De Regnis: Visualization, Meditation, Contemplation

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.  If you have any views, comments, suggestions, or ideas on the topics shared in this post, please feel free to share in the comments!

Today’s selection will be on the topics of visualization, meditation, and contemplation.

On Visualization

Visualization is the act of using the imagination to form in-depth images in the mind. While this may sound like mere daydreaming, visualization is far more powerful and capable of creating whole immersive worlds. Using the imagination to create images, then, implies a greater sense of“image” than simply a mental picture, and visualizations should indeed be more than just a fleeting thought in the mind. Visualization makes use of the mind’s full range of senses and perception to create an image, both from the physical senses and the ethereal senses. Visualization is essential in picturing or working with spirits, traveling mentally to other spiritual realms, and understanding and directing the flow of cosmic forces, just as the physical senses are necessary in helping one walk around a city or engaging in conversation with a friend.

Humans interact with the world with five primary physical senses: sight, sound, touch, taste,and smell. As humans have evolved to have refined and delicate organs of sight, the sense of sight tobe the strongest and first developed imaginative faculty of the mind. The relative ease of picturing the face of a friend, guessing how something might look now based on past experiences, or recalling a vivid visual memory can attest to this. However, the most intense and immersive of memories,dreams, and visualizations generally make use of all the senses. It is by all the senses working together that people interact with the world, and when one sense is hindered, the other senses compensate by bringing more information to the mind so as to comprehend physical reality.

The mind can be thought of as a machine that processes data. It can be argued well that humans do not experience the world directly, but only through the filter of their senses. For instance, though many people might perceive an icy lake as cold, someone with nerve damage in the hands might not perceive any change from that to a blazing bonfire. Similarly, though people might perceive one apple as red and another as green, someone with colorblindness might not perceive any difference at all between the two. The senses deliver sensory data from the physical world to the brain, which processes and unites them into a more-or-less coherent perception for the mind to understand and work with. However, the mind is more capable of creating and understanding the world than the brain itself is; while the brain can only process the information that the sensory organs give it, the mind can process all that and more all simultaneously.

A simple visualization exercise begins with physically picking up a small everyday object, say, a pencil. Observe the pencil: looking at it with the eyes is not enough. See every detail of the pencil,every groove and edge, every dent and scratch, the color differentiation on the eraser, the smooth sheen on the graphite, the angle the graphite has been worn down by writing. Feel the weight of the pencil, the temperature of it when picked up and how slowly its temperature changes when held, the smoothness or roughness of its parts. Smell and taste the pencil, the thick odor of its graphite, the rubbery tang of the eraser, the skin and sweat rubbed onto it with use. Hear the pencil and listen closely as the graphite squeaks and rubs onto paper or wood, the dull quiet brush of the eraser rubbing off the marks. Completely witness the pencil using every physical sense.

Afterwards, put the pencil down and close the eyes. Recall every memory, every perceived sensation of the pencil that was obtained from witnessing it, hear how it sounded, smell how it tasted, feel how it felt, see how it seemed. Recreate the pencil in the mind from the perception of weight to the perception of smell to the perception of how light reflected off it. Hold the complete image in the mind for a minute without letting it dissipate, then let it go. Half an hour later, try it again without picking up or observing the pencil in the meanwhile. Try it the next day. If details are lost, go back to the pencil and find those details and bring them back into memory. Over the course of several days, slowly increase the time spent visualizing the pencil from one minute to five minutes.

Once the pencil can be recalled in its entirety at any moment, repeat the same process with something a little larger or a little more complex, then again with something even larger or more complex. Proceed from the pencil to a fruit, a chair, a bed, a door, an empty room, a sparsely decorated room, a fully furnished room, a house, a building, a forest. Over time, the process of visualizing increasingly complex things, places, and people will become easier and the images more in-depth, more lifelike, and more real to the mind. Experiment with more complex things, such as an instrument playing a song or a meal being eaten. Learn how to recreate or newly create whole things in the mind, and the mind will be strengthened and capable of working with the immaterial realms of spirit.

On Meditation

Meditation is the act of reflecting or measuring oneself mentally, permitting one’s own mind to come to terms with itself by itself independent of external stimuli. In a sense, it allows the mind to settle down into stability unperturbed by thoughts that arise. The mind has been described,in one sense, as a mirror: it reflects anything put in front of it, though its true nature is clear and reflective. By letting the mind be reflective instead of reflecting something, the true nature of the mind can become known instead of the constantly buzzing, chattering, thinking mind that humanity has grown accustomed to.

The breathing exercises in the previous section lay the groundwork for meditation, and indeed form a style of meditation on their own. By focusing one’s awareness on a single, repetitive, cyclical act, one begins to shake the mind free from the thoughts that cloud it. When such thoughts arise in meditation, let them arise and let them pass without clinging onto them, following them, or becoming angry at their arising. All one needs to do is return to the original act of being aware.

While the breathing exercises focus on being aware of one’s own breath, meditation begins by being aware of one’s own thoughts instead of thinking them. Sit as before, comfortably and relaxed, and begin the fourfold breath exercise for a short while. When ready, having focused the awareness on the breath and permitting thoughts to arise and pass, begin becoming aware of the arising of thoughts themselves. Note where they appear to arise in the brain and in the mind, what other string of thoughts or stimuli caused a thought to arise from simply being aware of thoughts,and let them go. If a particular thought cannot be let go, say “I will think of this and deal with it later, but now it is time to let it go” and do so; if the thought persists as in a repetitive song, permit it to continue and direct the awareness away from it. Whenever the awareness attaches itself to a thought instead of being focused on the arising of thoughts, and whenever this is realized, bring the awareness back to the arising of thoughts without anger or shame. This should be practiced for five minutes a day after breathing exercises every day, working up to ten, then twenty, then indefinitely.

