On the Elemental and Geomantic Epodes

Ever since I wrote that post about how the physical body can be represented by geomantic figures, I’ve been trying to puzzle something out for myself.  At the end of the post, I introduce the concept of a system of geomantically-derived energy centers in the body based on four centers and four elements: the Fire center in the head, the Air center in the throat, the Water center in the upper belly, and the Earth center at the perineum.  This is based on the Geomantic Adam diagram given in MS Arabe 2631, which divvies up the geomantic figures to the parts of the body in a way that’s untied to any astrological method (which is the usual method used in European and Western geomancies):

In addition to proposing four such energy centers, I also propose three possible sets of intonations based on the obscure BZDH technique from some forms of geomancy, and also suggest that the sixteen geomantic gestures or “mudras” can be used in addition with these to form the basis of a kind of geomantic energy practice.  However, I didn’t really describe any implementation beyond laying these individual parts of such a hypothetical practice down, because I hadn’t yet come up with a way to put the parts together into a whole.  I’ve been puzzling over how to do just that since the post went up earlier this summer.  I mean, it’s not hard to just slap some energy into parts of the body and call it a day, but let’s be honest: I want to do this right and be able to incorporate it into my own practice in a way that’s not harmful, and as we all know by now, it’s just as easy to use energy to make a body awful as much as it can be made awesome.

Now, I was originally going to just write a post about a more-or-less solid energy practice that uses four energy centers in the body, one for each of the four elements.  I’m still going to write that post, because I already started it, but I realized that there’s a significant chunk of it that needs to be clarified in its own post, because there’s a number of options one might choose for it with different bits of logic and arguments for and against each choice.  This section kept growing and growing, and it eventually dwarfed the actual point of the post itself, so I decided to get this bit out of the way first, especially since I’ve already introduced the topic when I brought up the notion of a geomantic energy practice to begin with.

For me in my magical practice, the spoken word is important, especially when it comes to things that are intoned, such as barbarous words or particular chants.  For instance, the seven Greek vowels are absolutely vital to my work, because each vowel is associated with one of the seven planets.  In fact, each of the letters of the Greek alphabet has its own spiritual associations to the planets, signs of the Zodiac, and elements.  It’s the elemental letters that are the focus here now: if I wanted to intone a special word to attune myself to the power of an element just like how I’d intone a vowel to attune myself to the power of a planet, what would I use?  I can’t really intone a consonant, so I invented special “power words” for the four elements by taking the corresponding consonant for the element, intoning ΙΑΩ, and ending with the consonant again, as below:

  • Fire: ΧΙΑΩΧ (KHIAŌKH)
  • Air: ΦΙΑΩΦ (PHIAŌPH)
  • Water: ΞΙΑΩΞ (KSIAŌKS)
  • Earth: ΘΙΑΩΘ (THIAŌTH)

This method works, but to be honest, I’ve never really liked it.  It’s always felt kind of imbalanced and inelegant, especially compared to some of the more refined barbarous words of power or the simplicity and clearness of the vowels for the planets.  When I first started thinking of what I could intone for a geomantic energy practice, my routine use of these words first came up, but I quickly remembered that there are other options available to me besides just this.  All I need to find is some appropriate, elegant system of four words for intoning for the sake of attuning to the four elements.

Also, what am I calling this particular type of power word, anyway?  These are small, usually single-syllabled things to intone or chant to attune with a particular force.  I suppose that these are barbarous names of a sort, but the fact that they’re so easily constructed doesn’t seem quite appropriate to call them “barbarous”.  The closest thing I can think of are bīja, which is a Sanskrit term meaning “seed”, but referring to single syllable mantras that can be intoned and thought of as encapsulating or emanating particular elements or powers.  Think of the syllables oṃ, dhīḥ, hūṃ, or other single-syllable such mantras found in tantric Buddhism or Hinduism.  These are powerful syllables and contain some aspect of the cosmos or dharma in their own right, and many deities, bodhisattvas, buddhas, and other entities or powers have their own bījas.  That’s a good concept and term for this, but I can’t think of any Western or non-Sanskrit term to call them, like how we might have “chant” or “orison” for the word mantra, “gesture” for mudra, or “energy center” for chakra.  Since I like having Greek-based terms, here are a few I would think are appropriate:

  • Odologue, which could come either from ᾠδόλογος ōidólogos meaning “song-word” or, alternatively, ὁδόλογος hodólogos meaning “road-word”, and either Greek word could be used here.  Odology, after all, can refer to “the study of the singing voice” or “the study of roads and paths”, and considering the purpose and use of these bīja-like words,
  • Rhizophone, from Greek ῥιζόφωνη rhizóphōnē, literally meaning “root sound”.  This is about as close a calque to bīja as I could think, helpfully suggested by Kalagni of Blue Flame Magick (who has a new website now, go update your RSS readers and links!).
  • Epode, which is simply the Greek word ἐπῳδή epōidé, meaning “song sung to something”, and more figuratively an enchantment, charm, or spell.  Unlike odologue or rhizophone, epode is actually a known word, both in Greek and in English, and though it can be used more broadly for spells or charms in general, the notion of something being sung here is important, which is basically intonation.  Though I like the above two words, let’s be honest: epode here is probably the best to go with.
    • There are other words used in Greek to refer to magic spells or charms, like kḗlēma or thélktron or other words, so we can reserve “epode” for what are basically mantras.
    • “Epode” could be used to give a useful Greek translation of “mantra” generally, as opposed to just bīja syllables, which are themselves considered single-syllable mantras.  For this, “root epode” or “small epode” could be used to clarify single-syllable epodes.
    • Likewise, “epode” wouldn’t necessarily be of the same type of word as “names”, ὀνόματα onómata, referring to the barbarous words of power that may simply be spoken, shouted, or intoned depending on the situation.  Plus, the barbarous names themselves aren’t usually constructed, patterned after anything, or even understood as having distinct or intelligible meanings.

So, what we’re doing here is coming up with elemental epodes, simple words that can be intoned or sung to attune or call down the forces of the elements, just how the intonation of the seven Greek vowels can do the same for the planets.  In fact, those vowels, when sung in a magical way, would become epodes in their own right.

Anyway, back to the topic at hand.  One straightforward option is to just use the Arabic or Greek words for the four elements themselves as things to intone:

  • Arabic:
    • Fire: nar (نار, pronounced “nahr”)
    • Air: hawa’ (هواء, pronounced “HAH-wa” with a sharp stop in the throat)
    • Water: ma’ (ماء, pronounced “ma” with a sharp stop in the throat)
    • Earth: turab (تراب, pronounced “tuh-RAHB”)
  • Greek:
    • Fire: pũr (πῦρ, pronounced “pür” like with the German ü or French u, or as “peer”)
    • Air: aḗr (ἀήρ, pronounced “ah-AYR”, smoothly without a stop in the sound)
    • Water: húdōr (ὕδωρ, pronounced “HEE-dohr” or “HÜ-dohr”, again with that German/French sound)
    • Earth: gē̃ (γῆ, pronounced “gay”)

However, I’m not a fan of doing this.  For one, the words themselves aren’t necessarily important if the resonance and link between what’s uttered/intoned and what’s being connected with is strong.  Here, all I really have to go is the semantic meaning of the words.  Plus, I don’t like how some of them are two syllables and others only one, and they all feel inelegant in some of the same ways as my *ΙΑΩ* words from above.  So, while the words for the elements could be used, it’s not one I’d like to use.

And no, I won’t use Latin or English for such things, either.  I don’t hold either to be a very magical language like how I’d hold Greek or Hebrew or Arabic, largely due to the lack of meaningful isopsephy/gematria or stoicheia of the letters for the Roman script common to both Latin and English.  I also didn’t list Hebrew here because, for the sake of my energy work, I largely focus on Greek stuff (for the Mathēsis side of things) or Arabic (for the geomantic side), and Hebrew doesn’t fit into either category.

However, there is another option for coming up with an intonation that is rooted in geomantic practice: the BZDH (or BZDA) technique.  This is a little-known technique in Western geomancy that seems to have had more use in Arabic geomancy.  As I said in the earlier post about the geomantic figures and the human body:

From my translation of the 15th century work Lectura Geomantiae:

By the Greek word “b z d a” we can find the house of the figures, which is to say in which house the figures are strongest, wherefore when the first point starting from the upper part of the beginning figure is odd, the second house is strong; when the second point is odd, the seventh house is strong; when the third point is odd, the fourth house is strong; when the fourth and last point is odd, the eighth house is strong. Thus we will find by this number the proper houses of the figures; by “b” we understand 2, by “z” 7, by “d” 4, by “a” 8, as in this example: “b z d a”.

