Grammatēmerologion Calendar for Cycle 69, available for download now!

I mentioned in the introduction to my last post on myth and stories as models for practice that I’ve been working on my old grammatomantic calendar, the Grammatēmerologion, again.  In short, this is a lunisolar calendar I devised based on the Attic calendar used in ancient Athens for my Mathesis work, with a special emphasis on associating the days of the lunar months to the letters of the Greek alphabet.  Not only does this help me get a sort of feel for the type of day I might be facing, a la omen calendars such as in Hesiod’s Works and Days or the day-based forecasting of Mayan astrology, but it also helps me organize rituals and meditations, especially for sacrifices to the Greek gods.  I find it an incredibly useful invention for my own work, and I used to do a Daily Grammatomancy blurb for my followers on my Facebook page that incorporated the information from this (the practice of which I plan to bring back in the near future, so if you haven’t yet, log onto Facebook and like my page!).  For more information on the Grammatēmerologion calendrical system, check out these posts:

Thing is, keeping track of a lunisolar calendar by hand can be hard.  I’ve written a few simple programs that calculate the lunisolar date and corresponding letter information for my convenience, but trying to export that information was hard enough as it is, especially if I’m down in my temple, forgot the proper date, and need to temporarily abort ceremony to run back to my computer to figure out what the date is.  For this sort of thing, having an actual physical calendar would be useful; after all, keeping track of dates is literally what they’re for!  Of course, given the kinds of data I wanted, I had to do quite a bit more programming to calculate any arbitrary set of astronomical and astrological phenomena, because…well, trying to find almost 40 years’ worth of such data online and then formatting it into a way I can use turned out to be far more work than coding the astronomical algorithms by hand, making sure the calculations were reasonably accurate, and formatting the output from said calculations.  It sounds like it’d be more work to do it that way, but it actually wasn’t that bad, compared to wrestling with any number of websites and then beating them into submission.

Well, I’m happy to announce that such a calendar is now complete in as good a form as I can stomach to make it (at least for the time being).  You can download the Grammatēmerologion Calendar for Cycle 69, spanning the time between June 2009 and June 2047.  This document includes:

  • A thorough description of the design, calculations, and nuances of the Grammatēmerologion lunisolar calendar from its Attic calendar origins
  • A discussion on grammatēmerologic days, months, years, hours, and days of the week
  • How to organize ritual and divination according to the grammatomancy of the days and other time periods of the Grammatēmerologion
  • Dates of significant grammatēmerologic importance
  • Seasonal start and midpoint dates
  • Zodiacal ingress dates of the Sun
  • Lunar phases of the Moon
  • Solar and lunar eclipses

Download the Grammatēmerologion Calendar for Cycle 69 for free at this link.
Ignore that link, check out the revised version (and why) here!

Unlike my other ebooks, I release this one gratis for all those who are interested in it.  Not only is it much different in style and purpose from my other ebooks, but I’m aware that this is a very niche thing that, in all likelihood, only I and maybe one or two other people will use.  Given its departure from the Attic calendar and the traditional way of assigning feast days to the Greek gods, I’m not holding my breath for Hellenion or any of the Hellenic pagan community to just suddenly up and adopt this calendar for their own usages.  That said, some of my fellow occultists and woogity friends have expressed interest in this calendar, so why not?  After all, I find value in long-term planning, and what could better fit that tendency of mine than planning out New Moon dates some 30 or 40 years in advance?  Plus, this way, I and others can print out hard copies to stash in our temples, so that we’re not running back and forth reaching for our phones or computers to check the letter-date when we happen to forget it after we already get comfortable in our sacred spaces.

Making this calendar was a fair bit of fun, and I have to say I learned quite a bit about astronomy and calendrical orders, as well as how to get my computer to play well with compiling huge documents programmatically.  Still, it was a lot of work, and I’m glad I don’t have to do this again anytime soon (though I may release other versions of this for previous or future cycles, just for those who want that sort of ephemerical information for decades far removed from our current one).  If there’s enough of a need for it, I may also decide to redo this project to include other astronomical or astrological information (perhaps retrograde periods of particular planets?) or other traditional Hellenic holidays accounted for by the Attic calendar, but that can wait for later.  If you find this sort of thing useful, please consider throwing a few bucks my way to my Ko-fi page to keep me caffeinated and productive on this and other projects!  Every little bit helps, and you’ll have my undying appreciation for the support.

