Unlocking the Observatory: The Spiritual Practice of Zoroaster’s Telescope

Where were we? We’re in the middle of discussing the obscure Telescope of Zoroaster (ZT), a manual of divination and spirituality originally published in French in 1796 (FZT) at the close of the French Revolution, which was later translated into German in 1797 (GZT) and then again in an abridged form as part of Johann Scheible’s 1846 Das Kloster (vol. 3, part II, chapter VII) (KZT), with Scheible’s work then translated into English in 2013 as released by Ouroboros Press (OZT).  Although OZT is how most people nowadays tend to encounter this system, I put out my own English translation of FZT out a bit ago as part of my research, and while that translation was just part of the work I’ve been up to, there’s so much more to review, consider, and discover when it comes to this fascinating form of divination.  Last time, we talked about how ZT constructs its notions of divinity and the cosmos, leading to a spiritual theory of sorts replete throughout ZT. If you need a refresher on what we talked about last time, go read the last post!

※ For those following along with their own copy of ZT (get yours here!), the relevant chapters from ZT are the “Epistle”, “Second Supplement”, “Third Supplement”, and “Epilogue”.

It’s far from uncommon for authors to puff themselves up and make their works seem more groundbreaking and significant than they generally have any reasonable right to be (and I should know).  This can be explained any number of ways ranging from it being a marketing technique to merely getting people hooked on this Cool New Thing you’re excited about, or it may just be that the author has bought into their own hype and think that they’ve come across the Only Thing that Matters.  This is especially common in the world of occult book publishing, and to an extent, I think it’s always been that way to one degree or another; after all, the whole bit about mystical or magical historiolae explaining the discovery of some long-lost text is as much part of the occult genre as is lists of demons or elaborate instructions on tool-making.  It’s something of a cliché unto itself, really, and—at least for me—it can be almost disappointing when a text lacks such a bit of good entertainment.

Sure enough, we see a this puffing-up of itself happening in ZT, too.  This is most evident right in its very title (“The Telescope of Zoroaster, or, the Key to the Grand Divinatory Cabala of the Magi”) that calls on a whole number of occultural tropes, which are only expanded upon in the text itself, but there’s more to it than that, and I don’t think ZT is just trying to puff itself up for the sake of selling itself out.  ZT makes frequent reference to how it’s “only a key, not a treatise”, which immediately suggests that the author of ZT is holding stuff back from the reader.  While some people might be inclined to read this as a sure sign that the author is putting a blind on us, this isn’t the case here; rather, ZT does present what is necessary to learn, but only that which is necessary and not anything more, leaving what does not strictly need to be said as an exercise for the reader.  In that light, we need to consider everything that ZT does give us.  While the main purpose of ZT is ostensibly to teach about a particular form of numerological sortilege with an astrological flair, there is so much in ZT that isn’t directly about that that it leaves us to wonder: what else is it teaching us?

There’s a tantalizing statement in the Epilogue:

…willing to put ourselves in such a position, we have advocated for indicating how the operator will be able to recognize certain cases where (by a complicated contest of triangular relationships) an intimate communication and sometimes a Vision would be promised—in vain. The author of The Telescope of Zoroaster did not change course in the reply he divulged:

The Candidate must wait to be surprised by this superhuman opportunity, sooner or later infallible for them, if they are truly Called. This opportunity will fully compensate them for his work when, sooner or later, they will have reached the point of aptitude where the Pure Spirit desires them to be.

Consider the implications of this admission.  Despite the divinatory method that ZT teaches of analyzing the various tiles that might appear in any given pattern or arrangement within the Great Mirror, it suggests that this is not the ultimate (or at least the underlying) goal of the divinatory system of ZT.  Sure, the system as presented will work to predict the future, treating it fundamentally as a tile-based variation on cartomancy making use of a densely-packed spread, and the vast majority of the content of ZT discusses this very method and its variations in order to explain such a divinatory system. However, the implication of this line in the Epilogue, as well as the several mystical sections of the “Second Supplement” and “Third Supplement” that discuss more than mere angels and natal stars, suggest that this is just part of the use of such a Mirror.  Rather than merely arriving at interpretations, the real purpose is to obtain visions.

I mean, consider this line from the “First Step”, when the notion of mirrors are introduced:

These combinations are called “mirrors” when, instead of speaking only to the eye as paintings do, they offer the Cabalist a meaning which can only exist for them alone. Such combinations deserve the name “mirror” because they reflect the truth that saturates combinations. Thus, by combining the hexagons—whether we call them pieces or parts—into the triangles, diamonds, or hexagons that are composed from such hexagons, we obtain paintings, or “mirrors”. Now, the mirror being the final object of the cabalistic process, it is the quality of the mirror that prevails, and this word is principally in use.

