Index of Hymns, Historiolae, and Poems in the Greek Magical Papyri

Like any good researcher, I like things that are free, because academic, scholarly, and other research-oriented texts can be pricey, especially when you get into niche topics, and even more so when you start getting into out-of-print works.  That’s why sites like Google Books and Archive.org are invaluable for someone like me, because we have whole libraries available at our fingertips, at the press of a button, all for free.  But, alas, not everything is; due to (sometimes very reasonable) copyright laws and (sometimes very unreasonable) publisher policies, not all such books are able to be put online for free without getting into piracy (which is an entirely different topic that is neither here nor there).

When it comes to researching the Greek Magical Papyri, although Hans Dieter Betz’ version is the de facto translation of what’s available into English, Karl Preisendanz’ version is legendary, and in many cases forms a “critical edition” for the Greek along with his German translation.  The original version of the texts were put out in the late 1920s and early 1930s, and as such, are out of copyright and considered works in the public domain.  For that, I would recommend people check out the University of Heidelberg’s online resource for them:

  1. Volume One: PGM I through PGM VI
  2. Volume Two: PGM VII through PGM LX, including Christian magical papyri and ostraka

However, there was another, more recent version of Preisendanz’ books put out in the 1970s, which has some extra supplemental information, one of which is a list of hymns and historiolae given as an appendix to volume two with the help of Albert Henrichs.  Because of how recent this work is, it’s not in the public domain, which means you still need to buy a copy of it (or pirate it).  This is somewhat unfortunate, because I couldn’t easily find a list of what Preisendanz listed as hymns and historiolae otherwise, even though Betz himself refers to it (e.g. footnote 56 to PGM I) and other authors, like Ljuba Merlina Bortolani in her Magical Hymns from Roman Egypt, also make use of such an organization system.  Knowing exactly what these references are would be incredibly helpful, but without having access to this more recent version of Preisendanz’ volume 2, I appeared otherwise out of luck.

So I kept an eye on used book lists—new, the book costs upwards of $150 on Amazon—and, happily enough, I did find a relatively cheap copy of the text over on AbeBooks, which I’m happy to present.  The bulk of the book seems otherwise identical to the original version, but again, it’s that extra supplemental material I’m interested in.  To that end, what follows is a list of Preisendanz’ and Henrich’s entries for the hymns, historiolae, and poems—all called Hymns in other texts—given in the PGM using their number system.  Although Preisendanz and Henrichs also give a copy of the original Greek with some notes on other references, both academic and original, pertaining to the content of the entries listed above, the Greek is otherwise basically the same as what’s in the rest of Preisendanz’ original stuff, albeit with fewer marks regarding suggestions or hypothesized text where possible, although for the hymnic and poetic entries, he does mark where some metrical and prosodic information would fall when necessary.  However, importantly, Preisendanz and Henrich exclude any instances of barbarous words from their hymns, so bear that in mind when making comparisons.

List of hymns:

  1. To the All-Creator: PGM XII.244—252
  2. To the All-Creator: PGM III.550—558
  3. To Hēlios: PGM IV.939—948
  4. To Hēlios:
    1. PGM IV.436—461 (except lines 18, 19, and 21)
    2. PGM IV.1957—1989 (except lines 26 and 27)
    3. PGM VIII 74—81 (except lines 7 through 10)
    4. PGM I.315—325 (except lines 1 through 6, 9 through 11, 18, 21, 22, 26, and 27)
  5. To Hēlios and the All-God: PGM III.198—229
  6. To Typhōn: PGM IV.179—201
  7. To Typhōn: PGM IV.291—273
  8. To Apollōn: PGM I.296
  9. To Apollōn: PGM II.2—7
  10. To Apollōn: PGM VI.22—38
  11. To Apollōn and Apollōn-Hēlios: PGM II.81—101, 133—140, 163—166
  12. To Apollōn and Daphnē: PGM III.234—258
  13. To Daphnē: PGM VI.6—21
  14. To Daphnē: PGM VI.40—47
  15. To Hermēs:
    1. PGM V.400—420
    2. PGM VII.668—680
    3. PGM XVII.b (entire)
  16. To Hekatē-Selēnē-Artemis: PGM IV.2242—2417
  17. To Hekatē-Selēnē-Artemis: PGM IV.2786—2870
  18. To Hekatē-Selēnē-Artemis: PGM IV.2574—2610, 2643—2674
  19. To Hekatē-Selēnē-Artemis: PGM IV.2522—2567
  20. To Hekatē-Selēnē-Artemis: PGM IV.2714—2783
  21. To Aphroditē: PGM IV.2902—2939
  22. To the All-God: PGM I.297—314, 342—345
  23. To the All-God: PGM XXIII (entire)
  24. To the Chthonic Ones: PGM IV.1399—1434
  25. To the Chthonic Ones: PGM IV.1459—1469

Notes on the list of hymns above:

  • Hymn 4 is composed of four different overlapping entries which mostly appear continuous when some lines are omitted or shuffled around from the original entries.  Preisendanz and Henrich list the bits that didn’t fall in as an addendum to this hymn.
  • The hymn to Hermēs is marked as Hymn 15/16 in Preisendanz and Henrich, so no separate Hymn 16 is listed here.
  • Hymn 15/16 is also composed of overlapping text from several PGM sources, although (the entirety of) PGM XXIIb is the longest and forms the base for this.
  • Hymns 11, 19, and 23 are taken from several sections of particular entries of the PGM, which Preisendanz and Henrich interpret to be a single hymn each, each broken up by ritual directions or other non-hymnic text in those entries.

List of magical historiolae:

  1. PGM IV.1471—1479
  2. PGM XX.6—20
  3. PGM XXIX (entire)

And one last interesting poem, the “Evocation of Wrath”:

  1. PGM IX.12—13

As another note, I mentioned Bortolani’s book as well.  That book is a wonderful reference for some but not all of the hymns and references made in Preisendanz and Henrich; of the thirty entries given total, Bortolani only discusses fifteen.  Because I also picked up a copy of her excellent book—an amazing resource detailing the specific connotations, structure, usage, and purposes of these various hymns from the PGM—I’ll also go ahead and give a correspondence between her numbering and that of Preisendanz and Henrich (noted as “PH Hymn”), along with the specific PGM entry numbers for that particular hymn:

  1. PH Hymn 8, 23b: PGM I.296—327, 341—347
  2. PH Hymn 4 (excluding 4d): PGM IV.436—461, 1957—1989; PGM VIII.74—81
  3. PH Hymn 5: PGM III.198—230
  4. PH Hymn 2: PGM III.549—558
  5. PH Hymn 3: PGM IV.939—948
  6. PH Hymn 9: PGM II.2—7
  7. PH Hymn 11a: PGM II.81—102
  8. PH Hymn 13, 14: PGM VI.6—44
  9. PH Hymn 1: PGM XII.244—52
  10. PH Hymn 25: PGM IV.1399—1434
  11. PH Hymn 17: PGM IV.2242—2347
  12. PH Hymn 20: PGM IV.2522—2267
  13. PH Hymn 19: PGM IV 2574—2610, 2643—2674
  14. PH Hymn 21: PGM IV.2714—2783
  15. PH Hymn 18: PGM IV.2786—2870

I should also note that Bortolani breaks up these hymns into two overall sections: her Hymns 1 through 9 are those “to the male deity”, and Hymns 10 through 15 are “to the female chthonic/lunar deity”, as both have definite differences in purpose, tone, and style.  Unlike Preisendanz and Henrich, Bortolani retains the barbarous words where they appear.

With that, perhaps this can give researchers of the PGM a little extra nudge when encountering references to particular hymns by number when people refer to Preisendanz and Henrich, or Bortolani as well.

The Royal Praises from Book XVIII of the Corpus Hermeticum

Like with the wonderful Praise of the Invisible and Visible God that I wrote up (or, rather, rewrote from the original material from prose into something more structured) back in January or the simple Hermetic prayer rule and “prelude prayers” I discussed back in February, there’s plenty else in the Corpus Hermeticum that can be thought of as ripe material for coming up with prayers, devotions, and hymns for the Divine.  Much of it, of course, is prose rather than poetry, as the Corpus Hermeticum wasn’t really written as hymnal stuff, but there are frequent exhortations to “show devotion”, instances of thanksgiving, and other praises given to the Divine that are to ignore.  It’s what makes the Hermetic canon so hard to consider in a strictly philosophical or scientific light apart and away from mysticism or faith; as Willhelm Boussett has said, “the Hermetica belong to the history of piety, not philosophy”.

One of the more odd inclusions in the Hermetic canon is Book XVIII of the Corpus Hermeticum, which has the title “On the soul hindered by the body’s affections”, but which A.D. Nock suggests was a later assignment by a redactor, and which only really applies to the first few paragraphs of the book.  The bulk of Book XVIII, instead, focuses on giving praise to God, both in his own right as well as a prelude to give praise of kings (more the general class of kings rather than any king in particular).  Brian Copenhaver includes Book XVIII in his translation, but Clement Salaman pointedly does not, noting that:

Scott and Nock-Festugière agree in regarding [Book XVIII] as not belonging to the Corpus.  It is manifestly inferior to the other books, both in content and in style (Festiguère refers to it as: ‘Cette insipide morceau de rhétorique’ [Copenhaver translates this as “an insipid piece of rhetoric in rhythmic prose”]).  No real single theme develops, but merely disconnected remarks relating to the praise of kings and of God.

I’ll grant it that, to be sure: it lacks either the atmosphere of the temple or clarity of the classroom that so many of the other parts of the Hermetic canon have, and rather suggests something more of a philosopher at a courtly symposium.  Still, it’s not hard to see why this would be bundled with the rest of the Corpus Hermeticum, given how it treats the soul as affected by the body’s weaknesses by way of an extended metaphor involving musicians and their instruments, as well as its sincere (and rather beautiful) praise to God.  What’s weird is the “royal panegyric” that Book XVIII also gives a praise and hymn to kings and their virtues generally.  It’s not like the Hermetica doesn’t involve kings at all; after all, Book XVI (“Definitions of Asclepius to King Ammon”) is written as a letter to a king, Book XVII preserves an interaction between Tat and an unnamed king, and the 24th Stobaean Fragment (the middle part of the Korē Kosmou) discusses the various natures of souls and how some souls are specifically kingly and royal ones.  In the broader context of the Hermetic canon, and given the important role of the king (rather, pharaoh) as incarnated divinity on Earth in ancient Egypt, it doesn’t make too much nonsense to have something treating the topic of kings or praising their virtues, if indeed they are a force of divinity here explicitly and locally manifest in the cosmos as opposed to implicitly and ambiently manifest.

