 base substances
  • 16 base entities (the 16 = 4 × 4 different combinations of the elements to form the figures)
  • 256 base interactions (the 256 = 16 × 16 = 4 × 4 × 4 × 4 different addition-pairs of the figures)

So, consider: if you add pure Fire and pure Water, that’d be Laetitia + Albus = Amissio, which gets you a Null figure of balance that leads to an overall condition of Air.  (Fitting, given our explanation of why Amissio should be given to Air at all.)  If you add simple Heat to pure Air, that’d be Fortuna Minor + Rubeus = Laetitia, which also makes sense because, as a figure of Air, Rubeus is primarily wet and secondarily hot; if we reinforce the heat, it becomes primarily hot, and the wet condition gets dried out by the overabundance of heat, transforming Air into Fire.  If we add simple Cold and simple Heat, which would be weird to think about even in alchemical terms except unless we’d isolate those qualities from simpler bases (which we do in geomantic terms), that’d be Fortuna Maior + Fortuna Minor, which would become Via, a technically Null figure given to balanced, ideal, spiritual Fire; how odd!  But we wet the same result when we add any of the opposing Single Qualities, which to me would be like a geomantic division by zero.

I think that this combinatoric model of elemental assignments, what I’m going to call the “alchemical model” as opposed to my usual “structural model” or the Golden Dawn-style “zodiacal model”, could be useful for more mystical, philosophical, or magical meditations on the figures.  It’s not one I’ve completely fleshed out or can immediately agree with given how different it can be from the models I’m used to working with, but I think it does hold some promise and is worthy of exploration and testing, especially in a more magical and less divinatory context.

Brilliant Call of Light

Finally, all those 2019 yearly readings I did are done!  Thank you, everyone, for letting me divine for you.  I hope that they’re helpful for you all, and that they continue to be helpful and, yanno, accurate enough to be worth the cost.  In letting me divine for you, I’m enabled to learn more about geomancy, refine my practices and understanding, and become a better geomancer, diviner, and counselor.  It’s a privilege to be able to do this for you.  Thank you!  Also I cannot begin to describe how wonderful it is to see my email inbox empty once more, and also to be able to relax again.  This has been several weeks of nearly non-stop readings, so a lot else has had to go on the back burner in the meantime.  But now that I’m able to breathe again without the weight of having to do readings on my shoulders, I’m getting back to it again.

As I noted in my recent post on how the notion of divine Light and geomancy can be tied together, I’ve been inspired to write a bunch of prayers for a new kind of devotional practice that I seem to have struck gold with.  Many have already been written, and at this point there’s not a lot more to truly come up with (except for one stubborn section that I’m drawing blanks on, so maybe that one just isn’t ready to be written yet).  The ones I’ve already written are undergoing edits and tweaks the more I use them and recite them, picking out things that could flow better, removing things that don’t seem to fit, and adding things that bring everything together.  I’m really pleased with how all these are turning out, and the ones I’ve been using a lot are quickly becoming part of my usual practices.  Repetition and routine, after all, make for some of the best tests of practice and prayers.

That said, most of these prayers are not ones I’m comfortable sharing; they’re either too new and fresh and untested and unedited, or they just…don’t seem right for truly public access, at least not yet.  Some of them I really would like to keep secret, but others don’t give me that same vibe, and instead can and should be spread and used by many.  One such prayer is one I’d like to post today; it seems and feels to be in a more-or-less final form, and I’m happy with how it flows, rolls, and resounds.  This, especially, is a direct result from those numerological revelations of the Islamic name of God an-Nūr (the Light) from that older post, and a straightforward application of those ideas into a concentrated prayer.

I present to you the Brilliant Call of Light:

God is Light,
and God is the Light,
and God is the Light of Light,
and God is the Light upon Light,
and God is the Light within Light,
and God is Light.

God is Light,
the sudden Glimmer of inspiration,
the revealing Flash of insight,
the bright Flame of knowledge,
the wondrous Lamp of divinity,
and God is Light.

God is Light,
the Light that enables the eye of the mind to see
that which is true and real,
that which is hidden and obscured,
that which is forgotten and ignored,
and God is Light.