After this has been established with some level of repeatable skill, turn the awareness onto the act of being aware itself. Though perhaps recursively confusing, this focuses the mind on its own reflective nature without being reflective of anything; in this state, the mind is free of thoughts and can enter into deeper levels of trance or spiritual states suitable for magical working. Begin as before with the fourfold breath, then being aware of the arising of thoughts. After being aware of how thoughts arise in the mind, become aware of the mind and the act of awareness, of awareness itself. Hold that awareness, not letting other thoughts intrude as usual. Maintain this for as long as one can, and repeat the process every day. This may sound and seem difficult, but once attained can be repeated with ease.

On Contemplation

While meditation allows the mind to focus and explore itself on its own terms, letting other thoughts arise on their own as they will until they arise no more, this same focus and single-mindedness can be applied towards a thought to greatly expand its ability to be understood. As opposed to merely thinking a thought, focusing one’s awareness on a thought, topic, or concept allows the mind to fully enter into and explore it. This style of meditation is called contemplation, and in contemplation one comes to understand and support something from its fundamental axioms to its furthest implications.

Before beginning contemplation of an idea or thought, it helps to be intimately familiar with that idea or thought. Precede the contemplation with extensive reading, note-taking, discussion,and even idle banter involving the concept. Learn about its history, its development, its uses, its origins, its risks, its benefits, its correspondences, its associations, its causes, and its conditions.Whatever can be learned about it ahead of time will help in contemplation.

As before, begin by sitting comfortably, beginning breathing exercises, and enter into a meditative state. Consciously call up the idea or thought to be contemplated, then focus all awareness on that, exploring every thought that arises based on that original thought. If other completely unrelated thoughts arise, let them arise on and out on their own as before; if a thought can be made to fit or be associated with the contemplation, explore why.

As opposed to meditation before, where one wants to abstain from thinking consciously with a part of a distracted mind, contemplation seeks to completely absorb the mind in consciously thinking with its entire force.As opposed to meditation, where the mind is kept from wandering to focus on itself, contemplation allows the mind to wander down paths and avenues of thought related to the topic. Images,smells, sounds, memories, colors, and related thoughts that arise during contemplation, unless the mind is truly wandering off the path into distraction, help illumine or offer details or nuances or meanings to the topic being contemplated. Thoughts that seem to come from “outside” the mind,especially when contemplating the seal of a spirit, may also be indicative of the topic.Contemplation is not simply thinking about a thing.

Contemplation is completely absorbing the mind into a thing, deconstructing it, inspecting every aspect of it from every angle, discovering new angles and new aspects, using different techniques of thought to understand and comprehend it, and relating the meaning of it to one’s own experience: physically, mentally, spiritually, emotionally, and eternally.

Fairness

Selected entries from the Enchiridion of the Stoic philosopher Epictetus which are on my mind as of late:

7.  Consider when, on a voyage, your ship is anchored; if you go on shore to get water you may along the way amuse yourself with picking up a shellish, or an onion. However, your thoughts and continual attention ought to be bent towards the ship, waiting for the captain to call on board; you must then immediately leave all these things, otherwise you will be thrown into the ship, bound neck and feet like a sheep. So it is with life. If, instead of an onion or a shellfish, you are given a wife or child, that is fine. But if the captain calls, you must run to the ship, leaving them, and regarding none of them. But if you are old, never go far from the ship: lest, when you are called, you should be unable to come in time.

11.  Never say of anything, “I have lost it”; but, “I have returned it.” Is your child dead? It is returned. Is your wife dead? She is returned. Is your estate taken away? Well, and is not that likewise returned? “But he who took it away is a bad man.” What difference is it to you who the giver assigns to take it back? While he gives it to you to possess, take care of it; but don’t view it as your own, just as travelers view a hotel.

14.  If you wish your children, and your wife, and your friends to live for ever, you are stupid; for you wish to be in control of things which you cannot, you wish for things that belong to others to be your own. So likewise, if you wish your servant to be without fault, you are a fool; for you wish vice not to be vice, but something else. But, if you wish to have your desires undisappointed, this is in your own control. Exercise, therefore, what is in your control. He is the master of every other person who is able to confer or remove whatever that person wishes either to have or to avoid. Whoever, then, would be free, let him wish nothing, let him decline nothing, which depends on others else he must necessarily be a slave.

16.  When you see anyone weeping in grief because his son has gone abroad, or is dead, or because he has suffered in his affairs, be careful that the appearance may not misdirect you. Instead, distinguish within your own mind, and be prepared to say, “It’s not the accident that distresses this person., because it doesn’t distress another person; it is the judgment which he makes about it.” As far as words go, however, don’t reduce yourself to his level, and certainly do not moan with him. Do not moan inwardly either.

And a Stoic…well, not quite a prayer, but I use it as one, compiled and rewritten from several sources including Cleanthes and Euripides:

Lead me, o Zeus, and holy Destiny,
T’wherever my post in life’s battle be.
Willing I follow; were it not my will,
Wicked and wretched would I follow still.
Fate guides the willing but drags the unwilling.

Futile though it might be, I bring this up as an exercise to myself and as a reminder to my readers, because I’m going through a bit of a tough time.  I’m not writing this to ply sympathies or condolences, but rather as just an exploration of my own thoughts and feelings, recorded more for myself than anyone else.  Recently, my husband’s and my cat died.  Her name is Isis, and she has always been, and always will be, a Very Good Cat.

My husband grew up at his grandparents’ house, and about…twelve? thirteen? years ago, there was a particular cat that was hunting and haunting the backyard and forest of their house.  They would entice this cat with food, and she’d come up and eat from them, and would even hop into my husband’s lap for pets and brushing.  She must have been a stray, since she obviously knew the touch of humans and had been spayed, but she seemed to adapt quite well to being taken care of, such as it was.  Eventually, after a year or so, on his way home from a party, my husband saw the cat at the back door with a giant bloody gash on her face; apparently she got in a nasty fight and wanted some help.  He asked her if she was ready to be indoors again.  She looked at him, huffed, and strutted right inside, and didn’t go back outside again.  He named her Isis, a large black Maine coon mix with a white tuft of fur on the front of her lower neck; he didn’t know exactly how old she was, but definitely around four years old at that point.  She gave my husband many years of support and emotional connection in the times when he had nobody else but her.