To that end, I decided to rework the praise bits of Book XVIII into a pair of prayers that I call “The Royal Praises”.  The first part is the one I think more people will find more useful: “The Royal Praise of the Almighty”:

Come, come all, let us hasten and praise the Almighty!
In all things do we begin with God and the power above, and so too do we end.
In the end of all things do we return to the beginning, from God unto God!
The Sun partakes of all in its rising, the nourisher of all that grows,
its rays stretched out like great hands to gather in the crops,
its rays partaking in the ambrosial radiance of the harvest;
like crops in the warmth of the Sun do we take in the wisdom of God,
like crops under the light of the Sun do we grow under the light of God,
and like crops from the Earth, in beginning with God we return to God,
our praise becoming the bounty of God that waters every shoot we plant.

O God, Whole of the All, wholly pure and undefiled, Father of all our souls,
may praise rise up from a myriad mouths in a myriad voices to you,
even though none can say anything worthy of you or before you,
for no mortal speech can equal your might, power, or presence.
As the child cannot properly praise their father,
still the child exclaims their love with all their strength,
and, honoring their father as they can, receives his love and mercy.
So too may we praise you with all the strength of our souls!
For you, our Creator, are greater than all of creation;
let all our praise always confess your boundless power and endless extent!

To praise you, o God, is in our nature, in our hearts, and in our very souls,
for as your descendants, like attracting like, we are like unto you,
and as your children, seeing ourselves in you, we can only love and praise you.
Yet even should you grant it to us before we even ask,
we still ask for your forgiveness, your forbearance, your mercy, and your grace.
As the father does not turn away the child for their lack of strength,
but delights in their coming to grow and to know him,
so too do you delight in us coming to know you and all your creation,
for the knowledge of the All confers life unto all,
and our understanding becomes our praise to you for all that you give us.

O God, o Good of the Beginning, o Ever-Shining, o Immortal,
alone containing the limit of divine eminence, encircling the All that is all that is!
Always flowing from your own energy from beyond to within the cosmos,
from yourself above in Heaven to mankind below on Earth,
you send the message of promise that leads to the praise that saves us,
to the work that lifts us, to the way that guides us beyond to you!
For beyond there is no discord among beings, neither dissonance nor difference;
all think one Thought, all have one Knowledge, all share one Mind.
One sense works within them all, one charm unites them all:
love, divine love, love of the Good that makes all act together in harmony as One!

When it comes to the bit in the first paragraph about the Sun and its rays like hands, Copenhaver notes that:

The image of the sun reaching down with hand-like rays became an artistic motif in the Egypt of Akhenaton; the sun’s rays were a manifestation of heka, a magical power that energizes the universe, but [Festugière] sees this allusion to solar magic as an empty metaphor in this “purely literary” text.

Although the reign of Akhenaten was removed from the writing of the Corpus Hermeticum by about a thousand years, give or take a few centuries, it is a compelling image of the power of the Sun, and given the importance of the Sun in the Hermetic canon (cf. Book XI, “the sun is an image of the cosmos…the human is an image of the sun”; Book XVI, “in this way, the craftsman (I mean the sun) binds heaven to earth, sending essence below and raising matter above”), it’s not surprising how this image might be carried through the centuries into Hermetic symbolism and praise.

The second part is a shorter hymn (the panegyric proper of Book XVIII), the “Royal Praise of Kings”:

As the Creator has all power and presence in the cosmos of his creation,
so too does the king possess all power and presence in the order of his kingdom.
We praise God, and so doing, we praise the one who takes his scepter from him,
o divine among us mortals, o arbiter of our peace,
o king of kings, o image of God on Earth, you who are our king!
In singing our reverent love of God, we know to praise what is divine;
thus do we hymn and glorify the king, even as we hymn and glorify God! For in raising
our voice first to the Supreme King of All, the Good, the God,
we must then lift our song to those whom God has established in his might!
O foremost of the security of the people, o prince of peace of the world!
Authority, victory, honors, and trophies were established by God for you!
As God is the source of your dominion, so too are you the source of our hope!

The virtue of a king, the name of a king, is to be the judge of peace,
and with such peace comes prosperity for which we cannot but give tribute!
Setting his kingly grace kindly upon even the highest of worldly powers,
achieving over all discourse and discord the mastery that brings all peace,
panicking all barbarian armies and outdoing all their tyranny,
the very name alone of the king is the very symbol of peace!
For the king’s threat drives the enemy off with fear,
and the king’s statue succors the tempest-tost with haven;
for the icon of the king brings the warrior quick victory,
and the presence of the king gives the besieged an aegis.
Let us always praise and proclaim, treat and tribute the king,
that the king, free in peace from threat and harm, may ensure the same for all!

In our day and age, when we’re so far removed from any real notion of divine kingship or the divine right of kings (unless you’re an old-school British royalist or Japanese imperialist), it’s weird to give such praise for such a human being who happens to be a ruler over other people.  We typically conceive of rulers as coming into power through worldly means for rather less than cosmic reasons (cf. John Bradshaw’s “in the name of the People of England of which you were elected king” at the trial of King Charles I, conceiving of kingship as something random, arbitrary, and unearned).  But the Korē Kosmou (the 23rd through 25th of the Stobaean Fragments) discusses mortal kings as being in a league different from other kinds of humans.  From Litwa’s translation:

…On earth dwell humans and the other animals, ruled by the current king. Gods, my child, give birth to kings worthy of being their offspring on earth.  Rulers are emanations of the king, and the one nearest the king is more kingly than the others. Hence the Sun, inasmuch as he is nearer to God, is greater than the Moon and more powerful. The Moon takes second place to the Sun in rank and power.

The king is last in the rank of the other gods, but premier among human beings. As long as he dwells on earth he is divorced from true divinity. Yet he possesses a quality superior to other human beings—an element like unto God. This is because the soul sent down into him is from that realm higher than the one from which other people are sent. Souls are sent down from that realm to rule for two reasons, my child.

Some souls, destined to be deified, run through their own lifetime nobly and blamelessly so that, by ruling, they train to hold authority among the gods. The other group of souls are already divine and veer only slightly from the divinely inspired ordinance. They are sent into kings so as not to endure embodiment as a punishment. On account of their dignity and nature, they suffer nothing like the others in their embodiment. Rather, what they had when free (of the body) they possess while bound to it.

Now the character differences that develop among kings are distinguished not by a distinction in their soul. All royal souls are divine. The differences arise by virtue of the soul’s angelic and daimonic retinue during its installation. For such great souls descending to such great tasks do not descend apart from an advance parade and military escort. For Justice on high knows how to apportion dignity to each soul, even though they are pushed from the placid realm.

In the Hermetic view, there are particular people who are incarnated with a specific role to play in the world, and that role is to be divine as they are already among the foremost of souls in nature and rank; it is this that makes one a king when incarnate, assuming that kings live otherwise good lives “so as not to endure embodiment as a punishment”.  And, knowing that the Egyptians conceived of kings as not just being divine beings on Earth, and knowing that they strove to immortalize and deify them after death, we can conceive of this as being the end-game for the metempsychosis of humans: to refine ourselves through the knowledge of God to become more and more divine, and thus become as divine as a human can possibly be before being outright deified by other humans.

Admittedly, this notion is hard to swallow for many of us nowadays who would much rather an egalitarian view of souls (which, admittedly, much of the rest of the Hermetica would seem to encourage) and who don’t agree with the divinity of rulership (I mean…look at the current state of the world, and tell me that there’s anything new under the Sun).  Still, I suppose there’s plenty that could be said about a more generalized notion of “kingship”, either as something relatively detached from governance and dominion of people as a geopolitical power, or perhaps (and better) closer to what my mentor, Fr. Rufus Opus, discusses in his Seven Spheres:

I feel the same about the term King. To me, a King is anyone who rules, regardless of their gender. The need for different words to differentiate between genders is silly, in my opinion.

But the LOGOS pointed out something really important. The things we seek, they are part of what automatically comes with a kingdom. They are secondary manifestations, the results. Look at Kings. They have everything they need, and then some. LOGOS was saying, look, don’t go after that stuff; that’s what other people do with their lives, people who have not been chosen to know who they are, who have not had their divine nature and true paternity revealed to them. Instead of going after all that stuff, or the means to get that stuff, focus instead on the Kingdom. Learn that you are a King already. Learn what that means, learn the art of being the Royal You. Train yourself, improve yourself, be Kingly, and you’ll find that you have a Kingdom of a God all around you, and that you are its ruler.

But what are Kings?

Kings are people who were personally (or through the source of their noble lineage) positioned by fate and fortune and gifted with the quality required to lead their world naturally. They were linked to the gods either by favor or by blood, and they received a Kingdom as a result of their nature and the quality of their deeds. They were noble.

What he says in his introduction to Seven Spheres smacks of what Isis tells Horus in the 25th Stobaean Fragment.  If we broaden the notion of “kingdom” to be one’s whole life and sphere of influence, then each and every one of us is a king—regardless of our external gender, station, or condition.  It’s being able to carry ourselves as such, to rule our lives as such, that makes us so: it’s a matter of waking up to the reality of the matter and behaving accordingly.  Those who can are kings, and those who can’t aren’t.  After all, if God is with you, who can be against you?  If you’re living your True Will in tune with your Perfect Nature, then how could you not be among the royalty of souls?  And if royal souls are divine, then divine souls must also be royal ones.  And are Hermēs, Asclepius, Tat, and Ammon not thus kings?  After all, in the Prayer of Thanksgiving from the final part of the Asclepius, does Hermēs not say “we rejoice that you have deigned to make us gods for eternity even while we depend on the body”, or as I personally phrase it based on the similar prayer from PGM III.494—611, “we rejoice, for you have made us [who are incarnate] divine by your knowledge”?  If the knowledge of God makes one divine (literally deification, even while alive), then it must also make one a king, at least in some sense.

I’m sure there’s more that can be discussed along these lines of what it means for deification and kingship in a Hermetic context, especially understanding the historical and cultural implications of the such and how that might compare or translate to the modern world, but that’s a topic for another day.  For now, I’ll leave this with these two brief rephrasings and restructurings of Book XVIII of the Corpus Hermeticum to use for further devotional works to the Divine.

