Genius in the Picatrix: The Ritual Itself, and Why Do It Anyway

Last time, we started talking about a particularly interesting bit of the Ġāyat al-Ḥakīm, the “Goal of the Wise”, sometimes just known as the Ġayah, but definitely better known in the West as the Picatrix, most likely written in Arabic sometime in the middle of the 11th century CE.  Everyone knows the Picatrix, everyone loves the Picatrix; it’s a fantastic text of astrological magic, and among the earliest of true grimoires in Europe.  Although focused on what we’d nowadays call stellar image magic, the creation of astrological talismans bearing magical images and scenes made under particular stellar configurations, the text is famous for its wide inventory of bizarre magical concoctions and confections for a variety of purposes, its lengthy invocations to the planetary spirits, and its preservation of older pagan practices from the Hermetists, Sabians, Nabataeans, and various other Mediterranean peoples.  It is not, however, a particularly theurgical text on the whole, even though it contains a wealth of information on philosophy, spiritual and cosmic frameworks, and the like in how and why magic works the way that it does.  Yet, in book III, chapter 6, we encounter an interesting section on the “Perfect Nature”, a sort of guiding spirit or genius, originally encountered by Hermēs Trismegistus himself.  The last post discussed some of the symbolic components and associations we can make to the four powers of Perfect Nature; if you need a refresher on what we talked about last time, go read the last post!

Anyway, at this point, we now have everything prepared for the ritual, including ourselves.  Once the ritual area has been prepared with the candy confection made, the altar and braziers/censers have been set up appropriately, and the Moon has entered the first degree of Aries (ideally at the very moment of the Moon entering the first degree of Aries), perform the ritual:

  1. Light the candle, then put it in the middle of the dish with the candy confection (if the candle is encased in glass or another foodsafe material, or if the dish itself has a space for the candle), or immediately next to it towards the east if this is not possible.
  2. Fill the two braziers/censers with burning coals or otherwise light the coals in the braziers/censers, and set frankincense and mastic in the one to the north and aloeswood in the other to the south.  Alternatively, if using self-igniting stick/cone incense, light those now in the same order.
  3. Stand upright to the west of the altar facing east towards the altar.
  4. Recite the four names of the spirits of Perfect Nature seven times, whether using the Latin Picatrix version:

    Meegius, Betzahuech, Vacdez, Nufeneguediz

    Or the Arabic Picatrix version:

    Tamāġīs, Baġdīswād, Waġdās, Nūfānāġādīs

  5. Recite the following prayer (my own version, synthesized from the translations of Greer/Warnock, Attrell/Porreca, and Atallah/Kiesel):

    I call you, o high and powerful Spirit of Spirits, o Wisest of the Wise, o Intelligent of all Intelligence, o Knowledgeable of the Knowledge of the whole world!  It is from you that the knowledge and understanding of the wise proceed, and it is by your virtue that the desires of the wise are accomplished.  Hear me, answer me, come to me, be present here with me; unite me with your powers and draw me close to your knowledge; strengthen me with your knowledge, and grant me to understand what I do not understand, know the things I do not know, and see the things I do not see!  Remove from me and protect me from all blindness, corruption, forgetfulness, and disease.  Lift me up to the level of the ancient sages, those whose hearts were filled with intelligence, wisdom, understanding, and insight.  Let all this abide in my heart forever; imprint and affix these things in my heart, that they may never depart from me!

  6. Engage in communion with the Perfect Nature.

That’s it.  For all the complexity of much of what’s in the Picatrix, as far as ingredients or elections or supplies are concerned, this ritual is surprisingly simple and straightforward.  Let the candle burn out on its own, then disassemble the altar and ritual area.

