On the Solar Guardians

(Update 1/9/2018: Interested in more about these entities?  Check out my more polished, fleshed-out writeup over on this page!)

Recently, I described my method of applying PGM IV.1596, a prayer used for a consecration under the twelve faces of Helios, in a ritual format, but there’s a lot of stuff in there that isn’t in the PGM because…well, it’s not in the PGM.  All that we have is the prayer, so I took some liberties and frameworks of my own and structured a ritual around it.  As part of that, I incorporated four barbarous words of power: ΕΡΒΗΘ, ΛΕΡΘΕΞΑΝΑΞ, ΑΒΛΑΝΑΘΑΝΑΛΒΑ, and ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ.  I only briefly mentioned where they were from, and only really discussed them once before on my blog as something relating to the directions, but I think it’s time for me to talk a bit more about them.

Let’s take a look at the Greek Magical Papyri for a sec, specifically PGM II.64-183, An alternative procedure on a conjuration of Apollon-Helios for wisdom and blessing.  After a lengthy “greeting formula” including a hymn not unlike the Orphic Hymn to Helios, we find the following:

…you who dwell throughout the whole inhabited world, you whose bodyguard is the sixteen giants, you who are seated upon the lotus and who light up the whole inhabited world; you who have desiguated the various living things upon the earth, you who have the sacred bird upon your robe in the eastern parts of the Red Sea, even as you have upon the northern parts the figure of an infant child seated upon a lotus, O rising one, O you of many names, ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ; on the southern parts you have the shape of the sacred falcon, through which you send fiery heat into the air, which becomes ΛΕΡΘΕΞΑΝΑΞ; in the parts towards the west you have the shape of a crocodile, with the tail of a snake, from which you send out rains and snows; in the parts toward the east you have the form of a winged dragon, a diadem fashioned of air, with which you quell all discords beneath the heaven and on earth, for you have manifested yourself as a god in truth, ΙΩ ΙΩ ΕΡΒΗΘ ΖΑΣ ΣΑΒΑΩΘ ΣΜΑΡΘ ΑΔΩΝΑΙ ΣΟΥΜΑΡΤΑ ΙΑΛΟΥ ΒΑΒΛΑ ΥΑΜ ΜΟΛΗΕΝΘΙΩ ΠΕΤΟΤΟΥΒΙΗΘ ΙΑΡΜΙΩΘ ΛΑΙΛΑΜΨ ΧΩΟΥΧ ΑΡΣΕΝΟΦΡΗ ΕΥ ΦΘΑ ΗΩΛΙ…

From this passage, we can note a few things:

  • The Sun, again, changes his form based on his position in the sky, only instead of it being hour by hour as in PGM IV.1596, here he changes based on what quarter of the sky he’s in.
  • The northern quarter has the name ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ with the form of an infant seated upon a lotus.
  • The southern quarter has the name ΛΕΡΘΕΞΑΝΑΞ (part of the whole Aberamen formula) with the form of the sacred solar falcon sending out heat and fire.
  • The western quarter has no name here, but the form of a crocodile with the tail of a snake sending out coldness and water.
  • The eastern quarter has a long name starting with ΕΡΒΗΘ, with the form of a winged dragon with a “diadem of air”, or of clouds.

Despite what I normally think about him and his work, Stephen Flowers in his Hermetic Magic occasionally hits on a few good thing.  He references this part of the PGM in the construction of his Hermetic ritual circle and preliminary invocation; after he calls the sevenths with the seven vowels in the Heptagram ritual, he then uses the four names ΕΡΒΗΘ, ΛΕΡΘΕΞΑΝΑΞ, ΑΒΛΑΝΑΘΑΝΑΛΒΑ, and ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ as well as the four forms given to the four directions as stated before.  While this section of the PGM does not list ΑΒΛΑΝΑΘΑΝΑΛΒΑ as one of the names, given its presence throughout the rest of the PGM, I think it could be a safe attribution to make.