A Hymn to Hermēs Sōtēr

I know I don’t speak a lot much nowadays about my devotional work with Hermēs, or at least as much as I used to.  Admittedly, my focus and practices have shifted over the years, and as an arrangement I entered into willingly on both my terms and the terms of the god, my devotional work with the Son of Zeus and Maia waxes and wanes over time.  But, through it all, despite it all, and even because of it all, Hermēs has never left me, and I have never left him.  Even with my house more full of more gods than I would ever have anticipated, I still maintain my own practice and service to the god, and lately I’ve been spending more time getting back in touch with him since the last Mercury retrograde period ended.  It’s…well, not gonna lie, it’s pretty nice to do this again, and to remind myself why I got his emblem emblazoned on my flesh all those years ago.

Lately, between a renewed sense of his presence and a concern for the world, I was moved to write a simple hymn for the god.  It’s nothing special, but it’s something I wanted to share and spread, a hymn to Hermēs Sōtēr (the Savior).  Although he’s not usually considered among the usual savior-type gods, I feel like there’s something to be said for the blessings of swiftness, slyness, and quick motion (in the sense of both speed and life) that we could call on from the god in our time of need.  So, in this day of Jupiter and in this hour of Mercury, I dedicate these words to the god of my heart who accompanies on my ways.  May these words ring out in the air around me and throughout the entire world as a small token of my honor to the god, that all people of all cultures and all habits and all tongues may come to honor, sing, praise, and exalt the god who guides all men, spirits, souls, heroes, and gods!

Hail, Hermēs, o bright and swift savior through the paths of all the worlds!
O you who loves to be a close friend to mankind,
o you who cuts to the heart, knowing all that is within,
o you who stands keen watch at every cross and every fork,
o you who cannot be denied by any god or any man!

Son of Maia and scion of Atlas who knows the secrets of all the stars,
messenger of Zeus and all the gods who delivers words hither and thither!
Giving to all minds the wit to discern the gods and all their many works,
giving to all hands the skill to join in the very work of the very gods,
great are you who established the heavenly rites of offering and worship!

Ram-bearer, wand-bearer, leader of robbers and thieves!
You care for the well-being of all flocks of all kinds, kind Hermēs!
You lead them away amid motley heart-broken cries, sly Hermēs!
You defend them from those who would devour them, fierce Hermēs!
Driver of herds, shepherd of the living, o guide of all the dead!

Be kind to us, lord of the world, for all our travels and travails in it!
Lead us to the right place at the right time in the right way on the right day;
keep our hands as clean as they can, yet no dirtier than we need them to be.
By your guidance, keep us safe on our roads from all the awful nosoi;
by your wiles, o Hermēs, lead them afar by a different road entirely!

Be gracious, lord of the world, who collect the goods of gods and men!
Lead us all to sweet safety, to calm harbors, to a place to call our own,
to a shelter unafflicted by blight or the waste of terrible, hateful decay!
Let your lyre soothe the raging hearts of the bright children of Mother Lētō;
stay their fatal arrows, o lord, but when let fly, take us out from their flight!

Come, lord savior Hermēs, and hear this my heartfelt prayer;
be kind and be propitious to all those who seek your care.

Most people who are familiar with the god will understand most of the references, but I admit the one to the nosoi is probably a weird one.  These were a class of daimones in ancient Greek belief, the spirits of plague and sickness; for the Romans, these would be considered the Morbi, like Morbus (Disease), Pestis and Lues (Pestilence), Macies (Wasting), and Tabes (Corruption).  In Homeric literature, plague and disease was typically seen as being the arrows sent forth in wrath from the bows of Apollōn and Artemis, the two children of Lētō, but I also felt that the nosoi are a useful thing to ward against on their own right.  After all, there are two approaches to health, sanitization and inoculation, and in the absence of one, we must resort to the other; in the absence of vaccines or other defenses against the attacks of heavenly arrows or hellish claws, we must evade them entirely, and who better among the theoi to help lead us on the route to escape than Hermēs himself?  Who else but Hermēs to help us, the one among all the gods closest to the cries of all humanity, most familiar of all tongues, who guides us both in our world and in the next?  After all, although there aren’t all that many connections between Hermēs and plague, as Kriophoros (“Ram-bearer”), Hermēs is one who has helped before to save people from pestilence and plague, and with later connections of Kriophoros and Christ, lends a definite savior link to the noble son of Zeus and Maia.

May God and all the gods be charitable and propitious unto us all, and grant us all all life, all prosperity, and all health.

Original Greek and faithful transcriptions up for two ancient Hermetic prayers!

As many of my readers know, I have my Etsy shop set up for the things I make.  I tend to stick to beadwork nowadays, bracelets and necklaces and chaplets and rosaries and that sort of thing as well as my ebooks (which you can also find directly on my website on the Books page), but in the past, I’ve taken commissions for wands, Tables of Practice, and other woodworking things.  I don’t do the woodworking thing as much anymore; there are several others I would recommend on Etsy, instead, for things along those lines, who have better setups and tools and skill than I do.  Still, depending on the need and the medium, I’m certainly not opposed to taking on commissions.

Recently, I received an interesting request for a commission.  Rather than it being a physical thing, it was a digital item; sure, I can do those, too, and I’ve made designs and the like for others by special request.  After all, art is art, and craft is craft.  This, though, was also unusual; I suppose it could be said to that I was contracted rather than commissioned.  I was contacted by one Soror MNA to help her with some of her own research and work.  She took a heavy interest in two of the things I’ve shared previously on my website, the Hermetic prayers from the Greek Magical Papyri known as the Hymn of the Hidden Stele (PGM IV.1115—1166) and the Stele of Aiōn (PGM.1167—1226).  These are beautiful hymns indeed, and I’ve used them to powerful effects in the past for serious and heavily theurgical purposes.  However, I’ve only basically given my (minor) variants of them in English, with the Greek barbarous words of power rewritten in the Greek script for ease of analysis and preservation of nuances in pronunciation.

What the good Soror MNA wanted me to do was to get her copies written in Greek of these two prayers.  After all, it’s not hard to find Preisendanz’s transcriptions of the PGM online (volume 1 for PGM I through PGM VI, volume 2 for PGM VII and after); all she needed was these prayers in their original Greek as well as transliterated into Roman script for study and use in her own rituals.  So, since this was a pretty clear-cut job of typing and transcribing, I gladly took the job.

All of this is simple and straightforward and otherwise unmentionable and not worthy of note if it weren’t for the fact that, at the end, I requested a change to the terms we had agreed to that would be in both our favor.  As it was, I was just going to give her a document with the transliterations she requested, but for the same reasons she found it valuable to have these prayers in their original Greek and transliterated into Roman script, I figured it would be good for the broader occult community, especially those interested in PGM-style Hermetic work, to have access to the same.  She agreed, and to that end, graciously permitted me to share the fruits of my labors on my website.

To that end, the Hymn of the Hidden Stele and the Stele of Aiōn pages on this website have been updated and augmented with the orignal Greek and their transliterations.  All of this is thanks to the gracious and generous support and sponsorship of Soror MNA, who has my thanks for helping me and funding improvements to my website!  If it’s been a while since you last checked these hymns out, or if you’re unfamiliar with them and have any interest in some pretty potent prayers, go and take a look!  The transliteration scheme I use is custom to my own work, which I feel preserves the pronunciation and accenture of the original Greek slightly better than other texts; most of the accenture is unnecessary unless you’re intimately familiar with the byzantine Byzantine use of polytonic Greek, but in order to keep it as faithful as possible, I included it all the same.  Thank you again, Soror MNA, for your generous support!

Just to remind all my wonderful readers: if you’d like to support the Digital Ambler in my projects, writing, and other work, remember that you can do so through Ko-fi!  Every little bit counts, and you’ll have my unending, undying thanks and appreciation.  Heck, if you wanted to sponsor a post or something big for my website like what Soror MNA said, suggest something in the comment when you donate and I’ll see what I can do!

Buy Me a Coffee at ko-fi.com

On Repurposing Ritual Parts for New Practices

This PGM train won’t stop, at least, not yet.  I hope you’re not bored of this talk of the Greek Magical Papyri, dear reader, because there’s so many awesome things about it, not least for its historical value in understanding some of the origins and foundations of Western magical practice as we know it today and how their rediscovery continues to shape it in modern occulture, but because of all the wonderful techniques they contain.  And just think: what we have in Betz’s famous translation is still only a fraction of what’s still out there, both discovered and undiscovered, translated and untranslated.

So, I meant to have this post out shortly after the ritual writeup of the Royal Ring of Abrasax was put up, but then the last post happened where I also introduced it, so…whoopsie.  Anyway, this ritual, PGM XII.201—269, describes the consecration of a kind of ring of power, “useful for every magical operation and for success”, which it claims is constantly sought after by kings and other types of rulers.  In a sense, this particular ring can act as a general phylactery or protective charm against spirits in magical works and conjurations as well as a charm for success, victory, and fortune in all of one’s endeavors.  In some sense, it can be considered something resembling a conceptual forerunner of the Ring of Solomon known to later magicians; this isn’t to say that PGM XII.201—269 is an ancestor of the Ring of Solomon, but it indicates a transition of magical rings and how they evolved from simple empowerment and fortune charms into phylacteries and guarantors of magical success.  If you haven’t seen my write-up and analysis yet, it’s up under the Occult → Classical Hermetic Rituals menu.  Take a look!  It’s a fine example of a solid Graeco-Egyptian consecration ritual which can be seen as a kind of forerunner to later Hermetic and Solomonic ones.

The reason why I’ve been looking over this ritual is because Gordon White over at Rune Soup used this ritual as his (only) group exercise for his recent 2018 Q2 course on the PGM.  It’s an excellent course, as I’ve mentioned before, especially as it focuses less on the actual rituals present in the PGM and more about the background, context, development, and general methodology behind them.  Of course, it’s not like Gordon only wanted to just talk about them, but he wanted to get people up and running with them in a sensible way that involves some measure of rigor and spiritual connection.  For that purpose, Gordon set up a group exercise for those participating in the course to recite a portion of PGM XII.201—269 as a kind of semi-self-initiation before other PGM work.  As to how, specifically, Gordon accomplishes this, I recommend you head over to Rune Soup to check out the members section and go through his course material.  It’s worth the small cost of admission, I claim.  Just because the course is finished doesn’t mean you can’t perform the self-initiation ritual at any time you want or need, especially now that a current-connection has already been established in the same way by quite a number of other magicians.