This may not make a lot of sense on its own, but compare what Felix Klein-Franke says in his article “The Geomancy of Aḥmad b. `Alī Zunbul: A Study of the Arabic Corpus Hermeticum” (AMBIX, March 1973, vol. XX):

The best taskīn is that of az-Zanātī; it bears the key-word bzdḥ: according to the principle of Gematria, the transposition of letters of a word into numbers, in place of bzdḥ there result the numbers 2748. Thus the Mansions of the taskīn are indicated; each spot denotes one of the four elements; in the 2nd Mansion there is only the element Fire (Laetitia, ḥayyān), in the 7th Mansion only Air (Rubeus, ḥumra), in the 4th Mansion only Water (Albus, bayāḍ), and in the 8th Mansion only Earth (Cauda Draconis, rakīza ẖāriǧa).

Stephen Skinner clarifies this even further in his works on geomancy.  From his 1980 book “Terrestrial Astrology: Divination by Geomancy”:

Further specialized configurations or taskins are outlined together with mnemonics for remembering their order. Gematria, or the art of interpreting words in terms of the total of’ the numerical equivalents of each of their letters, is introduced at this point. Using the mnemonic of a particular taskin such as Bzdh, Zunbul explains that the letters represent the four Elements, in descending order of grossness. Each letter also represents a number in Arabic, thus:

b – 2 – Fire
z – 7 – Air
d – 4 – Water
h – 8 – Earth

This mnemonic therefore indicates House number 2 for Fire, House number 7 (Air), House number 4 (Water), and House number 8 (Earth). For each of the Houses indicated in this taskin, we see that the second is most compatible with Fire, the seventh with Air, and so on. Therefore, if the geomantic figure Laetitia (or in Arabic Hayyan), which is solely Fire, occurs in the second House, this would be. an extremely favourable omen. Likewise, the occurrence of Rubeus (or Humra), which is solely Air, in the seventh House would also be extremely auspicious. Further chapters are devoted to even more complicated combinations of the basic figures, and to labyrinthine rules for everything from marriage to medicine. Diagnosis by raml even became a lay rival of the latter, and tables were educed of the relationship between specific parts of the body and the geomantic figures.

In other words, based on these letters, we could intone a particular sound that starts with the letter “b” for Fire, “z” for Air, “d” for Earth, and “ḥ” (think of the guttural “ch” of German, but further back in the throat).

So, in this technique, we have four consonants that correspond to four elements.  We could use this BZDH technique to use these four consonants, each associated with one of the four elements according to an obscure technique in Arabic and early Western geomancy, to create a simple, clear syllable for each element when paired with a simple long vowel:

  • Arabic method:
    • Fire:  (با)
    • Air:  (زا)
    • Water:  (دا)
    • Earth: ḥā (حا)
  • Greek method:
    • Fire:  (ΒΗ)
    • Air:  (ΖΗ)
    • Water:  (ΔΗ)
    • Earth:  (Ἡ)
  • Latin method:
    • Fire: ba
    • Air: za
    • Water: da
    • Earth: a

Note that I’m largely using the “ah” sound a lot for these.  For one, in Greek, this is the vowel Alpha, which is associated with the Moon, which is one of the planets closest to the sphere of the Earth and which is one of the planets most aligned with the element of Earth.  Additionally, this would be represented in Arabic with the letter ‘Alif, which has the form of a straight vertical line, much like the geomantic figure Via (or Tarīq using its Arabic name), which is also a figure associated with the Moon and which is important as it contains all four elements; in this case, the “ah” sound would be most aligned to that of the powers of geomancy as a whole, I would claim.  Note, also, how the Latin transcription of ḥ (to represent the element Earth) turned into “a”; if you wanted to think of geomancy as primarily being an oracle of Earth (which is a claim I take some issue with), then the “ah” sound would indeed be closest for phonologically working with the elements from a geomantic perspective and from our worldly, manifest basis.  Yet, we’re using Ēta for the Greek method given above; for one, this is because there’s no distinct vowel for “long a”, but “long e” is a close-enough approximation.  Using ΒΑ, ΖΑ, ΔΑ, and Ἁ for them would work as well, but using Ēta is also acceptable in this case.

Now, remember that these four consonants are used because they have their origins in being specifically labeled as elemental in the original geomantic technique from whence they come due to their numerological (gematria or isopsephic) significance. The mnemonic BZDḤ was used based on the numerological values of those letters in Arabic: bāʾ for 2, zāy for 7, dāl for 4, and ḥāʾ for 8.  Interestingly, these same consonants were used in the European version of the technique as BZDA (with A replacing Ḥāʾ, though it makes more sense to consider it H) even though it’s not technically the letters that were important, but their numerical equivalents.  If we were to simply go by their numerological (or numeric order) basis, then we should use ΒΔΗΘ for Greek or BDGH for Latin.  I suppose that one could use these letters instead for the BZDH technique-based intonation syllables, but I feel like using the original BZDH (or BZDḤ) is truer to the elements themselves, though the true Greek system could also work given their stoicheic meanings: Bēta associated with the Fire sign Aries, Delta associated with the Air sign Gemini, Ēta (used consonantally as an aspiration/aitch letter) representing the planet Venus which can be associated with the element of Water, and Thēta associated with the element of Earth itself.  So, one could also use a Greek ΒΔΗΘ system like this (using Ēta below, but again, Alpha would also work):

  • Fire:  (ΒΗ)
  • Air: (ΔΗ)
  • Water: (Ἡ)
  • Earth: thē (ΘH)

Or a Latin BDGH system as:

  • Fire: ba
  • Air: da
  • Water: ga
  • Earth: ha

Again, I’m not a fan of using Latin generally, but I can see an argument for using a BDGH system here because it’s not really words, isopsephy, or stoicheia here that are necessarily important.  However, if we were to use Greek isopsephy for determining which letters to use to represent the four elements for a Greek ΒΔΗΘ system, why not use the Greek stoicheia for them, instead?  It breaks with why we were using numbers to begin with, but we already know the letters Khi, Phi, Ksi, and Thēta work quite well for the four elements themselves, so if we were taking a purely elemental approach, it seems more proper to just use the elemental letters instead of the numerologically-appropriate letters and their natural vowels (specifically their long versions to keep with the theme of using long vowels for the epodes):

  • Fire: khei (ΧΕI)
  • Air: phei (ΦΕI)
  • Water: ksei (ΞΕI)
  • Earth: thē (ΘH)

There are definitely arguments for the use of the stoicheically-appropriate letters (ΧΦΞΘ) over the others, or the isopsephically-appropriate ones (ΒΔΗΘ), or the transliterated Arabic ones (ΒΖΔΗ).  In a more Mathēsis-pure approach, I’d probably go with the stoicheic letters, but in this particular case, I’d recommend most the transliterated Arabic ones, because that set of letters ties this energy practice closest to the original geomantic technique.  I suppose experimentation would show which is best, but I’m most comfortable sticking with the BZDH technique.

However, even using the BZDH technique as a foundation for this, an interestingly extensible system of syllables can also be devised where the BZDH technique of using different consonants is mixed with using Greek vowels that were similar enough in element to those four consonants.  For this mashup, I used my Mathēsis understanding of the planets and their positions on the mathētic Tetractys or the planetary arrangement for the geomantic figures to get vowels for the elements, and settled on using Iōta (Sun) for Fire, Upsilon (Jupiter) for Air, Ēta (Venus) for Water, and Alpha (Moon) for Earth.  Though Mars would be more appropriate for Fire and Saturn for Earth, their corresponding vowels are Omicron and Ōmega, which may not be distinct enough for this purpose, as I feel like it should be, so I made a sufficiently-acceptable substitution to use the Sun for Fire instead of Mars, and the Moon for Earth instead of Saturn.