However, Flowers isn’t the only one to use barbarous words of power for the directions.  Michael Cecchetelli in his Book of ABRASAX uses a similar arrangement in his ritual of “Calling of the Sevenths to Induce Equilibrium”.  In it, he uses the names ABLANATHANALBA, AKRAMMACHAMARI, DAMDAMENNEOS, and SESENKEBARPHAGES for the south, north, west, and east (well, technically, to the right, left, rear, and front of the magus, respectively, while facing the East).  However, he doesn’t say where these words come from nor whence their directional correspondences, and neither does he list any visualization or imagery for the names; he says the ritual is found in “PGM 824”, though I’m pretty sure he means to reference lines 824 through 840 of PGM XIII.734-1077, a long section entitled The Tenth Hidden Book of Moses that includes far more than just the recitation of the seven vowels of the Heptagram and, in fact, includes a far more complex calling of the directions, as well.  However, this section doesn’t list any words of power for the directions specifically, and Fr. MC’s spelling of the names is a little odd compared to what we’d normally find (ΔΑΜΝΑΜΕΝΕΥΣ instead of ΔΑΜΔΑΜΕΝΝΕΟΣ, ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ instead of ΣΕΣΕΓΚΕΒΑΡΦΑΓΗΣ).

What’s interesting to me is that we have two separate authors, Flowers and Cecchetelli, who both use the Heptagram ritual with a ritual of calling on the names of…something at the four directions.  Both Flowers and Cecchetelli use the name ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ, and without a PGM reference to indicate otherwise, Flowers hits the mark closer to assigning the names to the directions than Cecchetelli does.  However, all six names are powerful and quite common throughout the PGM, and I dislike having to pick between two otherwise-competent and reasonable systems, so I figured, why not use all six?  After all, both of these sets of names are used in the context of calling on seven directions, not just four, and between Flowers and Cecchetelli, we have six names.  My system for assigning the names to the directions is largely based on Flowers’ system:

  • ΕΡΒΗΘ in the east
  • ΛΕΡΘΕΞΑΝΑΞ in the south
  • ΑΒΛΑΝΑΘΑΝΑΛΒΑ in the west
  • ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ in the north
  • ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ in the heights
  • ΔΑΜΝΑΜΕΝΕΥΣ in the depths

It’s my own innovation to include the heights and the depths to this directional framework, and the two names have responded more-or-less well in practice, though they do feel a bit detached from the others.  This makes sense; in the context from which the four names for the cardinal directions come, they reference the forms of the Sun in his path across the skies, while the heights and the depths don’t really take part in the path of the Sun.  Instead, they form more of a backdrop, a general rulership, or “host” to the Sun.

When it comes to the “forms” for ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ and ΔΑΜΝΑΜΕΝΕΥΣ, I spent a bit of meditation with the names and the directions, and received two images:

  • ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ has the form of an old man in pale grey or white silver, balding with head uncovered, looking downward, holding a ring of keys in his right hand and a staff as tall as he is in his left.
  • ΔΑΜΝΑΜΕΝΕΥΣ has the form of a young woman dressed all in fiery red, head and hair covered in a red shawl, looking directly forward, holding a tall spear in her right hand a torch in her left.

It’s important to note that these are personal revelations and are somewhat influenced by the planetary attributions of the heights and depths given in the Heptagram (heights with Saturn, depths with Mars), but were obtained from the names through reflection and meditation.  It’s also striking that these forms are humane in nature, unlike the animal forms of most of the Sun’s forms with the exception of the face of ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ in the north, where it’s a babe (primordial human) on a lotus (the growth of celestial seed and fertile earth).

Now we have six names, but what about a seventh?  We have names for the four cardinal directions, the heights, and the depths, but we’re lacking one to match the directions used in the Heptagram ritual, where that missing direction is the center.  For this, I originally suggested to use the name of one’s HGA/genius/paredos/agathodaimon/whatever, but after some more meditation and communion with…something, I settled on the word ΜΑΛΠΑΡΤΑΛΧΩ, a word I use for empowering and directing the self itself.  This is, again, a word I was “given” by one of the planetary angels, but I felt like it works well as a stabilization and centralization of the self in preliminary rituals.  It’s like a generic “higher self” name, in my experience.

So, to that end, my ritual (or mini-ritual component) for calling on the directions goes something like this.

  1. Start facing the east (or whatever quarter of the sky the Sun happens to be in), and calm and center the breath.
  2. Take a half-step forward with the right foot and raise the right arm in a salute, hailing the direction and its guardian while visualizing him to fill that direction.  Move clockwise, saluting the four cardinal directions:

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

  3. Return to the original direction.  For the next two guardians, stand with both feet together and look towards the direction, moving the right hand towards it and moving the left hand away; thus, raise the right hand and lower the left when saluting the heights, and vice versa for the depths.  Again, visualize the guardian while saluting.