Gordon explains his reasoning for adapting this ritual for this purpose at the end of the first module of the course.  Essentially, the author (or compiler) of these parts of the PGM texts was, in all likelihood, an actual Egyptian initiated priest who moonlighted as a magician-for-hire.  Because of his initiated status, he had access and license to work with the gods and spirits found in the PGM in such a way that we never can at this point, or at least, not in the same way; those initiations and lineages are long since vanished, and there’s no way to achieve the exact same status as our original author friend; as I’ve discussed before, lineage can make a world of difference when it comes to starting out at the same point of power based on initiation and lineage or the lack thereof.  To that end, Gordon set up a specially-modified form of PGM XII.201—269 as a sort of quick self-initiation into the powers and currents of the PGM to make our future PGM work that much more effective, serving as an introduction to the PGM powers.  Without performing such a self-initiation, it’s possible that we can get some results out of doing PGM work, but not necessarily to the same extent without a formal introduction, for which Gordon’s modified PGM XII.201—269 serves decently enough for any beginner to PGM-style magic.  Plus, it benefits from the fact that it’s a comparatively simple ritual (at least in Gordon’s modified form) without onerous barbarous names of power, which can be terrifying for those new to the PGM.

The Royal Ring of Abrasax ritual is not a particularly complex or difficult ritual to do; sure, there’s a bit of animal sacrifice involved, but that’s nothing that we can’t work with, either by actually bleeding the required birds or by making a sincere and appropriate substitution (I go over one such method in my write-up for those who are unable or unwilling to perform such a sacrifice, and for more information, check out my last post).  The main hymn of it is rather beautiful, but it also struck me as familiar, and I wasn’t entirely sure why that was the case.  It was some of the footnotes from Betz that tipped me off; part of the hymn was annotated with a reference to PGM XIII.734—1077, which titles itself the Tenth Book of Moses, from which the Heptagram Rite comes (along with its smaller variant the Calling of the Sevenths, aka Heptasphere).  The preliminary invocation of the Heptagram Rite (at least in its Major form that I’ve written about) is basically the entirety of the main hymn of the Royal Ring of Abrasax, just fleshed out with more barbarous names of power, including close variants of the same barbarous name that the Royal Ring of Abrasax ritual centers around.  This was fantastic to discover on its own, that these two PGM sections from different papyri could be tied together in this way, but there was another part to discover; the end of the Tenth Book of Moses (after the Heptagram Rite is discussed) introduces a consecration for a particular kind of phylactery that, itself, bears many parallels to the consecration ritual of the Royal Ring of Abrasax.  So, not only do we have a near-identical prayer in these two PGM sections, but we even have a rough match of a consecration for a charm of power and protection!  Finding two such similar rituals in close proximity within the same PGM would be one thing (a la the Eighth Book of Moses from PGM XIII.1—343, 343—646, and 646—734), but this is an even more important realization.  It either indicates that both papyri were compiled or written by the same author, or that two separate authors had the same source for almost the same procedures; I’m not sure which is more likely, but both are exciting things.

However, the parallel parts between PGM XII.201—269 and PGM XIII.734—1077 are separated by quite a lot of content, and what’s present in one is not used in the same way as it’s used in the other.  The near-identical hymn that’s present in both is used for two radically different rituals: in PGM XII.201—269, it’s used as part of a consecration of a charm, and in PGM XIII.734—1077, it’s used as part of (what is essentially) a theurgic ritual.  It’s an interesting example of using the same ritual act or performance for different ends, especially because it’s in the source text of the PGM which we all admire and love.  What this indicates to me is that there’s an implicit acknowledgment that certain things can be used in different ways, a kind of magical upcycling or repurposing of techniques.  This isn’t particularly uncommon; after all, consider the PGM-style framing rite I put out a few days ago.  The vast majority of that is slapped together from a variety of PGM sources, picking and choosing this and that to come up with a more-or-less unified whole.  Heck, one of the sources I picked some techniques from, PGM IV.930—1114 (the Conjuration of Light under Darkness ritual) itself has the markers of being slapped together from two different rituals for different purposes brought into a more-or-less unified whole.  What I did to come up with my framing rite may not sit well with PGM-focused grimoire purists, but it’s solidly within the same tradition and following the same meta-methodology that’s present within the PGM itself.

Consider our modern use of PGM V.96—172, the Headless Rite.  Originally, it was intended as a simple exorcism, but thanks to the innovations of Aleister Crowley, it was adapted into a theurgic self-empowerment and self-elevation ritual, and the way he did it allows for further customizations to be made.  Where Crowley changed “deliver NN. from the demon that restrains him” to “hear me and make all spirits subject unto me” (a reuse of one of the last lines of the ritual), other adaptations can be made to the Headless Rite that can turn it from an exorcism ritual into a banishing, empowering, or theurgic ritual:

  • Exorcism: “Deliver NN. from the demon that restrains him!”
    • Here, NN. is the name of the person to be exorcised.
    • This is the original “rubric” as used in the PGM version of the text, since this was originally intended as an exorcism ritual.
  • Banishing: “Deliver me, NN., from any and all demons, death, defilement, illness, impurity, infirmity, pain, plague, or poison that restrains me!”
    • Here, NN. is your own name.
  • Empowering: “Subject to me all spirits so that every spirit whether heavenly or ethereal, upon the earth or under the earth, on dry land or in the water, of whirling air or rushing fire, and every spell and scourge of God may be obedient to me!”
    • This is the version used in Liber Samekh, which is just a more fleshed-out version of the charge used for donning the coronet, as discussed below.
  • K&CHGA: “Send to me my neverborn friend and guardian, my supernatural assistant, my agathodaimon, my holy guardian angel!  Send to me the spirit NN. whose duty it is to guide, lead, assist, and protect me through this and all lives!”
    • Here, NN. in this case refers to the name of the guardian angel, if known.  Otherwise, omit the use of a name entirely and refer to the guardian angel generally.

Consider also our modern use of the Orphic Hymns, especially those for the planets.  One of my good colleagues suggests that the original use of the Orphic Hymns were that they were to all be sung in succession as a kind of diagnostic theurgic rite so as to call out specific divinities that might be affecting someone at a given time, and not necessarily that individual hymns were to be used on their own.  Yet, magicians have been using them for centuries as individual prayers for individual entities outside their original contexts; consider what Cornelius Agrippa has to say about them in his Three Books of Occult Philosophy (book I, chapter 71):

Besides, with the divers sorts of the names of the Stars, they command us to call upon them by the names of the Intelligencies, ruling over the Stars themselves, of which we shall speak more at large in their proper place. They that desire further examples of these, let them search into the hymns of Orpheus, then which nothing is more efficatious in naturall Magick, if they together with their circumstances, which wise men know, be used according to a due harmony, with all attention.

After all, most people in the modern Hermetic/astrological magic scene (especially those who work outside the Golden Dawn and similar systems) are familiar with the use of the Orphic Hymns for the planets and use them in their rituals, whether as a kind of daily adoration of the ruling planet of the day or as part of a chant for the consecration of a planetary talisman during an election of that planet or for other purposes.  For instance, as a gesture of worship to Hermēs, I recite his Orphic Hymn whenever I enter a post office, no matter the day or time; this is certainly a modern adaptation of the use of such a prayer, and one that wouldn’t fit into any classical scheme except the broadest notions of “general worship”, but it goes to show that bits and pieces of ritual and religious texts can be used in ways that may not have been anticipated by their original authors, yet work well all the same for their new purpose.

In a similar vein, consider the use of the Psalms of the Old Testament.  These were originally devised as songs for worship, celebration, and religious meditation, yet parts of them have been in use in a variety of religious rituals and ceremonies; consider the Asperges Me, a few lines of Psalm 51 that’s recited in some Catholic Masses as well as in folk ceremonies of purification.  Heck, consider the wide and deep practice of psalm-based magic, where particular psalms are recited, either on their own or accompanying other ritual acts such as dressing and lighting candles.  A good example of a similar type of Old Testament-based magic is that of Draja Mickaharic’s Magical Spells of the Minor Prophets, where Mickaharic describes how to use individual verses of the minor prophetical books from the Old Testament for a variety of magical ends, including one chapter where every verse from an entire book can be used magically.  This is definitely magical repurposing on a whole new level, and yet is so firmly grounded and founded in classical magical meta-methodology that it’s hard to see how deep these foundations have been dug.

The trick when repurposing bits and pieces of extant ritual and texts, as always, is to be smart about it.  Cherry-picking without care or caution can get you into a lot of trouble real quickly, because not all individual parts of rituals can be extracted or extrapolated for different use.  For instance, the Conjuration of Light under Darkness is absolutely a conjuration ritual, combined from a lamp divination spell and a theophanic ritual.  However, at a large scale, the Conjuration as a whole cannot be adapted to the conjuration of other entities generally, like how the Trithemian rite of conjuration I use can be used for angels, natal genii, genii loci, and so forth with the right adaptations; instead, it’s pretty specifically geared to the conjuration and communion of one entity.  However, particular parts of this ritual may be used outside of it; I chose the Light-Retaining Charm and the Dismissal of Light, specifically, which kind of come as a set, since if you use one, you need the other.  My whole dismissal prayer I use is cobbled together from two different PGM sources (PGM I.262—347 and PGM VII.930—1114) which work well when mixed together due to overlap of particular phrases, and the fact that they do the same thing.

The compatibility and extensibility of particular techniques, and at what level and for what purpose, is important to consider when trying to pick and pull things together.  This can be difficult with PGM stuff, given the use of barbarous names of power; in general, we don’t know what they mean, and so we don’t know if we’re calling on something generally by their use in a given situation or if we’re calling on something particularly specific for a specific function.  Moreover, we don’t know whether what we’re calling is compatible only with its original context and not with the repurposed one we’re putting it to.  What makes things dicey is that we can’t just omit the barbarous names of power, either; consider Zoroaster’s injunction #155 from the Chaldaean Oracles, “change not the barbarous Names of Evocation for-there are sacred Names in every language which are given by God, having in the Sacred Rites a Power Ineffable”.  The words have power, which is why we say them; to remove the words is to remove the power, and to change the words is to change the power.  Better to use them than not, where present, unless you know precisely what you’re doing and how to get around it.  That’s why one of the reasons it took me so long to cobble together a PGM-style framing rite from off-the-shelf PGM pieces, because I needed to make sure that they were either naturally general enough to be used, or could safely be made general while still being effective as well as compatible with the other parts I was using.