God is Light,
the fierce and burning flare of Light,
undeniable, unstoppable, unassailable,
a brilliant blast that radiates in all directions
to destroy and conquer all that would dim it,
and God is Light.

God is Light,
shining forth from its single Source,
flowing out like a mighty river from a quiet spring
into every crack of every door, wall, window, and mind
filling every corner, niche, space, and thought
and God is Light.

God is Light,
the Light that makes the unseen to be seen,
that makes the hidden to be revealed,
that makes the unknown to be known,
that makes the forgotten to be remembered,
and God is Light.

God is Light,
the Light of all action,
the Light of all reaction,
the Light of all inaction,
the Light of all interaction,
and God is Light.

Be here, o God, for only you can be anywhere and everywhere!
Shine forth, o God, your light into this space and into me!
Illuminate my eyes, my ears, my nose, and my mouth with your light!
Fill my body, my soul, my spirit, and my mind with your Light!
My every emotion, my every thought, my every sensation be permeated with your Light!
Your radiant, brilliant, revealing Light floods this place through me,
and no darkness nor shadow nor dimness nor obscurity can here remain!
In every crack and crevice, in every nook and cranny,
around every corner, behind every wall, into every entrance, within every space,
let your holy, divine, pure, true Light shine forth!
Nothing can escape the reach and splendor of your Light,
for all the cosmos you created is filled with your Light!

In your Light am I embraced, protected, guided, and lifted
from darkness into light, from despair into hope,
from filth into purity, from deception into truth.
In your Light no darkness can linger,
In your Hope no despair can continue,
In your Purity no filth can remain,
In your Truth no deception can endure.
In your Light may this space and all within it be embraced, protected, guided, and lifted
that neither evil darkness, nor wicked despair,
nor harmful filth, nor corrupt deception may abide here any longer.

Grant, o God, o God of Light, o God who is Light,
Light of the Mind, Light of the World, Light of all Creation,
that as we rejoice and praise the goodness of your Light and you who are Good
that we may also rejoice and praise the goodness in the light of others
that we may all become Good as you.


The first part of a prayer is a kind of meditation that enforces and reinforces the notion of how truly poweful, beautiful, and intricate the notion of Light is in all its ways, and how Light in this case is one of the things that God is, indeed a true quality and behavior and power of God.  The second part is an invocation and call of Light to fill oneself, through oneself their environment, and through that environment the whole world with that divine Light, eradicating darkness, wickedness, and all that would stop or impede or dim or darken that Light.  In effect, it can serve as a purification and banishing of oneself and one’s environment.

May this prayer serve you well, and bring a little more Light into your life.

On Prayer Beads, Devotions to Gabriel, and a New Way of Doing Just That

I think that, as of this moment…god, how many sets of prayer beads do I have in my temple room? Seven chaplets for the archangels I made myself, one rosary each for Mary the Theotokos and for Saint Cyprian of Antioch and for my ancestor shrine, a chaplet of Saint Cyprian of Antioch I designed myself, an Orthodox Christian prayer rope, a set of tiger’s eye prayer beads I made for solar work (specifically for a variant of my Consecration of the Twelve Faces of Hēlios), a set of labradorite prayer beads I made for my Holy Guardian Angel, a chaplet for Hermēs based on the work of the good Dr. Jeffrey S. Kupperman (yes, that one, the one with the book! he put out a wonderful novena rule and chaplet for Hermēs not too long ago), and a set of Islamic prayer beads (misbaḥa) for my ancestor shrine for one of my spirit guides. All told, that makes 16 different sets of prayer beads scattered throughout my temple, though admittedly I don’t use all of them; sometimes they’re there more for the shrine’s sake or the use of the spirits rather than my own. I used to have a rosewood mala for my old Buddhist stuff, but I’ve since gifted that away to a friend who can put it to better use since there’s nothing more for me to do along those lines or practices.

What? I like the convenience, customizability, and attractiveness of prayer beads. They’re useful, they’re tangible, they let the body focus on one thing and allow the mind to focus on another in a semi-autonomous way.