What’s nice about combining the BZDH technique with the planetary vowels is that we can mix and match both systems and, using our system of primary and secondary elements of the figures, get a distinct epode not only for the four elements but also for each of the sixteen geomantic figures, which can be extraordinarily useful in its own right for other magical and meditative purposes.  (And here I thought that little innovation of mine was no more than “a few sprinkles on the icing of the cake of Western geomancy” when it’s come in use time and time again!)  So, let’s see about making such a full system for all sixteen figures using the three competing Greek systems (Transliterated ΒΖΔΗ, Isopsephic ΒΔΗΘ, Stoicheic ΧΦΞΘ):

Transliterated ΒΖΔΗ System
Primary Element
Fire Air Water Earth
Secondary
Element
Fire ΒΙ
BI
Laetitia
ΖΙ
ZI
Puer
ΔΙ
DI
Puella

HI
Carcer
Air ΒΥ
BU
Fortuna Minor
ΖΥ
ZU
Rubeus
ΔΥ
DU
Via

HU
Caput Draconis
Water ΒΗ

Amissio
ΖΗ

Coniunctio
ΔΗ

Albus


Fortuna Maior
Earth ΒΑ
BA
Cauda Draconis
ΖΑ
ZA
Acquisitio
ΔΑ
DA
Populus

HA
Tristitia
Isopsephic ΒΔΗΘ System
Primary Element
Fire Air Water Earth
Secondary
Element
Fire ΒΙ
BI
Laetitia
ΔΙ
DI
Puer

HI
Puella
ΘΙ
THI
Carcer
Air ΒΥ
BU
Fortuna Minor
ΔΥ
DU
Rubeus

HU
Via
ΘΥ
THU
Caput Draconis
Water ΒΗ

Amissio
ΔΗ

Coniunctio


Albus
ΘΗ
THĒ
Fortuna Maior
Earth ΒΑ
BA
Cauda Draconis
ΔΑ
DA
Acquisitio

HA
Populus
ΘΑ
THA
Tristitia
Stoicheic ΧΦΞΘ System using Vague Elemental Vowels
Primary Element
Fire Air Water Earth
Secondary
Element
Fire ΧΙ
KHI
Laetitia
ΦΙ
PHI
Puer
ΞΙ
KSI
Puella
ΘΙ
THI
Carcer
Air ΧΥ
KHU
Fortuna Minor
ΦΥ
PHU
Rubeus
ΞΥ
KSU
Via
ΘΥ
THU
Caput Draconis
Water ΧΗ
KHĒ
Amissio
ΦΗ
PHĒ
Coniunctio
ΞΗ
KSĒ
Albus
ΘΗ
THĒ
Fortuna Maior
Earth ΧΑ
KHA
Cauda Draconis
ΦΑ
PHA
Acquisitio
ΞΑ
KSA
Populus
ΘΑ
THA
Tristitia

Note that in the ΧΦΞΘ system below, instead of using Iōta for Fire and Alpha for Earth (as given in the “vague elemental vowels” table immediately above), I went with Omicron for Fire and Ōmega for Earth because, well, if we’re going to go all the way and stick solely to using stoicheically-appropriate consonants, it makes sense to follow through and stick to using the most precisely, stoicheically-appropriate vowels. However, it breaks with the other systems here, so while this is perhaps the most suited to a pure Mathēsis or purely-Western approach, it doesn’t fit with any of the others and it makes a total break with any BZDH system we have.  Additionally, the similarity between Omicron and Ōmega here can cause some confusion and difficulty for those who aren’t precise with their pronunciations, even if the system is precisely correct as far as stoicheia goes.

Stoicheic ΧΦΞΘ System using Exact Elemental Vowels
Primary Element
Fire Air Water Earth
Secondary
Element
Fire ΧΟ
KHO
Laetitia
ΦΟ
PHO
Puer
ΞΟ
KSO
Puella
ΘΟ
THO
Carcer
Air ΧΥ
KHU
Fortuna Minor
ΦΥ
PHU
Rubeus
ΞΥ
KSU
Via
ΘΥ
THU
Caput Draconis
Water ΧΗ
KHĒ
Amissio
ΦΗ
PHĒ
Coniunctio
ΞΗ
KSĒ
Albus
ΘΗ
THĒ
Fortuna Maior
Earth ΧΩ
KHŌ
Cauda Draconis
ΦΩ
PHŌ
Acquisitio
ΞΩ
KSŌ
Populus
ΘΩ
THŌ
Tristitia

deep breath

Okay.  So, that’s all a lot of tables and lists and examples and options to pick from, all of which are nice and all, but where does that leave us?

What we wanted to come up with was a set of four simple intonable syllables—our “epodes”—to work with the four classical elements of Fire, Air, Water, and Earth, much as how we have the seven Greek vowels to work with the seven traditional planets.  While a straightforward option would be to simply intone the words for the elements themselves, we can use an obscure geomantic technique that gives us four consonants to reflect the four elements, which we can then intone by adding a vowel to it.  However, we can make variants of this system based on how far we want to take the logic of why we have those four consonants to begin with, even going so far as to come up with a set of sixteen epodes for each of the geomantic figures.  These geomantic epodes work within the same overall system because the geomantic figures are compositions of the four elements, and the figures Laetitia, Rubeus, Albus, and Tristitia are the geomantic figures that represent single elements unmixed with any other, which is a fact I’ve been able to use before for coming up with gestures for the four elements using the same logic.

Now, because of all the possibilities of what script to use (Arabic, Greek, Roman), what consonants to use (BZDH or the script-appropriate variants based on numerical order within that script’s alphabet), and what vowels to use (the “ah” sound, Ēta for Greek variants, or using stoicheically-appropriate vowels based on the planetary affinities towards the elements), we end up with quite a few different options for our elemental epodes:

Fire Air Water Earth
Words Arabic نار
nar
هواء
hawa’
ماء
ma’
تراب
turab
Greek πῦρ
pũr
ἀήρ
aḗr
ὕδωρ
húdōr
γῆ
gē̃
Latin ignis aer aqua terra
ΙΑΩ Names ΧΙΑΩΧ
khiaōkh
ΦΙΑΩΦ
phiaōph
ΞΙΑΩΞ
ksiaōks
ΘΙΑΩΘ
thiaōth
Transliterated Arabic با
زا
دا
حا
ḥā
Greek
Ēta
ΒΗ
ΖΗ
ΔΗ

Greek
Alpha
ΒΑ
ba
ΖΑ
za
ΔΑ
da

ha
Roman BA ZA DA A
Isopsephic Greek
Ēta
ΒΗ
ΔΗ

ΘH
thē
Greek
Alpha
ΒΑ
ba
ΔΑ
da

ha
ΘΑ
tha
Roman BA DA GA HA
Hybrid Transliterated ΒΙ
bi
ΖΥ
zu
ΔΗ

ha
Isopsephic ΒΙ
bi
ΔΥ
du

ΘΑ
tha
Mathēsis Natural
Vowels
ΧΕΙ
khei
ΦΕΙ
phei
ΞΕΙ
ksei
ΘΗ
thē
Vague
Vowels
ΧΙ
khi
ΦΥ
phu
ΞΗ
ksē
ΘΑ
tha
Exact
Vowels
ΧΟ
kho
ΦΥ
phu
ΞΗ
ksē
ΘΩ
thō

See now why I had to break all this out into its own separate post?

Originally, I was using the ΙΑΩ-based epodes, but I never really liked them, especially compared to all the other elegant options we have now based on the BZDH technique or its variants.  Of course, we have quite a few options now, and there are plenty of arguments for and against each one.  Here’s what I recommend based on your specific approach:

  • If you’re using a strict Arabic or classically “pure” geomantic system apart from planetary or other concerns and want to stick to the root of geomancy as much as possible, despite any other advantages out there from the other systems, use the Transliterated BZDH system, most preferably the Arabic system (bā/zā/dā/ḥā) or the Greek-Alpha system (ΒΑ/ΖΑ/ΔΑ/Ἁ), depending on how good your pronunciation skills at pharyngeal consonants are.
  • If you’re using a purely Greek system that wants to use the advantages of the stoicheia of the Greek alphabet as much as possible, use the Mathēsis system with exact vowels (ΧΟ/ΦΥ/ΞΗ/ΘΩ).
  • If you’re a general Western geomancer with no particular leanings towards or against any particular niche, use the Hybrid system with transliterated consonants (ΒΙ/ΖΥ/ΔΗ/Ἁ).  This would be considered the middle approach between the two extremes of “original root source” and “Mathēsis-only stoicheia please”, and is probably appropriate for the largest number of people given its ease of use and pronunciation.

Likewise, for the use of the geomantic epodes:

  • If you want a more general use, go with the Transliterated ΒΖΔΗ System.
  • If you want a specialized mathētic use, go with the Stoicheic ΧΦΞΘ System with exact vowels.