The reuse of the hymn to the Agathos Daimōn between the Royal Ring of Abrasax ritual and the Major Heptagram Rite presents us with a unique opportunity, then, to see how one particular magical technique can be repurposed and even reworded; note that the Royal Ring of Abrasax version of the hymn contains far fewer barbarous names, indicating that—perhaps—not all of those are needed here for this purpose, or their use would have been more appropriate to a theurgic ritual rather than a consecration ritual, or that their use was not needed at all for the sake of praising and honoring the Agathos Daimōn.  Noting how the same prayer can be used in different rituals, it’s also easy (and, I’d argue, fruitful) to think how the prayer can be used in other contexts, such as in a daily prayer routine alongside other PGM-derived prayers like PGM IV.1115—1167 (the Hymn of the Hidden Stele, which has no purpose stated either as a header or as part of this section of the PGM) or PGM IV.1167—1226 (the Stele of Aiōn, which works as both a powerful prayer generally as well as being “useful for all things; it even delivers from death”).

When going about cobbling together from parts of other rituals (PGM or otherwise), I would recommend to a few questions to bear in mind to make sure you’re on the right track:

  1. Have you studied or, even better, performed the original ritual you’re choosing parts from to get an intimate understanding of what it does, both as a collection of ritual parts and as a unified whole?
  2. What is the nature of the original rituals, both as a whole and as parts, and how does it compare with the goal of the new ritual, both as a whole and as parts?
  3. What entities are being called upon in the original ritual, and do they conflict with other entities from other original rituals?
  4. Does the part of the original ritual being chosen require something else to be done with it, or can it stand alone on its own?
  5. Can the part being chosen from the original ritual be picked up and used as it is, or does it require modifications to wording or performance?
  6. Does the original ritual use barbarous or divine names of power?  Does the intent behind them in the context of the original ritual work for a different use?
  7. Can the charge or purpose of the part being chosen from the original ritual be modified or generalized while still keeping true to the power of the original ritual?
  8. Is taking a part from an original ritual really needed?  Is that part serving an actual use or function within the cosmological and methodological understanding of the new ritual?
  9. Is a new ritual being put together from parts of original rituals necessary, or will an original ritual suffice, either with or without modifications to charges, commands, or ritual implements?

There is value in knowing and understanding the dozens, hundreds of rituals in the PGM, or in any system or tradition or collection of magical works, and accomplished magicians can pull any ritual they need from their handbooks or private collections to accomplish anything they need or want.  However, there is at least as much value in being able to understand the parts of those same rituals, know what works, know what can be extended or abridged or adapted, and being able to whip something up (big or small) from parts off the shelf that’s at least as effective because they know how to plug certain ritual actions into each other.  The trick is being smart about it and knowing what can—and should—plug into what.

A PGM-Style Framing Rite for Pretty Much Any Purpose

This past quarter, the splendid Gordon White of Rune Soup held another of his classes, this time on the Greek Magical Papyri, otherwise known famously as the PGM.  It was a great course; rather than being focused on simply presenting rituals and implementations thereof, Gordon went all out on giving the context, development, influences, cosmology, and theory that really fleshes out the PGM.  No, the PGM cannot be considered a single body of texts, because they’re inherently not: they’re a jumble of papyri from multiple authors across multiple centuries.  However, Gordon’s class really pulls so much of it together into something that could, honestly, feel like it could be presented as part of a single text, or at least a single tradition with more-or-less a single mindset.  It’s a tall order, but it’s a great thing to take if you’re a member of his class stuff.  That said, and to be candid about it, I’m kinda left a little hungry by the course: knowing that Gordon’s been doing PGM magic for…quite some time (probably longer than I’ve been a magician at all), I’d’ve liked to see more implementations and descriptions of ritual rather than just the cosmological backgrounds behind what we have in the PGM.  Still, I also know that I’m often left a little (or a lot) disappointed by other books on PGM-style magic that mostly or only list rituals with only a smattering of cosmology behind them; some of them are worthwhile, at least for a while, but I tire of them easily, probably because I’m a spoiled brat and like to chew on things myself rather than simply have them presented to me, so perhaps it’s really for the best that Gordon focused on the background and theory of the PGM rather than the contents themselves.  Of the other well-known books about the PGM, Stephen Skinner’s Techniques of Graeco-Egyptian Magic is a great analysis of the content of the PGM, and is a helpful index and guide to looking at and investigating parts of the PGM (though I differ with him on some accounts as well).

Flatteringly, Gordon referenced me and my work on my blog and website several times throughout his course.  (I admit, I was caught off-guard each time he did so, and it felt like I was being called out in the middle of a college lecture hall each time I listened into his class, and so promptly spat out my wine and/or energy drink of choice at that moment.)  To my credit, I have done quite a bit of PGM work; not as much as I’d like, but I do write about it quite a bit, and have whole groups of pages up both for PGM and PGM-like rituals as well as prayers from the Hermetic and PGM traditions, and about a tenth of the posts and pages on this website reference the PGM in one way or another.  For other splendid websites and bloggers on PGM stuff, I might also recommend Voces Magicae as well as Sublunar Space, who both appear to do quite excellent stuff on their own.

One of the most hilariously common things one might see in the PGM texts is the phrase “add the usual” (even to the point where Gordon was considering naming parts of his course that phrase).  Bear in mind that the PGM is basically a collection of the notes of working, jobbing magicians who kept track of their observations, rituals, recipes, and the like.  Just like how someone wouldn’t write down something in their journal that they did each and every time they got themselves ready in the morning but merely obliquely referenced it, so too did the PGM authors do the same for their own texts; if they had a particular MO, they wouldn’t waste the ink and papyrus on it, but simply said “add the usual”.  What that “usual” might have been, we don’t often know or have the means to find out, but it does indicate that certain rituals took place within a broader framework or ceremonial practice.  A modern term for this is a “framing rite”, where a particular ritual procedure is established to attune, protect, and generally set things up for a magician to do something specific within the overall ritual.  Examples of framing rites abound in modern systems of magic, and for those who have a daily magical practice, those same rituals can often be used both generally each day as well as immediately before/after a ritual to prepare or wind down the magician for the ritual.  With all the instances of “add the usual”, we have evidence that similar practices were done in the era of the PGM authors, as well.

With that in mind, and bringing my own Mathēsis practices and my other temple procedures into the mix, I was wondering if I could codify and establish a PGM-style framing rite for myself.  I adore the PGM stuff, after all, and I definitely incorporate many of its techniques in much that I do, whether it’s whole rituals or just parts I pick and extrapolate from.  Plus, given all the PGM resources I’ve put out on my blog, including implementations of rituals for which we only have the bare bones from the original source, it’s not like I lack for sources of inspiration.  So, I decided to pluck bits and pieces from a variety of PGM, Hermetic, Neoplatonic, and similar sources of magical praxis and slap them together into an overall procedure that works as a framing ritual for…well, anything, honestly, but with a focus on PGM-style magic (though not necessarily the PGM rituals themselves, especially those that provided inspiration for this framing ritual).  Between the lists of names of spirits, invocations for a variety of purposes, implementations of ritual designs, and the other practices I’ve developed in the meantime, it wasn’t hard to form a synthesis of PGM-inspired ritual.  Is it a mish-mash?  Absolutely, and I make no denial or complaint against that!  Is it effective?  As far as I’ve noted, it definitely is, which is why I have no complaints about it (besides my own quibbles in refining it over time).  I don’t mean to say that the PGM can be treated as a single, coherent text, because it’s absolutely not; that said, it’s not hard to pick the individual techniques that can be separated from particular parts of the PGM and synthesize them together into its own more-or-less coherent whole.

What follows is my attempt at such a generalized magical procedure.  Admittedly, this is still an experimental framework, and I’m still in the process of making minor tweaks and edits to it; however, the bulk of it is stable, and any further changes to be made would be minor indeed.  The framing rite, as the ritual proper itself, will benefit from being done in a previously established or consecrated space, but the framing rite itself suffices to establish a working temple in any space or location.  Further, with minor modifications, anything before the ritual proper according to the framing rite schema given here may also be used as a format for a regimen for daily magical practice.  Not all parts are required, but may be done at the magician’s discretion; when something is optional, I’ve said as much.  The general outline of the framing ritual, in full, is as follows:

  1. Send out any non-initiates.  (optional)
  2. Ablute with lustral water.
  3. Illumine the temple and call on the Lord of the Hour.
  4. Call on the Lord of the Day.  (optional)
  5. Call on the Lord of the Stars.  (optional)
  6. Consecrate the Light.
  7. Call on the Guardians of the Directions.
  8. Opening prayer.  (optional)
  9. Cast the circle.  (optional)
  10. Empowerment and fortification.
  11. Initial offering of incense to the spirits. (optional)
  12. The ritual proper.
  13. Closing prayer.  (optional)
  14. Dismissal offering to the spirits.
  15. Uncasting the circle.  (only if a circle was previously cast)
  16. Extinguishing the Light.

The following materials are required for the framing rite itself, in addition to whatever other materials the ritual proper calls for:

  • A head covering, such as a shawl or scarf
  • A clean basin or bowl
  • A clean towel (optional, if desired)
  • Fresh water
  • Salt or natron
  • Bay leaves, or cotton balls along with a tincture of bay laurel and frankincense
  • A lamp or candle, not colored red or black
  • Incendiary tool, such as matches or a lighter
  • Incense, most preferably frankincense
  • White chalk, a wand, or a knife to draw a circle (optional, only if desired)

In the future, once I make any further refinements and hammer out any other inconsistencies in the framing rite, I’ll eventually add it to the Rituals section of pages on my website.  In the meantime, I hope you enjoy, and if you’re interested, give it a whirl and see how you feel applying the following framing rite, both around a ritual itself as well as a basis for daily practice!

Note that in the following ritual text, except for the few short Greek phrases used and the names of spirits listed in the tables below, I’ve left what few barbarous words of power are used in the framing rite in Greek.  I tried to use selected portions of the PGM that didn’t rely too heavily on barbarous words of power, but their use is still essential to PGM-style magic in general.  None of what are used below are particularly long or complicated strings of words of power as some parts of the PGM are known for, but are rather some of the shorter and most common ones; I’ve left them in Greek to prevent formatting clutter.  If you’re unsure on how to read them, consult the listed PGM sections in the Betz translation or learn how to read basic Greek.  I might also recommend to check out this page on the phonetic and esoteric associations of the Greek.alphabet as well as this post on a primer on how to meditate on them to get used to their sound and power.


If desired, especially if this is done in a group setting, recite Porphyry’s command from On Images to give a general call to dismiss all unwanted or uninitiated entities, incarnate and otherwise, to leave the space in which the ritual is to be performed:

I speak only to those who lawfully may hear:
Depart all ye profane, and close the doors.