She lived in his grandmother’s house for a good long while, and while I was dating my husband before we married, I would occasionally catch glimpses of her, but she was always so skittish and not at all sociable.  She’d occasionally stare out the front window or prowl around the house, but she was far from a sociable animal.  When my husband and I moved into our current house, we decided to bring her over to live with us; by this point, she was already like 14 years old, and she had feline leukemia virus all her life, though it never bothered her any.  We did this because he wanted her to live with us, sure, but knowing she was getting on in years, we wanted to make sure the last part of her life was comfortable, easy, and peaceful, away from the stress of being at his grandparents’ house.  After the initial acclimation period, Isis changed dramatically towards both him and me; she was an adorable little attention whore, chirped and chatted, started playing with catnip and feather toys for the first time, and couldn’t get enough of sleeping with us in bed.  Even my husband was caught off-guard by how much she had changed, as if she finally got to be a pampered little kitten again, and hand to God did she enjoy it for all it was worth, as did we.  She was adorable in every way, even if she did piss on some of the rugs now and again or drank from our offering glasses on some of the shrines around the house.

Over the past few weeks, I noticed I haven’t had to refill her food bowl with kibble up as much as I thought I should.  I didn’t pay it any mind, but towards the end of the month, my husband and I realized that we haven’t had to replenish it at all.  She really cut back on eating to eating nothing, and we weren’t able to entice her to eat much of fresh tuna or turkey.  She had been lying around the house in places we didn’t often see her.  She didn’t come up to bed with us when it was bedtime.  She was even more lethargic and less playful and chatty than we were accustomed to her being.  It dawned on us; she was getting to the last stages of her life.  That realization was not easy; on a weekend when everything else was going sideways, this was the last thing we wanted to have to face.  Neither my husband nor I got much sleep.  We mostly stayed awake evaluating her condition, trying to get her to eat or drink at least a little, and just pet and brushed her as much as we could in between having our bouts of tears.  She was getting bonier, and her breath was getting to have a new and unpleasant odor.  We took her to the emergency vet (by the time we were able to get anywhere with her, most vets had already closed for the weekend), and they ran some tests on her; we couldn’t get a clear diagnosis, but we did get a prescription for an appetite stimulant.

She still wouldn’t eat more than a nibble of tuna.

Against every fiber in his body, my husband made the decision that it was time.  I made the arrangements to take her back to the emergency vet on my way back home from working ceremony, and…I needed some time in the car alone before I could get face going inside my house.  I wasn’t aware I could even make some of those sounds.

I won’t recount the whole process of her passing.  Suffice it to say that she went quietly and peacefully, bundled in her tortilla blanket, being pet and loved and hugged and brushed.  She went out with a soft purr, knowing and feeling that she was loved.

We found out afterwards that it was the cancer catching up to her in force, and there wouldn’t’ve been much we could’ve done anyway besides just making her passing as easy as possible.  We did what we had to.

I bundled up her dishes, toys, and blankets and put them in a box, placed under the table in our office where she liked to lie down.

I haven’t been around much death in my life.  Bones, rot, mold, and the effects of death, sure; I mean, it’s a natural part of life, if not the most expected, inevitable, and boring part about the entire thing.  We may not know what happens afterward with complete certainty, but we know that it happens to everything that lives.  But as for actual living creatures dying that I’m aware of, that I care for?  It’s different.  Last year, my grandmother passed away, but it was hard to feel too sad about it.  Sure, there was a touch of grief, but I was far happier than anything for her.  Passing away at the age of 96, becoming a great-great-grandmother in her own life, having outlived three of her husbands, having inherited a small fortune from one of them, having traveled the world, having gotten a college education for a woman in a time when that was difficult, living wherever she wanted, enjoying being as sharp and quick as Olenna Tyrell herself, being surrounded by family and comfort all her life, having passed away quietly and peacefully and painlessly…in short?  My Nana Jane won at life.  It’s hard to not celebrate a life and death such as hers.

Isis basically had that same equivalent status for cats when she went, but…it’s so much harder.  I suppose that’s just the nature of it when she’s effectively your baby that you watch out for, care for, nurture, and nourish.  It’s not as difficult now as in the days and hours leading up to her passing, but it’s still not easy, especially when you keep seeing motions out of the corner of your eye you expect to be her, hearing creaks in the floorboards you expect to be her, a pair of black boots sitting in a sunbeam you expect to be her, a ruffle in the blankets on the bed you expect to be her.

I’ve been trying to revisit some of my earlier Stoic learning and practices, before I really committed myself to Neoplatonism and Hermetic philosophies.  Stoicism isn’t a perfect philosophy, but for dealing with much of the bullshit of life, it affords a fantastic worldview and helps to cool the heart and head from the heat of passion and drama.  For myself, I admit that I had Isis in my life a lot less than my husband had her in his, but her death still hurts.  We brought her into our home with the understanding and expectation that she wouldn’t have much longer to live no matter what, and we made the choice to give her an easy, good death with the understanding and expectation that there’s nothing else that could be done no matter what, but…it’s so hard to make the leap from an intellectual understanding of something and the emotional acceptance of it.  Like SMBC’s The Falling Problem, I could go on for hours about the nature of the situation, the diagnosis and prognosis, what the expected social, emotional, and physical effects would be upon me and my husband, and all the rest…but it doesn’t impact the actual experience of the same thing.  Worse, if not outright embarrassingly, all that mental preparation does exceedingly little to absolutely nothing for emotional preparation.