    ΙΩ ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ, take thy place in the Heights!
    ΙΩ ΔΑΜΝΑΜΕΝΕΥΣ, take thy place in the Depths!

  4. Return to the original direction.  Face forward with arms extended out to the sides, visualizing all the guardians around you in their proper stations, with yourself luminous and casting light out in all directions.  Intone the following salutation:

    For I am ΜΑΛΠΑΡΤΑΛΧΩ in the Center of All!

    If you wish, mentally intone the name of your HGA as you physically say the word ΜΑΛΠΑΡΤΑΛΧΩ.

And that’s basically what I do when calling on the guardians of the directions, although I’m thinking of changing it up some.  As I’ve mentioned before, the guardians of the heights and the depths don’t feel in the same current as those of the four directions; they do respond, just not with the same force or oomph as the other four.  For a general preliminary invocation, I’m probably just going to drop the salutation of ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ and ΔΑΜΝΑΜΕΝΕΥΣ, though I will keep the self-proclamation of ΜΑΛΠΑΡΤΑΛΧΩ as a preliminary centering act before other ritual work.

Admittedly, it’s been not that easy for me to contact the four guardians, but when I have, they’ve indicated that they’re not strictly separate, just as the four points on a circle aren’t really separate but part of the same line.  Instead, they told me that they’re definitely stations, managers, or “reflections” of the Sun at the four corners of the world.  This is fascinating in retrospect, since I only really fully realized what this meant after reviewing PGM II.64 in light of the consecration of the twelve faces of Helios, which is a much more recent study.  However, they do have separate powers and presences, and although they are best called together, one will usually predominate, the one that represents the quarter of the sky that the Sun is currently in.

I’m a dunce for not recognizing this sooner or picking out the patterns, but this has led me to think of a new ritual dedicated just to the salutations of the four faces of the Sun in the two realms of the Heights and the Depths.  It’s turned out a bit like Liber Resh, about which I’m unsure about how I feel, but it’s a good PGM-centric alternative to be used by those who don’t have a taste for Crowley’s rituals.  Again, when I say “noon” or “midnight”, I mean astronomical noon/midnight, not necessarily clock noon/midnight, since things like summer time or DST may leave you an hour early or late to the appropriate station.

  1. At sunrise, hail the rising Sun in the East crossing the boundary from the Depths to the Heights.  Face the rising Sun at the East, with the right foot forward and right hand raised in salutation, visualizing the form of the winged dragon-serpent with a crown of clouds taking reign over the East.

    ΙΩ ΕΡΒΗΘ, you who are Helios who rise now from the realm of ΔΑΜΝΑΜΕΝΕΥΣ into the realm of ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ, take your place in the East as you come from the North, quelling all discord as you bring bright force to dark space!

    Extend both arms outward with the feet together.

    For I am ΜΑΛΠΑΡΤΑΛΧΩ standing before you, calling upon you who are ΕΡΒΗΘ!

  2. At noon, hail the bright Sun in the South at the zenith of the Heights.  Face the noontime Sun at the South, with the right foot forward and right hand raised in salutation, visualizing the form of the solar golden falcon with fire emanating from his wings taking reign over the South.

    ΙΩ ΛΕΡΘΕΞΑΝΑΞ, you who are Helios who surmount now onto the highest heights of the realm of ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ, take your place in the South as you come from the East, sending upon us radiant fire and life-giving heat!

    Extend both arms outward with the feet together.

    For I am ΜΑΛΠΑΡΤΑΛΧΩ standing before you, calling upon you who are ΛΕΡΘΕΞΑΝΑΞ!

  3. At sunset, hail the setting Sun in the West crossing the boundary from the Heights to the Depths.  Face the setting Sun at the West, with the right foot forward and right hand raised in salutation, visualizing the form of the snake-tailed crocodile sinking below the oceanic waters taking reign over the West.

    ΙΩ ΑΒΛΑΝΑΘΑΝΑΛΒΑ, you who are Helios who sink now from the realm of ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ into the realm of ΔΑΜΝΑΜΕΝΕΥΣ, take your place in the West as you come from the South, shedding cold water as you cleanse hot day with cool night!