Remember how I mentioned before that reflecting telescopes were still relatively new at the time of FZT’s publication?  Dating only to the 1660s, reflecting telescopes provided technical advantages over the older lens-based refracting telescopes.  In this light, especially when combined with how ZT says that modern astronomy has such “fruitful and no less indispensable utility”, it would suggest that the metaphor of these tile-spreads being “mirrors” was taken from astronomical tools: using mirrors in a metaphorical telescope (the divinatory system of ZT itself) to gaze into the spiritual Heavens much as an astronomer’s telescope makes use of mirrors to gaze into the physical skies. Thus, when a figure is composed for the purpose of performing divination, it takes on the name of a “mirror” as something that one gazes at as if it were a picture to contemplate.  We can certainly inspect parts of the telescope to determine how the different parts come together, but we’re not supposed to be looking at the telescope or at the mirror, but rather in the telescope or in the mirror to see what it reveals.  I mean, heck, ZT even brings up Nostradamus in the “First Supplement”, whom ZT claims also relied on the Great Cabala to determine matters of great spiritual importance and world-changing significance.  In this, by looking at the Great Mirror, we learn its parts and see individual things coming to pass, but by looking in the Great Mirror, we come to actually See things as a whole coming together—something far greater than the sum of its parts.

I mean, consider what we said last time about the spiritual cosmos as construed by ZT.  Yes, there is the Supreme Being and the Pure Spirit and the Principles and Spirits and Intelligences, but ZT says that there’s still so much more than all of this.  While the “Second Supplement” is primarily important for students of ZT to teach about the 28 angels and their natal stars (i.e. lunar mansions), that’s really only half the chapter; the other half talks about all these various means by which humans come to know things by means of spiritual intervention through visions, messages, and communion with spirits.  The author of ZT brings up Moses and the burning bush, Saul seeing the ghost of Samuel, Brutus seeing the ghost of Julius Caesar, Belshazzar seeing the hand writing on the wall and it being clarified by the divine inspiration of Daniel, the Three Wise Men being given a vision about where to go find the Infant God, the Pharaoh having his dreams interpreted through the divine inspiration of Joseph, the daimōn of Socrates, Numa Pompilius and the nymph Egeria, and so forth and so on.  ZT emphasizes the point that all true knowledge that matters for us doesn’t come from mere human inventions of cardgames or whatnot, but from our interactions with the spiritual world which guides us and leads us to live our lives properly in accordance with the will of the Supreme Being.

It is to that end that the author of ZT presents the Great Mirror (and, by extension, all the rest of the mirrors in ZT) as a means of not just predicting the future but as a means of communing with spirits.  This is why ZT gives us Plate VI (the diagram of the Great Mirror with the angels and lunar mansions), which only makes sense by bringing up the angels first, which only makes sense by bringing up the role of spirits generally: to guide and instruct humanity in the well-ordering and proper-functioning of the cosmos.  And, heck, given the extreme detail ZT gives in the “Second Supplement” regarding all the parts and bits of Plate VI (some of which don’t even actually appear in Plate VI as given), it leads me to wonder whether Plate VI is really just a reference sheet to be used like the Table of Numbers from Plate II, or if it was meant as a meditative focus not unlike a mandala expressly for coming into communion with those very angels themselves.

In that light, the Great Mirror serves three purposes simultaneously:

  1. A means of sortilege by which we can predict the future
  2. A means of coming into visions of things that are meaningful, i.e. a scrying surface
  3. A means of communicating with spirits who speak through the tiles, i.e. a conjuration locus

Incidentally, it’s the use of the Great Mirror as a medium for scrying that I think the use of hexagonal tiles is important, not because of any mystical symbolism inherent in the shape but because they completely tile a plane without gaps.  While circular tiles would also work for the purposes of divination, since they pack in a hexagonal manner, they leave gaps between them, which hexagonal tiles don’t leave behind.  Having a smooth, complete surface would work much better in this regard to afford the diviner something cohesive and coherent to gaze at for the purposes of scrying rather than mere sortilege.

This is, in a sense, what the Epistle told us about almost right from the get-go:

To read into the future is a much higher faculty still, and is less willingly granted from above. It is nevertheless obtained by means of one who knows that most ancient Pact—by means of an Advocate (but no one else) who finds in the signs and numbers of various tables the truth dictated by the intelligences concerning all that is the reasonable object of anticipation that one proposes to make in a more or less remote future. These signs, these numbers, these tables—this is what the Telescope of Zoroaster is about. […]

By means of the booklet through which I dare to pay you respectful homage, my Lord, we shall know how one might establish for oneself, so to speak, a place of rendezvous, where the Advocate enjoys the favor of being in the presence with superhuman beings and can there receive their benefit.

Recall the whole pyramid metaphor from last time that ZT gives about itself at the beginning of the “Second Supplement”:

As these approved eyes look upward along the faces of this mysterious edifice, it will happen—should the Pure Spirit allow it—that the clouds, at first reaching down to the ground to hide everything from the profane eye, will rise so slowly as to barely be noticed at once. Stone is succeeded by marble, marble by crystal, crystal by diamond, and diamond finally by a heavenly brilliance—but the Elect are not like to be dazzled with damage.

