When it comes to the geomantic scholars of the Western world, there’s few who can touch the research of Dr. Stephen Skinner. Internationally acclaimed for his work and practice involving feng shui as well as his doctorate-level research and publications on various grimoires and magical texts from the west, he’s also an expert in the practice and history of geomancy. I first encountered him back in college, probably around 2008 or 2009, through his older, now out-of-print book Terrestrial Astrology: Divination by Geomancy, which has more recently been updated and published under the title Geomancy in Theory & Practice (and, more importantly, with a title that Skinner doesn’t hate, as Terrestrial Astrology was a title he regretted but which his editor insisted on). This is a simply wonderful text that, although I consider it to be a bit light on the actual practice of geomancy, its true value shines in delving into the evidence, history, lineage, and contextual development of geomancy as a divinatory art in Africa, the Middle East, and Europe from its beginnings around a thousand years ago until today. (There’s also his older work, The Oracle of Geomancy: Techniques of Earth Divination, which is also long out-of-print and…well, I wasn’t particularly enthused by it, but it’s a solid work of geomancy for its time before other research and experimentation was being done.)
In Terrestrial Astrology as well as Geomancy in Theory & Practice, Skinner opens up the book after the introduction by talking about geomancy and its Arabic origins as `ilm ar-raml, “the science of the sand”, also called khaṭṭ ar-raml, “marking the sand” After clarifying some of the language about it, he describes some of the basic processes used early on in the very nascent stages of geomancy:
For the purpose of divining by khatt al-raml, the diviner, accompanied by an assistant or acolyte, drew with the utmost haste a quantity of lines or ripples in the sand, allowing himself to be carried away, so that he did not know how many lines he had drawn. Then he slowly wiped out groups of two ripples at a time, whilst his assistant often recited an incantation in Arabic, such as the words: “Ye two sons of ‘Iyan hasten with the explanation!”
The marks they made were joined by other marks (khutut) in order to complete a figure (shakl). When these figures became stylized, a board was used, which was covered with sand or even flour, and the finger was drawn over it at random; the shapes formed in this way were then examined. If in the end two lines were left (i.e, there was an even number of lines drawn) then this foretold success. If however only one line remained (an odd number of lines drawn) then disappointment was certain. Here can be seen the germ of the later and more complex practice, where each line is reduced to odd (only one left) or even (two remaining). In this, the simple form of khatt al-raml, only one set of marks were made, leading straight to a lucky/unlucky prediction.
It’s that reference to “Ye two sons of ‘Iyan” that’s always mystified me. I could never figure out what or who “‘Iyan” is or was, much less their “two sons”, and Skinner says no more about it in his works, nor is any reference provided for this statement. Worse, when I emailed the good doctor, he unfortunately said that it’s been so long since this was written (Terrestrial Astrology was published almost 40 years ago!) that he was unable to recall where it might have come from. Such mysterious figures, perhaps mythological, maybe angelic or even demonic, hailed in a diviner’s chant to induce a trance or stronger, more truthful connection to the art in order to obtain knowledge? This struck me as being something that should be investigated, but unfortunately, Skinner’s text, identical in both Terrestrial Astrology as well as Geomancy in Theory & Practice, is the only reference to ‘Iyan or their two sons I’ve ever found. It could be that this was entirely a highly localized or individual practice that Skinner was reporting on, or an extremely esoteric one that was limited and bound up in particular occult practices.
Lately, I’ve been taking another look at this, and I’ve been doing some thinking about it. What follows is basically extrapolating from very scant knowledge and information here, coupled with a bare-bones knowledge of Arabic grammar and word derivational systems, but I suppose, if we take a look at the name ‘Iyan a bit closer, we might be able to get something. What follows could well be a wild goose chase which might put me on par with Athanasius Kircher’s attempt to translate Egyptian hieroglyphs (surprise, it didn’t go well). But, well, what might we find if we look? Let’s see where we end up.
First, it’s important to note that when Skinner brings up Arabic words or glosses, he’s not always faithful in his transliteration from Arabic to Roman script. Although the tables at the end of the book have the names of the figures in Arabic written in both Arabic script and in good transliteration, and a number of Arabic names in the endnotes are transliterated with diacritics for long vowels and the like, it’s in the text itself that long vowels aren’t indicated, there’s no standardization of how ‘alif and `ayn are transliterated, and other such problems that make it hard to understand what the original Arabic might have been based on the names given to us. So, with ‘Iyan, we have several problems:
- Is the mark before the I supposed to represent an ‘alif or an `ayn?