At that point, I suppose it’s less a job for rationalization and more of one for faith.  I can’t even really say “trust”, because trust in…what?  Isis, for all her love and adorability, is still a cat, and as Wittgenstein once wrote, if a lion could speak, we could not understand him.  There’s only so much I can figure out or know about cats and their behavior, so I have to have faith that she knew she was loved and taken care of to the best of our ability until and through her very last heartbeat and breath.  I have to have faith in my spirits that they heard my pleas to watch over her, guide her, accompany her, entertain her, and protect her as she uses up the last of her nine lives to go…wherever it is cats go, and that once she gets her spiritual bearings, that maybe she’ll choose to stick around for us.  I have to have faith in my gods that they can and do support me to point out to me the strength I have and to give me the help I need to get through this as best as I’m able.  I have to have faith that everything really will be alright, even if it doesn’t yet feel like it is.  I have to have faith in myself that I’ll be alright, even if I don’t yet feel like I am.

And even then, faith feels like a bandage over a gushing wound; triage is no substitute for actual healing, and there’s no real regimen to heal this sort of pain besides taking my time.  I suppose that’s inevitable, too.

I could waste words on how to live your own lives better, spending more time with the ones you love, being more forgiving and compassionate, not taking things for granted, blah blah blah.  There’s no point to that here; I’m not in a great state to give advice, and there are more than enough others who have given that same advice in better ways and in more appropriate venues.  This is just…a reflection, I suppose, a processing of grief over loss.  I suppose I could rewrite that in geomantic terms, by saying Tristitia plus Amissio yields…well, Puella: the compassionate Maiden who takes all in under her roof, the pleasant Hostess who heals and nurtures, the all-accepting Lady of Fortune who shares her love for all until it’s time to move on.  Fitting, I suppose.  Puella is often described as fickle, but I find that an uncharitable description; it’s only because that fortune must pass over everyone equally, that all things must have balance, and that everyone gets their fair share of time and love before that time and love passes away.  It may never feel fair, especially in the heat of the moment or in the cold of the withdrawal, but Puella is the fairest and the Fairest force there is.

It’ll take time, but it won’t take too long.  It may be bad, but it’s not the worst thing.  It may hurt, but I’ve had worse.  Even through the tears and the wailing and the jaw-clenching-so-hard-I-might-shatter-my-teeth, there’s still that glimmer of love and appreciation in the muck and the rot and the ash.  I still have, at least a little bit, that happiness we were able to have Isis in our lives for at least a little bit, to love her and be loved by her, and to see things through to the end for her.

Her name is Isis, and she has always been, and always will be, a Very Good Cat.

Mathetic Pathworking of the Tetractys

Alright, time to actually talk practice again.  The past few posts were heavy on number theory, but the end of the last post touched on how it impacts our traversal of the Tetractys and how we can start thinking of numbers in terms of how we can actually use them for our spiritual progression.

So, disclaimer, guys: although this post is going to be on pathworking, astral/clairvoyant exploration, and similar topics, I make no claims to being an expert on this.  Although pathworking is not something foreign to me, it’s something that I underutilize in my work, if not outright ignore, even though I recognize the usefulness of it.  I’m geared more towards physical ritual, but astral exploration is something I’d like to get more into.  To that end, Tetractyean pathworking, yay!

The idea behind pathworking is actually fairly simple, and I’ve employed it before when doing meditations on the geomantic figures waaaay back in the day, but also more recently when meditating on the letters of the Greek alphabet.  The technique I use for “astral contemplation” is straightforward:

  1. Sit or lie in a comfortable position.  Clear the mind and regulate the breath.
  2. Visualize the symbol to be contemplated as clearly as you can.  Focus on the symbol becoming as real as possible in the mind.
  3. Vizualize a door, gate, veil, or curtain on which the symbol is written, engraved, embroidered, or whatever.  Let the symbol to be contemplated mark the gate as the entry to the “world” of that symbol.  You might picture the same door each time, or let the door form on its own around the symbol.
  4. Once both the symbol and the gate are fully realized in the mind, open the gate (or have it open) and step through it.
  5. Explore the world of the symbol.  Take note of all you perceive, and interact with the world as desired.
  6. When ready to leave, exit the world by taking the same path backwards, passing by each thing that was encountered on the way in until you reach the gate.
  7. Exit through the gate back into your own headspace, and close the gate.
  8. Visualize the gate dissolving into the symbol itself so that only the symbol remains.
  9. Visualize the symbol disseminating into one’s own sphere to as to retain the power and lessons learned from the contemplation.

You can use this with any set of symbols, from the seals of spirits to the geomantic figures to the planetary sigils from Agrippa to Greek letter or Tarot cards.  It’s a very malleable process that doesn’t rely much on ritual, if at all, though it can certainly be augmented by it through the use of mind-enhancing incenses, consecrated candles or oils, preliminary chants, and the like.

However, what this process best benefits from is preliminary study of the symbol.  What is the symbol’s name?  What spirits is it associated with?  What planets, elements, animals, plants, stones, forces, stars, and numbers is it associated with?  What mythic figures from different religions does it connect to?  In other words, it’s a vital, crucial part of the process to understand the correspondences of the symbol first.  You don’t need to see how they all interact with each other; I can hardly tell you how or why the twelve tribes of Israel are associated with the Zodiac signs the way they are, but they’re there for a reason.  It’s the astral exploration and contemplation that help with understanding the subtle interactions of everything, and give one a deeper knowledge of the symbol by means of experience.

So, let’s review our map, the Tetractys with the paths of letters.  As before, there are two main sets of paths, the Gnosis Schema with its Mitsubishi-like turns, and the Agnosis Schema with its hexagram-hexagon set.