Well, lately, as part of my burgeoning geomantic devotional practice, I’ve been getting more interested in Islamic prayer methods. Credit where it’s due: Islamic devotional practice, prayers, and supplication frameworks are amazing. There’s a massive body of beautiful, poetic, and wonderfully specific literature-cum-prayer rules of endless supplication after supplication after supplication, and it’s at once dazzling and daunting. Now, I’m not a Muslim, nor have I intention to convert given…all the other obligations I have and some theological differences, but I cannot deny the beauty and profundity of how they approach divinity through prayer. As you might have guessed, there’s also a method of prayer with Islam’s own kind of prayer beads: the misbaḥa, also known as tasbīḥ. The word has its origins in the word subḥa, meaning “glory”, as in the phrase Subḥāna-llāh, “Glory be to God” (the recitation of which is also called Tasbīḥ, just as the recitation of the phrase Allāhu ‘akbar, “God is Great”, is called Takbīr).

Misbaḥa are easy to understand: they’re made of 99 beads, with two separators that stand out in some way to break the counting beads up into three sets of 33 beads each. The “head” or “tail” (depending on how you look at it) typically has a long, cylindrical bead, plus some other number of beads for keeping track of iterations of going through the entire thing. Other misbaḥa are made with other numbers, some as few as 11 beads or sometimes 33 broken into three sets of 11, but others used in some religious orders can have as many as a thousand beads. Some misbaḥa have a slidable marker to further mark off particular sets of beads, such as for holding one’s place or when reaching a particular count desired (e.g. 40 is a common number found in Islamic devotional repetitions).

Probably the most popular way, or at least one of the most popular and acclaimed ways, of using misbaḥa is through the method known as the Tasbīḥ Fāṭimah, the method ascribed to Fāṭimah, the daughter of the Prophet Muḥammad. The method is simple:

  1. On each of the first set of 33 beads, recite the Tasbīḥ: Subḥāna-llah (“Glory be to God”).
  2. On each of the second set of 33 beads, recite the Taḥmīd: Alḥamdu li-llāh (“Praise be to God”).
  3. On each of the third set of 33 beads, recite the Takbīr: Allāhu ‘akbar (“God is Great”).

Unlike rosaries or chaplets in the Christian tradition, note how the separators don’t have associated prayers or anything said on them; they’re just used solely as markers to switch up prayers. There are variations of this method, too, of course; some say to recite the Takbīr first followed by the Taḥmīd and the Tasbīḥ in that order, some say to recite the Takbīr 34 times instead of 33 times, some say to conclude by reciting the first part of the Shahāda (Lā ‘ilāha ‘illā-llāh, “there is no god but God”), but the general method is fundamentally the same. It is recommended for the observant to perform this devotion immediately after every compulsory prayer, but the original story behind the Prophet giving it to his daughter also recommends saying it before one retires for sleep.

Discussing this with one of my Muslim colleagues online, this is just one method of using misbaḥa; there are countless ways to use them, such as for reciting individual attributes or names of God (of which there are, of course, a conventional set of 99 in Islam), reciting particular verses of the Qur’ān over and over, and the like. The possibilities are endless, apparently.

So, of course, this got me thinking: while I, too, can use the Tasbīḥ Fāṭimah devotion, is there a way I could use this venerable tool in a way specifically geared for my own needs? Of course there is. The Tasbīḥ Fāṭimah practice is wonderful on its own, and doesn’t require one to be a Muslim to use it; after all, the supplications involved in it are pretty basic and can work for anyone with an Abrahamic, Hermetic, or just plain deist bent, and it’s a clean and straightforward practice that doesn’t involve a lot of preliminary setup, education, or training. It’s effective, I’ll absolutely grant it that. But if there are other ways to use misbaḥa, why not also try something else as well for a more specific purpose than just worship, hesychasm, and henosis?

There being three sets of 33 beads reminded me of the Chaplet of Saint Gabriel the Archangel from Catholic devotions, which is constructed with a lead chain of three beads linked to a ring of 33 beads broken into three sets of 11 beads with one separator bead between each set.