    Extend both arms outward with the feet together.

    For I am ΜΑΛΠΑΡΤΑΛΧΩ standing before you, calling upon you who are ΑΒΛΑΝΑΘΑΝΑΛΒΑ!

  4. At midnight, hail the reborn Sun in the North at the nadir of the Depths.  Face the midnight Sun at the North, with the right foot forward and right hand raised in salutation, visualizing the form of the sacred naked child enthroned on a blossoming lotus in the mud taking reign over the North.

    ΙΩ ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ, you who are Helios who set now upon the darkest depths of the realm of ΔΑΜΝΑΜΕΝΕΥΣ, take your place in the North as you move from the West, reborn as king from the virgin womb of the world!

    Extend both arms outward with the feet together.

    For I am ΜΑΛΠΑΡΤΑΛΧΩ standing before you, calling upon you who are ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ!

Looking back at this ritual, we can begin to see something resembling a solar-elemental attribution to the four directions: east has a crown of clouds to clear the airs, so Air; south has heat and light, so Fire; west has coldness and water, so Water; north has the lotus in the mud, so Earth.  This…well, huh.  This is the same as the Enochian/Neopagan/Golden Dawn system of directional-elemental attributions.  I’ll be damned; I didn’t expect to see this kind of thing pop up here, of all places, but it’s cool to see that maybe, just maybe, if we were to extrapolate this ritual out a bit into the powers of the four elements, it could tie itself into more modern forms of Hermetic or angelic magic.

Anyway, this new approach I’m planning incorporates the four cardinal directions as the Sun travels between the two realms, without recognizing the guardians ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ and ΔΑΜΝΑΜΕΝΕΥΣ in the same way as the other four guardians, while also asserting the power of the self through the presence of ΜΑΛΠΑΡΤΑΛΧΩ.  I’m planning on taking this approach in the future as opposed to the mini-invocation before rituals as well as when calling on the guardians themselves for their own sake or for a more concerted purpose than just having their presence upon me.  Like, I could supplement the self-proclamation at the end of the salutation with a libation or offering to the Sun, as well as any personal requests.  It’s a possibility I’d like to explore, at least to learn more about these four spirits.

For instance, I was in the habit of calling all the guardians at once on the night of the full Moon to make offerings to them, when either ΑΒΛΑΝΑΘΑΝΑΛΒΑ (if between sunset and midnight) or ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ (if between midnight and sunrise) would dominate the conversation, with the guardians of the Heights and of the Depths kinda just hanging back and the other three guardians of the cardinal directions just kinda…being mute.  Instead of doing that, I could dedicate the time to making four separate invocations, calling on each guardian of the direction separately as the Sun reaches its proper station, recognizing the guardian into whose realm the Sun was reaching or traveling to or from, and meditating or communing with the Sun through its proper face at the given quarter of the day-night cycle.

Such a ritual invoking the four faces of the Sun at the four stations of the day-night cycle could be done, really, any day, but I’d think that it’d be best done at a time when the Moon is full or close to it, so that the Moon could represent the magus as the one who receives the light of the Sun and who is “standing before” the Sun.  For a similar reason, the full Moon is the time when the most possible light is shed upon the Earth, both from the Sun on one side and the full reflection of the Sun’s light upon and from the Moon on the other.  It’s a highly luminous time, and one when the most possible benefit could be obtained from the Sun.  Alternatively, a day when the Sun is otherwise powerful, such as on that of an election, the summer solstice, or when the Sun reaches his exaltation point at 18° Aries, would be especially nice.

However, this ritual done in its entirety wouldn’t be suitable as a framing ritual like the shorter invocation would be from before.  For that, perhaps this variant would suffice:

ΙΩ ΕΡΒΗΘ, take your place in the East between dark ΔΑΜΝΑΜΕΝΕΥΣ and bright ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ!
ΙΩ ΛΕΡΘΕΞΑΝΑΞ, take your place in the South at the zenith of ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ!
ΙΩ ΑΒΛΑΝΑΘΑΝΑΛΒΑ, take your place in the West between hot ΑΚΡΑΜΜΑΧΑΜΑΡΕΙ and cool ΔΑΜΝΑΜΕΝΕΥΣ!
ΙΩ ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ, take your place in the North at the nadir of ΔΑΜΝΑΜΕΝΕΥΣ!
For I am ΜΑΛΠΑΡΤΑΛΧΩ in the Center of All!