Of course, given all the options above, there’s plenty of room for experimentation, and I’m sure one could extend the logic of the BZDH system (whether through transliteration, isopsephy, or stoicheia) even further and combining it with other vowel systems to come up with more options, or there would be still other ways to come up with elemental epodes (and maybe even geomantic epodes, as well) that aren’t based on the BZDH or ΧΦΞΘ systems!  As with so much else with geomantic magic, there’s so much to experiment and toy with, because it’s such a fertile and unexplored field of occult practice, so if you want to experiment with these or if you have other systems you use, I’d love to hear about them in the comments!

Notes on the Heart Sutra

Slightly different track for today’s post.  A handful of people know that I have a deep respect and appreciation for Buddhism, especially the Thai Forest and Japanese forms of the religion/philosophy.  It was one of the first alternative religious traditions I was ever exposed to, and something I’ve taken more than a passing fancy in studying on my own; had I more time and energy and resources, I’d dedicate myself a lot more to it seriously than I can, but alas, my path is slightly different and does not (yet) allow for it.  Still, it’s always got a high place in my heart, and recently I’ve been dwelling on one of my favorite texts in the entire Buddhist canon: the Heart Sutra.  It’s a deep abiding not-quite-joy to recite and to meditate on, and given its popularity, I figure I may as well recognize it here.  Sure, it’s a slight departure from the usual Hermetic stuff on this blog, but I never claimed to stick to any one particular track, and I think bringing this up to most people’s awareness would do them and the general occulture some minor amount of good.

There have been endless translations of the Heart Sutra into any number of languages, but a problem is that it really is a summary overview of so much of Mahayana Buddhist philosophy and teaching that it can almost be considered a CliffsNotes-type of sutra; unpacking everything would pretty much necessitate a full exploration of Buddhist thought, which is just a little out of the scope of this blog.  I find that the one by Jayarava (provided in 2013 on his blog) is particularly excellent for modern readers, but below is another one based on the one available on Wikisource that I’ve modified for diction and clarity, with links to any possible Buddhist reference for terms or concepts that I can manage:

The Great Sutra of the Heart of Perfection of Wisdom

When the Bodhisattva Avalokiteśvara was practicing the profound perfection of wisdom, he examined the five aggregates of existence and saw that they were all empty of all suffering and affliction.

Śāriputra, form is not different from emptiness, and emptiness is not different from form.  Form itself is emptiness, and emptiness itself is form.  Sensation, perception, volition, and consciousness are also such as this.

O Śāriputra, all experienced phenomena are empty: not created, not destroyed, not dirty, not pure, not increasing, not decreasing.  This is because in emptiness there is no form, sensation, perception, volition, or consciousness.  There is no eye, ear, nose, tongue, body, or thoughts; no form, sound, scent, taste, sensation, or dharma; no field of vision, up through no realm of thoughts.  There is no ignorance nor end of ignorance, even up to and including no old age and death, nor end of old age and of death.  There is no suffering, its accumulation, its elimination, nor path.  There is no knowledge and no attainment.

Because there is no attainment, bodhisattvas rely on the perfection of wisdom, and their minds have no obstructions.  Since they have no obstructions, they have no fears.  Because they are detached from perverse delusions, their ultimate result is the release from suffering.  Because all buddhas abiding in the past, present, and future rely on the perfection of wisdom, they attain the highest-possible perfect awakening.

Therefore, know that the perfection of wisdom is a great spiritual charm, a great brilliant charm, an unsurpassed charm, an unequaled charm.  It can truly remove all afflictions.  This is true and real, this is no lie.  Speak the charm of the perfection of wisdom; the charm is spoken thus:

GATE GATE PĀRAGATE PĀRASAṂGATE BODHI SVĀHĀ

The Heart of Wisdom Sutra

So what does this all mean?  In many ways, the Heart Sutra is an ultra-condensed form of Mahayana Buddhist teaching, and the earlier/original versions of the text don’t even have the usual context set and setting.  The slightly longer form establishes the frame for the discussion of the Heart Sutra like this: at one point in time, the Buddha was gathered with a great community on the mountain of Vulture’s Peak (Gṛdhrakūṭa), east of the ancient city of Rājagṛha (modern Rajgir in India) .  Amidst all the monks, the bodhisattva Avalokiteśvara (also known as Guan Yin, Kannon, or Chenrezig) was practicing Prajñāpāramitā.  The Buddha himself entered a deep state of meditation and awareness, and by his powers, induced his disciple Śāriputra to approach Avalokiteśvara and ask the bodhisattva how one should go about practicing Prajñāpāramitā.   Avalokiteśvara then replied with the above sutra, describing what Prajñāpāramitā and how to practice it.  At this point, the Buddha himself left his state of meditation to praise Avalokiteśvara on the discourse, and that both he and every possible buddha ever approves of it, and then everyone lived happily ever after.

So what is Avalokiteśvara saying?  Basically, everything is empty.  This isn’t to say that everything is nothing a la nihilism, but that everything that exists or that is experienced is simply a construct.  Every entity does not exist as a thing-in-itself, concrete and independent from the rest of reality and existence, but that every possible thing lacks an intrinsic identity, quality, or existence.  Everything exists because of everything else that has gone before it so that it can be constructed; it is “empty” only so far as regards an independent nature.  My coffee cup on my desk, for instance, only exists because:

  • I bought it to exist in my life
  • I put it where it is for it to exist on my desk
  • The materials for it were harvested by other people
  • The processes to craft it were handled by other people
  • I, the harvesters, and crafters were all born and nourished by the actions of other people, who in turn were born and nourished by the actions of yet other people, ad infinitum
  • The materials for the coffee cup and all possible nourishment were generated/recycled through natural meteorological, geological, and cosmological forces

In other words, there is no part of this coffee cup that exists on its own without the input, causes, actions, or reactions of everyone and everything else that has gone before it; it is empty of “itself”, because there is no “self”.  There is no “being”, only “interbeing”; nothing is independent, because everything depends on everything else.  That is emptiness, generally speaking, and Avalokiteśvara describes the aggregates of existence (five skandhās) as all being empty: material form of objects, the sensory experiences of objects, the sensory and mental processes that registers and perceives objects, the mental actions and constructions triggered by objects, and the consciousness, awareness, and discernments we make involving objects.  All of these things are empty, no one of them existing apart from each other or the objects themselves, and for that matter anything else that exists in the cosmos.  But, going beyond that, Avalokiteśvara describes all phenomena as empty, as well.  The exact word here is dharma, which we usually mean as “law” or “doctrine” (as in Buddhism or Hinduism itself), but its meaning is wide enough to capture all possible phenomena, all monads or atoms, as empty.  It is out of these dharmas that the skandhās themselves are made, so if an object is the result of the processes and phenomena that developed it, then each process and phenomenon itself is likewise the result of other dharmas that developed it.  Thus, there is no thing, neither local or temporal nor material nor procedural, that exists apart of anything else.  Everything is the result of the interplay of everything else; there is nothing intrinsic to anything, no law nor self nor quality nor idea.  It is Heraclitus’ παντα ρει (“everything flows”) taken to its logical extreme.

Again consider, however, my coffee cup.  Speaking less philosophically, it is currently empty of drink, and yet it is not empty at all, since it is volumetrically full of air.  By pouring coffee into the mug, I have not really “created” coffee, but simply transformed the location of coffee from the coffee pot to the mug; I have not destroyed the air inside the mug, but instead displaced it.  I did not do this as its own divinely-inspired, pure-of-need action, but I poured coffee because I wanted coffee and needed something convenient to drink it from.  Because the act of pouring coffee took place within the greater context of my life, the act cannot be considered on its own but as an aggregate formed from everything else in my life, as well as an aggregate forming my life itself; there is no true “start” or “end” to the act of pouring coffee, just as there is no “start” or “end” to the existence of coffee itself; it is formed from water and coffee beans and heat, yes, but at what point do these stop being separate things that have never been coffee and start becoming a single thing that is only coffee? At what point does coffee no longer stay coffee but becomes something else that was never coffee?  These questions have no answer, because there is no intrinsic “coffee” to consider.  Thus, there can be no purity or contamination of coffee, just a series of phenomena and experiences and aggregates that collectively make something that I can give the label of “coffee” to for the time being.  As Avalokiteśvara says, “not created, not destroyed, not dirty, not pure, not increasing, not decreasing”.