To lay it out bare: that the pyramid is revealed at all through the foggy mists is the work of the text of ZT, while the divinatory system of astrologically-flavored numerology provides just the rough-hewn stone base of the pyramid, but this is just the foundation of what comes next, which is heavily suggested in ZT to be obtaining visions and communing with spirits.  But even these, after all, would just be the next layers of the pyramid, upon which even higher and even more precious levels are built.  All ZT does is show us to the door of this pyramid-temple, and beyond that, so long as we have a light provided to us by the Pure Spirit, how far we ascend is up to us and our own determination and dedication.  All of this is nothing less than reclaiming the ancient spiritual heritage that the Epistle ascribes to the ancient Magi:

A similar order of things once existed wherever the Magi breathed, those revered priests, the most enlightened, the best of mortals. In their religious palaces consecrated to the Pure Spirit, these sacred servants, inaccessible to the curiosity of the vulgar, gave themselves up without distraction to the sublime intercourse which was their mission to maintain with the agents of Heaven. These dictated to their favored caste all that celestial and terrestrial nature has of secrets that can be brought within reach of human understanding, always infinitely limited to whatever degree of penetration one supposes those most perfectly organized priests, endowed with the greatest genius, were to have.

What are these secrets, exactly?  ZT doesn’t say; either the author of ZT was not privy to them, or the author found it improper to state such secrets to those whom they neither knew nor trusted, and for my part, I’d be charitable enough to accept the latter.  All the great questions we have about humanity’s origins and destinations, our questions about salvation and damnation, our questions about afterlives or reincarnation—ZT simply doesn’t say, and in many cases, doesn’t even hint at them.  All we have is this method by which we can begin to refine ourselves and build up a practice that will, so long as we keep to it, reach into the heavens themselves where all the secrets of Creation and the Creator might be revealed to us in time.

This is why, in the “Second Supplement”, the author tells us to keep ourselves in “a moral conduct and physical regimen” that keeps us relatively pure.  This isn’t about divination—well, not just about divination—but rather about us being able to accurately and consciously come into contact with spirits:

  • By avoiding heavy food, we free up our body and its senses to more easily allow the subtle perception of and communication with spirits.
  • By avoiding stimulating food, we keep our mind clear from the fog of perturbation so that we can accurately understand spirits without the message becoming biased or unclear.
  • By avoiding heatedness of sexual or emotional passion, we keep ourselves noble and worthy of entering into relationships with spirits and receiving their guidance and messages.

In the midst of the dietary restrictions ZT suggests, it brings up how so much spiritual communication occurs to us in dreams, and why ensuring that we dream well (especially in that liminal state of us rising from dream in the morning at dawn) is so important for spiritual communication:

The Elect, whom no embarrassment of the head or stomach has afflicted at the moment when sleep overtakes them, has consumed their digestion in a few hours, and then their whole being is fully at rest; this is the proper moment to catch the Spirit who deigns to communicate to this privileged mortal, and it is up to such a mortal to know how to take advantage of this sign of favor granted to them, and to not confuse with phantasy that which can be revelation, inspiration, and even sometimes apparition. Science, which is indeed the Great Cabala, is the touchstone par excellence where any accident of dream or vision can be tried and appraised at fair value. It is, we say, for the ordinary person, in the morning at the coming of the dawn, that the heavenly Agents descend and manifest themselves to the Elect.

This follows up on what the author said at the beginning of the “Second Supplement” regarding sleep and dreams:

What do we know? Nothing, perhaps, of what happens to the soul during this leisurely likeness of death called “sleep”; it is nothing but a superhuman apperception, whether helpful or harmful, sometimes pretending at ordinary facts, sometimes something disguised in supernatural forms—dreams, we say, are perhaps just favors granted by benevolent Intelligences or vexations and ambushes prepared by malevolent Intelligences, but are all too often too-fleeting impressions that vanish nearly in an instant, or symbols that are too oblique and so remain silent for ordinary mortals because they do not know the language necessary to understand them well. What one wants, what one is advised to avoid or do, even superstitious notions that have been adopted to generalize for all people the meaning that each material object can have in a dream all oppose a stupid, extravagant prejudice against natural inspiration itself, which therefore has failed in its effects.

In this light, especially considering the angelic focus of the “Second Supplement”, we build upon the divinatory practice to become introduced to communing with spirits, but we actually do the work of engaging with them primarily (it’d seem here) through the function of dreams—and not just any spirits, but primarily the angel of our own natal star.  This is best done at the coming of the dawn since, as the light of the Sun begins to enter into the world, so too do “the heavenly Agents [who] descend and manifest themselves to the Elect”.  We come into contact with the spirits, and especially our own angel, in order to better know ourselves and our natures, and thereby come to know more about the world around us, and by extension the whole Creation and the one Creator.  All of this comes about through the honest and earnest communion we might have with spirits, those celestial intelligences and heavenly agents, with whom such communion and communication is “the most beautiful privilege that humanity might enjoy”, because it is by our thoughts led on by things higher than us (the “super” to the “human”) what we might reach “to spaces that can and must be populated by a hierarchy of sublime beings”.