- Which vowels are long or short?
It’s impossible to tell what these might be since we have no other information, and I’m no expert in Arabic. But…well, consider that names typically have meaning of some sort, and the way Arabic works—and Semitic languages generally—is on a delightfully productive system of what’s called “roots” and “patterns”. There’s this notion of a consonantal root in Semitic languages, usually of three letters but sometimes two and sometimes four, and the root has a general concept associated with it, much like the semantic radical of a Chinese character. By filling in the consonantal root with particular vowels and appending prefixes, suffixes, and other infixes, a variety of words that give variations on the underlying can be obtained from a single root. Consider the triliteral (three letter) consonantal root K-T-B, which refers to writing generally:
- kitab (book)
- kutub (books)
- kataba (he wrote)
- katabat (she wrote)
- katabtu (I wrote)
- kutiba (it [m] was written)
- yaktubna (they [f] write)
- yatakātabūn (they write to each other)
- kātib (writer [m])
- kuttāb (writers)
- katabat (clerks)
- maktab (office)
- makātib (offices)
- maktabat (library)
- istaktaba (to cause someone to write something)
The number of derivations goes on and on. Note how all the words in that list share the root K-T-B, sometimes with one of the consonants doubled (as in kuttāb), sometimes with extra consonants added (as in maktabat). All these words have something semantically related to the act of writing or something written, which is grounded in the K-T-B root. Likewise, not just nouns or verbs or adjectives can be derived from roots, but names can, as well. Consider that the name Muḥammad is derived from the root Ḥ-M-D, generally relating to notions of “praise” or “thanks”; thus, Muḥammad literally means “praiseworthy”, and is related to the commonly-heard phrase “Alḥamdulillāh”, meaning “praise be to God” or “thank God”; this phrase is referred to as ḥamdala, and the recitation of it (like one might for reciting the prayer bead devotion Tasbīḥ Fāṭimah) is taḥmīd. Again, same triliteral root, but endless words that can be derived from it, all tying to the same thing.
So…what if we were to interpret ‘Iyan as a word that was derived from a consonantal root? Given how short it is, it’s not like we have a lot of options to choose from. If we take out the two vowels, I and A, we end up with three consonants, with the first one being unclear between two choices:
- ‘-Y-N (‘alif yā’ nūn)
- `-Y-N (`ayn yā’ nūn)
As it turns out, the first option (starting with ‘alif) isn’t attested as a triliteral root in Arabic, nor in any Semitic language, but the second one (starting with `ayn) is in every one of them. `-Y-N is a root used in Ugaritic, Arabic, Hebrew, Akkadian, Amharic, Syriac, and Aramaic, and is most notable for being the letter `Ayn or `Ayin itself in all the writing systems that derive from the original Phoenician script, and thus is also the origin of the Roman letter O and Greek omikron. Originally, the Phoenician letter `ayn had the form of a simple circle, much as the Roman letter O is, though its form shifted in the various Semitic languages that used it. The shape of the letter, and the name and meaning of the letter itself, connote an eye, which ultimately derives from the Egyptian hieroglyph 𓁹 (Gardiner D4), perhaps most famously used for the spelling of the god Osiris. You can see the evolution of the letter below from its Egyptian origin to its Phoenician (also Greek and Latin) form, its traditional Square Hebrew form, and in its Arabic forms (with all its position variants shown below, with position variant images taken from Arabic Reading Course).
I also note that `ayn is the sixteenth letter of the Phoenician, Hebrew, Aramaic, and Syriac scripts, as well as the sixteenth letter of the traditional Arabic (abjadi) order. Which…come on, now. Of all possible letters that we’d end up with, we’d end up with the sixteenth one? Sixteen, the number of geomantic figures? And on top of that, it also has the numerical value of 70, and if we were to reduce 16, then we get 16 → 1 + 6 = 7. Which ties it into all the other mysteries of the number seven: seven planets, seven angels, and so forth. I think we may well be onto something with our idea that this mysterious name could be a derivation from something else.