It then follows that literally all of Buddhist thought—the five skandhās themselves, the eighteen dhātus of objects/sense faculties/consciousness that operate through the skandhās, the twelve nidanas of causes and effects that provide the basis for birth and rebirth in this world of suffering, the Four Noble Truths that the Buddha himself declared upon his enlightenment, even the notion of knowledge or wisdom itself or the ten bhūmis or stages of achieving them—are all empty.  All of it.  Everything is empty, therefore the whole religious philosophy and practices within it of Buddhism must all likewise be empty.  There is nothing intrinsic to Buddhism that makes it Buddhism, holy, special, or powerful; it’s the result of everything else and is the cause of everything else just as much as everything else is.  It’s not that it’s nothing, but that it’s part and parcel of everything, just as much as everything else is.  In other words, it’s reaffirming and emphasizing the teaching of Buddhism in its own terms, and because of this, the whole notion of Prajñāpāramitā (which is basically the wholesale realization of the foregoing and the insights and awareness it provides) is what gets bodhisattvas to where they’re trying to go.  If nothing has its own independent qualities, then nothing can be considered intrinsically scary.  If nothing can be scary, then there is nothing to fear.  If there is nothing to fear, then there is nothing to escape or hide from.  If there is nothing to escape or hide from, there is nothing to lie about.  If there is nothing to lie about, then there is nothing to be deluded about.  If there is nothing to be deluded about, then there is nothing stopping you from being free of suffering and illusion.  And, if you can be free from suffering and illusion, then there’s nothing stopping you from achieving the whole goal of the whole shebang: complete, utter, total enlightenment.  You’re already there, because there is no such thing as getting there, you just haven’t realized it yet, because you haven’t seen how empty you are yet or how empty your world is yet.

In other words, Prajñāpāramitā—the perfection of wisdom itself—is the full realization and insight of emptiness.  By this and this alone, everything else in the bodhisattva path of awakening follows.  The Heart Sutra recalls this very thing, to remind us that awareness of emptiness is the perfection of wisdom, and that by its recitation, we gird ourselves with the strength and compassion of wisdom itself for the sake of liberation.

So, onto chanting it.  The Heart Sutra, as can be seen above, is a pretty short text, if not one of (or the most) shortest in the Mahayana Buddhist canon.  For this reason, it’s a favorite for people to chant as an entire thing, and it’s not uncommon for it to be chanted daily at monasteries or temples across the world.  Current academia on the origins of the Heart Sutra suggest that it was originally composed in Chinese, and then back-translated into Sanskrit (or the hybrid Buddhist Sanskrit that was in use for many such texts, which is not properly Sanskrit as such).  The Chinese text is what was disseminated throughout Asia, and though it was historically recited in any number of local languages, they all rely on the same fundamental Chinese text using their respective Sinitic methods of recital; I prefer the Sino-Japanese style of reading this text mostly because I can actually trust and understand Japanese phonology.  The transcription below comes from Andrew May’s website, modified for diacritics and organization; note that hyphens link multi-character words together, and are generally (but not always) limited to Sanskrit-derived names or words (e.g. Han-nya-ha-ra-mi-ta for Sanskrit Prajñāpāramita, or Sha-ri-shi for Śāriputra).  In general, one syllable matches one character, though some characters are two syllables (e.g. 厄 “yaku”).

摩訶般若波羅蜜多心經 MA-KA HAN-NYA-HA-RA-MI-TA SHIN GYŌ
觀自在菩薩行深般若波羅蜜多時 KAN-JI-ZAI BO-SATSU GYŌ JIN HAN-NYA-HA-RA-MI-TA JI
照見五蘊皆空度一切苦厄 SHŌ KEN GO UN KAI KŪ DO IS-SAI KU YAKU
舍利子色不異空空不異色 SHA-RI-SHI SHIKI FU I KŪ KŪ FU I SHIKI
色即是空空即是色 SHIKI SOKU ZE KŪ KŪ SOKU ZE SHIKI
受想行識亦復如是 JU SŌ GYŌ SHIKI YAKU BU NYO ZE
舍利子是諸法空相 SHA-RI-SHI ZE SHO HŌ KŪ SŌ
不生不滅不垢不淨不增不減 FU SHŌ FU METSU FU KU FU JŌ FU ZŌ FU GEN
是故空中無色無受想行識 ZE KO KŪ CHŪ MU SHIKI MU JU SŌ GYŌ SHIKI
無眼耳鼻舌身意無色聲香味觸法 MU GEN NI BI ZE SHIN I MU SHIKI SHŌ KŌ MI SOKU HŌ
無眼界乃至無意識界 MU GEN KAI NAI SHI MU I SHIKI KAI
無無明亦無無明盡 MU MU MYŌ YAKU MU MU MYŌ JIN
乃至無老死亦無老死盡 NAI SHI MU RŌ SHI YAKU MU RŌ SHI JIN
無苦集滅道無智亦無得 MU KU SHŪ METSU DŌ MU CHI YAKU MU TOKU
以無所得故菩提薩埵依般若波羅蜜多 I MU SHO TOKU KO BO-DAI-SAT-TA E HAN-NYA-HA-RA-MI-TA
故心無罣礙無罣礙故無有恐怖 KO SHIN MU KEI GE MU KEI GE KO MU U KU FU
遠離一切顛倒夢想究竟涅槃 WON RI IS-SAI TEN DŌ MU SŌ KU GYŌ NE-HAN
三世諸佛依般若波羅蜜多 SAN ZE SHO BUTSU E HAN-NYA-HA-RA-MI-TA
故得阿耨多羅三藐三菩提 KO TOKU A-NOKU-TA-RA SAM-MYAKU-SAM-BO-DAI
故知般若波羅蜜多 KO CHI HAN-NYA-HA-RA-MI-TA
是大神咒是大明咒 ZE DAI JIN SHU ZE DAI MYŌ SHU
是無上咒是無等等咒 ZE MU JŌ SHU ZE MU TŌ DŌ SHU
能除一切苦真實不虛 NŌ JO IS-SAI KU SHIN JITSU FU KO
故說般若波羅蜜多咒即說咒曰 KO SETSU HAN-NYA-HA-RA-MI-TA SHU SOKU SETSU SHU WATSU
揭帝揭帝般羅揭帝般羅僧揭帝菩提薩婆訶 GYA-TEI GYA-TEI HA-RA-GYA-TEI HA-RA-SŌ-GYA-TEI BŌ-JI SO-WA-KA
般若心經 HAN-NYA SHIN GYŌ

I translated whatever technical terms I could in the above translation, but there’s the notable exception about the final set of words.  This is generally considered a mantra, and mantras aren’t generally translated; their potency generally is said to lie in the actual sound and vocalization of them and less in any meaning, but Jayarava’s translation of the mantra here has it as “gone, gone, gone over, gone over to the other side, awake, svāhā” (where “svāhā” is a typical end to a mantra, literally meaning “well said” but used to mean something like “all hail”, “so be it”, or “amen”).  He’s also gone over the mantra in a more in-depth manner elsewhere, and notes that the descriptions of the mantra as great, brilliant, unsurpassed, and unequaled are usually epithets for the Buddha, and thus liken or equate the mantra itself to the Buddha, but that it’s less a mantra and more of a dhāraṇī or vidyā, in either case something more akin to a spell or magical invocation.  Thus, I’ve translated it above with the word “charm”, based on how the word is used for similar “words of power” sequences in more Western texts like the PGM (which, it would seem, would be a translation that even Jayarava might agree with).  In any case, the mantra-dhāraṇī-vidyā-charm-spell would be pronounced /gəte gəte pɑːrəgəte pɑːrəsəⁿgəte bod̪ʱi sʋɑːhɑː/ or, for a less IPA-based approach, “guh-tay guh-tay pah-ruh-guh-tay pah-ruh-sahn-guh-tay bohd-hee swah-hah”, if you wanted to use the proper Sanskrit pronunciation, though again, any vulgate language that the whole sutra is recited in would use its corresponding Sinitic readings of the characters 揭帝揭帝般羅揭帝般羅僧揭帝菩提薩婆訶, which were used in early/middle Chinese to transcribe the Sanskrit sounds themselves.

An excellent rendition of this text in Japanese is that of the Sōtō Zen monk and teacher Taisen Deshimaru, who in this particular recording leads a group of Buddhists in reciting the sutra.  The recording opens up with a brief bell meditation, recites the sutra three times at an increasingly fast but rhythmic pace, and concludes with  a slow recitation of different texts after the 7:26 mark:

I share this all not just because it’s been on my mind lately and I wanted to have some sort of outlet for it, but because it reminds me, in a grand sense, that we’re all in this together.  There is nothing that you’ve done that hasn’t affected me, nor vice versa; there is nothing that exists that hasn’t impacted the existence of anything else.  There’s another saying about emptiness: “if it exists, then one speck of dust exists; if it doesn’t, then the whole cosmos doesn’t either”.  We’re all here because each and everyone one of us is here; everything that is happening (or has, or will) is happening because, with, by, and for us, endlessly and continuously, just as we exist/happen for the sake of everything else.  As Ghandi (actually) said, “all the tendencies present in the outer world are to be found in the world of our body; if we could change ourselves, the tendencies in the world would also change”.  