But, like…isn’t this a bit much?  In a book about sortilege, it’s super weird to have such an extended discussion about the virtues of a restrained diet to facilitate spiritual communication in dreams and how the greatest things we might aspire to is such spiritual communication and direction, right?  But then, that’s because ZT isn’t just a book about sortilege.  Among all the various lessons of the mechanics and components of its divinatory system and how to approach matters of querent and query, it’s clear that ZT gives us a much broader spiritual approach to understanding matters of truth on scales that go far beyond the mere individual human. Even though only the barest outlines of such a spiritual discipline is sketched out by ZT, it’s clear that it aspires to be the gateway through which one can eventually access the highest secrets of divinity and to live a holy life in continuous communion with heavenly beings.  We should remember, after all, that what ZT gives us is “a master key which will open not just the main doors but all the side doors, all the cupboards, all the drawers, and even the smallest secrets”.

Of course, such access to divinity and divine secrets isn’t given to everyone, nor is it even promised to everyone.  Success in this sort of spiritual work depends on many factors, not least of which is one’s own spiritual education (which ZT is meant to facilitate at an introductory level), but also one’s faith: faith in the Supreme Being (“Without this faith, there is no connection between the Supreme Being and humanity, and without such a connection, there can be no Great Cabala”) and confidence in the Pure Spirit (” confidence in the Pure Spirit—which is the indispensable trait of vocation which the Candidate must find themselves to possess”).  As the Epistle repeatedly emphasizes in its hypothetical rebuttals to imagined detractors of spirituality generally and ZT specifically, there is nothing in the Great Cabala for those who would dismiss it or its claims out of hand, or who would stringently favor human reason over superhuman gnōsis.  In this light, I’m reminded of part of the dialogue between Hermēs Trismegistos and Asklēpios from book IX, section 10 of the Corpus Hermeticum:

If you are mindful, Asklēpios, these things should seem true to you, but they will be beyond belief if you have no knowledge. To understand is to believe, and not to believe is not to understand. Reasoned discourse does not get to the truth, but mind is powerful, and, when it has been guided by reason up to a point, it has the means to get as far as the truth. After mind had considered all this carefully and had discovered that all of it is in harmony with the discoveries of reason, it came to believe, and in this beautiful belief it found rest. By an act of god, then, those who have understood find what I have been saying believable, but those who have not understood do not find it believable.

Returning one last time to the Epistle, we were not only introduced to the subject matter of ZT but also to a defense and explanation for its development and dissemination.  The “Baron de N…..” notes that such a discipline as this is only in its infancy, given how much work we have to do to salvage and reclaim the grand spiritual inheritance of the Magi, but reminds us even the grandest temple starts with but a simple hut to serve as an erstwhile tabernacle for the humblest of altars.  Those who dedicate themselves to such a spiritual endeavor would find themselves to be planting a sacred grove, keeping out those who would only disturb them—and, indeed, the author of ZT fully expects that this work would remain unpopular, maligned, and chastised by the many, and even many people today still scratch their heads at the incomplete, obtuse, or seemingly needlessly complicated system of ZT.  But, for those who would strive to make use of such a system, the author simultaneously hopes that, even should it take centuries, the “moral gold” that is produced from the crucibles of the dedicated would be used to reforge the bonds of true wisdom once broken long ago.

It’s my hope that all of this exploration over the past several weeks has helped attain at least some measure of that, instead of letting this fascinating system languish forgotten on old shelves.  At this point, I’ve basically said everything I have to say on it, so we’ll wrap up this series in the next and final post to summarize everything and bring it all together.

Revisiting the Sixteen Realms of the Figures

Happy solar new year!  Today’s the first full day of spring according to the usual zodiacal reckoning, with the spring equinox having happened yesterday afternoon in my area; if I timed it right, this post should be coming out exactly at my area’s solar noon.  I hope the coming year is bright and full of blessing for all of you.

I’m taking the day to celebrate, as well, and not just for the freshness of the new year.  Since the start of the calendar year, when I made that post about a sort of feast calendar for geomantic holy days, I’ve been busy coming up with an entirely new devotional practice.  It’s not really my doing, but it’s a matter of inspiration, and…well, it’s an impressive effort, even by my own standards.  As part of it, around the start of the month (fittingly, the start of this current Mercury retrograde period!), I undertook my first celebration of the Feast of the Blessed Dead, my own recognition, honoring, and feasting with the blessed ancestors of my kin, faith, work, and practices.

And, of course, far be it from me to pass up a half-decent photo op.