If there is a door to the space in which the ritual is performed, now is the time to close it, unless safety concerns mandate it being open; some sort of barrier should be used instead, such as a bar, board, or stone put across or symbolically blocking the entry to the space.

Prepare the lustral water and ablute with it so as to purify yourself and the temple space. This is essentially the process of making khernips for khernimma:

  1. Fill a basin with clean, fresh water.
  2. Pour or sprinkle a small amount of sea salt or natron into the water.  I recommend doing this in a cross formation above the basin.
  3. Light a whole dried bay leaf or a cotton ball soaked in a tincture of frankincense and bay laurel. Hold it above the basin, and say:

    For the sake of purity and becoming pure…

    Quench the fire into the water, and say:

    …be purified!

  4. Mix the water thoroughly with the right hand.
  5. Wash the left hand with the right, then the right hand with the left, then the face with both hands, reciting:

    Χερνίπτομαι (Kherníptomai)! In purity, I cleanse myself and free myself from defilement.

  6. With the right hand or a bundle of bay leaves, sprinkle the khernips around you in a counterclockwise direction, reciting:

    Begone, begone, you polluting spirits, you evil spirits, begone, begone!
    May all that is profane be cast out, that only holiness may here remain.

  7. If desired, pat the face and hands dry with a clean towel or cloth.
  8. Cover your head with a loose-fitting shawl, scarf, stole, hood, or other headcovering.

If more than one person is present, the lead magician prepares the khernips, washes themselves, and asperges the temple space first.  After that, the other ritual participants wash themselves only (reciting only the “Χερνίπτομαι! In purity…” part).

Illumine the temple with sacred fire that shines forth with the light of Divinity. This is a combination of both a conjuration of the flame of the lamp or candle to be used in the ritual as well as an invocation to the temporal Lord of the Hour.  This lamp or candle should not be colored red or black, given the general proscriptions against it in the PGM for most types of work, and should be kept separate from other lights used in the ritual proper unless it’s a lamp divination or theophany that uses such a light.  Light the lamp or candle, ideally while standing to the west of the lamp and facing east towards it, and recite the following conjuration of the flame based on the spell for fires to continue from PGM XIII.1—343 (the Eighth Book of Moses) and the invocation to the lamp of PDM xiv.1—92 and PDM xiv.489—515, depending on whether the ritual is done during the daytime or the nighttime.

  • Diurnal conjuration of the flame:

    I conjure you, Fire, o daimon of holy Love, the invisible and manifold, the one and everywhere, to remain in this light at this time, shining and not dying out, by the command of Aiōn!
    Be great, o light!  Come forth, o light!  Rise up, o light!  Be high, o light!
    Come forth, o light of God!
    O bright face of Hēlios, …,  servant of God, you whose hand is this moment, who belongs to this Xth hour of the day, bring your light to me!

  • Nocturnal conjuration of the flame:

    I conjure you, Fire, o daimon of holy Love, the invisible and manifold, the one and everywhere, to remain in this light at this time, shining and not dying out, by the command of Aiōn!
    Be great, o light!  Come forth, o light!  Rise up, o light!  Be high, o light!
    Come forth, o light of God!
    O bright angel of Selēnē, …, servant of God, you whose hand is this moment, who belongs to this Xth hour of the night, bring your light to me!

The rulers of the unequal hours of the day and the night, taken from PGM IV.1596—1715 (Consecration of the Twelve Faces of Hēlios) and PGM VII.862—918 (Lunar Spell of Klaudianos):

Hour Diurnal
(PGM IV.1596—1715)
Nocturnal
(PGM VII.862—918)
I ΦΑΡΑΚΟΥΝΗΘ
PHARAKŪNĒTH
ΜΕΝΕΒΑΙΝ
MENEBAIN
II ΣΟΥΦΙ
SŪPHI
ΝΕΒΟΥΝ
NEBŪN
III ΑΜΕΚΡΑΝΕΒΕΧΕΟ ΘΩΥΘ
AMEKRANEBEKHEO THŌUTH
ΛΗΜΝΕΙ
LĒMNEI
IV ΣΕΝΘΕΝΙΨ
SENTHENIPS
ΜΟΡΜΟΘ
MORMOTH
V ΕΝΦΑΝΧΟΥΦ
ENPHANKHŪPH
ΝΟΥΦΙΗΡ
NŪPHIĒR
VI ΒΑΙ ΣΟΛΒΑΙ
BAI SOLBAI
ΧΟΡΒΟΡΒΑΘ
KHORBORBATH
VII ΟΥΜΕΣΘΩΘ
ŪMESTHŌTH
ΟΡΒΕΗΘ
ORBEĒTH
VIII ΔΙΑΤΙΦΗ
DIATIPHĒ
ΠΑΝΜΩΘ
PANMŌTH
IX ΦΗΟΥΣ ΦΩΟΥΘ
PHĒŪS PHŌŪTH
ΘΥΜΕΝΦΡΙ
THYMENPHRI
X ΒΕΣΒΥΚΙ
BESBYKI
ΣΑΡΝΟΧΟΙΒΑΛ
SARNOKHOIBAL
XI ΜΟΥ ΡΩΦ
MŪ RŌPH
ΒΑΘΙΑΒΗΛ
BATHIABĒL
XII ΑΕΡΘΟΗ
AERTHOĒ
ΑΡΒΡΑΘΙΑΒΡΙ
ARBRATHIABRI

Similarly, though not necessarily required, an invocation to the ruling god of the day may also be made at this time.  This may be done in one of two ways: either by the ruler of the day according to the planet, or according to the ruler of the Pole using the Seven-Zoned method from PGM XIII.1—343/XIII.646—734.

Using the same section from PDM xiv.489—515 as before, invoke the planetary ruler:

  • Using the day ruler method:

    O blessed god, …, servant of God, you whose hand is this moment, who rules over this day, bring your light to me!

  • Using the Seven-Zoned (Pole ruler) method:

    O blessed god, …, servant of God, you whose hand is this moment, who rules over the Pole on this day, bring your light to me!

Alternatively, another invocation to the appropriate planet may also be used, such as praying the Orphic Hymn to that planet.

Weekday Ruling Planet
By Day Pole Ruler
Sunday Hēlios Selēnē
Monday Selēnē Hermēs
Tuesday Arēs Aphroditē
Wednesday Hermēs Hēlios
Thursday Zeus Arēs
Friday Aphroditē Zeus
Saturday Kronos Kronos

If further desired, though again not required, an invocation may be made to the Zodiac sign that rules the present time, based on PGM VII.795—845 (Pythagoras’ request for a dream oracle and Demokritos’ dream divination).  Given the lunar and nighttime connections of that ritual, it may be best to call upon the sign of the Zodiac in which the Moon is currently found; however, for more solar-oriented rituals, using the Zodiac sign in which the Sun is currently found may be used instead.  A combined method, which I would recommend, calls upon the two signs of both the Sun and the Moon together:

O blessed heavens, solar … and lunar …, you two asterisms that watch over all the works of the world, bring your light to me!

If, however, the Sun and Moon are in the same sign:

O blessed heaven, …, you great asterism who watches over all the works of the world, bring your light to me!

Zodiac Sign Name
Aries ΑΡΜΟΝΘΑΡΘΩΧΕ
HARMONTHARTHŌKHE
Taurus ΝΕΟΦΟΞΩΘΑ ΘΟΨ
NEOPHOKSŌTHA THOPS
Gemini ΑΡΙΣΤΑΝΑΒΑ ΖΑΩ
ARISTANABA ZAŌ
Cancer ΠΧΟΡΒΑΖΑΝΑΧΟΥ
PKHORBAZANAKHŪ
Leo ΖΑΛΑΜΟΙΡΛΑΛΙΘ
ZALAMOIRLALITH
Virgo ΕΙΛΕΣΙΛΑΡΜΟΥ ΦΑΙ
EILESILARMŪ PHAI
Libra ΤΑΝΤΙΝΟΥΡΑΧΘ
TANTINŪRAKHTH
Scorpio ΧΟΡΧΟΡΝΑΘΙ
KHORKHORNATHI
Sagittarius ΦΑΝΘΕΝΦΥΦΛΙΑ ΞΥΥ
PHANTHENPHYPHLIA KSUHU
Capricorn ΑΖΑΖΑΕΙΣΘΑΙΛΙΧ
AZAZAEISTHAILIKH
Aquarius ΜΕΝΝΥΘΥΘ ΙΑΩ
MENNYTHYTH IAŌ
Pisces ΣΕΡΥΧΑΡΡΑΛΜΙΩ
SERYKHARRALMIŌ

With the sacred light lit and the appropriate powers of the present time invoked, uncover your head and recite the Light-Retaining Charm based on PGM IV.930—1114 (Conjuration of Light under Darkness):

I conjure you, holy Light, breadth, depth, length, height, brightness,
by ΙΑΩ ΣΑΒΑΩΘ ΑΡΒΑΘΙΑΩ ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ ΑΒΛΑΝΑΘΑΝΑΛΒΑ ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ ΑΙ ΑΙ ΙΑΩ ΑΞ ΑΞ ΙΝΑΞ
remain by me in the present hour, until I have accomplished all I have set out to do!
Now, now, immediately, immediately, quickly, quickly!

Call upon the Guardians of the Directions.  This is essentially using my Invocation of the Solar Guardians, based on PGM II.64—183 and PGM.XII.14—95, to recognize the four spiritual entities who stand guard of the stations of the Sun at sunrise, noon, sunset, and midnight, as well as the realms and rulers of the heights and the depths, so as to orient and protect both the temple and the magician.  The first guardian to be invoked is the one who controls the quarter of the sky where the Sun currently is: between sunrise and noon, the Guardian of the East should begin the invocations; between noon and sunset, the Guardian of the South; and so forth.

  1. First, face the East or, if preferred, whatever quarter of the sky the Sun happens to be in at the moment of the invocation.
  2. Take a half-step forward with the right foot, raise the right hand forward and out, and raise the hand up and out towards that direction.  Give the salutation to the guardian, lower the hand, bring the right foot back, then turn 90° clockwise to salute the next guardian.  The four salutations for these guardians are, with the order to be changed according to the direction first started with:

    ΙΩ ΕΡΒΗΘ, take thy place in the East!
    ΙΩ ΛΕΡΘΕΞΑΝΑΞ, take thy place in the South!
    ΙΩ ΑΒΛΑΝΑΘΑΝΑΛΒΑ, take thy place in the West!
    ΙΩ ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ, take thy place in the North!