In other words, be good or be good at it.  The entire cosmos is literally riding on it.

(also oh my god Kalagni I’m so sorry if I bungled any of this, please fix anything that’s broken)

Towards a Greek Kabbalah: Meditating on the Greek Letters

So, if the gods reveal themselves by signs and omens, and those signs are the basis of the Greek letters, then the gods reveal themselves by means of the Greek letters.  This isn’t that big a stretch; after all, there is grammatomancy, that awesome divination system (which I strongly recommend buying the ebook I put out for it for more information on the Greek letters in magic, hint hint) where the Greek letters themselves are messages.  Plus, the Greek letters are also associated with number, which is the foundation for the creation of the cosmos according to Pythagoras, so if the gods didn’t make the universe by means of the Greek letters, then the Greek letters can certainly indicate how they did so by means of number.  Even if we don’t worship the gods or engage in explicit theurgy (which we really should be doing anyway), even coming to a deep understanding of the Greek letters themselves, on their own terms, as their own entities, will still help us achieve a deep understanding of the cosmos approximating or equalling a full theurgic understanding of the cosmos.

The question then becomes “how should we go about understanding the Greek letters”?  Well, let’s say that there are four parts to a letter:

  1. Name, the word by which we refer to a letter, such as “alpha”, “beta”, etc.
  2. Glyph, the graphical sign that refers to a letter, such as Α/α, Β/β, etc.
  3. Sound, the sound the letter produces, such as [a], [b], etc. (Knowing IPA is helpful for this part.)
  4. Meaning, the occult and esoteric meaning of the letter

The first three parts are fairly straightforward, barring regional and temporal variants in the Greek script.  For the purposes of kampala, I’m going to be using what’s been considered the Greek alphabet in use for the past 2400 years, the classical Ionian script, adopted by the archon Eucleides in 403 BC in Athens and quickly standardized across the rest of Greece shortly thereafter.  This script has the 24 letters of the Greek alphabet we’re all familiar with in the same forms we’re all familiar with, and has been roughly unchanged since their adoption.  Their pronunciation has shifted slightly in accordance with basic phonological laws over the millennia, but this is to be expected and isn’t that great an issue.

So, with that, let’s take a look at the Greek alphabet.  There are 24 letters, which are:

Letter Name Sound
Greek Roman Greek English Classical Modern
Α A αλφα alpha a, aː a
Β B βητα bēta b v
Γ G γαμμα gamma g ɣ ~ ʝ
Δ D δελτα delta d ð
Ε E εψιλον epsilon e e
Ζ Z ζητα zēta zd, dz, z z
Η Ē ητα ēta ɛː i
Θ TH θητα thēta θ
Ι I ιωτα iōta i, iː i
Κ K καππα kappa k k, c
Λ L λαμβδα lambda l l, ʎ
Μ M μυ mu m m
Ν N νυ nu n n
Ξ X ξει xi ks ks
Ο O ομικρον omicron o o
Π P πει pi p p
Ρ R ρω rhō r r
Σ S σιγμα sigma s s
Τ T ταυ tau t t
Υ U, Y υψιλον upsilon y, yː i, f ~ v
Φ PH, F φει phi f
Χ KH, CH χει chi χ ~ ç
Ψ PS ψει psi ps ps
Ω Ō ωμεγα ōmega ɔː p

Note that some of the English names for the Greek letters simplify the vowels a bit, such that Π is “pi” in English, not the more accurate classical “pei”, though in Modern Greek it’s “pi”.  Also, where there’re different possible ways to write the letter out, those are given in the table; for instance, Χ can be written as “ch” or “kh” (I prefer the latter, personally).

The thing about the number 24 is that it has a lot of factors and a lot of ways to be split up or multiplied by equally convenient numbers, which makes it mathematically appealing; for instance, 24 × 15 = 360, or 4 × 6 = 24.  Since there are 24 Greek letters, there are different ways to split them up in different ways.  I personally prefer a 7/12/5 schema: seven vowels, twelve “simple” consonants (which themselves are broken into seven stop and five continuing consonants), and five “complex” consonants.  This schema has important symbolic meaning, but let’s focus on the phonetic parts for now:

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

Pronouncing the vowels can be a little tricky for some people, but it’s still easy.  Alpha, Epsilon, Iōta, and Omicron produce the same sounds you’d expect in English: “ah”, “eh”, “ee”, “oh”.  Upsilon is a little tricky; it’s like the combination of “ee” and “oo”, but a good example of the sound is the French “u” or German “ü”.  Ēta and Ōmega, to make the distinction simple, is that they were lengthened versions of Epsilon and Omicron.  I don’t mean that the sound changed (though it did in later varieties of Greek) except in how long you pronounced it.  So an Epsilon is “eh”, and Ēta is “ehhhh”.  That’s really basically it, though it ended up where Ēta had a sound only slightly closer to “ei” (between “bed” and “bait”) than “eh”, and Ōmega was more like a deeper “auh” (“thought”) than “oh”.

As for consonants, when I say “simple” versus “complex”, compare Tau and Thēta.  They both classically made a “t” sound, but the difference was that Tau was a simple unaspirated and nonbreathy “t”, while Thēta produced an aspirated (breathy) “t”.  It’s the difference between “water” (a nonbreathy “t”) and “tin” (a breathy “t”).  Thēta, Phi, and Khi are all aspirated, while their unaspirated versions are Tau, Pi, and Kappa.  The other complex letters, Xi and Psi, are combinations of two simple consonants: Kappa and Sigma for Xi, and Pi and Sigma for Psi.  The other simple consonants are pronounced the same way you’d pronounce them in English, bearing in mind the difference between aspirated and unaspirated consonants (try being aware of when you’re producing a breathy sound in the future).

Why am I spending so much time over the basics of Greek pronunciation?  Because this is going to be key for understanding the meaning of the letters in a meditative and contemplative way.  Sure, the letters have their own symbolism based on their shape and meaning, which we’ll talk about more another time, but I want to offer a method to meditate on the letters by means of their sounds.  This is similar to the use of seed syllables in varieties of Tantric Buddhism and Hinduism, as well as the use of speaking certain names of God with different vowels in Jewish kabbalah.  By truly, deeply vibrating, intoning, and focusing all of the body and mind on pronouncing the sounds of the Greek letters, we attune ourselves to them and begin to open up deeper mysteries of the letters.  However, there are many different ways to start this, so I propose the following methods:

For vowels:

  1. Intoning a single vowel.  Example: ΑΑΑΑΑΑ
  2. Intoning a sequence of vowels with a breath between each.  Example: ΑΑΑΑΑΑ   ΕΕΕΕΕΕ
  3. Intoning a sequence of vowels once.  Example: ΑΑΑΑΑΑΕΕΕΕΕΕ
  4. Intoning a sequence of vowels, cycling through the vowels themselves.  Example: ΑΑΑΕΕΕΑΑΑΕΕΕ
  5. Any of the above at different vocal pitches, such as at a high pitch then a low pitch

For  simple stop consonants:

  1. Making the consonant once, breathing out afterwards.  Example: B
  2. Making the consonant multiple times within a single breath with no sound.  Example: B B B B B
  3. Making the consonant multiple times within a single breath with an unstressed vowel.  Example: B B B B B (buh buh buh buh buh)

For simple continuing consonants:

  1. Making the consonant once, breathing out afterwards.  Example: Λ
  2. Making the consonant once, prolonging it within a single breath.  Example: ΛΛΛΛΛΛΛ
  3. Making the consonant multiple times within a single breath.  Example: Λ Λ Λ Λ Λ Λ
  4. Making the consonant multiple times over several breaths, continuing it on a single breath.  Example: ΛΛΛ ΛΛΛ ΛΛΛ ΛΛΛΛ
  5. Any of the above at different vocal pitches, such as at a high pitch then a low pitch

For a complex consonant, any of the making the consonant once but prolonging the complexity.  Example, ΞΣΣΣΣΣΣΣ, or Θ breathing out completely.  The other simple continuing consonant meditations should also be done with these, as well.