And, because I was curious, I wanted to look at which of the 99 traditional names of Allāh (really, more like epithets or attributes) in the Islamic tradition, began with the Arabic letter `Ayn. There are six such names:
- Al-`Azīz (الْعَزِيزُ), “The Mighty”
- Al-`Alīm (اَلْعَلِيْمُ), “The All-Knowing”
- Al-`Adl (الْعَدْلُ), “The Just”
- Al-`Aẓīm (الْعَظِيمُ), “The Magnificent”
- Al-`Alīy (الْعَلِيُّ), “The Sublime”
- Al-`Afūw (العَفُوُّ), “The Pardoner”
It’s name #2, Al-`Alīm, that’s important for us as geomancers. Along with Al-Khabīr (ٱلْخَبِيرُ), “the All-Aware”, Al-`Alīm is one of the most common names of Allāh used in Arabic geomancy when making invocations and prayers to God for the sake of divination. It comes from the root `-L-M, which refers to knowing, teaching, and learning; note that the Arabic term for geomancy, `ilm ar-raml, begins with a word from this same root meaning “science”. This specific name of Allāh encompasses such meanings as the Knower, the All-Knowing, the All-Knowledgable, the Omniscient, and the Possessor of Knowing Everything about Everything. Fittingly enough, I recently spotted over on Chris Warnock’s Renaissance Astrology website a new Arabic-style Jupiter talisman specifically for the name Al-`Alīm, where he gives this description of the power of the name from the 13th century grimoire Shams al-Ma’arif (and note how it talks about knowing things that are unseen and seen, tying back into the eye and seeing imagery of the `-Y-N root):
Whoever undertakes the dhikr of this Name of sublime essence, Allāh (exalted be He) brings him to knowledge of the subtlest aspects of the sciences and their most hidden secrets. To the one who engraves it…when Mercury is highly dignified, Allāh makes him express himself with wisdom and teaches him the sapiential subtleties of mystical knowledge…when Jupiter is highly dignified, obtains an understanding of what the mystic sciences contain. … His control in the universe is strengthened and Allāh (exalted be He), frees him from all misfortunes and avoids everything that displeases him. And whoever uses his dhikr, learns what he did not know and wisdom becomes manifest in his words.
The Name has the number 150, and adding its divisors totals 222, and this number alludes to His Name Mālik al-Mulk “Lord of Sovereignty”. Hence, the wise are the kings in reality, indeed, they are the lords of the sovereignty of kings. And this is the number that makes manifest the secret of the letter yā’ in the three orders, since it is a bond, it is a coercive word and it entails a formal representation and an approach, while none of these three degrees takes place without Knowledge, which is only attributable to Him, meditate on that.
And since the manifestation of Science belongs to the sanctified spirits, the spirit of the angel Gabriel is destined to instruct the prophets, being one of the noblest our prophet Muḥammad (Allāh bless and save him) who was inspired by humility, for Allāh said: “He has taught an angel of great power and strength, since he appeared in his true form” (Qur’ān 56:5-6).
And since the holy spirit that corresponded to Jesus (peace be upon him) was a vestige of the revealing breath of Gabriel to Adam, for Jesus was the wisest of the prophets to know the details of the sciences and the subtleties of Wisdom. And among the noblest of his knowledge was the science of the letters, and hence its name comes to him, because in it resides his divine gift by indicating by the letter `ayn, science, by the letter yā’, the grace of the descended revelation, by the letter sín, the points of union of what is divided and by the letter alif, absolute knowledge. And the name Jesus has the number 141, which is precisely the value of the name `ālim (scholar), but since He has knowledge of the hidden things, and that is `alīm then his name is written with the letter yā’ and thus its number equals 150, which is the value of `alīm. Meditate on that, for Allāh speaks the Truth and He leads the way.