Also, as another small update to be aware of: you can now purchase my ebooks directly through my blog!  I’ve added a new Books page to the top-level menu, so check it out!  Before now, the only way to get my ebooks was through my Etsy shop, but if (for some reason) you don’t like going through them or can’t, you can just use PayPal instead.  Be aware that, once you purchase an ebook directly through my blog, I’ll do my best to send you a copy of the ebook (either the file itself or a link to its download) as soon as I can; with Etsy, the download link is sent automatically upon purchase.  Still, this can give some people a helpful alternative to buying some of the things I’ve written.

Update: okay, so, later in the day after I publicly make this thing available, I found something in the Greek Magical Papyri (PGM VII.756ff) that would have been perfect to add into this.  Take a look; you won’t be disappointed once you see it.

On an English Alphabet Grammatomancy

The other night, I got an email from a reader with a question.  This sort of thing happens often; in general, I enjoy taking the honest questions from my readers about practice, theory, and everything in between when it comes to the occult, as it often helps them as much as it does me by putting my thoughts in readable order and making me think.  It’s not that common I have to put some questions off, and generally that’s because they involve so much investigation and life-work that it becomes better to take the road to take a proper consultation with me for a really in-depth approach to answering such questions.  However, more often than not, simple one-off questions get prompt answers.  (If you’re interested, dear reader, check out the Contact page.)

Regrettably, this email I got didn’t have a good email address attached to it.  When I tried sending my reply, the email was immediately returned as undeliverable due to a non-existent email address.  It’s unfortunate, especially since this is the first time this has happened.  I have no other way of trying to get in contact with this person besides putting out a call on my Twitter and Facebook pages, so unless this particular reader of mine stalks me on either of those media, I don’t have a way to get back in contact with them.  (Let that be a lesson to everyone, to double-check all your entries when you try to contact someone!)  In that case, perhaps it’s best I just answer the email by making a new post specifically on this topic.  Turning a reader question by email into a post isn’t my usual approach, but between a lack of a means of communication and because the question in question is actually a thought-provoking topic, it’d be good to get the word out all the same.

What this particular reader was asking was about grammatomancy, the divination system I like that uses the letters of the Greek alphabet in a way not unlike Nordic rune divination.  In grammatomancy, each letter of the Greek alphabet is associated with a different oracular statement, and each statement begins with a different Greek letter.  For instance, the letter Gamma (Γ) has the oracle “Γῆ σοι τέλειον καρπὸν ἀποδώσει πόνων”, which translates to “The Earth will give you the ripe fruit of your labors”.  Traditionally, grammatomancy was performed by taking a bowl and filling it with 24 different pebbles or potsherds or other similar type of token, and each token had a different letter engraved on it.  Ask your question, draw out a random token, and look up the associated oracle; bam, there’s your answer.  Personally, I prefer a different approach of using dice, specifically two throws of a 12-sided die; I wrote about my method to use dice in this older post of mine.

What the reader asked was this:

I’m looking for simple instructions on how to set up dice with letters from the English alphabet, not Greek letters or symbols, including how many dice, how the letters are assigned to them, and any other info you may have.  The word “grammatomancy” goes right back to some site that gives the Greek info.

First, if I understand the situation correctly, the word “grammatomancy” started with this website.  The original source of the information I used by Apollonius Sophistes (John Opsopaus) simply calls it the Greek alphabet oracle, even in his more recent book The Oracles of Apollo: Practical Ancient Greek Divination for Today, and I honestly don’t recall the word “grammatomancy” or its Greek form “γραμματομαντεια” being used before its appearance in this 2013 post.  If it was, I apologize for my hubris, and would love to be corrected, but to my knowledge, searching online for the word grammatomancy will likely end you up at something I wrote.  Because of that, and because I’ve only discussed grammatomancy in terms of the Greek alphabet, all the resources available under that word are going to focus on the Greek alphabet.

Now, what about the actual question the reader asked?  Is there a way to use dice to randomly generate English letters?  The short answer is “no”, because of how many letters there are in the English alphabet.