For vowels and consonants:

  1. Making the consonant with one vowel to prolong it.  Example: ΒΑΑΑΑΑΑΑ
  2. Making the consonant several times with different vowels with a breath between each.  Example: ΒΑΑΑΑΑΑ ΒΕΕΕΕΕΕΕ ΒΗΗΗΗΗΗΗ
  3. Making the consonant several times with different vowels within a single breath.  Example: ΒΑΑΑΒΕΕΕΒΗΗΗ
  4. For simple continuing consonants or complex consonants, prolonging the consonant followed by the vowel.  Example: ΞΣΣΣΣΣΑΑΑΑ or Θ…ΑΑΑΑ (exhaling halfway before making the vowel with a weak unstressed vowel, like “t-hhhuhhh-ahhh”)
  5. Any of the above with vowels coming to a stop with a consonant with no sound following.  Example: ΑΑΑΑΑΑΒ
  6. Any of the above with vowels coming to a stop with a consonant with an unstressed vowel following.  Example: ΑΑΑΑΑΑΒ (ahhhhhbuh)
  7. Any of the above at different vocal pitches, such as at a high pitch then a low pitch

And, perhaps it’s understated, but even intoning the name of a single letter (e.g. “ΑΛΦΑ”) is worthwhile, too, and I’d consider it to be the most complex of these basic meditative exercises.  Once one becomes comfortable with all the meditations on all the letters (and a good combination of consonants and vowels), the next logical step is to meditate on whole words in the same way.  This method produces mantras out of each and every letter in the Greek alphabet, as well as every combination of them, in a variety of ways to acclimate one to their pronunciation and use later in the study of kampala.  At the beginning, it might be preferred to use combinations of vowels and consonants in order (so alpha-bēta, alpha-gamma, alpha-delta, etc.) before jumping around the alphabet.

While pronouncing the letter, it also helps to give the mind something to focus on; I suggest the shape of the letter itself.  Either the capital or lowercase letter could be used; for the purposes of kampala, they’re treated the same, though all analyses are given based on the capital letter.  Visualizing the letter itself is simple, since none of the letters are particularly complex glyphs, and visualization exercises abound on the Internet.  As you breath in, let the mind clear; as the letter is pronounced, let the letter shine brightly in the mind; as the letter’s sound goes away or is breathed out, let the letter dim until only an afterimage or thought-echo is left in the mind until the breath is emptied out.

How much time should be spent on this?  As with anything, as much as you want to, and as much as you can.  I personally find it useful to sync up daily letter meditations, doing different letters and letter combinations based on the grammatomantic letter of the day of the lunar month, so I meditate on Kappa on Kappa-day, Omicron on Omicron-day, and so forth.  (I’ll be making increasing use of that grammatomantic lunar calendar throughout this kampala project, since it spreads things out nicely and regularly for me.)  This is a good way to get introduced to basic meditation on the letters, but you’ll notice that we haven’t talked about the meaning of the letters yet at all.  That’s coming up soon, and it’ll give us more things to meditate on when we do letter meditation in the future, but for now, keep it basic and get busy, since now we begin working our way into the emerging mysteries of kampala.

Search Term Shoot Back, June 2014

I get a lot of hits on my blog from across the realm of the Internet, many of which are from links on Facebook, Twitter, or RSS readers.  To you guys who follow me: thank you!  You give me many happies.  However, I also get a huge number of new visitors daily to my blog from people who search around the Internet for various search terms.  As part of a monthly project, here are some short replies to some of the search terms people have used to arrive here at the Digital Ambler.  This focuses on some search terms that caught my eye during the month of June 2014.

“what does it mean to trace the grid from the center crystal to each other crystal using a wand or your fingers show picture” — …I mean, I feel like the idea is pretty explanatory.  Center to crystal 1 to center to crystal 2…to center.  Do you really need more guidance than this?  You already described the method.

“saint cyprian wand” — I’ve never seen something like this, save for maybe the blasting rod of the Grimoirum Verum that forms part of the Book of Saint Cyprian.  The good saint himself is usually pictured with a crosier and a book, though as a magician himself he was likely familiar with the use of wands in the classical and early medieval Mediterranean.  Heck, his crosier itself could be seen as a type of wand, being associated with wisdom, spiritual authority, and guidance, all attributes commonly given to the wand.  Still, a modern wand for use in Cyprianic workings isn’t a bad idea.  Necromantic materials would be of use: an ebony or iron wand packed with graveyard dirt and capped with smoky quartz or jet, engraved with holy symbols and names, perhaps buried for a week at the head of the grave of a priest or magician during the New Moon, fed with the blood of a black chicken or goat.  Not a bad idea at all.

“how to use saturn seals in “key of Solomon”” — If you merely read the book (book I, chapter 19), many sections tell you how to use it.  Generally, you show a pentacle unto a particular spirit like how the FBI flashes a suspect their badge (Saturn pentacles I, II, III, IV, V).  Some of them cause some change in the world by their mere existence and construction and should be kept for future use as a ritual tool, similar to a wand but used to “fire off” work into the cosmos generally (pentacles II, IV, VI, VII).  When a pentacle is not being used, it should be kept hidden and safe, or it should be enshrined on an altar with other magical tools, perhaps reconsecrated every week or so with candle and oil and incense.

“stones in sash black magic santeria” — …do people still consider Santeria to be “black magic”?  Really?  It means “way of the saints”.  It’s about as far you can get from “black magic”, and I’ve written about my thoughts on the term itself elsewhere.  As far as I’m aware, Santeria doesn’t really use sashes, though I’ve seen some massive elekes and collares that are used in limited ritual purposes, but those are all nearly entirely colored glass beads.  Also, I’ve seen sashes of fruit for newly made iyawos.  Beyond that, I can’t think of a Santeria sash, though I’m admittedly no expert in Santeria.  Sashes are sometimes used in other traditions, like the bandera of Palo Mayombe, but that’s a different thing and, again, is nearly entirely glass beads.  Stones might just be a personal flourish.

“h0w t0 consecrate oil with psalm 72” — I wasn’t familiar with this psalm before I wrote this post, but I like it!  Take some good, clean oil and pray over it fervently; that’s all you need to do to consecrate anything, really; the incense, candles, and hoopla of ritual can help but aren’t strictly necessary.  Psalm 72, specifically, sounds beautiful for blessing, dominating, and prosperity work.

“top 10 conjuring rituals real” — What, as if there’s a Buzzfeed list of magic rituals full of spooky GIFs?  C’mon, dude, get your act together.  There’s no such top-ten list of “real” rituals; any ritual that works is real, and different people often get different rituals to work for them.  Once you get the experience of a few conjuration rituals, you can start doing them on the fly with spirits you have a good connection with.

“seal of sealtiel angel” — Unfortunately, even though I’ve been making weekly offerings to Sealtiel the Archangel for a brief time now, I haven’t done much more than that and engaged the archangels in conversation, like I would in a conjuration.  I mean to in the near future, but I haven’t yet.  I don’t know of a seal for the angel, so you might want to stick with making a sigil based off the letters in his name a la chaos magic or by using my Greek Sigil Wheel idea.  Sealtiel often bears a thurible as his badge of office, so you might start with that if you want an image.

“how to use saturn to create prosperity” — Er, that’s not usually Saturn’s job.  Prosperity is usually in line with Mercury and Jupiter, the planets of exchange and expansion generally,

“autobiography of st. jehudiel”, “biography of saint sealtiel”, etc. — Seeing how these are angels who have never technically lived, it’s hard to have a biography of them, since a biography is an account of, you know, a life.  They’re immortal beings who serve the will of God directly; they don’t have lives like we think of them, and they don’t exist apart from God.  Also, an “autobiography”?  Not only does that assume a life of an angel, it also assumes they write and can communicate to us in language.

“horus demon god of sun sygils” — Much of this makes no sense to me on a conceptual level.  First, to spell the word as “sygils” means you’re probably in Thee Temple ov Psychick Youth (or however it’s misspelled) or just some middle-schooler who wants to be all dark and powerful.  That isn’t done with extra “y”s and the metal umlaut, you know.  As for Horus, yes, he’s a god of the Sun, but in no sense is he malefic or demonic.

“locating lost thing by star power” — What, are you Sailor Moon?  There are astrological and geomantic methods of finding lost objects, but unless you’re a Sailor Scout or one of the Three Wise Men, you’re not going to find anything directly through the stars themselves.