  1. Lead bead 1: “Heavenly Father, through the salutation of the Archangel Gabriel, may we honor the incarnation of your divine Son.”
  2. Lead bead 2: “Mother of our Savior, may we strive always to imitate your holy virtues and respond to our Father, ‘be it done unto me according to thy Word’.”
  3. Lead bead 3: “Archangel Gabriel, please praise our Father for the gift of his Son praying, one day, by his grace, we may all be one.”
  4. On each of the beads in each set of 11: “Hail, full of grace, the Lord is with thee: blessed art thou among women.”
  5. On each of the two separator beads: “Behold, thou shalt conceive in thy womb, and shalt bring forth a son, and thou shalt call his name Jesus.”

Simple and straightforward. It wouldn’t be a stretch to simply expand the repetitions from three sets of 11 for a total of 33 to three sets of 33 for a total of 99 (33 being a sacred number for Christians, being the number of years Jesus was alive when he was crucified). I could definitely use misbaḥa for Gabriel-based devotions, which is good given the importance of Gabriel being the angel of revelation to the prophet Daniel as well as to Elizabeth, Mary, Muḥammad, Enoch, and so many others, and given the fact that Gabriel is the angel who taught the founders of geomancy their art. However, I didn’t feel like the Catholic approach here—although totally workable—felt appropriate for either my own devotional needs or for use with the misbaḥa.

So, I scoured some verses of Scripture in which Gabriel was either directly present by name or directly being referenced from the Tanakh, the Bible, and the Qur’ān, and in the end, I developed a new method of repetition-based devotions to God through his archangel, a method I’m tentatively calling the “Crown of Gabriel”, to be used on a standard misbaḥa of 99 beads:

  1. At the beginning, recite once: “In the name of God who created me.”
  2. On of the first set of 33 beads, recite: “May God fill me with his grace.”
  3. On the first separator, recite: “God willing, teach me, o Gabriel, mighty in power, revelations to be revealed.”
  4. On each of the second set of 33 beads, recite: “May God be with me.”
  5. On the second separator, recite: “God willing, come forth, o Gabriel, to give me understanding and insight.”
  6. On each of the third set of 33 beads, recite: “Do unto me according to his word.”
  7. At the end, recite once: “My Lord is the Most Generous.”

The specific supplications come from four verses of Abrahamic scripture, one from the Old Testament, one from the New Testament, and two from the Qur’ān, all of which are associated with Gabriel in one way or another:

  • Daniel 9:22 (the clarification of the Prophecy of Seventy Weeks):

    And he [Gabriel] informed me, and talked with me, and said, O Daniel, I am now come forth to give thee skill and understanding.

  • Luke 1:28—38 (the Annunciation):

    And the angel came in unto her, and said, Hail, thou that art highly favoured [full of grace], the Lord is with thee: blessed art thou among women. And when she saw him, she was troubled at his saying, and cast in her mind what manner of salutation this should be. And the angel said unto her, Fear not, Mary: for thou hast found favour with God. And, behold, thou shalt conceive in thy womb, and bring forth a son, and shalt call his name Jesus. He shall be great, and shall be called the Son of the Highest: and the Lord God shall give unto him the throne of his father David: And he shall reign over the house of Jacob for ever; and of his kingdom there shall be no end. Then said Mary unto the angel, How shall this be, seeing I know not a man? And the angel answered and said unto her, The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee: therefore also that holy thing which shall be born of thee shall be called the Son of God. And, behold, thy cousin Elisabeth, she hath also conceived a son in her old age: and this is the sixth month with her, who was called barren. For with God nothing shall be impossible. And Mary said, Behold the handmaid of the Lord; be it unto me according to thy word. And the angel departed from her.

  • Qur’ān, Sūrah An-Najm, 53:1—10 (which describes the appearance of Gabriel to the prophet, with connections to the star Sirius):

    By the star when it descends, your companion [Muhammad] has not strayed, nor has he erred, nor does he speak from [his own] inclination. It is not but a revelation revealed, taught to him by one intense in strength, one of soundness. And he rose to [his] true form while he was in the higher [part of the] horizon. Then he approached and descended and was at a distance of two bow lengths or nearer. And he revealed to His Servant what he revealed.