The Greek alphabet as used since ancient times has 24 letters; there were a few extra letters at the start, like digamma and qoppa, but those were disused from an early period and kept around only for numeric and accounting purposes by specialists.  24 is a rather pleasing number, because it can be factored into several different sets of numbers, specifically 2 × 12, 3 × 8, and 4 × 6.  These are all fairly manageable numbers, and can be translated into dice throws quite easily.  For instance, you could use two throws of a 12-sided die (my preferred method), where the first throw determines the first half or second half of the alphabet (odd number = first 12 letters, even number = second 12 letters), and the second throw determines which letter in that set to pick; if I throw a 5 and a 9, for instance, I’ll look at the ninth letter of the first half of the Greek alphabet, which in this case is Iota.  Instead of rolling twice, you could flip a coin to determine heads for the first half of the alphabet and tails for the second half; in effect, you’re using a 2-sided die and a 12-sided die simultaneously.  Alternatively, you could throw a 4-sided die to determine which set of six letters to look at, and the 6-sided die to determine which letter in that set to pick; a 3 on the 4-sided die followed by a 3 on the 6-sided die would get you the third letter of the third set of six, which would be the fifteenth letter, which would be Omikron.  Heck, you could just use a 24-sided die (they exist!) and just associate each letter of the Greek alphabet with each number in order.

The problem with the English alphabet is that it has 26 letters.  Unlike the number 24, 26 cannot be broken down so neatly into smaller pairs of factors; you could only really break it down into 2 × 13.  While there are 13-sided dice and 26-sided dice out there, these are very uncommon specialty items, and probably not what the reader was asking about given how rare they are.  So, what could an English-minded grammatomancer do in this case?  There are several options that present themselves:

  • Don’t bother with dice at all and just use a bag of tokens or a bowl of pebbles.  This is the trivial non-answer, of course, and is not necessarily as convenient as just using plain old poker dice or tabletop RPG dice.
  • Use specially-made English alphabet dice.  They exist, sure, but again, this is a specialist option, and not very useful.
  • Increase the number of options to use from 26 to another number that can be easily factored into smaller numbers.  For instance, if you were to include a “space” letter (comparable to the modern Nordic “wyrd rune”), you get 27 options, which can be broken down into 3 × 9; if you were to include two extra letters (like the Spanish Ll and Ñ), you get 28 = 4 × 7.  However, both of these options aren’t really useful either, because 9-sided and 7-sided dice are only slightly easier to come by than 13-sided dice, which is to say “not very”.  The next greatest number that could be used for a standard set of tabletop roleplaying dice would be 32 = 4 × 8, so a roll of a 4-sided die and an 8-sided die, but this means having to use six extra letters or reinterpreting them as “wild” options that make you throw the dice again until you get a valid letter.  (This is basically what the alphabet dice in the above option does.)
  • Decrease the number of options to use from 26 down to 24.  This may seem like blasphemy (how dare I suggest deleting letters!), but consider that the English alphabet is a modern repurposing of the older Roman alphabet, which originally only had 21 letters and was later increased to 23 during the classical period.  In English use, the letters J and U are essentially “duplications” of the original letters I and V, and it was only up until recently that you’d often find things spelled as “Ierusalem” or “Vnder the sea”.  If you were to fold J into I and V into U, you’d go back down to 24 letters, and then you could use the same options that the Greek alphabet uses.

Personally, if I were pressed to make a choice that forced me to use dice, I’d go with the last option and get rid of J and U at the expense of considering them their own letters, because it seems most convenient that way.  I’d still consider using tokens a better choice than dice for the English alphabet, though.

However, this is only half the answer to what the reader asked about.  Once a method is found for using dice, what about the letters themselves for divination?  When we look at the Greek alphabet, we find historical evidence across the eastern Mediterranean that uses the Greek alphabet as a form of divination, with multiple sets of oracles associated with them, sometimes overlapping and sometimes distinct based on the region.  For the Roman alphabet, however, I don’t know of any such sources.  We have nursery rhymes and mnemonics that associate the letters of the English alphabet to different things, sure, but nothing of the same scale and focus as the Greek alphabet oracles that dot the ancient world.  To that end, I have no resources at my disposal and know of none that exist otherwise that discuss the letters of the English or Latin alphabets as an oracle in a grammatomantic way.

Should someone want to develop a set of oracular statements for each letter of the English alphabet, I would think it a good development, especially if the user of such a system wanted to find a more mystical way of applying the English alphabet in spiritual practices, or reinterpreting it as a “Theban oracle” by using the Theban alphabet cipher for English (which, as an aside, note how it already collapses I/J and U/V, and how W is just a duplication of U/V, technically reducing it down to 23 letters as used since classical Rome).  However, I would find using the Greek alphabet to be more useful from the get-go, not least because there are already sets of oracles ready to go for the Greek letters, but because the Greek alphabet already has associations to numbers, planets, signs, and elements via stoicheia and isopsephia as well as to hundreds of other classical concepts, animals, birds, stones, and procedures according to texts like the Kyranides.  In other words, the Greek alphabet already has information, lore, history, and power in it that the English alphabet basically lacks.  I won’t knock an English system of grammatomancy, but it’d need quite a bit of work, innovation, and invention to get it to a similar usable state that the Greek system presents immediately.