  3. Once all four guardians of the cardinal directions have been saluted, return to the original direction, and stand with both feet together.
  4. Look directly up and extend the right palm outwards and upwards to salute the guardian of the heights:

    ΙΩ ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ, take thy place in the Heights!

  5. Look directly down, and extend the right palm outwards and downwards to salute the guardian of the depths:

    ΙΩ ΔΑΜΝΑΜΕΝΕΥΣ, take thy place in the Depths!

  6. Extend both arms outward with the right hand turned up and the left hand turned down, and give the concluding call:

    For I am ΜΑΛΠΑΡΤΑΛΧΩ standing in the midst of the All!

At this point, if desired, the magician may enter into a phase of prayer before any further work.  This is not required, but those who take a more liturgical or Hermetic priestly approach may consider reciting such prayers as the Prayer of Hermes Trismegistus from the Corpus Hermeticum, the Stele of Aiōn from PGM IV.1167—1226, the Hymn of the Hidden Stele from PVM IV.1115—1166, or other such prayers.  This would be to focus the mind of the magician as well as to further sanctify the temple, but these are not strictly required to be performed.

Before further work, some magicians may feel more comfortable working within a cast circle.  Given the purification, illumination, and warding of the temple in the previous steps, a circle may be deemed superfluous and unnecessary, and though researchers like Stephen Skinner suggest that circle-working could have been a common aspect of PGM-style magic, very few rituals in the PGM and similar works explicitly call for a circle, and most have no need for one.  However, should a circle be desired for further working, one may be cast at this point.  Starting from the same direction that the Guardians of the Directions began and proceeding clockwise, trace a circle on the ground (either drawn out in white chalk or natron, or traced with the fingertips of the dominant hand, a wand, or a knife) while reciting the following (adapted from my older preparatory/framing rite the Q.D.Sh. Ritual).  As there are four lines in the chant that follows, draw the circle slowly and thoughtfully enough such that each line can be recited within the tracing of one quarter of the circle.

In the name of the Nous, this circle is consecrated for our defense.
By the power of the Logos, this circle is defended for our perfection.
For the sake of the Sophia, this circle is perfected for our work.
Through the might of the Aiōn, may all that is baneful be cast out, that only Good may here remain.

Empower yourself.  This is a three-step process, combined from one popularly-known modern one and two adapted from the PGM.  The first part is what I call the “Ray of Heaven and Earth”, which is a variant of the first part of Jason Miller’s “Pillar and Spheres” energy work method from The Sorcerer’s Secrets; the visualization is largely the same, but I’ve replaced the chants from Latin/English with appropriate Greek ones.  The second part is a shorter form of the Heptagram Rite from PGM XIII.734—1077; it’s more involved than a simple Calling the Sevenths (which is fine on its own and may be substituted here instead for time), but it’s also not the entire Heptagram Rite, either; this middle-form is what I call the Minor Heptagram Rite.  This is finished with the final declaration of power and protection from the Headless Rite from PGM V.96—172, using the Crowley form of the ritual (though substitutes may be made here as well).

  1. Perform the Ray of Heaven and Earth.
    1. Stand upright with the back straight. Center yourself.
    2. Visualize an infinite, infinitely white light shining directly above you, infinitely distant in the highest heavens.
    3. Intone: Κατάβαινε, ὦ πέλεια! (Katábaine, ō péleia! or, in English, “Descend, o Dove!”) As you intone this, inhale deeply and visualize a ray of white light shining down from the heavens directly into the crown of the head, down through the spine, through the sacrum, and downwards infinitely below you. Exhale slowly, feeling purifying, soothing, straightening power radiate from the ray into the rest of your body.
    4. Maintain the above visualization. In addition to that, Visualize an infinite, infinitely red light shining directly below you, infinitely distant in the lowest reaches of the earth.
    5. Intone: Ἀνάβαινε, ὦ ὄφϊ! (Anábaine, ō óphï! or, in English, “Ascend, o Serpent!”). As you intone this, inhale deeply and visualize a ray of red light shining up from the earth directly into the sacrum, up through the spine, through the crown, and upwards infinitely above you. Exhale slowly, feeling vivifying, heating, hardening power radiate from the ray into the rest of your body.
    6. Visualize both rays, the white descending from heaven though you into the earth and the red ascending from earth through you into heaven, and mixing in your body, connecting it with all the heavens and all the earth with you in the direct center channel between them.
    7. Intone: Ἅφθητι, ὦ πυρ! (Háphthēti, ō pur! or, in English, “Be kindled, o Fire!”) As you intone this, inhale deeply and let both powers suffuse your body in an infinitely bright light, feeling all the powers of heaven and earth connect within you. Exhale slowly, letting the power radiate through you and from you, having connected with heaven and hell equally.
  2. Perform the Minor Heptagram Rite.  If desired, the shorter Calling the Sevenths may be done instead, but for full rituals, the Minor Heptagram Rite is preferred.
    1. Recite the invocation to Aiōn:

      I call on you, eternal and unbegotten Aiōn, who are One, who alone hold together the whole creation of all things, whom none understands, whom the gods worship, whose name not even the gods can utter. Inspire from your breath, o ruler of the Pole, the one who calls on you who is under you! I call on you as the gods call you! I call on you as the goddesses call you! I call on you as the winds call you!

    2. Face the sunrise in the east with arms raised in the orans gesture.

      I call on you as the east: Α ΕΕ ΗΗΗ ΙΙΙΙ ΟΟΟΟΟ ΥΥΥΥΥΥ ΩΩΩΩΩΩΩ

    3. Face north with arms raised in the orans gesture.

      I call on you as the north: Ε ΗΗ ΙΙΙ ΟΟΟΟ ΥΥΥΥΥ ΩΩΩΩΩΩ ΑΑΑΑΑΑΑ

    4. Face west with arms raised in the orans gesture.

      I call on you as the west: Η ΙΙ ΟΟΟ ΥΥΥΥ ΩΩΩΩΩ ΑΑΑΑΑΑ ΕΕΕΕΕΕΕ

    5. Face south with arms raised in the orans gesture.

      I call on you as the south: Ι ΟΟ ΥΥΥ ΩΩΩΩ ΑΑΑΑΑ ΕΕΕΕΕΕ ΗΗΗΗΗΗΗ

    6. Face down with arms raised in the orans gesture.

      I call on you as the earth: Ο ΥΥ ΩΩΩ ΑΑΑΑ ΕΕΕΕΕ ΗΗΗΗΗΗ ΙΙΙΙΙΙΙ

    7. Face forward with arms raised in the orans gesture.

      I call on you as the sky: Υ ΩΩ ΑΑΑ ΕΕΕΕ ΗΗΗΗΗ ΙΙΙΙΙΙ ΟΟΟΟΟΟΟ

    8. Face up with arms raised in the orans gesture.

      I call on you as the cosmos: Ω ΑΑ ΕΕΕ ΗΗΗΗ ΙΙΙΙΙ ΟΟΟΟΟΟ ΥΥΥΥΥΥΥ

    9. Recite the second invocation to Aiōn, based on the Eighth Book of Moses (PGM XIII.1—343) and the Headless Rite (PGM V.96—172):

      I call on you, who are greater than all, the creator of all, the self-begotten who see all and are not seen! For you gave to Hēlios glory and all power, and to Selēnē the privilege to wax and wane and have fixed courses, yet you took nothing from the earlier-born darkness, but apportioned all things so that they should be equal! For when you appeared, both Order and Light arose! All things are subject to you, whose true form none of the gods can see, who change into all forms! You are invisible, o Aiōn of Aiōns, and through you arose the celestial pole from the earth! Hear me and help me, o lord, faultless and unflawed, who pollute no place, for I bear witness to your glory! Lord, King, Master, Helper, empower my soul!

  3. Recite the final empowerment of the Headless Rite:

    ΑΩΘ ΑΒΡΑΩΘ ΒΑΣΥΜ ΙΣΑΚ ΣΑΒΑΩΘ ΙΑΩ
    Come forth and follow, so that every spirit, whether heavenly or ethereal, upon the earth or under the earth, on dry land or in the water, of whirling air or rushing fire, and every spell and scourge of God may be obedient unto me.

    Alternatively or additionally, if another phylactery is to be used for a given ritual, this is the proper time to don it and recite any accompanying prayers or invocations that go along with it.  These include rings, pendants, headwear, anointing with oils, or the use of other charms, spoken or otherwise.

Now, complete the empowerment and establishment of the temple by reciting the following, again from the Crowley version of the Headless Rite:

Thus have I spoken; thus are the words!
ΙΑΩ ΣΑΒΑΩΘ

At this point, the temple has been prepared and established as a sacred space, and you as the magician have become empowered and placed yourself under the powers of the cosmos and of those who watch over the temple.  If desired, incense may now be lit for its own sake as a means to further purify the temple, as well as an offering for the powers that watch over and already inhabit it, though it is not necessary to do so at this time and is better reserved for the ritual proper that follows.

With all the above done, the ritual proper may then begin in earnest.  Whatever happens here depends on the magician and the ritual itself.

After the ritual proper, prayers of thanksgiving and communion (such as the Prayer of Thanksgiving of Hermes Trismegistus from the Corpus Hermeticum) may be made at this point, especially after purely theurgic or truly divine rituals, but are not required.

Once the ritual proper has come to a close, the temple must also be closed with a general dismissal of spirits and a formal extinguishing of the light:

  1. Light a small amount of incense as a final thanks, general dismissal, and banishing, reciting the following based on the final prayers from PGM I.262—347, PGM IV.154—285, and PGM VII.930—1114.  Frankincense is the best general choice for this, but other types of incense may also be offered based on the nature of the ritual done before.

    I have been attached to your holy form;
    I have been given power by your holy name;
    I have been blessed with your holy emanation of the Good;
    Be gracious unto me, Lord, god of gods, master, daimōn, primal, elder-born one!

    I give thanks to you, o great gods, elder-born, mighty powers!
    Depart, lords, depart into your heavens, into your places, into your courses.
    I adjure by the fire which first shone in the void,
    I adjure by the power which is greatest over all,
    I adjure by him who destroys even in Hadēs
    That all now depart from this place, returning to your abodes,
    And harm me not, but be forever kind.
    Keep me healthy, unharmed, untroubled by ghosts, free from calamity, and without terror.
    Hear me for all the days of my life!