After the directions above, the Latin Picatrix and its translations then say that one is to proceed to the table and partake in the wine, oils, and confection as desired as a sacred feast.  This suggests to me that the altar (or another table in the ritual area) may also have other foodstuffs on it in addition to the wine and oils, e.g. breads, cakes, and the like, but with the candy confection being of primary importance.  More than that, however, the Latin Picatrix and its translations say that the one who performs this ritual is to proceed to the table and feast “with their friends”, indicating that this is a sacred feast to be held and shared not just with one’s own Perfect Nature, but with others who may wish to commune with them as well, or with one’s students or colleagues in the Work.  Because multiple people might be involved, all potentially having different planetary rulerships, having this ritual timed along to a particular planet’s hour/day, rising/culminating, or its sign(s) rising or culminating or having braziers/censers intentionally made with a particular planetary metal may not be advisable, depending on who will be there participating in the ritual.  If on your own or with people who share the same ruling planet, then this could be a good idea for all involved, but otherwise, it might be better to forego such a consideration.

However, I should also note that, although this notion of a sacred communal meal is appealing, it is entirely absent from the Atallah/Kiesel translation—and thus, likely from the Arabic Picatrix in general.  The Atallah/Kiesel translation says nothing about proceeding to the table to partake of whatever is on it, nor anything about sharing a meal with one’s friends.  In fact, later on in the Atallah/Kiesel translation, there’s even a bit that suggests that doing this communally may not be a good idea in general:

Aristotle mentioned in his book also that the first philosopher that worked with these talismans and had the spirits appear to him and led him to the wonders of talismans and made him connect with his perfect nature and opened his eyes to the mysterious secrets of creation.  Also those spirits that told him will never appear to anyone else but you, unless they call our name and present a gift of sacrifice in our name.

This is made all the more confusing, given that the Perfect Nature (or “familiar spirit”) of Caraphzebiz told him in the Latin Picatrix:

“I will remain with you, but do not reveal me to others or speak of me, and make sacrifices in my name.”

In this light, the Picatrix strongly seems to suggest that it would perhaps be best that this whole ritual be done individually, or as an act of sacrifice to one’s own Perfect Nature, whether or not a teacher or mystagogue was present to direct and arrange the ritual for you, and even then, that would probably be best up to that mystagogue’s own Perfect Nature.  In this light, the offerings of wine, oil, and candy may all be a sacrifice to this spirit, not to be consumed by the person performing the ritual.  I suppose, however, at that point, you’d be listening to the directives of your Perfect Nature, who may invite you to partake in it all the same.  It’s unclear; it’s interesting that the Latin Picatrix would include such a shift in ritual directives that the Arabic Picatrix does not, while still holding to the same overall idea elsewhere.

Also, would it be strange that Perfect Nature should give Hermēs Trismegistus a prayer that seeks to make him like “the ancient sages”, given how ancient Hermēs himself is and given how Hermēs is considered to be the founder of so much of philosophy and science?  Not really; we find references in the Asclepius and Stobaean Fragments that the Hermēs we call Trismegistus is but one in a line of Hermai, and likewise for Asclepius from the earlier and more famous deified Imhotep.  Hermēs Trismegistus himself in the Hermetic writings is not just the author of ancient wisdom, but an initiator and preserver of wisdom that was established even before his time.  And, in a much later Abrahamic cultural milieu that, despite ennobling and praising him, still puts him down as a mere pagan, while Islam and Christianity were seen as pristine and purer forms of philosophy and religion dating back to the beginning of the world, this prayer allows for both a connection deeper into the Hermetic mysteries as well as more generalized divine ones that go back to the beginning of all Creation.  Depending on how you look at it, of course; given how the Picatrix also preserves outright pagan and non-Abrahamic practices, holding to an Abrahamic interpretation of what Perfect Nature can tie into is not necessarily a given.  All the same, it is something neat to pick up on here.