According to the scheme I made for a geomantic calendar, after the Feast of the Blessed Dead at sunrise begins the Days of Cultivation, 16 days of prayer, meditation, study, fasting, purification, and the like.  In a way, it’s kinda like a kind of Lent or Ramaḍān, but at least for only 16 days instead of a lunar month or 40 days.  After those are done, it’s the Feast of Gabriel the Holy Archangel, Teacher of the Mysteries.  Which happens to coincide (either on the day of or day after, depending on the exact time) with the spring equinox.  Yanno, today.  So I’m quite thrilled to bring this ordeal to an end and take things easier again—especially after a good two hours of prayers, rituals, and offerings this morning—but I can’t take it too easy; one of the many benefits I’ve been seeing from doing this practice is that it’s forcing me to get back to a daily practice again, something I’ve been meaning to do now that I have the time again in the way I want to but just haven’t.

(As a side note: one of the things I’ve been doing is a kind of fast, not a whole or total fast, but something more like a Ramadan or orthodox Lent with extra dietary restrictions: no eating or drinking anything except water between sunrise and sunset, one large meal after sunset, no meat nor dairy nor eggs nor honey nor any other animal product.  It wasn’t my intention to go vegan; instead, I had this elaborate progressive fasting scheme that took inspiration from kosher dietary restrictions and the Fast of Daniel from the Book of Daniel, but that proved way too complicated for such a short-term thing, so I just decided to omit meat and dairy, but that then extended to all animal products, so.  I have to say, it’s been a good exercise, all the same, and the intermittent fasting regimen is something I may well keep up, as I’m seeing other benefits besides spiritual focus, even if I do find myself being cold a lot more often than before; more reason to cultivate inner-heat practices.  All that being said, I am excited to indulge in a whole-ass pizza or tub of orange chicken tonight.)

One of the practices I was doing every day during these Days of Cultivation was a contemplation on one of the sixteen figures of geomancy.  In a way, I was returning to one of the oldest and first major things I ever did in my geomantic studies.  John Michael Greer in his Art and Practice of Geomancy, as part of the section on geomantic magic, instructs the reader to “scry” the figures.  Rather than scrying into a crystal ball or anything like that, what he means is an active contemplation and visualization of the figures, or in more Golden Dawn-ish terms, engage in a kind of pathworking of the figures: visualize the figure clearly, then see it emblazoned on a door of some kind, then go through the door and see what you see, hear what you hear, and experience what you experience as part of the realm or world of that figure.  This is a deeply profound and intimate way to learn about the figures, once you have a basic understanding of their usual meanings and correspondences, because you’re actually entering the worlds of the figures themselves.  Those who recall my De Geomanteia posts from way back will remember that I gave an elaborate visualization or scene that helped to impart some of the meaning of that figure; those are the direct results of my contemplations of the figures from years ago.  (If you never read those posts, check them out!  I talk about the figures in depth and at length, and talk a bit about some really useful geomantic techniques, too.)

So, I decided to try contemplating the figures again, except this time, I brought a lot more of my art to bear (I wasn’t really a magician back in those days!) and fit it within the framework of this burgeoning devotional practice, calling on my guardian angel as well as the archangel Gabriel, that famous celestial being who taught the founders of geomancy their art, to help me understand the figure through its mysteries.  The process was, fundamentally, the same, except with some preliminary and concluding prayers (which helped in ways I would never have conceived of even a few months ago, much several years ago): visualize the figure, see it form a door, mentally go up to the door and knock, open the door, and go on through.  I augmented this process by using the geomantic salutes as well as by intoning the epodes for a figure and reciting the orison for a figure (16 short hymns of the figures, available in my Secreti Geomantici ebook!) for an all-around way to get as much of me engaged in the process as I could without breaking out into a fuller ritual involving incenses or candles or the like.  For the order, I used my trusty elemental ordering of the figures according to their primary and secondary elemental rulerships, based on the structure of the figures rather than their planetary or zodiacal correspondences.  So, I started with Laetitia on the first day, Fortuna Minor on the second, Amissio on the third, and so forth, up until Tristitia on the last and final day.

I was looking forward to seeing what new knowledge I could get, getting reacquainted with these figures I see and use so often in my work, maybe even revisiting the same scenes I saw so long ago.  Interestingly enough, that wasn’t the case.  Instead, what I was shown was a city, a vast metropolitan city filled with skyscrapers and towers that came to an abrupt end at a single, long road that ran from an infinite East to an infinite West, on the opposite side of which was an equally-vast forest, filled with every kind of tree and bush and plant imaginable.  Every figure-contemplation took place along that road, dividing that vast city and that vast forest, but every figure-contemplation was drastically different: time of day, weather, what was happening, the condition of the city; heck, there even seemed to be a notion that sometimes years or even decades would pass along that road between visualizations.  In a way that caught me off-guard, the elemental ordering of the figures I used told a deep, intricate, and coherent story of the flow of time of that place, between the metropolitan inhabitants of the city and the autochthonous inhabitants of the forest, ranging from celebration to war to cataclysm to peace and all the things between.