  • Qur’ān, Sūrah Al-`Alaq, 96:1—5 (the very first revelation to the Prophet by Gabriel):

    Recite in the name of your Lord who created, created man from a clinging substance. Recite, and your Lord is the most Generous, who taught by the pen, taught man that which he knew not.

For my own needs, I didn’t keep the exact wording from scripture as the Chaplet of Saint Gabriel does; rather, I tweaked them to be more specific to me, that God might teach, fill, and guide me through his angel in a personal way appropriate to me and me alone. Unlike the usual method of Tasbīḥ Fāṭimah and like the Chaplet of Saint Gabriel, I did include prayers for use on the separator beads; originally, I had those supplications for the separator beads and the supplications done at the first and last swapped (so that you’d start with “God willing, teach me…” and end with “God willing, come forth…”), but I felt like swapping them was better so that the whole thing could start off with an invocation of God of sorts—not the proper and usual Basmala (bi-smi-llāhi ar-raḥmāni ar-raḥīm, “in the name of God, the Most Compassionate, the Most Merciful”), but something that works as well and follows the same structure.

Also, what’s nice is that, even though the Crown of Gabriel is designed for a misbaḥa, it can still be used on a regular Chaplet of Saint Gabriel, reducing the number of repetitions of the main supplications from 33 to 11. As for what to recite on the three lead beads, one might add in generic prayers (the Sanctus, the Trisagion, etc.) for all three to be followed with the initial supplication of the Crown of Gabriel, or one could break out the initial supplication into three by incorporating the Basmala as well:

  1. “In the name of God, the Most Compassionate!”
  2. “In the name of God, the Most Merciful!”
  3. “In the name of God, who created me!”

And, on the joint of the chaplet and lead beads, recite the Our Father, just to keep things moving.

Up till now, my angelic devotions largely focused (and will still focus!) on the archangel Michael and my own holy guardian angel. However, I cannot deny the huge role Gabriel necessarily plays in the religions that recognize the archangels at all, as well as in the mythological origins and continued practices of geomancy. Granted that all the archangels work together in a synaxis (basically, where you call on one, you’re basically getting the whole set together no matter what), it’s clear I need to amp up my own devotional practices to Gabriel. I think the Crown of Gabriel method should suffice nicely for that, while also being a way to increase my own intuitive abilities as a diviner in the process. God willing, of course.

On Geomancy and Light

Those who follow me on Twitter know that I’ve been working on a new shrine project of sorts.  Earlier this year, I had the sudden kick-in-the-ass inspiration to start compiling things together, so I started pricing them on my wishlists and getting notes together.  I swore, up and down, that I would pay off my credit card before getting any of it.  But, yanno, just to see how much it would all cost when tallied up, I put it all into my online shopping cart to check out the shipping and taxes, and whoops there went $700 and suddenly I have all these packages showing up at my house however could this have happened let’s get to work, I guess my poor credit card statement.

Long story short, after I made that second post about geomantic holy days earlier this year, I got some sort of spirit all up in me that necessitated, demanded I put this thing together.  I ended up making a Shrine of the Geomancers, honoring the four Progenitors of the art Adam, Enoch, Hermes Trismegistus, and Daniel under the tutelage of Gabriel, with a notable Islamic influence.

I’ll save some of the details and what goes along with this whole shrine later, including a few things that aren’t shown in those above pictures, since it’s such a new thing that even I’m not sure why I have everything on it yet, just that I know I need it.  The last time an inspiring spirit this forceful came upon me was when I ended up writing my Sixteen Orisons of the Geomantic Figures in a single night (and then spent the next month editing and polishing), which you can take a look at in my ebook, Secreti Geomantici (also on Etsy!).  That was pretty fun, too, though exhausting.  I ended up making sixteen prayer-invocations to channel and work with the forces of the figures; that was just a night of power for me, as if I couldn’t shut off whatever fire hydrant of Words was turned on in my head.  The same thing happened with this shrine: I had to get these things and put them together.  Had to.