And, of course, I write all the above from my comfortable position in the northern hemisphere, where the Sun rises into the southern skies and sets into the northern skies.  For my readers in the southern hemisphere, where the case is reversed, you might try reversing the attributions of the names and directions as necessary, so that you’d have ΛΕΡΘΕΞΑΝΑΞ (noon) in the north and ΣΕΣΕΓΓΕΝΒΑΡΦΑΡΑΓΓΗΣ (midnight) in the south, moving counterclockwise instead of clockwise, and so forth.

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
Β ΒΟΥΛΟΜΕΝΤΟΡΕΒ Būlomentoreb
Γ ΓΕΝΙΟΜΟΥΘΙΓ Geniomūthig
Δ ΔΗΜΟΓΕΝΗΔ Dēmogenēd
Ε ΕΝΚΥΚΛΙΕ Enkyklie
Ζ ΖΗΝΟΒΙΩΘΙΖ Zēnobiōthiz
Η ΗΣΚΩΘΩΡΗ Ēskōthōrē
Θ ΘΩΘΟΥΘΩΘ Thōthūthōth
Ι ΙΑΕΟΥΩΙ Iaeūōi
Κ ΚΟΡΚΟΟΥΝΟΩΚ Korkoūnoōk
Λ ΛΟΥΛΟΕΝΗΛ Lūloenēl
Μ ΜΟΡΟΘΟΗΠΝΑΜ Morothoēpnam
Ν ΝΕΡΞΙΑΡΞΙΝ Nerxiarxin
Ξ ΞΟΝΟΦΟΗΝΑΞ Xonophoēnax
Ο ΟΡΝΕΟΦΑΟ Orneophao
Π ΠΥΡΟΒΑΡΥΠ Pyrobaryp
Ρ ΡΕΡΟΥΤΟΗΡ Rerūtoēr
Σ ΣΕΣΕΝΜΕΝΟΥΡΕΣ Sesenmenūres
Τ ΤΑΥΡΟΠΟΛΙΤ Tauropolit
Υ ΥΠΕΦΕΝΟΥΡΥ Ypephenūry
Φ ΦΙΜΕΜΑΜΕΦ Phimemameph
Χ ΧΕΝΝΕΟΦΕΟΧ Khenneopheokh
Ψ ΨΥΧΟΜΠΟΛΑΨ Psykhompolaps
Ω ΩΡΙΩΝ Ōriōn

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?

Translation, Transliteration, and Greek Letter Magic

One of the more common sets of search terms I get on my blog, for some reason, involves how to write Japanese words, characters, or kanji in English, or whether there’s a Japanese to English alphabet conversion.  I mean, there are ways to write Japanese using the Roman script (which is what the English alphabet actually is), but it’s not translation, and people are stupid and don’t understand the basics of writing things in different languages well.  Let me clarify some linguistic terms:

  • Translation is the conversion of words with meaning from one spoken language to another.  For instance, to say the word “love” in Latin, you’d say “amor”, ερως in Greek, (“erōs”), and 愛 in Mandrain Chinese (pronounced “ài” with the voice falling slightly from a high level to a lower level).  The meaning is preserved although how it’s pronounced is not.
  • Transcription is the conventional means by which one writes a spoken language in a graphical, non-spoken medium.  For instance, for English, we use a variant of the Roman script as conventional, while Japanese uses a mixture of hiragana and katakana (syllabic scripts) combined with kanji (Chinese characters).  I could write English using Devanagari, the writing system most commonly used in India to write, say, Hindi, and it’d be a way of transcribing spoken English, although only people who use Devanagari could read it.
  • Transliteration is the conversion of written symbols from one writing system to another.  As opposed to translation, transliteration preserves the sound of a word while the meaning is not.  For instance, my name “polyphanes” in Roman script is written πολυφανης in Greek alphabet, ポリファニース in Japanese katakana, and полыфанис in Russian script.  The sound is preserved across each, although it has no meaning in any language but Greek (meaning “many appearances”).