I hope that helps!  May the reader who sent me this question find this answer useful, and may everyone ensure to check their email addresses for correctness and validity before using them in contact forms.

On Sounds and Silences

In preparation for some more mathetic exploration, I took another look at the Tetractys and how I want to approach the exploration of paths.  To refresh your memory, dear reader, this is my version of the Tetractys, a kind of Pythagorean “Tree of Life”, with Greek letters forming the 24 οδοι between the ten σφαιραι that collectively compromise the ten Hermetic realms.

alchemical_planetary_tetractys_gnosis_paths

Any particular path will connect two particular spheres.  As mentioned an age ago, I separated out the 24 paths into two sets of twelve paths: the Gnosis Schema and the Agnosis Schema.  The Gnosis Schema connects all ten spheres in a cyclical manner, starting with the Sphere of Mercury and returning back to it multiple times.  We start at Mercury, continue down to Jupiter, then to Mars, then to the Sun, then back to Mercury, then to the Moon, and so forth.  This was the foundation for the assignment of letters to these paths, and each path in this order has the letter that corresponds to each of the twelve Zodiac signs.

alchemical_planetary_tetractys_paths_circuit1

Having the letters for the paths is good, since given we have several techniques to meditate on the power of individual letters.  However, even if we have means to access the powers of the paths, what might I do to access the powers of the spheres themselves in a similar fashion?  The paths lead to the spheres, but how do I embrace the spheres?  My instinct would be to use meditation on the seven vowels that correspond to the seven planets, but that only works for the lower seven of the spheres that correspond to the seven planets.

In the subfield of linguistics known as phonology, there are different ways to categorize a vowel.  A vowel can be produced in the front, middle, or back of the mouth; it can be produced with the tongue elevated or lowered; it can be produced with the lips rounded or unrounded.  A specific diagram is often used, known as the vowel trapezium, that illustrates the different vowels used for a given language, such as the one below for standard Californian English.  The more to the left a vowel is, the closer the tongue is towards the front; the more to the right, the closer the tongue is towards the back; the higher, the more closed the mouth is; the lower, the more open the mouth is.

California_English_vowel_chart.svg

Using Ancient Greek phonology, which is what I prefer for ritual, the resulting scheme that demonstrates (roughly, per Wikipedia) what the vowel qualities are for the seven Greek vowels:

Front Back
unrounded rounded
Close Ι Υ
Close-mid Ο
Middle Ε
Open-mid Η Ω
Open Α

Take a look at how these vowels are associated with the planets on the Tetractys.  We’ve previously grouped the ten spheres into three groups: the Hot Initiatory Cycle (Mercury, Jupiter, Mars, Sun), the Cold Initiatory Cycle (Mercury, Moon, Saturn, Venus), and the Cosmic Initiatory Cycle (Mercury, Stars, Monad, Earth).  If we look at the Hot and Cold cycles, we can separate the vowels like this:

  • Hot: Ε, Υ, Ο, Ι
  • Cold: Ε, Α, Ω, Η

The Hot vowels are all middle-to-closed vowels (formed by the tongue in the middle of the mouth raised upward to the roof), while the Cold vowels are all middle-to-open (formed by the tongue in the middle of the mouth lowered down to the floor).  The vowel Ε, representing Mercury in the middle of the Tetractys, is fittingly part of both cycles as well as the only true middle or neutral vowel formed in the mouth.  Additionally, the most extreme closed vowel is Ι, representing the Sun which “descends” into Jupiter and Mars according to the Tetractys, and the most extreme open vowel is Α, representing the Moon which “descends” into Saturn and Venus.  Ε, the vowel of Mercury, “descends” into Venus and Jupiter, the vowels of which are less extreme and more moderated in the mouth than the vowels of Saturn and Mars.  The sync between the vowel qualities and the placement of the spheres of heaven on the Tetractys forms a neat little match.

This leaves three spheres that have no such sounds for the heavens: the Fixed Stars, the Earth, and the Monad.  These are the spheres that comprise the Cosmic cycle, which stars with Mercury and thus the vowel Ε, but there are no vowels for these last three spheres.  I’m still wrapping my head around this, and this is all as yet purely theoretical, but it would make sense that these spheres have no sound.  These are spheres of silence, but they’re different spheres, and thus should have different resonances, different “sounds” of silence.  Silence is a simple word, but like the word “love”, I think that it would be fitting to think of different kinds of silence that the word itself may not clearly delineate.  Bear with me a bit through this.