The difference between the Gnosis and Agnosis Schemata involve the kind of force associated with each schema, as well as what sphairai they reach.  The Gnosis Schema is based on the twelve signs of the Zodiac, one step for every sign, as the student travels around the Tetractys.  The Agnosis Schema, on the other hand, contains the non-zodiacal forces: the seven planets and the four elements plus the quintessence of Spirit.  This is where one can get trapped in the cycles of this world, buffeted around by the archons and cruel fate; the Gnosis Schema, on the other hand, indicates the natural, fluid, smooth passage through all aspects of the cosmos up to and including purest Divinity, where we take the reins of our chariot and proceed on our true path to accomplish our One Thing.

tetractys_paths_gnosis_signs

Let’s focus first on the twelve paths of the Gnosis Schema.  Each path has an associated letter, and each letter with a sign of the Zodiac.  If we use Agrippa’s Orphic Scale of Twelve, we already have a wealth of symbolic knowledge on each path, to say nothing of what Liber 777 or other books of correspondence can get us.  However, the number 12 isn’t strictly given to the Zodiac, even in Hellenic reckoning.   There’s also the notion of the Twelve Labors of Heracles (of which the Thelemites have a fascinating view), and some medieval alchemists considered the Great Work to be composed of twelve stages, such as the Gates of George Ripley or the Keys of Basil Valentine.  All these can be considered as a single group, quest, set of paths, tasks, or transformations required to traverse the entirety of the Tetractys by means of the Gnosis Schema.

What of the Agnosis Schema, then?  The Agnosis Schema isn’t just one set of forces; in fact, according to how things are set up on the Tetractys, we can divvy these twelve forces up into three groups of four.  The first set, known as the Ideal forces, are the four elements themselves: Fire, Air, Water, and Earth.  The second set, the Empyrean set, are the two luminaries, the planet Mercury, and the quasi-element quasi-planet quasi-force Quintessence, aka Spirit.  The third set, the Ouranic forces, are the other four non-luminary planets of Venus, Mars, Jupiter, and Saturn.  The four elements and the seven planets all have their usual correspondences (cf. Agrippa’s Scale of Four and Scale of Seven plus, like, literally everything else written in the Western and Near Eastern occult corpus for 5000 years, give or take a millennium), but it’s that last force of Spirit that kinda confuses things a bit.  Spirit wasn’t really considered a separate force way back when; sure, as there are five Platonic solids mentioned in Plato’s Timaeus, there was a notion of a fifth…something out there, but it wasn’t considered to be an element like how Fire or Water was.  Nor was it a visible object in the night sky like the planets or stars, however Plato claims that this force decorated the entire cosmos.  I claim that Spirit is best seen as a median between the elements and planets, or a substrate underlying any other force out there, a type of non-materialized metaforce required for the materialization of anything else.  It’s like how, in order for an object to exist, there must exist a space for it to be present.  That kind of thing.  You can figure out the rest.

However, in addition to the zodiacal, planetary, and elemental forces, each path on the Tetractys is given one of the 24 Greek letters (indeed, this was really the whole impetus for having the paths to begin with).  Each Greek letter can be viewed in different ways.  The first three of these are fairly mundane: the name, the glyph, and the sound of the specific letter, all of which are given on a post way back when I first started considering the Greek letters as a vehicle for theurgy.

Okay, so.  At this point, I’d normally provide a table listing all the correspondences I’ve just mentioned to recap them all, but…the format of my blog would have this table run off the column of this text into the wild unknown, and gods only know what havoc it’d wreak on any number of RSS feeds, so I’m going to refrain from doing so this once.  I mean, if you wanted a table of correspondences that big, just get a copy of Skinner’s Complete Magician’s Tables.  Maybe, one day, I’ll publish my own focusing more on the Greek letters than Hebrew, but that’s not now.  Instead, go ahead and take a gander at all the links I’ve posted above and feed your hungry mind on the connections of the paths to the letters and to the forces and to everything else.

Why study all this?  Because the more information that is accessible to us in our minds, the more tools we’re providing our spirits for when we begin astral exploration and contemplation of these symbols.  It’s a commonly-heard refrain in some circles that “the limits of my language are the limits of my world” (cf. Sapir-Whorf hypothesis); if you don’t have an appropriate symbol set to work with, you can’t communicate, hold onto, or receive information that could use those symbols.  The more symbols we become familiar with, the more our minds and spirits have to work with, which expands the possibilities of vision and clairvoyance.  After all, it’s as my favorite comic seer Dominic Deegan says:

When a seer looks into a crystal ball and spouts some cryptic message, it’s not because second sight is inherently mysterious.  It’s because the seer doesn’t know what he’s looking at and he’s probably disguising his ignorance with cliché mysticism.  To master second sight you must have knowledge, which is found in books, which is why we have so much required reading for this class. (January 5, 2007)

Second sight is hard.  It requires a solid knowledge of history, politics, religion, arcane theory and even geography to really be of any use.  Otherwise it’s just looking at pictures. (January 11, 2007)

Study hard, kids. That’s important, no matter what you do in the occult.

Okay, so, say you’ve got a good grasp of the symbols, correspondences, associations, and affiliations of the letters with everything else.  What now?  We tap into that with pathworking, which is ritualized contemplation within a specific theurgical context.  Taking into account what’s commonly done in Golden Dawn and related orders, we would first mentally place ourselves within a particular sphaira as its own separate “temple”, envisioning a path leading to it (the one we used to enter) and other paths leading away from it (the possibilities of egress from the temple along the other paths).  Taking Alex Sumner’s brief discourse on qabbalistic pathworking, there are several steps to this process (rephrased from Sumner’s approach):

  1. Preparation of the physical temple and the pathworker.
  2. Visualization of the origin of the pathworking.
  3. Invocation of the forces of the path to be worked.
  4. The departure onto the path from the origin.
  5. The vision of the path.
  6. The arrival from the path unto the destination.
  7. The return to the world and normal consciousness.

Now, we can’t simply replace all the qabbalistic elements with mathetic ones; in many cases, I simply haven’t developed all the same things, and in others, I have no need to.  However, the underlying idea is the same, and many of the same methods can be adapted to this.  The important part that needs to be figured out first, however, is…where exactly do we start?