    Thus have I spoken; thus are the words!
    ΙΑΩ ΣΑΒΑΩΘ

  2. If the optional circle was cast earlier, it should be traced counterclockwise starting at the same direction from which it was drawn prior to such prayers.  If the circle was merely traced, e.g. with the fingertips or a wand, trace it in reverse using the same means; if it was drawn in e.g. chalk or natron, make four openings in the circle aligned to the four directions as the circle is otherwise traced with the fingertips.  No invocation or chant is required for this, but a short thanksgiving prayer may be said, such as the following from my own simple thanksgiving practice:

    Nous, Logos, Sophia, Aiōn,
    Thank you very much for everything.
    I have no complaints whatsoever.

  3. Extinguish the light.  With the eyes closed, recite the following over the flame of the lamp or candle using the Dismissal of Light from PGM VII.930—1114 as well as a short form of the method for quenching fire from PGM XIII.1—343, the first to send away the holiness in the flame and the second to put out the physical flame itself:

    ΧΩΩ ΧΩΩ ΩΧΩΩΧ, holy brightness!
    Depart, holy brightness!
    Depart, beautiful and holy light of the highest God Aiōn!

    Hear, o Fire, o work of the works of God, o glory of the Sun!
    Be quenched, become cold, and let your flame be scattered that it may touch no one and nothing!

    Cover your head once more, open your eyes, then put out the fire in one swift motion.

The temple space has now been closed, and the ritual has now come to a complete end.  Follow-up meditation or prayers may be made or a meal may be served, and any clean-up of the temple may now be done.

Compilation Paralysis

I’ve been on a compilation kick lately.  I mentioned in a recent post of mine about the Orphic Hymns that I’m compiling a personal temple text from a variety of sources because I don’t like having books in my temple room if I can avoid it; for instance, I have a copy of Dervenis’ Oracle Bones Divination that, up until quite recently, I’ve been using as my reference for astragalomancy, and have kept it with my shrines for the Greek gods.  This…makes me uncomfortable, so I transcribed all the necessary information from that into a personal ebook for me to keep a printout of instead.  Not only do I get to finally put the damn book back on the bookshelf after way too long, but I also get to reformat it, reorganize it, and include other information I want to reference, as well as tweak some of the translations for my own tastes.

Of course, one thing led to another.  I also included a few pages for grammatomancy, which also references a good chunk of my Mathesis correspondences to the letter, and because Opsopaus included the Delphic Maxims in his Oracles of Apollo book, I decided to include those, too.  Again, nothing too elaborate or in-depth; I have enough experience with these systems and the backgrounds and contexts in which they were written to not have to have all the extra information in a temple reference.  The final result is something I could be content with…except, of course, I wasn’t.  Given all the references to the other gods between grammatomantic correspondences to the zodiac signs and, by those, to the Greek gods (cf. Agrippa’s Orphic Scale of Twelve, book II chapter 14), I wanted to also have a section for the Orphic Hymns.  This is reasonable; after all, my personal vademecum-enchiridion-prayerbook has a number of them already transcribed, and while I won’t use all the Orphic Hymns in my practice, why not have a complete set for reference, just in case?  It wasn’t hard to find a copy of the Greek texts as well as the Taylor translations that I could simply copy, paste, and format for LaTeX’s customary needs.

But, of course, why stop there?  I also ended up adding Gemisthus Plethon’s hymns as well as those of Proclus, which I find useful for my Neoplatonic uses as well as my devotional ones.  And, if we’re going with devotions, I decided to also include a few prayers attributed to Hermes Trismegistus from the Corpus Hermeticum, the Asclepius, and so on, and because of those, I also wanted to bring in a few things from the PGM, which then became more than a few things from the PGM, and then I added in the planetary invocations from the Picatrix because those would be useful, too…

The ebook I was preparing ballooned from a simple reference for divination to a compendium of devotional and oracular texts.  Whoops.

But, yanno, I was hooked!  I wanted to bring in what I could, because it might be useful, whether in a devotion to the theoi or in divination or needing something to reference for meditation.  And, so, my penchant for completionism and perfectionism kicked in—hard—and I’ve been looking through my other references and books, trying to pick out useful prayers, invocations, rituals, and the like for my temple.  In effect, I was essentially making a typed-up version of my vademecum, with a different focus and with plenty more texts that I’m not accustomed to using.

This is all well and good, of course, assuming I could actually use the thing.  And in the form it was in, even in the form it had been in, it was quite plenty useful, and definitely satisfied my original needs of having a handy divination reference in my temple.  But since I brought in all these other things, I knew I wanted more, and because I wanted more, I also knew that it was incomplete.  And how would I tolerate having something be incomplete?  The idea is as distasteful as unnecessarily having books in my temple room.  Because it was incomplete, I didn’t want to print it out prematurely, especially with having to deal with page numbers or section enumeration, because if I wanted to add or fix something, I’d have to go back and reprint the damn thing for consistency, and even though I can get by by using the office printers once in a while for personal ends, I didn’t want to waste that much paper and ink.  Editing a text is one thing—I’m not opposed to using interim texts with scratched-in notes—but putting something on paper, especially printing something out, gives me a hard-to-achieve and yet so-satisfactory feeling of something being “fixed”, even if it is for my eyes only.  So, in order to make printing this thing meaningful, I wanted to make sure it was worthy and proper for printing.

It’s been over a month since I had the original problem of “I need a quick reference for divination”.  It’s also been over a month since I’ve had a workable, totally satisfactory solution for this problem, too, and yet I still haven’t fulfilled my needs.  Instead, I got caught up in a problem I call “compilation paralysis”: not wanting to proceed in some matter due to a fear of not having enough resources, options, or sources.

Some authors, especially those in academia or in teaching-types of writing, might know the feeling well, of not feeling like you have adequate source material to publish.  I have that same sensation, too, for my geomancy book-in-progress, knowing that there’s still so much more that might be included but…well, the benefits diminish after a certain point, and well before that, it’s probably better to cut out stuff that’s truly extraneous and unnecessary before adding anything more.  It does, in fact, help to start off with too much and cut down rather than having the opposite problem, and this is a habit I picked up in college for my research papers (getting down to the ten-page mark was a lot easier than trying to BSing and subtle-formatting my way up to it).  But, at the same time, consider the context: what these authors are dealing with is a single book on a single topic that is published for a single need.  Once that need is met, the book is (in theory, at least) publishable; further books can be written or new editions made with further appendices, but those aren’t strictly needed.  My problem, in this case, is dealing with something for me and me alone that needs to satisfy my sometimes-nebulous needs.

One of the reasons why I support people having a notebook or, perhaps even better from a utilitarian standpoint, a binder with written pages for their vademecum-enchiridion-prayerbooks or records of their prayers and rituals is because these are essentially living documents; as we grow in practice, they grow, too.  As we find new prayers, rituals, and correspondences, we add them in, organization be damned.  We can reevaluate the real use of these things we add, and reorganize what makes the cut, when we fill the first notebook and move onto the second one, as I did not too long ago.  These aren’t things that need to be polished, edited, or fixed in any way except what serves our needs in prayer and ritual, and as such, don’t need to be fancy, embellished, typeset, illumined, or otherwise made particularly fancy.  In fact, I have a personal fear of using those beautifully handcrafted, leatherbound, embossed, etc. journals I see floating across the internet and bookstores because I tremble at the thought of messing up such a beautiful work with errors or wasted paper; not only is my calligraphy not up to par to match the beauty of these books, but I find these things to be more appropriate to true works of devotion and love that are complete and refined unto themselves.  (I only speak for myself, of course.)

So, like, with my personal enchiridion, I don’t particularly care about making errors; there are scratchmarks, crossouts, and addenda all over the damn thing.  The important thing for me is not to waste space, so I try to be as efficient as possible cramming in as much information and references as possible into as few pages and lines as possible.  This is fine; after all, it’s my own personal thing, and nobody else needs to see or use it; besides, Moleskines can be expensive for such a notebook, even if they’re the perfect size to carry around (and fit in a Hyundai car manual leather case, I might add, which gives it extra padding and some extra utility, in case you wanted to try that out as a Moleskine bookcover).  The things I add to my enchiridion are a testimony to my growth and directions and shifts in focus I take in my practice, which I find is informative on its own.  The only important criterion I have for adding stuff to it, truly the only one, is whether something is going to be useful to me; if not, I’m not gonna waste the time writing it in or the ink to write it.

That’s what reminded me to get out of my compilation paralysis.  There’s no need to be scared or anxious about not having enough sources; if I need something later, I can just add it it.  It’s not like I didn’t already have these sources and there’s a threat of losing them; I’ve never needed a copy of the Homeric Hymns or the Nabataean prayers to the Sun or Saturn on hand when I didn’t already have my enchiridion or my copy of the Picatrix at hand, after all, so why should I be so worried about not having them in this temple reference?  I can always add new things into the overall document, print out the necessary pages, and just add them into the binder where appropriate.  It’s not that big a deal.  I know for a fact that I can always get this information should I need it, and if I haven’t needed it yet, there’s no harm to start off with that which I know I need right now and add stuff later.  I’ve got more than enough source material for what I need, anyway, and it’s more manageable to deal with two small binders than one massive one.

It’s a bitter pill for me to swallow, but even I have to admit it: none of us needs to know everything about our practices right out of the gate.  It might be nice, to be sure, but that’s also kind of the beauty of it, to let growth happen organically, especially if you’re in a practice that you’re developing on your own, as so many magicians and pagans are.  You don’t need full copies of the Homeric Hymns or Orphic Hymns in both Greek and English the moment you decide to build a shrine to one of the gods; you don’t need to know all the specific proportions of all the ingredients for the obscure incenses needed for all the planets from the Picatrix when you’re not even going to bother with a planet you’re going to interact with tonight once and probably not again for a few years more.  Part of the practice is just that: practice.  We do things, and then we do both more things and we do those same things more.  We learn, we accumulate, and we incorporate what we do into what eventually becomes our whole practice.  Part of that is necessarily finding more things to add and adding them at the proper time, as well as changing the things we do as we need to change them so as to keep doing them better or, at least, keep doing things better for our own sakes.  If we need to make emendations, do so at the proper time; you don’t know what would need them until you do or until they’re pointed out to you, and so much of that is based upon trial and error, experimentation and evaluation.  It’s not that big a deal.

There’s no need to worry, and there’s no cause for paralysis.  All you need to do is, simply, do.  Amend, fix, and add when you need to.  Don’t worry about trying to have everything ready for everything, especially when you don’t know what “everything” consists of.  Relax, then Work.