So, all that being said, that’s the approach one should take to understanding and communing with the Perfect Nature from book III, chapter 6 of the Picatrix.  At what point should one do this?  I mean, yes, this can be done anytime the Moon is in the first degree of Aries, and judging by the various forms of the Picatrix, this should be done at least once a year by everyone, but at what point in one’s spiritual practice, especially if one takes a Picatrix-heavy or -centric approach, should one undertake this?  I’d argue that it should be one of the very first things actually done, as opposed to study alone.  After all, if what the Picatrix says is true, that:

  • nothing “in this science” can be perfected, done, or accomplished except when the virtues and dispositions of the planets and stars allow it
  • Perfect Nature strengthens the intellect and wisdom of those who seek to do these works
  • each sage has their own proper virtue infused into them according to the works of Perfect Nature in conjunction with the powers of their own ruling planet
  • that perfecting one’s Perfect Nature grants knowledge, understanding, success, increase of wealth and station, protection from harm, and “many other things”

…then communing with and perfecting one’s Perfect Nature is essential for spiritual works, and not just in the Picatrix.  The Picatrix is tapping into a long-standing cross-cultural tradition of communing with and learning from one’s own agathodaimōn, genius, paredos, tutelar, guardian angel, or whatever you want to call it, yet it also takes on a specific association with the particular “powers of the sage” here that furthers mere education into something much, much more.  Note that the Picatrix says that the sages of old “taught all knowledge and subtleties of philosophy” before giving their students the means to work with Perfect Nature, indicating that the students of the wise first needed to understand what things are before how to make the best use of them, and that while the sages could certainly teach what can be done and how they do it, it’s one’s own Perfect Nature that teaches the how, what, and why of what each individual should best do for themselves.  Perfect Nature is the solution to the intractable problems of life that no sage, philosopher, or teacher can answer: as Hermēs says, Perfect Nature is that “by which is understood that which cannot be otherwise be understood at all, and from which workings proceed naturally both in sleep and in waking”.  The Perfect Nature is the perfect teacher, the one teacher who can truly teach us what is best and in the best way above and beyond any other.  It’s just that the Perfect Nature still needs us to learn about the world first so that we know how to properly interact with it; after all, you can’t build if you don’t have raw materials to build with.

In this, there are intensely strong parallels between Perfect Nature and True Will, as well, from a modern perspective.  If the Thelemic concept of True Will is “the true purpose of the totality of one’s being” and that “its discovery is initiation….and its nature is to move continually”, that it is “the true expression of the Nature, the proper or inherent motion of the matter concerned”, then to live according to one’s True Will is to fully realize the purpose, method, means, and aims of one’s proper and best life, as accorded to us by Divinity.  This, too, then is also what Perfect Nature does in virtually the same way, taking the influences of our ruling planet and refining them, joining them with divine methods to accomplish that which is best for us.  And, if we’re to take Hermēs at his word at the end of this chapter of the Picatrix, Perfect Nature really is the solution to all the problems of the wise: how science and philosophy can be joined, what the root is of science and philosophy individually and together, and how the secrets of science and philosophy may be opened to us.  Not just how or what, either, I suppose, as the Perfect Nature does more than merely tell us these things; it informs (forms within) us, it instructs (builds within) us.  After all, as Ṭumṭum al-Hindi says in the Atallah/Kiesel translation of the Arabic Picatrix (this doesn’t appear to be in the Latin Picatrix, minor edits for clarity and structure):

…when you first start to look inside of yourself to your managing spirit that connects you with your star—and that is the Perfect Nature that Hermēs the Wise mentioned in his book saying “the microcosm”, in which he meant the human—his soul would be in a similar position to that of the stationary Sun in the sky that shines with its light on the whole world.  Just so does the Perfect Nature spread in the soul so its rays connect with the power of Wisdom and pulls it until it is centered in the soul in its own proper place, just as the Sun pulls and directs the rays of the cosmos to hold itself up in the heavens.