On top of getting this shrine put together, I’ve had to take a break from writing my geomancy book to take a detour into writing prayers, invocations, and incantations for geomantic practice.  Taking heavy inspiration from Islamic supplications and verses of the Qurʾān, the Book of Daniel, the Psalms, Solomonic and Hermetic literature, and other sources, I’ve been putting together a bunch of prayers—some that I wrote as original works, some I wrote a long time ago, some I’m heavily basing off other sources but tweaked for purpose and diction—for use with this shrine.  Many of the old prayers I wrote a while back, like my Prayer of the Itinerant or my Blessing of Light, fit right in with all these new ones.  It’s like so much of my previous routine, habits, and practices get tied into something so nice, so neat, so…oddly complete in this new shrine practice.  I honestly don’t know where this is all coming from, and it’s surprising me as much as it would anyone else.  If ever I would think that spirits can and do work through us, this would be one of those cases, absolutely.  There are still a lot of prayers I know for a fact I need to write and compile, but even with what I have, I’m pretty thrilled with what I have to work with.  It’s like stumbling on a new grimoire full of detailed instructions—except you don’t know for what, exactly.  It’s also happily convenient that I’m doing all these geomancy readings and follow-up divinations for the New Year, which gives me ample opportunity to try some of these very same prayers.

Now that the shrine is put together and all these prayers are coming together, I need to figure out exactly how to put this all to practice; after all, after dropping so much time and money and energy on this, there’s no way in hell I can just let this thing sit and gather dust (as if the same spirit that had me get all this together in the first place would let me).  I’ll work out routine and times and stuff later, but for now, it’s lovely.  As I noted above, there’s a heavy Islamic influence in this, and why not?  After all, geomancy is ultimately an Islamic occult art and science that arose in the sands of north Africa.  While I’m not going to be doing ṣalāt or proclaiming the five pillars of Islam, I feel it’s still important to honor the traditions and faiths of those that learned, taught, and spread the art of geomancy so far and wide in a language, or at least with symbols and practices, that would be familiar to them.  Which is also why I’m turning to so many supplications and verses of the Qurʾān for prayer inspirations, in addition to the fact that I already know that some such verses are used just for geomancy and divination generally.

One of the things I got for the shrine is a misbaḥah, a set of Islamic prayer beads.  It’s a lot simpler than a rosary, but slightly more complex than a mala; this has 99 beads, with two separators (that apparently aren’t used in counting prayers) to divide up the whole misbaḥah into three sets of 33 beads.  This kind of prayer beads can be used in any number of ways in Islamic devotions, not least the famous Tasbīḥ of Fāṭimah, and a way of kinda-sorta maybe-not-divination-per-se seeking guidance from Allah (istikhāra) can be done using misbaḥah, too, by focusing on the question for guidance and selecting two beads at random on the misbaḥah, and counting down until there are either only one or two beads left.  (The geomantic applications here are obvious.)  There are simpler ways, too, such as just intoning and focusing on one of the attributes or names of Allah, of which there are 99.

(Also, just as an entirely hilarious tangential aside?  This current post is marked as post #9999 in WordPress’ internal system for my blog.  So that’s a kinda fun synchronicity.)

One of the 99 names of Allah in Islam is النُّورُ (an-Nūr), literally “the Light”.  This is often used in the sense of being the Pure Light of the world, or the Prime Light of creation, or the One who Guides by Light.  It’s also especially associated with the Verse of the Light, a beautifully mystic verse taken from Qurʾān 24:35 (my own rendition):

God is the Light of the Heavens and the Earth.
The image of his Light is that of a niche.  In it is a lamp.
The lamp is within glass, the glass as if it were a brilliant star.
Lit from the oil of a blessed olive tree, neither of the East nor of the West,
whose oil would almost glow on its own even if fire had not touched it.
Light upon Light!
God guides to his Light whom he wills.
God gives images to follow for his people.
God is All-Knowing of all things.