The names of the letters of His Name `Alīm add up to 302, alluding to His Name Basīr “the Seer”. And since science (`ilm) is an inherent sign of the external appearance of the object of knowledge, and that the acquisition of a concept involves the totality of its visible aspect, that is, it is the acquisition of the external image of the object in the mind, the meaning of `Alīm as the Knower of All is necessarily the one before whom the essence of each thing manifests itself in the totality its hidden essence as well as its external form. That is one of the secrets of `Alīm for intensification is not possible through the letter wāw, due to its importance and its height that reaches the end of the limits and reaches the totality of existence. So intensification is possible by one of these two options: either with the reduplication of a consonant, as in saying `allām, which refers to the one who has acquired a large amount of knowledge or with the letter yā’ which refers to the revelation of the most subtle details of a notion and the perception of its hidden aspects. For this reason only Al-`Alīm knows the details of a concept in the same way that He knows its most general aspects, and knows its hidden aspects in the same way that its aspects are visible. That is why Allāh said (exalted be He) “above all, possessor of science there is a knower” (Qur’ān 12:76), so the possessor of science ū-l-‘ilm is the one who knows the general aspects of things and the knower `alīm is the one who knows its particular aspects. The possessor of science is the one who knows the external aspects of things and the knower is the one who knows their internal aspects; the possessor of science is the one who knows the evident aspects of things and the knower is the one who also knows their hidden aspects. The meaning of this yā’ has been indecipherable for many sensible people, because the most unknown of His Science are the most particular aspects, and this is evident in His words, “over every possessor of knowledge is one more knowledgeable” (Qur’ān 12:76).
And you should know that the superiority of some of the wise over others is not the result of acquiring a greater amount of knowledge, since if so, He would have said “above all possessing knowledge there is a wise man (‘allām) who knows more.” Rather it has to do with the acquisition of the particular notions of the intelligibles and the hidden parts of their secrets. Now, the multitude of knowledge together with the detailed inner knowledge results in sapiential superiority, but without this last type of knowledge superiority does not take place. This is the meaning from the words of Allāh when he said to His prophet Moses (peace be upon him): “We have a servant at the intersection of two great rivers, whom they call Khiḍr , who is wiser than you.” Khiḍr was not wiser than Moses because he had more knowledge as Allāh said about Moses “And we wrote for him in the Tables an exhortation for everything and an explanation for everything” (Qur’ān 7:145), so the greater wisdom of Khiḍr refers to his understanding the hidden aspects of things in the same way that he knew their visible aspects. This is why his place was at the point of confluence of two great rivers, which were the river of the apparent and the river of the unapparent, so Moses knew that Khiḍr was in possession of a gnosis that he did not have.
You who study these words, focus your effort on expanding your knowledge 3, for this is what Allāh (praised and exalted be He), ordered His prophet to ask with His saying: “my Lord, increase me in knowledge” (Qur’ān 20:114). Meditate on these spiritual words and dispose of these divine subtleties, of these gifts of faith and of these sources of light, for you will find immense happiness in those knowledge that contains the allusions, and Allāh is the wisest!
Anyway, back to the main topic at hand. So we have this root, `-Y-N, the meaning of which is semantically related to eyes and sight (and also, apparently, springs and flowing, perhaps with an origin of a notion of crying?), which is well-attested in the Qur’ān, and could well be a derivation from the same root as the sixteenth letter of the script, and which can be given some strong connections to knowing things generally if we also consider the root `-L-M and its connections to science and God. This is a bit too strong to be mere coincidence to me, so let’s run with it some more. This means that we can go with the `ayn instead of ‘alif, yielding us `Iyan and not ‘Iyan. Good! But, now, what about the vowels themselves? With these two vowels, we can end up with both short, one short and the other long, or both long:
However, we know from rules of Arabic that any “i” sound followed by yā’ is almost always going to be inherently long, so we could write this name as either `Iyan (with or without a long A) or as `Īan (again with or without a long A). So we can ignore the long I choices above, which whittles it down further, down to either `Iyan or `Iyān. The former just doesn’t seem to come up in any dictionary or grammar as a form of anything. `Iyān (or `Iyaan, عِيَان), however, is a legitimate word which means “weak” or “sick”, especially in Egyptian Arabic, but only when interpreted as coming from the root `-Y-Y and, even then, only properly with the vowels `ayyān, so that’s not what we’re going with. But, when derived from `-Y-N, we get the verbal noun of عَايَنَ `āyana, the verb which means “to inspect”; note how it’s still related to the semantic field of eyes, looking, seeing, watching, etc. Thus, `Iyān would mean “an inspecting” or “inspection”, but it can also mean “seeing with one’s own eyes”, “to come to light/be revealed before one’s eyes”, “clear, evident, plain, manifest” in the sense of “being seen clearly with the eyes”, as well as “witnessing” as in “eye-witnessing”. (The notion of a witness here is appealing, given the fact that we have two Witnesses in a geomantic chart. A possible connection to the “two sons”, perhaps?)