Remember what we said earlier about our inverted vignette, how instead of Hermēs digging in a pit for the four powers of Perfect Nature, he looks to the four pillars of Heaven (or the four corners of the World) to obtain them?  If Hermēs attaining the power at the top of the heavens to still the winds is effectively him reaching his Perfect Nature, and if the top of the vault of Heaven is supported by its pillars, then we see that the relationship one has with one’s Perfect Nature is reliant upon building and refining those four spiritual powers, “just as the Sun pulls and directs the rays of the cosmos to hold itself up in the heavens”.  The Perfect Nature is self-sustaining, providing its own support, much like a spiritual singularity: once you have it, so long as you do not utterly shut yourself off from it, you’ll be set on your proper path to perfect your nature and fulfill your true will.  This, however, is still Work—it is the Work, which is why this ritual is not just a once-and-done thing, but something to be done periodically to continually maintain a relationship with your Perfect Nature in an intimate and personal way, as opposed to the subtle and suggestive ways.

This leads me to think about one more thing about the image of the City of Adocentyn from book IV, chapter 7 of the Picatrix: the central color-changing citadel.  Consider the similarity we have here with our vignettes: a deep pit with a central image and four secrets buried around it (or, rather, the apex of Heaven with the four pillars of Heaven supporting it), and a central citadel in a beautiful city guarded by four powerful gates.  To me, the symbolism would link the Perfect Nature itself with that central citadel, being able to harmonize to the planets (though always linking one most to one’s own ruling planet).  Protected by the four gates and empowered by the central citadel, “the inhabitants of the city were made virtuous and freed from sin, wickedness, and sloth…its people were most deeply learned in the ancient sciences, their profundities, and secrets, and in the science of astronomy”.   Doesn’t this all sound awfully similar to the benefits of communing and working with one’s Perfect Nature?  While I’m not sure whether or not it was written to this intent, it’s starting to sound a lot like that the City of Adocentyn, the Spiritual Hermopolis/El-Ashmunein/Khemenu, while it may well have existed in the mind of the author of the Picatrix and in myth generally, can be read as a strong metaphor for the perfection of one’s own spiritual life.  In working with and living in accordance with our Perfect Nature, we build our own internal Adocentyn of the soul, lush and abundant in life, wisdom, and wealth.

There is one final lingering problem, though: what do we make of sleep?  We know that Ibn Khaldūn in his Muqaddimah gives the four names “Tamāġīs, Baġdīswād, Waġdās, Nūfānāġādīs” (really, a variant thereof, “tamaghis ba’dan yaswadda waghads nawfana ghadis”, which may or may not be Aramaic in origin) as an incantation one uses before sleep to obtain a vision of Perfect Nature, apart and away from any rite of communion or sacred feast, and we also know that Hermēs Trismegistus received his first vision of Perfect Nature in a dream.  Dream/trance states are important for continuing one’s work with Perfect Nature, just as it was for Hermēs and Poimandrēs all the way back in the Corpus Hermeticum, and gives us a means to continually remain in contact beyond a yearly or semiyearly ritual.  It’s the constant work, the constant development, the constant communion we remain in that allows such a relationship to truly flourish—again, we see similar ideas crop up time and again in any culture or magical tradition that involves the presence and aid of an agathodaimōn, genius, tutelar, guardian angel, etc.  Big rituals are good, but it’s the small, quotidian stuff that should never, ever be neglected.

Despite the relatively late text of the Picatrix, at least as far as classical Hermetic stuff goes which the Picatrix does not properly fall into compared to other works like the Corpus Hermeticum or Asclepius or Stobaean Fragments, we find in this chapter of the Picatrix something that’s so starkly, obviously Hermetic, both in tone and content, augmented with a culturally-shifting evolution from classical pagan to (then) modern eclectic practices of spiritual works, here combining the secrets of divinity with astrology, alchemy, magic, and many other practices, almost in a seamless way.  Sure, the Perfect Nature of the Picatrix may not be the Poimandrēs, but the sentiment here is so close and familiar as to be easily understandable.  The Perfect Nature of the Picatrix is the Picatrix’s own take on one’s genius spirit, and as such, should certainly be considered one possible route to attain this crucial relationship so vital to the well-being, spiritual development, and ultimate success of any magician, philosopher, or sage—or, indeed, anyone at all.