The use of “The Light” as a name of Allah (or, just, yanno, God, because they really are the same and so much of Arabic theology can be expressed beautifully in Hermeticism and vice versa) is meaningful to me, given how important divine light is in my own personal theology and magical practice, especially in my Hermetic work, given how Light can be thought of as a thing that allows the intelligible to be intelligible and the visible to be visible, as both light of Nous (Mind) and light of Logos (Word).  Even my own magical motto, Lautitia Laborum Lucis Laetor “I rejoice in the splendor of the works of the Light”, is based on this same idea, and many of my more meaningful prayers incorporate Light in some way, whether directly or by puns, like in my Prayer of the Itinerant:

Shed your light on my path that I may see where I go.
Lighten the burden on my shoulders that I may go without hesitation.
Enlighten my heart that I may go with fortitude, courage, and wisdom wherever I may be.

Even before having encountered this Islamic sense of the notion, Light has already been and continues to be for me a powerful force unto itself, and a pure one that is directly associated in my mind and cosmological models with the highest divinity and source of all that is.

Then we bring in a bit of numerology.  Normally, I don’t take numerology particularly seriously; sure, gematria and isopsephia are nice tools to have, and I’ve experimented with it in some classical systems before now and again, but it’s largely a curiosity for me to find other connections with.  But take a look at the name an-Nūr more closely; the “an-” (really “al-” but Arabic rules assimilate the sounds) is just an article, so the real word to look at is Nūr, Light.  In Arabic numerology (which follows the same principles as Hebrew and Greek, since they all come from the same written language to begin with), the value of Nūr is 256.

Those who are familiar with binary mathematics and geomancy should be slapping your heads right about now.  256 = 16 × 16, the total number of pairwise combinations of geomantic figures with each other.  But even then, if we were to reduce it further, 2 + 5 + 6 = 13, and 1 + 3 = 4; alternatively, 256 % 9 = 4.  Four is also a huge number for us, there being four elements, four rows in a geomantic figure, four Mothers/Daughters/Nieces/Court figures, and so forth.  I don’t really need to expound on the myriad meanings of the number 4, given its importance in Hermetic, Pythagorean, and other systems of the occult.  Taking it a bit further as a letter-numeral, 4 is represented by the Hebrew Dālet, Arabic Dāl, and Greek Delta.  Its original meaning and form likely indicated “door”; in stoicheia, I principally associate Delta with the zodiacal sign Gemini, but it can also refer to the element of Water and the zodiacal sign of Cancer in other systems.  I also note that the Arabic Dāl is also the letter used to represent the element of Water in the Dā`irah-e-BZDḤ and Dā`irah-e-ABDḤ organizing systems of the figures, the former of which I’ve put to use in my geomantic energy working as being an Arabic-inspired seed syllable for Water.  Four is, also, the number associated with the sephirah Chesed on the Tree of Life, given to the planetary sphere of Jupiter.

On top of that, although the usual word for “light” in Hebrew is or (אור), the word nur (נור) using the same exact letters as in Arabic, and thus with the same exact numerology, refers to things that flare, flash, fire, or shine; this is an old Semitic triliteral root N-W-R that means light, illumination, and shining.  So that’s also really neat.  This word can also be associated with Hebrew ner (נר) meaning “candle”; “candle” is one of the names and images for the figure Via in some lineages of geomancy according to JMG and Skinner, and Via is sometimes considered to be the oldest or most important and powerful of the geomantic figures, as it contains all of the four elements active and present within itself as a complete whole.

Keeping with Hebrew numerology a bit longer, if we wanted to associate the usual Hebrew word for light numerologically, consider that or (אור) has a value of 207.  256 – 207 = 49, and 49 = 7 × 7, the total number of pairwise combinations of the seven planets as well as just being 7² and important for its own sake; that’s a fun connection, if not a bit contrived.  I also note that 256 is the same value as “spirit of the mother” (רוח אמא, ruach ima), which is important to recognize given that the first four figures we make are called the Mothers and are ungenerated from any other figure in the geomantic process.  It’s also the same value of the words B’nei Tzedeq (בני צדק), or “Sons of the Righteous”; in addition to being a popular name for Jewish synagogues and temples, it’s also a term used by the authors of the Dead Sea Scrolls to refer to the good and devout portion of humanity (including/especially themselves), as opposed to the B’nei `Avel (בני עול), the “Sons of Iniquity”.  Besides the Qumran connection, if there were ever a choir of angels to be associated with geomancy or if we ever wanted a good Hebrew euphemism to refer to geomancers, I suppose B’nei Tzedeq would be a good start.  Plus, Tzedeq is also the Hebrew name for the planet Jupiter, hearkening back to the numerological connection with Chesed above.