In a way, I guess I was revisiting the realm of Via itself.  After all, the fact that all these visualizations took place along a Road was not lost on me, and seeing how this figure is often considered to be the first figure of geomancy in the historiolas that we have as well as having all elements present, and that I was using an elemental ordering of the figures to arrange and schedule my contemplations of them…well, I guess it makes sense, in retrospect.

I didn’t want to give a whole new set of intricate visualizations, much less share some of the intimate things I witnessed in each contemplation, but I did want to share a few things with you from what I saw: primarily, the form of the door that formed for each figure, and a brief lesson to learn from each figure.  The doors you might see in your own contemplations may well be different, but I figure that giving some sort of description for what to expect could help.  The lessons were, for those who follow me on Twitter, shared day by day in a short-enough form to encapsulate some of the high-level important messages that I could deliver from each realm of the figure.  Perhaps they, too, can be helpful for those who are learning about the figures, or want something to start with that they can expand on in their own meditations.

A large arched banded wooden door situated in a fluted pillar-supported stone arch, opening towards
There are always reasons to celebrate, but celebration need not mean partying. While some take time off, others still serve, and they too have cause to celebrate. To truly celebrate is to rejoice in work, channeling hope into power; true praise of God is praise through Work.

Fortuna Minor
A square, wide, wooden door banded with iron and surrounded by cut stone, opening towards
Don’t chase after sunsets. Diminishing returns will waste you time, and time is something you can’t waste anymore. All we have is all we have; prepare when you can, make do when you must. It’s all we can do to look after ourselves and our own; find independence through community.

A normal cheap white bedroom door with plain threshold, opening outwards
Better to be homeless in loss than to build a home on it, lest your foundation sink into quicksand. Refugees, divorcees, ex-employees, we all suffer loss time and again; it hurts, and it hurts to stay and it hurts to go, but in accepting loss, we leave loss behind.

Cauda Draconis
A weak, filthy, dusty, shaky door that smells, opening outwards
This world is meant to end, and yet we are meant to make it last. We must do what we can when we can—but at the proper time, and no sooner? Collapse early, avoid the rush. Loss is nothing compared to perdition; how simple we are to focus only on the now when all else is at stake.

Metal bulkhead door, opening outwards
Enthusiasm can wash over any disaster like an opportunistic wave, but when faced with actual problems, it can end in dashing oneself against rocks in order to break them, or fleeing to fight another battle and another day. Waves will break and scatter but overwhelm all the same.

A black door, almost invisible, opening outwards
Unbridled desire is like air, stale though thinking it’s fresh, trapped in a cyclone that wrecks damage it cannot see. Over and over it runs roughshod over all, consuming and hurting all. Only true fresh thought clears the air, bringing helpful change instead of harmful calamity.

A rustic door with a fine, elaborate lintel, opening outwards
In war, all else looks like peace; in peace, all else looks like war. It’s in the liminal space between them, a blue hour of life, that everything and everyone can come together as equals. Not as allies, but as equals in crisis, equals in opportunity, equals in assessment.

A marble door with engraved inlays of lapis and gold, flanked by fluted columns, opening towards in half
After reckoning comes work; after assessment, business. All come as equals, sharing to increase, increasing their share, carrying our past forever with us. True wealth is practical knowledge, an endless font to always build, augment, and—soon—to rejoice. “Go forth and multiply.”

An opalescent glass door with a shiny chrome frame, opening outwards
Beauty is an emergent property out of assessment, union, and work. We don’t find beauty; it finds us, when we’re in the embrace of equals whom we don’t just acknowledge but truly know are our equals. Beauty is a property of truth, and truth comes from acceptance of the world.

A color-changing veil suspended from an arch, sliding to the left
Every infinitesimal moment has infinite potential, every one a knife-blade, a parer of possibilities. In each moment lies every potential of every kind of action; it’s up to us to take it, transforming the world and ourselves. Geomancy isn’t called “cutting the sand” for nothing.

A white wooden door in a white, rough-cut stone threshold, opening towards
After we (re)build, the dust settles, and we can see clearly; purity of the heart leads to purity of the mind. We hollow the church, and fill the world as a monastery, living in peace to remember and re-member. But don’t forget: believing we have peace doesn’t mean we really do.

A thin, white, translucent veil divided in half, suspended from a thin smooth metal frame, parting to open from the middle
Love leads to peace, but without further direction, leads to inertia and languor. Utter clarity of vision leads us to live utterly in the here and now, and makes us forget our lessons, even as we return to how things always were. We take too much for granted; we lose our way.
*Note: this one feels like it should be first or last, a complete return to how things always were.