The sphere of the Earth (leading up to Mercury) is the sphere of terrestrial, pregnant silence.  This is the tension in the air you feel before a conversation, the feeling of blood pulsing through your veins, the breath entering in and exiting from the lungs, the whisper of wind coursing through the skies, the currents of water under the ocean, the flame combusting on clean fuel.  This is the silence that is an absence of communication but is always surrounded and punctuated by it.  This is the silence you hear everywhere there is life, the silence of potential, the silence of worldly presence without which there cannot be action.  This is the silence that gives way to speech and necessitates it in order to be produced again.  This is the silence of the womb whence we come and the silence of the tomb whither we go.

The sphere of the Stars (leading away from Mercury) is the sphere of heavenly, holy silence.  This is the Hymns of Silence, the infinite chorus sung outside the hearing of those who live, the deafening silence that ascends and descends that backs up all cosmic travel and all magical work, the sound behind any sound.  This is the silence of communion, of ritual, of connection without bodies.  This is the silence of activity, the silence of divine power, the silence of initiation.  This is the silence that precludes the need for sound and overrides any song sung, tale told, or speech spoken.  This is the eternal silence underlying all things that exist, both sounding-board and root of sound for all that becomes, all that is, all that was, and all that might be.

One way to think of the difference between these two kinds of silence is to reflect upon how we recognize something meant when we hear it.  When we hear a word we understand, we have the spoken sound of it, but then we also have the known meaning of it.  We cannot directly hear meaning, but it is borne into us by the sound of the word.  The meaning is always forever in our mind, even if it is not always at the forefront of our minds; conversely, the sound can always be made, but is not the only sound we make nor is it a sound that continues forever.  A meaning cannot be communicated to another without it being spoken aloud, and a word that is not understood does not communicate meaning.  In this case, meaning is like the silence of the Stars: it is always there, but must be known before being understood or used in any way; likewise, word is like the silence of the Earth: it must be made, though it cannot be made forever without something else interrupting it, and it can only be made once per instance.

That just leaves the silence of the Monad.

The sphere of the Monad (between the spheres of the Stars and of the Earth) is…well, this is a little tricky.  This is a silence beyond silence.  This is a place beyond places.  This is a sound beyond sounds.  And it is none of these things.  The Monad is, in a word, God, beyond all duality and all manifestation, beyond all potential and all action.  This silence is ineffable, the holy presence itself that contains all information intelligible and unintelligible, all knowledge knowable and unknowable.  This is the place from which sounds and silences both come.  This is a thing beyond understanding, describing, or talking, so perhaps it is best to keep my own silence on this matter.

On Geomancy as Actually Being Earthy

I’ll be honest with you.  I don’t actually think geomancy is nearly as earthy as people make it out to be.

Yes, the word “geomancy” comes from Greek γεωμαντεια, literally “earth-seeing”.  Yes, St. Isidore of Seville and Hugh of St. Victor, two philologists and academics of the medieval era, list geomancy as a form of divination alongside other elemental forms of divination (although St. Isidore lived and wrote about geomancy several centuries before we have records of it ever being practiced).  However, I think this is glossing over something very important.  If you look at the history of the word geomancy, the Greek word was a calque (literal word-for-word translation) from the Arabic term for it, `ilm al-raml, which literally means “science of the sand”.  This is in reference to the way the first geomancers practiced their art, by drawing out the figures and dots and lines in sand or loose, fine soil as would have been done by shepherds and holy men in the desert climates of the Sahara.  Thus, sand being the “earth” of the Arabs, I suppose it’s reasonable to translate `ilm alm-raml literally as “earth-seeing”.

The problem with this is that people have taken the word and gone into some pretty crazy directions with it.  For one, the word “geomancy” is haphazardly applied to such varied things as the Chinese art of feng shui (literally “wind and water”, probably more accurately translated as “auspicious designing”) as well as the more modern art of plotting ley lines and places of natural power, which might better be termed “spiritual/occult geography”.  Modern fantasy stories and role-playing games haven’t helped matters any, for that matter, by badly applying any word ending in “-mancy” to a field of magic, such as pyromancy to bending the forces of Fire or geomancy to bending the forces of Earth to cause harm or help with the wave of a wand or utterance of a word of power.  (Alas that I can’t do that…yet.)