It must be remembered that a writing system is not a language; a writing system is a means by which one transcribes a spoken language with a set of symbols that represent sounds or meaning, and a spoken language is a means by which one person orally communicates to another person.  However, the two are not the same; consider the status of Hebrew, German, and Yiddish.  “Hebrew” refers both to the spoken language used in Israel as well as the script used in, say, the Torah; “German” refers to both the spoken language used in Germany as well as a variant of the Roman script used to represent the same.  Yiddish, however, blends the two by using the writing system of Hebrew but the spoken language of German.  A German speaker can understand spoken Yiddish but could not read written Yiddish (because it’s written using the Hebrew script); a Hebrew speaker can not understand spoken Yiddish but can read written Yiddish aloud without understanding its meaning (because the Hebrew script is here transliterating German words that have no meaning in spoken Hebrew).  I gave an example about all this specifically with Japanese back in my January 2014 Search Term Shoot Back:

“japanese alphabet with english letters” — This is one thing I really don’t get; so many people have come to my blog looking for Japanese writing translated into English, when I’ve mentioned Japanese four times on my blog to date, and none were about transliterating Japanese into English.  First, Japanese does not use an alphabet; an alphabet is a system of writing that uses letters to indicate either consonants or vowels.  Japanese uses several writing systems, among them kanji (Chinese characters that are combinations of semantic, phonetic, and pictoral images drawn in a codified way) and the syllabaries hiragana and katakana.  A syllabary is a writing system that use letters to indicate syllables, often consonant-vowel combinations.  Thus, while English uses the two letters “k” and “i” to write the syllable “ki” (as in “key”), Japanese might use キ (in katakana), き (in hiragana), and any number of kanjifor the syllable depending on the context and meaning of the character; some might be 幾 (meaning “some” or “how many”), 氣 (meaning “energy” or “atmosphere”), 木 (meaning “tree”), 箕 (referring to the “winnowing basket” constellation in Chinese astrology), or any other number of kanji, all of which we would transliterate as “ki”.  So it’s not as easy as it sounds; not everything is an alphabet!

So why am I talking about writing systems and languages?  Because this is a fundamental distinction between writing systems and spoken languages, and it impacts mathesis and grammatomancy, and Greek letter mysticism and magic more generally, in an important way for many of us non-Hellenes.

As I’ve mentioned elsewhere, the use of stoicheia is a valuable tool in mathesis and grammatomancy.  It’s like isopsephy, or Greek gematria, in a lot of ways, but instead of evaluating a word in Greek using number, we evaluate it using the forces of planets, zodiac signs, and elements.  For instance, if we wanted to use the Greek name ΜΑΡΙΑ, “Maria”, we’d say that it’s a mixture of the forces of Libra (Μ), Capricorn (Ρ), the Sun (Ι), and the Moon (Α), perhaps indicating a balance of masculine and feminine or receptive and active powers balanced through darkness turning into light.  It’s a useful tool, especially when interpreting barbarous words of power that are best or originally written in Greek, but we have a major stumbling block when we come to the use of non-Greek words and names that aren’t historically written in Greek.  After all, I only know of systems of stoicheia and isopsephy for Hebrew and Greek, and I generally distrust anything for the Roman script since it’s highly language-specific, yet most languages I work with tend to be written in Roman.  Thus, for me to get a meaning out of something normally written in Roman script or one of its descendants (English, French, Spanish, German, Swedish, etc.), I need to find a way to transliterate a non-Greek word into Greek script.

Consider my first given name, Samuel.  Samuel is a Hebrew name, originally written שְׁמוּאֵל (ShMVAL) and pronounced something more like “shmūwehl” originally.  However, in Latin, it’s written SAMVEL, and pronounced “sahmwel” as in modern Spanish.  In Greek, however, the name is written Σαμουηλ, or Samouēl and pronounced “samūīl”.  Since my name is natively a Hebrew one, I find a good argument to use Hebrew gematria and stoicheia for analyzing it, but since I also have a correspondingly clear way to write it in Greek, I can just as easily use Greek stoicheia and isopsephy for it.  However, the problem is that the meaning of the name is not preserved; in Hebrew, depending on your interpretation, the name means “God has heard” or “Name of God”, while in Greek it’s just a string of letters that’s pronounced “samūīl”.  If we were to translate the name, we’d end up with either Θεοκουσος (“Theokousos”) or Θεονοματιος (“Theonomatios”); these are straightforward translations of the name, and while we preserve the literal meaning of the name, we end up with radically different spellings, pronunciations, isopsephies, and stoicheias because the pronunciation, and thus the spelling, have changed.  So we can either go with the conventional spelling of Σαμουηλ, or we can go with the translation (properly “calque”) of Θεοκουσος, though I’m inclined towards the former, since a name is what you’re called, and the literal meaning of a word is often occluded by the importance of pronunciation (cf. all the barbarous words we use, which we don’t know the meaning of but we pronounce and intone them all the same for great effect).