I got that list of meanings for `Iyān from an online version of the fourth edition of the Arabic-English Dictionary by the venerable Hans Wehr. However, that website looks up glosses in several texts simultaneously (a wonderful study resource!), and while looking at Wehr’s dictionary, there’s something interesting I noticed in another text. On the website that I was able to access that entry, the single page also shows entries from other texts about Arabic language and vocabulary, including the Arabic-English Lexicon compiled by Edward William Lane (aka Lane’s Lexicon) in the 19th century, itself compiled from earlier dictionaries and lexicons of Arabic in Arabic. The entry for `Iyān in Lane’s Lexicon is…shockingly, miraculously, exactly what we were looking for all along here, and includes a reference that’s exactly what was in Skinner! From page 2270 (forgive any errors in my copying and trying to type the Arabic):
… اِبْنَا عيَانٍ means Two birds, (Ḳ, TA,) from the flight or alighting-places, or cries, &c., of which, the Arabs augur: (TA:) or two lines which are marked upon the ground (Ṣ, Ḳ) by the عَائِف [or augurer], by means of which one augurs, from the flight, &c., of birds; (Ṣ;) or which are made for the purpose of auguring; (TA;) then the augurer says, اِبْنَى عيَانْ اًسْرِعَا البَيَانْ [O two sons of `Iyán, hasten ye the manifestation]: (Ḳ,* TA: [see 1 in art. خط :]) in the copies of the Ḳ, اِبْنَا is here erroneously put for اِبْنَى : or, as some say ابْنَا عِيانٍ means two well-known divining arrows: (TA:) and when it is known that the gaming arrow of him who plays therewith wins, one says جَرىَ اِبْنَا عِيَانٍ [app. meaning The two sons of ‘Iyán have hastened; i.e. the two arrows so termed; as seems to be indicated by a verse cited in the L (in which it is followed by the words بِالشِّواء المُضَهُّبِ with the roast meat not thoroughly cooked), and also by what here follows]: (Ṣ, L, Ḳ, TA:) these [arrows] being called ابْنَا عِيانٍ because by means of them the people [playing at the game called المَيْسِر] see the winning and the food [i.e. the hastily-cooked flesh of the slaughtered camel]. (L, TA.)
This entry references خط, khaṭṭ, which is another of the terms for geomancy. Turning to that entry in Lane’s Lexicon, page 762 (again please forgive any errors):
خَطَّ aor. -ُ , inf. n. خَطٌّ, He made [a line, or lines, or] a mark, عَلَى الأَرْضِ , upon the ground. (Mṣb.) You say, خَطَّ الزَّاجِرُ فِى الأَرْضِ , aor. and inf. n. as above, The diviner made a line, or a mark, or lines, or marks, upon the ground, and then divined. (TA.) And الزَّاجِلٌ يَحُطُّ بِإٍصْبَعِهِ فِى الرَّمْلِ وَيَزْجُرُ [The diviner makes, lines, or marks, with his finger upon the sand, and divines.] (Ṣ.) Th says, on the authority of IAar, that عِلْمُ الخَطِّ is عِلْمُ الرَّمْلِ [or geomancy]: I’Ab says that it is an ancient science, which men have relinquished, but Lth says that it is practised to the present time; [to which I may add, that it has not even now ceased; being still practised on sand and the line, and also on paper;] and they have conventional terms which they employ in it, and they elicit thereby the secret thoughts &c., and often hit upon the right therein: the diviner comes to a piece of soft ground, and he has a boy, with whom is a style; and the master makes many lines, or marks, in haste, that they may not be counted; then he returns, and obliterates leisurely lines, or marks, two by two; and if there remain two lines, or marks, they are a sign of success, and of the attainment of the thing wanted: while he obliterates, his boy says, for the sake of auguring well, اِبْنَى عيَانْ اًسْرِعَا البَيَانْ [O two sons of ‘Iyán (meaning two lines or marks), hasten ye the manifestation]: I’Ab says that when he has obliterated the lines, or marks, an done remains, it is the sign of disappointment: and AZ and Lth relate the like of this. (TA.) It is said in a trad. of Mo’áwiyeh Ibn-El-Ḥakam Es-Sulamee, traced up by him to its author, كَانَ نَبِىّْ مبَ الأَنْبِيَآءِ يَخُطُّ فَمَنْ وَافَقَ خَطَّهُ عَلِمَ مِثْلَ عِلْمِهِ [A prophet of the prophets used to practise geomancy; and he who matches his geomancy knows the like of his knowledge]. (TA.) You say also, when a man is meditating upon his affair, and considering what may be its issue, or result, ‡ [Such a one makes lines, or marks, upon the ground]. (TA.) [See also نَكَتَ: and see St. John’s Gospel, ch. viii verses 6 and 8.] And خَطَّ بِرِجْلِهِ الأَرْضَ means ‡ He walked, or went along. (TA.)