Then again, maybe “geomancy” isn’t the best name for this art of divination I practice, either.  In its deepest, oldest, and most tried-and-true sense, geomancy should be just that: earth-seeing, scrying using dirt or rocks or crystal formations in and upon the Earth itself, just as pyromancy is scrying flames or just as hydromancy is scrying the patterns and images that appear in bodies of water.  To use the word “geomancy” implies a strong connection using the natural resources of the Earth that express the element of Earth, and, well…that’s simply not the case with the art called “geomancy”.

To put it simply, geomancy is not based on Earth, but based on the Earth; it’s not about γη the element, but Γη the place we live.  There is, quite literally, a world of difference between the two.

Consider, if you will, a bit of Qabbalah.  The sephirah associated with the Earth is Malkuth, sephirah #10 at the bottom of the Tree of Life.  This sephirah is seen as the distillation and combination, the entire purpose and the entire root of the Tree of Life.  However, while each of the other sephirah are presented as just one color (e.g. red for Geburah, yellow for Tiphareth, green for Netzach), Malkuth is unusual in that it’s presented as four colors all at once: citrine, olive, russet, and black.  This is because Malkuth isn’t a single atomic force, but a combination of the four elements that are Air, Water, Fire, and Earth.  Older European Hermetic depictions of the cosmos as a series of nested spheres often show the Earth as within four spheres of the elements Earth, Water, Air, and Fire all nested within the sphere of the Moon.

Thus, the Earth is the combination of the four elements Fire, Air, Water, and Earth that together make up our world; the Earth is not synonymous with the element Earth.  Similarly, the art called geomancy uses 16 figures that are themselves amalgamations of the four elements, and manipulates them using binary algorithms to figure out what’s going on in the world we live in.  Geomancy doesn’t just deal with the element of Earth, but it deals with those of Fire, Air, and Water equally as much to figure out what’s going on in the world we live in.  Geomancy isn’t about divination with the element of Earth; geomancy is about divination to understand the Earth and what’s going on in this sphere we call “the World”.  Perhaps another, more appropriate word for this art might be κοσμομαντεια, cosmomancy or “cosmos-seeing”.  It’s more inclusive than just using the element of Earth, since we geomancers actually use all four elements in all their combinations, just as the world, or the κοσμος, we live in expresses all the elements in all their combinations.  Alternatively, seeing how we use the four elements in divination, we might also call it στοιχειομαντεια, stoicheiomancy or “element-seeing”, perhaps which can be translated “theoretical alchemical divination”, which isn’t a bad way to summarize the art of geomancy generally.

However, I doubt I’ll be able to shift to using these alternate terms anytime soon, or encourage others to do the same; the word “geomancy” is simply too entrenched into the art over its millennium-long history, and I’m a little fond of how it rolls off the tongue.  Still, I think it’d do the geomantic community well to take another look at the term “geomancy” and remember that it’s not the element of Earth that we focus on, but the world we call the Earth that geomancy relies upon.  Geomancy can be considered “terrestrial astrology”, as Stephen Skinner famously called it; while it does injustice towards the arts of geomancy and astrology alike, it makes sense from an outsider’s point of view.  Astrology is the understanding of the heavens using heavenly bodies and how they affect us; geomancy is the understanding of the World using worldly elements and how they affect us.

Consider this another way, too: when we read the geomantic chart, we start with the Judge and work our way up.  We literally begin at the bottom and look upward.  That’s basically the perspective of everything from the Earth’s point of view; it looks upward from beneath everything, seeing everything from below.  This ties in elegantly with late Renaissance theories of how geomancy “works”; while most geomancers agreed that it was an act of the soul within humans that allowed it to reach out and contact the divine for guidance, it was also played in part by the anima Mundi, or the soul of the world, that gave us the answers.  In contacting the Earth, we learn pretty much everything that happens, has happened, and will happen, and get a pretty down-to-earth (boo) and objective answer.

So, I think I’ll disagree with how the estimable John Michael Greer labeled the art when he titled his first book on geomancy “Earth Divination: Earth Magic”.  Geomancy is far from being divination-by-earth, but should be seen rather as divination-of-the-Earth.  The distinction in nuance here is pretty big, and I think it’d pay off well for us geomancers to reconsider how our art came to be and the forces we’re calling on.  If we’re just calling on the powers and spirits of the element of Earth to help us in geomantic divination and works, then we’re effectively forgetting the other three-quarters of the art that involve the powers and spirits of Fire, Air, and Water.  I think a healthy spiritual approach to this art should remember that fact, and model itself accordingly.