I also, somewhat regrettably and hilariously, note that 256 is the numerology of the name Viagrahel, the angel of Viagra, for which I will never thank/blame Kalagni of Blue Flame Magick enough.  (I’m as shocked as you are that that, of all things, would come back to bite me in the ass after almost seven goddamn years.  It’s like my life is one big Chekhov’s dildo.)

What about Greek?  There aren’t many words I can find that add up to 256, but there’s one big one I know of: ἀληθής (alēthēs), meaning “[that which is] unconcealed/true” but also with uses that encapsulate: real, unerring, actual, not forgetting, careful, honest.  The root of this word is –lēth-, which refers to forgetfulness (as in the mythological river of the underworld Lethe and also our modern word “lethargic”, referring to idle forgetfulness).  In that case, ἀληθής refers to things that are unconcealed, true, and honest by means of recovery from forgetfulness or by keeping forgetfulness and ignorance at bay, or alternatively, that which cannot escape notice or remain hidden.  All this ties into the actual Greek word (and, for that matter, goddess) for truth, ἀλήθεια (alētheia), too.  Even if I couldn’t find any other Greek numerological equivalent, I think this one is huge enough to make up for any others.

So where do we end up?  We have a particularly beautiful attribute of the divine, “the Light”, used in the worship and reverence of God in Islam, the religious culture in which geomancy historically developed.  To be extraordinarily terse, notions of divine light fill numerous religious and philosophical traditions as being representative of divinity, especially in any Western tradition influenced by Neoplatonism, Abrahamic faiths, or Hermeticism.  This can be further stretched through a bit of numerology, connecting the word for Light to words for fire, illumination, revelation, and truth.  Calling God “the Light” is a lot more than just thinking of that which allows us to see; God is, in a more complete sense of this attribute, the sudden and revealing flash of illumination that allows us to see that which is true and real, bringing it out of darkness, forgetfulness, and ignorance  God is the quiet, true Light behind all Fire, able to spread and open doors of wisdom to us, communicating to us on an intellectual and emotional level through our sense faculties.  This Light is not just a quiet flame in a dimmed lamp that barely illuminates the shelf it sits on, but it is a fierce, conquering, undeniable, unassailable blast into the darkness, a Light that completely destroys and wipes away anything that could or would try to cover it, a Light that breaks into the cracks of any door, window, wall, or mind and fills every niche, crevice, and corner with its presence.   It is the Light of God, or even the Light that is God, that allows the unseen to be seen, the hidden to be revealed, the unknown to be known, and the forgotten to be remembered.  God is not just Light, but the Light of Light, Light within Light, and Light upon Light.

More than that, this sacred Light of the Mind and of the Word can reach us at any place and at any time, but we can approach it too through the devout study of the mysteries of the geomantic figures, specifically in how they add up amongst themselves in their 256 different combinations.  This same illuminating Light is the fundamental impulse from which the first stirrings of knowledge can be made, and provide the seeds themselves from with the four Mothers in geomantic divination are formed, from whom the entire rest of the geomantic process can be derived.  The Light of God is the necessary existent in order for us to see and know things by geomancy.  Understanding the geomantic figures themselves to be representative of the actual combinations of the four elements amongst the elements in 4 × 4 = 16 ways, and the combinations of elements amongst themselves in 16 × 16 = 256 ways, all of the possible things that come to be in the world and all the ways in which they pass into being and pass out of being are also undergirded by the Light of God, being ways in which that same Light emanates from God into the world, condensing through the four elements from Fire to Air to Water to Earth, mixing and matching between all possible states.  All this is fundamentally Light.

I always felt that Light was important for me to focus on in a religious and spiritual sense.  It’s nice to see that all coming together in ways that the ancients themselves would appreciate, and in ways that show me new things in new combinations.  And, perhaps, to reinforce the habit of keeping a lit candle or lamp burning nearby when I do geomancy.