The whole point of undergoing initiation into the Gnosis Schema is to bring us from wherever we might be on the Agnosis Schema to the central sphaira on the Gnosis Schema.  Before that point, we don’t know where we are or how we got there; we need to be brought to a point of balance so as to be able to grow from that point, rather than trying to catch our bearings while we’re lost adrift on stormy seas.  After initiation, we find ourselves at the central sphaira, which has six paths leading to it all, all equally spread apart.  Thus, we begin at the sphaira of Mercury, and thence proceed onward to the path of Beta, which leads us down to the sphaira of Jupiter/Air.  We repeat the process time and again, periodically returning to Mercury, and continue along our paths.

So, if we begin at Mercury, how do we envision a “temple” or world for this sphaira?  That…well, I don’t really know what it would look like.  I do not know whether I can slip in my own visions of the planetary sphere of Mercury, and I doubt I could very easily, though it might make sense.  I do not know if the image I already have in mind can work, since I haven’t actually gone and explored what this sphaira looks like yet (to my own great shame).  But, if I were pressed to come up with a simple (if not simplistic) view based on what we already know and what we’ve already developed, I suppose we could always go with this little imagining I came up with:

Around you is a forum, a marketplace, filled with stalls and tents and shops all around you.  For some, these stalls are each manned and staffed with heaps of all sorts of foods, spices, riches, and goods; for others, the marketplace is deserted and dilapidated, with it looking more like a shantytown full of ghosts.  In either case, you stand at the center of three roads crossing each other in six directions.  The sky has the usual weather, the air balmy and breezy, and the road is full of dust sweeping in from each of the roads to the center where you now stand.  At the very center of the marketplace, in the exact middle of this six-way crossroads, stands a tall brazier atop a round altar.  This brazier has a fire lit of pure white gold flame, gently warming but weak.  Each road is lined with stalls and shops, though they start becoming fewer and farther between the further you look down each road.  Looking down one of the roads in the direction of the morning sun, you see at the far end of it, where the shops and buildings and tents give way to grass and rocks and dirt roads, a tall stone arch glittering in the light of the sky.

As you walk down this path, the bustle and business of the marketplace (or, alternatively, the whispers of wind and loose tentcloth) die down to silence, almost in anticipation of you reaching the arch.  As you get closer to the arch and further from the tents, you see that the arch leads onto a bridge crossing a deep chasm, heading off around you to both the left and the right.  The whole marketplace is on a large island, cut off from the surrounding lands yet connected by means of these six arches and their bridges wide enough to carry travelers, merchants, pilgrims, warlords, princes, paupers, and others of all kinds and nations.  Yet, these bridges are all but empty.  Beyond, however, you can see a whole new world through the arch, hearing all sorts of new voices and sounds, yet somehow it was not apparent to you until you looked through the arch itself.

The arch is elaborate, delicately engraved with repetitive motifs echoing long-lost languages that yet look familiar to you, mixed in with baroque depictions of cities, wars, crops, livestock, wildlands, gods above and below, and so many other scenes that could never be descried except at close distance, and at a close enough distance, you see all these patterns forming an infinitely-detailed fractal building upon and within itself endlessly.  At the very top of the arch, you see that the whole arch has been engraved with the ancient Greek letter Β; under it, suspended by gilded iron chains, is a brightly-gleaming lantern.  It has not been lit, though you can tell from the slow way it sways that it is full of oil and ready to be ignited at a moment’s notice.  Just above where the flame would be is a rope, tied to both columns supporting the arch, and from that rope a gate that, although fine and delicately-wrought, prevents you from passing through the arch proper.

Light the lamp and let its light beckon to those who would seek to enter, guided and amplified by the white gold flame in the crossroads.  Burn the rope, and bring down the gate.  Open the path to this new road and to this new world.  Leave the town as you are, and return when you are not.

…a bit of fancy prose, sure, but why not?  I don’t have much else to go on at the moment.  Besides, when I do get around to actually exploring the central sphaira, I’ll be able to get a better vision of the place and use that as the preliminary setup for a “mathetic temple”.  The use of the “gate blocking the arch” bit was to show that one cannot simply proceed immediately without doing work to earn the right of passage upon the path; in the Golden Dawn style of pathworking, each path had its own guard that needed to be appeased or tested first before one could go along the path.  Similar things should apply here, I figure, though the methods of testing would likely be different.  Plus, I might actually become inspired enough to give the damn thing its own proper name and title, as opposed to just calling it the “central sphaira” or “sphaira of Mercury”.

Meditating on the Abacedarian Ancient Words of Power

I think it’s been too long since I mentioned everyone’s favorite ancient grimoire, the Greek Magical Papyri, isn’t it?  Yes, it has been too long, especially when there are some real gems in there (and in the related Demotic Magical Papyri) that can help us out to this day, especially since I was reminded not too long ago of one particular selection from the PGM that can help us out in our mathesis work.

Although the majority of the well-preserved PGM spells are at the beginning of the collection, some of the later ones are pretty awesome, even if they’re fragmented.  PGM CI.1-53 contains a full binding ritual, a καταδεσμος or defixio, using the spirits of the dead to bring a woman in love to the magician.  The magician in question threatened the gods of the world with upsetting the cosmic order and constrained the spirits to carry out his will, and in the process used a series of barbarous words of power to constrain the forces of the cosmos to do his bidding.  That series of magical words is rather special, since we see almost nothing like it elsewhere: a list of 24 magical words, each starting with a different letter of the Greek alphabet.