It’s clear that we’re arriving at basically the same source, or a highly similar source with the same origins, as Skinner himself was using. For the sake of further scholarship by any who come across this post, the abbreviations in Lane’s Lexicon come from page xxxi of the preface refer to the following authors and authorities in Arabic lexicology (in their original transliterations as Lane gives them, a more modern list and transcriptions given on this page):
- TA: the “Táj el-‘Aroos”
- Mṣb: The “Miṣbáḥ” of el-Feiyoomee, full title “El-Miṣbáḥ el-Muneer fee Ghareeb esh-Sharḥ el-Kebeer”
- Ḳ: The “Kámoos” of El-Feyroozábádee
- Ṣ: The “Ṣiḥáḥ” of El-Jowharee
- I’Ab: Ibn-Abbás
- L: The “Lisán el-‘Arab” of Ibn-Mukarram
- Lth: El-Leyth Ibn-Naṣr Ibn-Seiyár, held by El-Azheree to be the author of the “‘Eyn”, which he calls “Kitáb Leyth”
- AZ: Aboo-Zeyd
These are all Arabic sources, so it seems like that line of research comes to an end there, until and unless I ever learn classical Arabic. Still, all the same, at least we found a (likely) source for Skinner’s claim about this strange chant, which I’ll gladly take as a win! Still, even if we have a (likely) point of origin for this strange chant that Skinner describes, what exactly does it mean? Well, unfortunately, there’s no real solid information about the identity of `Iyān or their two sons in Lane, but at least we know we were on the right track tracing it down by considering what its likely Arabic spelling was, and giving that a consideration. I strongly doubt that `Iyān is merely a name without meaning or that it doesn’t have some notion of watchfulness, witnessing, accounting, or observing; I think its relationship with the letter `Ayn and, by extension, eyes and sight really is important in some way.
Lane first says that the “two sons” of `Iyān refer to “two birds…from the flight/alighting-places/cries/&c. of which the Arabs augur”, but…birds? That seems a little out of left field, so let’s set that aside for now and return to what we know. (We’ll return to it, I promise.) Based on the rest of Lane’s entries, even this same one on `Iyān when we consider what the two lines of marks in the sand would entail, it seems reasonable to assume that the “two sons” of `Iyān refer to either the numerical concepts of odd (فرد fard, literally “alone”) and even (زَوْجِيّ zawjiyy, from زوج zawj meaning “pair”, ultimately from Greek ζεῦγος meaning “yoke” in reference to marriage), or to the two units that make up the first even whole number; it’s this latter that might well have the better argument going for it. Note that, interestingly, it’s even numbers that are considered good and affirmative, while odd numbers are bad and negative; this seems to be a general inversion of what we usually encounter in numerology, where it’s the odd numbers (being relatively masculine) that cause change while even numbers (being relatively feminine) maintain stasis. And yet, looking back at Skinner:
Figures which contain a total number of even points are said to be Helu, sweet or a good omen, whilst those which contain odd numbers of total points Murr, bitter, or ill-omened.