“most deadly buddhist mantras” — …I don’t think you understand the point of Buddhist mantras.  There might indeed be powerful spells and mantra-like charms in some distant and extant traditions of magic and applied Buddhism, but none I know that would kill a target or the user.  That tends to go against the Precepts, anyway, but you know, expedient means and all that shit.

“effects of reading saint cyprian book” — In my case, you’ll’ve learned Spanish and published a translation in English (hint: go buy my cheap ebook on Etsy!).  Supposedly, if you read the Book of Saint Cyprian, either front to back or back to front (I forget which), you end up summoning the Devil.  That didn’t happen in my case, and he might’ve just gotten confused with my flipping around randomly through the book.

“how to aproach the abramelin ritual if you already know your guardian angel” — Honestly, if you have contact with your HGA, why do the Abramelin ritual?  The meat of the matter is getting contact with your HGA, after which you go through and bind evil spirits from messing with you in the future.  Once you have your HGA, you can do anything, basically.  I know some friends who are going through the Abramelin as an initiation requirement in some groups, but that’s not the real use of the Abramelin, as I see it.

“is the word geomancy in the bible” — Nope.  Geomancy likely kicked off in the Sahara Desert around 900 or 1000 AD, well after the Bible was written (especially the Old Testament).  However, if you read that the Bible has a prohibition on divinatory arts generally, then that would include geomancy; if you read the Bible supporting the act of divination, then that also includes geomancy.  The word itself is coined more recently than the Bible, as is the art, so you won’t find biblical references to it, although some traditions hold that geomancy was given to the prophet Hermes Trismegistus, Adam, Idris, Daniel, Jesus, or Mohamed to discover more of the secrets of God, so it depends on what you consider meaningful.

Minor Things and Updates

Not much happening as of late; little conjuration work to be done, no big projects.  There have been some business requests made, in terms of readings and design work, which is absolutely fabulous; many thanks to those who have asked for them!  For those who are thinking of them, why not take a chance and spend some of that extra coin lying around?  I could always use the work, after all, and it keeps me busy.  But yeah, beyond the occasional reading and my normal daily practice, not much has been happening.  Which leads to me writing less, at least for my blog, which after all these months feels real weird.  Eh, I guess I needed the break.  Anyway, just a few little things I wanted to note lately.

First, as you may have heard from the rest of the interweb, Jason Miller of Inominandum and Strategic Sorcery fame recently released his newest work, Advanced Planetary Magic, a set of 49 calls to the planets based on pairwise combinations of the seven planets.  You may have heard of it somewhere else in the blogosphere, and I’ll keep my review short: it’s awesome, and I suggest getting yourself a copy of this awesome work.  He describes a system of planetary magic where one uses a particular short invocation or spell for each pair of planets (Luna/Sol, Sol/Luna, Venus/Saturn, etc.), to be used according to a particular situation and in a particular time (planetary hour and planetary day).  Nifty stuff, by any measure.  He’s starting a project called the Crying of Calls 49, where people who have the text are invited to perform 49 consecutive days of prayer, using each one of the biplanetary invocations each day in a particular hour on each day.  The first week starts tomorrow, July 8, with Luna of Luna in an hour of the Moon in the day of the Moon, Luna of Mars on July 9 in an hour of the Moon in the day of Mars, and so forth.  He’s set up a Facebook group for it, but as of this writing the group is still inoperational.  Quick, go get a copy for yourself and join in on the fun!

I’ve recently picked up my prayer beads again and started using them.  I’ve had this dark Indian rosewood mala with red thread for years, bought a long time ago when I was on a strong Buddhist kick, and though I used it for a while with some basic mantras (Avalokitesvara’s and Manjusri’s, to name two), I never really kept up the practice.  The prayer beads have just been languishing in their bag for years, maybe picked up once or twice out of nostalgia, and put back.  I figured I may as well augment my practice by using them again, though picking out the mantra or prayer to be used with them puzzled me slightly.  Then I remembered that I have my own magical motto, “Lautitia Laborum Lucis Laetor” (“I rejoice in the splendor of the works of the Light”), and since it rings pretty deeply with me, I figure I may as well use that as my mantra.  It’s pretty relevant to my own work, and is fairly devotional in and of itself.  I’ve gotten a good buzz from using my motto as a mantra, as I have the Trisagion and my Prayer of Light.  I’ve been experimenting with rhythms and numbers of circuits, and I like the preliminary results so far.  My goal is to do at least one motto circuit per day, twice if I have the time; doing this on the train works well enough, since I sit comfortably far back from the rest of the people in a quiet spot where others can’t easily bother me.

Speaking of daily practice, I’m also considering with toying around with my personal schedule.  Mondays, Tuesdays, Thursdays, and Fridays I go to work at the office, and I work from home Wednesdays.  On the days I go to the office, I normally get up around 5 a.m., hygeinate myself, do my prayers and meditation and other essential practice, leave around 7, then catch the train to work, then get home around 5 or 6 p.m.  Ideally, this allows me four or five hours of time once I get off work for more practice but…I normally just end up on the computer for the night instead.  Since I’m a morning person, and there is another train that leaves much later than I’m used to that can still get me to work on time, I’m thinking of shifting more practice to the morning, which gives me about two solid hours each day to really focus on my stuff: a half hour for prayers and offerings, a half hour for meditation, a half hour for energy work and other “kinetic” methods of prayer and practice, and another half hour for more meditation or astral work.  This should of course be backed up with more work in the evenings, but shifting more to the earlier part of the day is no bad idea.  I’m a morning person, anyway, so this should definitely help me out more in getting my ass in better magical shape.  I’d be getting home probably around 7 or 8, but that still leaves me enough time most evenings to relax and get at least another round of meditation again, not to mention any planetary work that happens in the evening.  I figure I can handle this fairly well; I’ll try it this coming week as a test round.

Anyway, time to finish tidying up my house and get to my prayers and offerings for the night.  How’s this past Mercury retrograde period been treating you?  Besides some minor holiday traffic, things have been delightful on my end.

Personal Shorthand in Use

Working off the last post where I introduced my shorthand, I figured I should follow it up with another about what it looks like in use.  Below I have written Article One of the Universal Declaration of Human Rights, which states:

All human beings are born free and equal in dignity and rights.  They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.

Simple enough, and a good illustration of what a text in my shorthand would look like (Omniglot tries to use it for every language and script they have on their site).  Below, I have the same text written in four different ways: my normal handwriting (which is awful), the “standard” version of the shorthand, my personal note-taking shorthand style (which is more cursive-y), and my calligraphic form with lots of flourishes.  I apologize that I didn’t touch these up or make them all professional, but I tried using Illustrator to trace them out and pretty them up, and it was hell.  Straight scans for you, instead.

Hopefully that illustrates how I use my own script.  I use the third one, the cursive-y form, the most; the second style is used for labels or other lengthy texts I write to myself that demand some semblance of order; the fourth style is used for decoration or artsy purposes only.  I pretty much never use the first style, actual English script, anymore.

In addition to writing notes and texts in this shorthand, I also use it to make sigils.  Let’s say I want to sigilize the phrase “Planetary hours are so cool” (because I’m a total geek).  According to the rules I was taught, you remove all vowels first from a phrase like that, then remove all repeated consonants.  Given that phrase, this leaves us to work with the letters “P L N T R Y H S C” (I consider Y to be a consonant).  To make a sigil out of this, I usually link up all characters, H, N, M, W, and V, since they all share the same basic zig-zag shape.  I do the same for Y, L, and T, which share the same step-like shape, and B, C, D, P, S, and R, which all share the same wavy shape.  Putting this all together, we get the following shapes:

However, I’ve recently gotten into the habit of forming some kind of “circuit” or closed loop for my sigils, so that there are no loose ends in the image.  Plus, within the enclosed space formed by the sigil, I have some sort of monogram with the initials of the person(s) the sigil is made for.  By linking the C, S, R, and P in a slightly different way and attaching the Y, L, and T differently, I can make an enclosed space as the following, with my initials inside.

Then, I’ll make the sigil mantra based on the visual sigil and where the letters appear in it.  I take the letters as they appear from left to right and top to bottom.  For the first sigil, the order of the letters becomes “C S R P Y L T H N”, which I might intone as “KASER PEEL TAYHEN”; for the second, the order is “Y H N R S C P T L”, which might be intoned as “YAHEN RAS KEPTEL”.  The letters V and W might be used as an “OO” or long-u vowel or as a consonant, depending on where they appear, much how the letter Y was vocalized as “EE” or a long-i vowel in the first mantra above but a consonantal-i/y sound in the second.