Letter Word of Power
Α ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ Akrammakhamarei
Β ΒΟΥΛΟΜΕΝΤΟΡΕΒ Būlomentoreb
Γ ΓΕΝΙΟΜΟΥΘΙΓ Geniomūthig
Δ ΔΗΜΟΓΕΝΗΔ Dēmogenēd
Ε ΕΝΚΥΚΛΙΕ Enkyklie
Ζ ΖΗΝΟΒΙΩΘΙΖ Zēnobiōthiz
Η ΗΣΚΩΘΩΡΗ Ēskōthōrē
Θ ΘΩΘΟΥΘΩΘ Thōthūthōth
Ι ΙΑΕΟΥΩΙ Iaeūōi
Κ ΚΟΡΚΟΟΥΝΟΩΚ Korkoūnoōk
Λ ΛΟΥΛΟΕΝΗΛ Lūloenēl
Μ ΜΟΡΟΘΟΗΠΝΑΜ Morothoēpnam
Ν ΝΕΡΞΙΑΡΞΙΝ Nerxiarxin
Ξ ΞΟΝΟΦΟΗΝΑΞ Xonophoēnax
Ο ΟΡΝΕΟΦΑΟ Orneophao
Π ΠΥΡΟΒΑΡΥΠ Pyrobaryp
Ρ ΡΕΡΟΥΤΟΗΡ Rerūtoēr
Σ ΣΕΣΕΝΜΕΝΟΥΡΕΣ Sesenmenūres
Τ ΤΑΥΡΟΠΟΛΙΤ Tauropolit
Υ ΥΠΕΦΕΝΟΥΡΥ Ypephenūry
Φ ΦΙΜΕΜΑΜΕΦ Phimemameph
Χ ΧΕΝΝΕΟΦΕΟΧ Khenneopheokh
Ψ ΨΥΧΟΜΠΟΛΑΨ Psykhompolaps
Ω ΩΡΙΩΝ Ōriōn

With the exception of the words for Alpha and Omega, each word starts and ends with the same letter of the alphabet, and based on the structure of the words, it’d appear as if some of them were originally meant to be palindromes, words running the same in both directions.  Regardless of whether the words are supposed to be palindromes, they pack some power, and can be seen in echoes across the PGM.  Consider the words ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ, ΘΩΘΟΥΘΩΘ, and ΩΡΙΩΝ: the first is a well-known voces magicae meaning “cast off the nets” and can be used to dispel protections or wards; the second is a triple name of the Egyptian god Thoth, and the last is the hero from Greek mythology and one of the most well-known constellations in the sky.

Although these words can be used as magical names of the letters and, by extension, the world of correspondences to each letter (such that ΤΑΥΡΟΠΟΛΙΤ encompasses both the zodiacal world of Pisces as well as the divine realm of Poseidon, and more) and likely have many magical uses, the first one that came to my mind was in meditation and contemplation of these worlds.  After all, it’s part of my daily mathesis ritual that I do a meditation on the letter of the day of the lunar month, so when I have the time during the day, I’ll spend a bit longer after doing my letter chants and enter into a more contemplative state of mind.  In a way, this is basically scrying the letter, but it’s a little different from how I’ve done it in the past.

So, when I sit down to do my daily mathesis rituals, I start with some basic breathing exercises to calm down the mind and body; it helps that I usually do at least 15 minutes of awareness meditation before this, too, but you don’t strictly need that.  Then I recite the Invocation of the Tetractys, and I do my Tetractyean meditation and visualization.  Once I finish that, I’ll then begin what I call my letter chants, or (as I tentatively call it in Greek) γραμματωδαι (grammatōdai, sing. grammatōdē).  I’m still settling into the pattern I want to use for them, but I’ve broken it into several styles based on what type of letter it is.  Once I finish the grammatōdai, I’ll do some visualization to open up a doorway into the world of the letter using the mystical word associated with it, and see what comes out of that.

First, let’s split up the 24 Greek letters into four groups: vowels, stop consonants, continuing consonants, and complex consonants.

  • The seven vowels (letters that produce a clear vocal sound) are pretty straightforward: Α, Ε, Η, Ι, Ο, Υ, Ω
  • Stop consonants are those which are produced from one action in the mouth and stop the airflow completely: Β, Γ, Δ, Κ, Π, Τ
  • Continuing consonants are those which are produced from one action in the mouth but can be vocally continued: Ζ, Λ, Μ, Ν, Ρ
  • Complex consonants are those which are produced from two actions in the mouth: Θ, Ξ, Φ, Χ, Ψ

The first part of the meditation is to intone the name of the letter.  I’ll slowly and powerfully say the name of the letter (alpha, beta, etc.) at least once and no more than nine times, depending on the pythmenic value of the letter, but once usually suffices.  While doing this, I’ll picture the written form of the letter clearly in my mind.  I repeat this step until I get the “feel” and image of the letter solidly situated in my mind and body.

After this, I’ll start repeating the “simple” sound of the letter repeatedly at a quick pace.  For consonants, this just involves making the sound over and over again.  Thus, for Beta, I’ll go “buh buh buh buh buh buh buh”, for Kappa “kh kh kh kh kh kh kh kh”, for Theta “th th th th th th th”, and so forth.  Vowels are a little different, where instead of just intoning the vowel constantly I’ll separate out “repetitions” of the vowel with aspirations.  Thus, for Alpha, I’ll go “a ha ha ha ha ha ha ha ha”, and so forth.  I’ll continue this for four or so full breaths, completely exhausting my lungs with each series of repetitions while maintaining my focus on the sound of the letter and the feeling it makes within me, making a note of any observation that arises from doing so.

This is followed by another set of repetitions, but much slower than the first.  Thus, for consonants, instead of going “buh buh buh buh buh” in a single breath, I’ll go “buhhhhhhh” and exhale completely, repeating again with a new breath.  For vowels, I’ll simply intone the vowel until my lungs are emptied, e.g. “ahhhhhhhhhh”.  I try to do at least four times as many slow repetition breaths as I do the fast repetition breaths, this time letting myself get completely absorbed in the simple sounds themselves.