A double door, the inner one of thick wrought iron bars opening towards, the outer one of heavy steel bulkhead opening outwards
Inertia stops to become hollow convention, which becomes enforced restriction. The word of God is replaced by the word of law, and we become isolated and ignorant of the larger world, and keeps us bound to the same old same old, always for the best, and if you’re not convinced…

Caput Draconis
A pair of elegant-yet-subdued baroque French doors, ivory with bright gold leaf accents, opening outward from the middle
With enough rules, even rulers become slaves, and all the old guard wander in lost memories. It’s the too-young, those too fresh to have known anything else, that begin the coup, but all they know is how to prepare and destroy. Chaos? Yes! The climactic Big Bang, a fecund reset.

Fortuna Maior
A gate of warm gold set with bars of iron with iron gateposts on either side, opening outward from the middle
Forced dominion toils to keep order, but true royalty has no need for force. Rulers naturally assume their role, and all rule their own proper domain; as planets in their orbits, all take care of their own work, honest and pure. Independent success, all for the sake of the All.

The heavy, metal-covered stone door of a tomb with a ring for a handle, opening towards
The Work is easy to start, but hard to continue; hope flees and dread finds us instead. The plague of “what if?” seeps into us like polluted air into sod, turning fertile grass into barren dust. The Sun has set, but will rise again; keep going until dawn, for then there is hope.

Meditating on the Abacedarian Ancient Words of Power

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

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

Letter Word of Power
Α ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ Akrammakhamarei
Ζ ΖΗΝΟΒΙΩΘΙΖ Zēnobiōthiz
Η ΗΣΚΩΘΩΡΗ Ēskōthōrē
Θ ΘΩΘΟΥΘΩΘ Thōthūthōth
Μ ΜΟΡΟΘΟΗΠΝΑΜ Morothoēpnam
Ξ ΞΟΝΟΦΟΗΝΑΞ Xonophoēnax
Ο ΟΡΝΕΟΦΑΟ Orneophao
Φ ΦΙΜΕΜΑΜΕΦ Phimemameph
Χ ΧΕΝΝΕΟΦΕΟΧ Khenneopheokh
Ψ ΨΥΧΟΜΠΟΛΑΨ Psykhompolaps

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Towards a Greek Kabbalah: Symbolism of the Greek Letters

From before, a letter has four parts: a name, a glyph, a sound, and a meaning.  The first three were discussed last time, along with a basic set of meditations to get us familiar with the first three of these parts.  We didn’t discuss the final part of the letters, however, which is the meaning of the letters.  Unlike the name, glyph, and sound for a letter, of which there tends to be only one of each, there are many layers of meaning for each letter: numerical, astrological, divine, oracular, Phoenician, Greek, and more.  This is what makes the divination system of grammatomancy so powerful, in that a whole world of knowledge can be unlocked with a single letter.  So, even though the meaning of a letter is the fourth part, there are many parts to the meaning of a letter.

What are some of those meanings?  Honestly, if I had to indicate all the meanings of the letters, this blog post would become a whole blog in and of itself, so I’ll simply list a few sets of meanings along with links or links to books for further reading, though my ebook on grammatomancy lists many of them:

  1. Numerical:  my page on isopsephy and gematria, Kieran Barry’s The Greek Qabalah
  2. Astrological: my page on stoicheia, Agrippa’s table of letters (book I, chapter 74, though I reverse how he arranges the planets to the Greek vowels)
  3. Oracular: Apollonius Sophistes’ Greek Alphabet Oracle
  4. Divine: a post linking the Greek gods to the letters for purposes of a lunar grammatomantic ritual calendar

Honestly, with all that down, we already have a wealth of knowledge at our fingertips, but there’s another way to give meanings to the Greek letters: their original Phoenician names, and Greek words related to the letters.  Even the Greeks were aware, to an extent, of the Phoenician origin of their alphabet, which doesn’t diminish its importance in the least for our purposes.  After all, the Phoenician script was the origin of many of the world’s writing systems (especially if you buy the argument, as I do, that it formed the origin of the Brahmic script in India, which connects it even to the Far Eastern Korean).  The diagram below shows Phoenician in the center column, Hebrew to the right of Phoenician and Arabic to the right of that, and Greek to the left of Phoenician and Latin to the left of that.  Letters of different scripts in the same color boxes show the origin of the letter, while arrows show derivations of other letters.

Origins of Letters from Phoenician


Phoenician script has 22 letters, the same 22 as modern Hebrew; there’s a 1-to-1 mapping between those two scripts.  The Ionian Greek script, however, got rid of three of the letters (digamma/waw, qoppa, san/sampi), added four (phi, khi, psi, omega), and moved the position of the derived form of Waw (which became Upsilon) further back in the alphabet.  Each of the Phoenician letters had their own name, many of which provided the names for their corresponding Greek letters.  These names referred to, in many cases, earlier Egyptian hieroglyphs or related words that provided a basis for what the letter looked like.  Many of these names were maintained in Greek, often in derived forms, such as Alpha from ʾĀlp, Bēta from Bet, Gamma from Gimel, and so forth.  For the Greek letters that have Phoenician origins, either in name of the letter or its form, their Phoenician meanings might include the following:

Letter Phoenician Meaning
Α ʾĀlp Ox
Β Bet House
Γ Gimel Throwing stick weapon, camel
Δ Dāleth Door
Ε He Window
Ζ Zayin Weapon, sword
Η Ḥeth Wall, courtyard, thread
Θ Ṭēth Wheel, good
Ι Yōdh Hand, finger
Κ Kaph Hand, palm of a hand
Λ Lāmedh Goad
Μ Mēm Water
Ν Nun Fish, serpent, whale
Ξ Simketh or Sāmekh Fish, tent peg, prop support
Ο ʿAyin Eye
Π Mouth
Ρ Rēš Head
Σ Form from Šin
Name from Simketh
Τ Tāw Mark, cross
Υ Wāw Hook
Φ Form from Qōph Back of the head, sewing needle, eye of a needle, monkey
Ω Form from Omicron

Of course, by the time the Ionian Greek script was adopted and spread throughout Greece, many of the letter forms were so far removed from their Phoenician counterparts (if any existed) that many of these meanings became meaningless or detached from the letters.  However, the Greeks themselves often found new symbolism for the names, often from a variety of sources.

  • Words or names that started with the letter itself
  • Images or concepts that bear a resemblance to the shape of the letter
  • Words that bear a strong resemblance or things that have a connection to the name of the letter
  • Assigning a letter to parts of the body, starting with Alpha at the head and going down to Mu at the feet, then starting again from Nu at the feet and going back up to Ōmega at the head (cf. the Body of Sophia)
Letter Meaning
Initial letter Graphical Importance Body
Α  Man, air, Apollo  Beginning, invention, source, God  Head
Β  King, help  Duality  Neck
Γ  Earth, birth  Shoulders and hands
Δ  God, ten  Breast
Ε  Build  Justice, Apollo  Diaphragm
Ζ  Life, Zeus  Back
Η  Hera  Belly
Θ  God, death, Mars  The world/universe  Thighs
Ι  Jesus, jot, single  Line, perfection, Rod of Moses  Knees
Κ  Lord, Caesar  Lower legs
Λ  Lion  Ratio, progression  Ankles
Μ  Mary, myriad  Middle  Feet
Ν  Feet
Ξ  Ankles
Ο  Circle, heaven  Lower legs
Π  Father, fire, five, Mars  Knees
Ρ  Thighs
Σ  Savior  Belly
Τ  Cross, crucifix  Back
Υ  Son  Moral choice, dilemma  Diaphragm
Φ  Voice, sound  Breast
Χ  Time, Christ  World soul, cross  Shoulders and hands
Ψ  Psyche, soul  Holy Spirit  Neck
Ω  Ocean, Orion  End  Head

You’ll note that I’ve started to include Abrahamic and Christian references; this is intentional, and not simply me copying entries blind from Kieran Barry’s “The Greek Qabalah”.  After all, as a Hermeticist, I’m not opposed to including Christian or Jewish references here (despite my trying to distance myself from Jewish kabbalah); rather, including them reaches back and allows for more access to much of Renaissance and Medieval development of Hermeticism as well as its classical and pagan origins.

So, where does all this leave us?  Between the graphical shapes and names of the letters, along with their oracular meanings, divine connections, numerical and isopsephic connections, and astrological or planetary or elemental connections, we have whole worlds of meaning for each of the letters.  These can all be incorporated into the meditations on the letters by visualizing or contemplating on them while intoning or repeating the letters.  The images and symbolism of the letters, coupled with their pronunciation, will further open up more doors in exploring the worlds and meanings of the letters and how they affect the world through their presence and, by their presence, the will and presence of the gods and God.

In fact, speaking of doors, let me share a method of scrying I like to use for deeply exploring a particular symbol.  Once the meanings and symbolism of the letters in all their complexity and layers have been learned and reviewed, and after meditating briefly to calm and clear the mind but before leaving the meditative state, I visualize a doorway with a particular symbol inscribed on it.  In our case, that symbol would be one of the letters of the Greek alphabet.  Knock on the door, mentally intoning the letter itself, and open it up.  Everything inside is a representation and symbol connected to that original symbol; explore the world, perhaps calling on the genius or spirit of the symbol to guide you or to send you a guide, or calling on your own HGA or personal tutelary spirit to guide you through it.  Explore the world as deeply as you care to, and when you’ve decided you’ve had enough, take the same route back through the world, passing by all the things you passed by before, and exit the same way you came.  Close the door, clear the mind again, and exit the meditative state.  I’ve used this skill to great efficacy before, notably on my meditations on the geomantic figures and the elemental archangelic kings, and it can be adapted to any number of symbols.  Using this method with the Greek letters can increase one’s deeper knowledge of them by exploring the deeper symbolism and worlds behind the letters which wouldn’t be apparent from simply reading up on their symbolism, and can indicate other symbols not listed above as well as connections to other letters that might not be apparent.  Further, the technique can be augmented by having it take place in one’s astral temple, or astrally projecting into the world itself.