Courtesy of the good Dr. Amina Inloes, whom I occasionally harass for help with topics involving Arabic and Islam and who generously and amply provides it, I was directed to the Sunan Abu Dāwūd, a massive compilation and commentary on the ʼaḥādīth (the extra-scriptural traditions of Islam) written sometime in the 800s ce, which would be a little before we start seeing geomancy proper arise. At the bottom of page 147, footnote 3 confirms all the above (which you can put through Google Translate or get an actual Arabic speaker to translate it for you):
قال الشيخ : صورة الخط : ما قاله ابن الأعرابي، ذكره أبو عمر عن أبي العباس أحمد بن يحيى عنه ، قال : يقعد المحازي : [المحازي والحزاء : الذي يحزر الأشياء ويقدرها بظنه] ، ويأمر غلاماً له بين يديه فيخط خطوطاً على رمل أو تراب، ويكون ذلك منه في خفة وعجلة، كي لا يدركها العدّ والإحصاء، ثم يأمره فيمحوها خطين خطين، وهو يقول : ابني عيان أسرعا البيان، فإن كان آخر ما يبقى منها: خطين فهو آية النجاح، وإن بقي خط واحد فهو الخيبة والحرمان
The bold bits are what we’re looking for. The first bold line basically gives the same chant as found elsewhere: “sons of `Iyān, hasten the statement” (ibnay `iyān ‘asra`ā al-bayan), and the last bit the same fundamental rule that “two lines is the sign of success, and if one line remains, it is disappointment and deprivation”. The important thing we get from this is that, when Abu Dāwūd was writing this in the 800s ce, he was likely reporting on proto-geomantic practices that provided for the foundation of geomancy proper as we’d recognize it, and which were most likely in use for quite some time beforehand, especially if references to divination by making marks in the sand in other texts operated on these same principles going back at least to early-Islamic, if not into pre-Islamic, times. Granted, we don’t have a lot of references to this kind of proto-geomantic divination in pre-Islamic times; most of the time it’s just said in passing, and when they do mention some specifics, they just don’t get more specific than just this.
However, even with what little we have, we kinda start to see a potential explanation for why a geomantic chart is created in such a way that the Judge must be an even figure, and why we use such a recursive structure that takes in four figures and then manipulates them to always get an even figure as a distillation of the whole chart, whether or not it’s favorable to the specific query. Related entries to `Iyān in Lane’s Lexicon, specifically عِينَةُ `iynah (pg. 2269), refer to “an inclining in the balance” or set of scales, “the case in which one of two scales thereof outweighs the other”, as in “in the balance is an unevenness”. In this light, even numbers would indicate that things are in balance, and odd numbers out of balance; this idea strikes me as similar to some results used in Yòrubá obi divination or Congolese chamalongo divination or other African systems of divination that make use of a four-piece set of kola nuts, coconut meat, coconut shells, cowries, or some other flippable objects, where the best possible answer is where two pieces face-up and two fall face-down, while there being three of side and one of the other either indicates “no” or a generally weak answer. For the sake of the Judge, then, we need it to be impartial (literally from Latin for “not odd”) in order for it to speak strongly enough to answer the question put to the chart. Heck, in Arabic terms, the word that I’ve seen used for the Judge is میزان mīzān, literally “balance” or “scales” (the same word, I might add, that’s used to refer to the zodiac sign Libra).
And, to look at it another way, how is an even figure formed? An even geomantic figure is formed from the addition of either two odd parents or two even parents; in either case, the parity of one figure must be the same as the other figure in order for their child figure to be even. Thus, for the Judge, the Witnesses must either both be even or they must both be odd. “Brothers”, indeed; as that old Bedouin saying goes, “I against my brothers; I and my brothers against my cousins; I and my brothers and my cousins against the world”. Brothers implies a similarity, a kinship, and even if they fight against each other, they must still be similar enough to come to terms with each other. And consider the mathematical and arithmetic implications of what “coming to terms” can suggest! Thus, the two Witnesses must be alike in parity in order for the scale of the Judge to work itself out, and perhaps, the figure with more points would “outweigh” the other and thus be of more value. For example, if we have a Right Witness of Laetitia and a Left Witness of Puella, both odd figures, then the Judge would be Fortuna Maior, but Laetitia, having more points, would “outweigh” Puella, favoring the Right Witness representing the querent. Thus, perhaps the Judge might be taking on the role of `Iyān and the Witnesses its two “sons”? After all, you need both the Witnesses in order to arrive at the Judge, so telling them to hurry up would naturally speed up the calculation of the Judge.
However, what we’re seeing from Skinner, Lane, and Abu Dāwūd is clearly proto-geomantic and isn’t really about figures as much as it is about lines, so this is probably an anachronistic imposition of `Iyān and their two sons onto later developments. As fitting as it might be, and as fascinating as all this is, it doesn’t do anything for us as far as showing what `Iyān itself might originally refer to. But there are other leads we can take; after all, wasn’t there something about birds? We’ll pick up on that tomorrow.
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