The next step depends on whether I’m meditating on a consonant or a vowel, but the point here is to begin to vocalize the letter with vowels:

  • For consonants, I’ll take the consonant and go through each of the seven vowels, mixing each with the letter in different ways.  Using the notation where C indicates the consonant and V indicates the vowel, I’ll intone the CV, VC, VCV, and CVC combinations with the consonant and every vowel, starting first with Alpha through Omega and then starting again with Omega and going through Alpha.  So, with Beta, I’ll intone: ΒΑ ΒΕ ΒΗ ΒΙ ΒΟ ΒΥ ΒΩ, ΒΩ ΒΥ ΒΟ ΒΙ ΒΗ ΒΕ ΒΑ; ΑΒ ΕΒ ΗΒ ΙΒ ΟΒ ΥΒ ΩΒ, ΩΒ ΥΒ ΟΒ ΙΒ ΗΒ ΕΒ ΑΒ; ΑΒΑ ΕΒΕ ΗΒΗ ΙΒΙ ΟΒΟ ΥΒΥ ΩΒΩ, ΩΒΩ ΥΒΥ ΟΒΟ ΙΒΙ ΗΒΗ ΕΒΕ ΑΒΑ; ΒΑΒ ΒΕΒ ΒΗΒ ΒΙΒ ΒΟΒ ΒΥΒ ΒΩΒ, ΒΩΒ ΒΥΒ ΒΟΒ ΒΙΒ ΒΗΒ ΒΕΒ ΒΑΒ.  Thus, for every consonant, there are 4 × 7 × 2 = 56 different words to intone.
  • For vowels, I’ll intone different pairs of vowels, always focusing on the vowel of the day.  In this case, using X for the vowel of the day and Y for the other vowel, I’ll go through all different combinations of XY, YX, XYX, YXY.  Thus, for Alpha, I’ll intone: ΑΑ ΑΕ ΑΗ ΑΙ ΑΟ ΑΥ ΑΩ, ΑΩ ΑΥ ΑΟ ΑΙ ΑΗ ΑΕ ΑΑ; ΑΑ ΕΑ ΗΑ ΙΑ ΟΑ ΥΑ ΩΑ, ΩΑ ΥΑ ΟΑ ΙΑ ΗΑ ΕΑ ΑΑ; ΑΑΑ ΑΕΑ ΑΗΑ ΑΙΑ ΑΟΑ ΑΥΑ ΑΩΑ; ΑΩΑ ΑΥΑ ΑΟΑ ΑΙΑ ΑΗΑ ΑΕΑ ΑΑΑ; ΑΑΑ ΕΑΕ ΗΑΗ ΙΑΙ ΟΑΟ ΥΑΥ ΩΑΩ, ΩΑΩ ΥΑΥ ΟΑΟ ΙΑΙ ΗΑΗ ΕΑΕ ΑΑΑ.  Thus, for every vowel, there are another 56 words to intone.  I don’t have a glottal stop or an aspiration between vowels, so the sound changes smoothly between each vowel.

I’ll usually do the vocalizations once, but if they don’t seem to have kicked in yet and settled into my body and mind, I’ll start it over again another time.  After this, I’ll do another set of quick simple repetitions followed by long simple repetitions of the pure sound, followed by another set of repetitions of the name of the letter.  Note that, throughout this whole time, I’ll be holding the image of the letter itself in my mind, usually without color but occasionally fluctuating depending on the vowel being intoned.

Once I finish intoning the name of the letter for the last time, by this point I’m already in a good headspace for going into a trance session into scrying the letter.  To begin this, I continue visualizing the letter in my mind, but then I picture it being placed on top of a veil split down the middle, supported by a stone threshold.  Both the color of the cloth and the style of the threshold will differ based on the letter itself and the feelings it’s given me; some are simple linen supported by a few sticks, some are black velvet with gold threading supported in a temple entryway, and others are yet different. All the same, the veil hangs down flat, and I approach the veil in my mind.  I then intone, both mentally and physically, the full magical word for the letter, into the visualization of the letter on the cloth.  At this point, the veil tends to fly apart like it’s being blasted by a gust of wind from behind, and I enter into the veil.

This scrying method is a variation of a common technique to scry or contemplate symbols using a door with the symbol emblazoned on the door itself.  However, with other symbols, I’ve been able to explore full worlds of rich imagery and sensation and people.  The letters, on the other hand, are different: I see nothing.  It’s mostly visceral sensation and sounds, which, to be honest, make sense given what these symbols are: letters, graphical representations of human articulation made from the body.  If I try to conjure any sort of mental image, I usually get a close up of a particular sound and how it might be realized in my mind as an image, e.g. a sticky wet cool sensation as blood on grass.  Usually, however, there are no mental images, only sound and sensation.  I’ll perceive motion, weight, pressure, sound, acceleration, charge, and emotion; pretty much the whole gamut except for sight, and for that matter smell and taste, too.  I’m sure that, with deeper levels of meditation, I could eventually get those, but if I’m meditating on the letters qua letters, then my perceptions will be in the same ways letters make: through physical vibration and all the effects that entails.

At some point, once I’ve had my fill of the scrying session, I’ll “back out” of the world, though it’s hard to describe how do that without an image-based perception of the place to maneuver around.  At some point, I’ll exit out back through the gate of the veil, and I’ll intone the magical word of the letter once more to shut the veil and to calm the winds that blow it open.  Once the veil is closed, I’ll focus my attention on the letter itself until just that letter exists.  I close the meditation out by breathing in the letter into my body, dissolving it entirely within me, and intoning the name of the letter on the exhale.

If you’re interested, give the letter meditation and grammatodai a try.  How does the letter feel when you pronounce it?  How does it play with the vowels?  What kinds of emotions or sensations or objects does the sound of the letter call up?  What kind of veil and threshold do you see when you visualize it for the letter?  What kinds of sensations, feelings, and perceptions do you get while scrying the letter?  How does the magical word feel compared to the magical world its linked to?