And yes, the ritual is up on its own page for easy access under the main menu: Rituals → Communion of Perfect Nature

Mathetic Pathworking of the Tetractys

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

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

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

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

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

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

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

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

tetractys_paths_gnosis_signs

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Planar Sightseeing

Part of the recent wand consecration work I was doing involved lots of conjurations, so I took the opportunity to do twelve straight days of conjuration, working with a different angel and force each day (seven days for the seven planets, four for the four elements, and one for my natal genius).  I’ve been lazy these past few months…okay, no, I’ve been lazy the past half year and haven’t done nearly as many conjurations, projects, or things as I should have (remember those conjurations of Orobas and Viagrahel I said I was gonna do eventually?).  So, I decided to take it upon myself to do almost two weeks of conjurations, similar to the recent Gate ordeal that Frater Rufus Opus had everybody do (that I couldn’t due to other obligations at the time).

Each of these conjurations involved calling down the angel associated with that particular force, aligning myself and my sphere with that force, and gaining an initiation deeper into that sphere if the angel thought I was ready for it.  This process of initiation is effectively passing through a Gate, which involved a bit of scrying and actually seeing the plane in question.  I took notes of what each sphere looked like to me, at least in this series of conjurations, and I thought I’d share it with you guys.  Keep in mind that I don’t view these as canonical, objective, or in any way standard for people, and I’ve been shown different places of different spheres based on when I visit them.  In a lot of ways, they’re influenced by Alan Moore’s comic “Promethea” or the images in the Smith-Waite tarot deck of the four Kings, but that’s not always the case.

  • Mercury: A sprawling port city on an island mountainside, set in the middle of an archipelago of other port cities.  Complicated, labyrinthine roads with all manner of shops, cafés, temples, libraries, and workshops in all places, all set next to each other haphazardly.  A park is situated on the top of the mountain overlooking the city and the nearby towns, set in bright orange, yellow, and dark hues.  Buzzing, full of chatter, sprawling, yet always moving and warping.  Lights stream along the rooftops and roads like circuitry.
  • Jupiter: The deepest almost-black blue skies reach upward, turning bright white down at the horizon with a thick layer of clouds beneath.  Stars, pale and small, dot the apex of the sky above.  A tall castle tower made of rough-hewn, ancient stone reaches infinitely high from beneath the clouds.  Cool, calm, proud.  Always atop a stone or castle-esque tower, or looking out from one.  The clouds clear up on command to reveal lush countrysides, nascent towns, glacial rivers, and temperate forests far, far below; eagles fly across the sky.  The sound of wind and crackling from the stars is notable.
  • Venus: A long, long beach, with a dark emerald ocean and light blue-green skies.  Light pale orange or gold sand, smooth and tingly-warm.  Smooth grey stone walls and walkways, neatly fit together without mortar, with bursts of ivy and roses covering patches of a wall.  The wall is only 10′ or so high, but there are occasional cracks and ruined colonnades along the walkways, almost all of which are also covered by ivy and roses.  The water is warm and soft, the sand moist and sinks in easily under one’s feet.  The smell of sweat and floral musk wash along the air with the sounds of soft chatter and waves breaking.
  • Saturn: Infinitely flat fields of white grass below, a sky full of impenetrably black clouds above, with a horizon of a pale white glow.  The grass was wispy, like feathers or mist, and had a quality of stars or luminous dust to them.  No structures, no hills, no variation in the landscape no matter how far one traveled.  Cold, with implications but no sensations of breeze as the grass silently shifted back and forth.  Dark, though not shadowy; though there was no light source, everything could be seen.  Silence dominated, heavy but not oppressive.
  • Sun: Golden-orange fields, like a savanna, still and peaceful.  Silent, just before the dawn, just as things are on the brink of activity and energy, though radiant with it in all ways.  Everything gleams and glistens, every leaf on every bush and brush, every cloud in the sky.  Temples and holy structures stand atop hills, but very widely-spaced out from each other, visible only from a distance.  Walkways are worn into the grass, dry smooth patches of earth between fields of orange-gold grass.  Warm, healthful.  Occasionally wings will beat, occasionally footfalls of cats.  Still, peaceful, strong, rejuvenating, stable.
  • Moon: Silver rocky plains, covered in shadow, but full of wispy, ethereal forms.  A very slight glow emanates from the dust and stones, with promontories and mesas dotting the landscape.  Slight vegetation, pale green or brown, surround barely-tread roads leading off into the distance.  A mixture of humble houses, hastily-assembled huts, and elaborate kingdoms of crystal can be seen on the horizons, though not all of them are as concrete as the stones underneath.  Jagged crystals glimmer in the light shining onto the ground, jutting up from the ground like frozen geysers, while a multitude of stars vividly shine in the pitch black darkness of the sky above.
  • Mars: A rocky, dusty desert, covered in boulders and fumaroles, with jagged mountain ranges and volcanoes in the distance.  Remnants of roads and pathways can be seen across a scarred, pockmarked landscape, with rivers of fire and lava here and there.  An occasional spring or waterfall can be seen, but the water is invariably scalding, acidic, caustic, or otherwise inhospitable to comfortable living.  Fireballs occasionally rain from the cloudy, dark red skies, most of which burn up before reaching the ground, and most of what’s left landing in the fire rivers and lava lakes.  Statues of soldiers bearing shields and swords or of crying eyeless maidens line the few roads that are left.  No structures or vegetation to be found.
  • Fire: A sea of fire with bright blue, clear skies above, with islands of dark, dry, barren earth covered with sulfuric sands.  The air is dry, parched, and desiccating, and all is blisteringly hot.  No clouds in the sky, and the sky has a pale yellow tinge in an otherwise bright October blue.  The ground is dusty and dry, with walkways above the fire leading around pits and clefts, almost like a catwalk or a land bridge.  The fire is infinite in all directions, with the brightest sun shining directly overhead with no shadow being cast anywhere.
  • Air: A temperate forest near the top of a cliff, with a bright blue sky and a shining, glimmering, silvery sun above and a beach with vibrantly white sand below.  Dark, deep blue waters with white wave caps crash gently with a gentle breeze at the base, and a stronger wind blows constantly through the dark, deep green treetops.  Pines, evergreens, and thin deciduous trees dominate, with sandy, pale soil underneath.  Lots of shadows cover the forest floor, and the smell of treesap and ocean accentuate the air’s poppy, sparkling feel.  No structures, but pathways abound between the trees and around the cliff, a dark almost grey stone.  Few “lively” colors, mostly dark or anti-pastel.
  • Water: An endless sea, dark blue-green in color, with a light, almost grey blue-lavender sky above.  White clouds dot the sky, illuminated with no sun.  The water is slow-moving with no whitecaps, though a brisk and cold breeze blows over it.  A simple, flat, grey, unadorned walkway sits right above the water’s edge, dry though appearing from the water itself.  In the distance, ships and floating cities can be seen, though this simple concrete pontoon bridge is much simpler and much smaller.  The water gently laps at the sides of the stone platform, and the water itself is warm.  The platform is a simple dock leading from water back to water on all sides, no vegetation present.
  • Earth: Gold-green skies shine above lush green bushes, leafy and vibrant.  Tall, tropical or temperate trees grow everywhere, thick and plentiful, with the soil below a dark, rich brown.  The soil is soft, though thick and heavy, crumbling apart like powdered sugar in the hands.  Grass, leaves, and roots gently crunch under footfalls, and the air has a warm, pleasant, almost seaside-like breeze.  Small structures dot the landscape, mostly on hills that look over the forests, mostly huts and small stone structures, each holding a small family or resident, sometimes a traveler, sometimes a permanent settlement.  The air smells richly of vegetation and fruit, though with the sharp tang of dust and warm stone.