Worse yet, the problem with my name is simple compared to many others, because Samuel is an old name in a well-known and well-translated/well-transliterated text in Greek from Hebrew.  Other languages, such as Chinese or Russian or parts of Africa, have no standardized way to transcribe names or words from their languages into Greek; the closest you can get is what best approximates the sound of it, unless you want to go the way of calquing things, which…honestly, if someone called me Theokūsos, I’d never respond to it as I would Samuel, so calquing is basically right out.  For many names in English, it can be easy, since Greek and English tend to share many sounds; for some languages like Chinese, this can be exceptionally difficult, since Chinese has many sounds that Greek does not, and the Greek alphabet isn’t equipped to handle the sounds or structure of Chinese spoken language.  (Worse, there’s no official means to transcribe Chinese using Greek, as there is with Hanyu Pinyin for Roman script, though there are some unofficial means to go from Hanyu Pinyin into Greek.)

Meditation on names is important; I claim that you don’t know yourself or where you’re going if you don’t know your own name, either given at birth or chosen at will.  And since I’m a big fan of using Greek to meditate on as a sacred or mystical writing system, then I like meditating on Greek letters if at all possible so as to understand what’s in a name.  It’s just that getting names into Greek, if they’re not already in Greek, can be difficult, especially for people like my Brazilian, Chinese, or Malaysian readers, especially if the language-to-be-transliterated-from doesn’t share the same sounds as Greek does, or as what the Greek alphabet is meant for.  However, there are some exceptions, and generally speaking what I do is this:

  • If the word is just a word and not normally used as a name or isn’t used as a name for a given entity, like discussing what a rose is, I’ll use the Greek word for it.  Thus, to talk about roses, I’d use the Greek word “rhodē” (ροδη).
  • If the name is natively a Greek name, like “Stephan” from Greek Στεφανος meaning “crown”, then I’ll use the Greek form of the name.
  • If the name is not natively Greek but has a corresponding form in old works like the Bible, like “Samuel” above, then I’ll use the Greek spelling of the name regardless of how the name is spelled or pronounced in the originating language.
  • If the name is not natively Greek, I’ll transliterate the name according to modern Greek rules of spelling and other conventions.  Thus, someone given the Chinese name Yuping (宇平),  I’d transliterate it as Γιουπιν, “Gioupin” pronounced “Yūpin”; the final “-ng” is typically written as “-ν”, since “ng” is a weird phoneme in Greek.
  • If the name is a common word, like a flower, I’ll typically use the phonetic spelling and not the Greek word.  Thus, if someone is named Rose in English, I’ll use the phonetic transliteration of Rhoūz (Ρoουζ) and not the corresponding Greek name Rhodē (Ροδη).

Transcribing a name or word from one spoken language (or written language!) into Greek can be difficult, since it requires a good understanding of what the letters actually sound like so as to prepare an accurate transliteration and transcription of the name or word.  However, once that’s out of the way, it’s then straightforward to understand the mystic meaning behind such a name using Greek letter mysticism via isopsephy and stoicheia.

Now, let’s say we’re comparing the names of two different people, say Stephen and Sarah.  Stephen is a native Greek name from Στεφανος, while Sarah is natively Hebrew spelled שָׂרָה (ShRH), yet we know it’d be spelled Σαρα since she’s a figure in the Old Testament.  Conversely, from Hebrew translations of the New Testament, we know that Stephen would be spelled סטיבן (STIBN) in Hebrew.  How do we go about comparing these two names?  Do we convert both names to one language, or do we mix-and-match based on the native language of each name?  When simply doing a run-of-the-mill analysis, I’d stick to the former when possible; I’d run a stoicheic and isopsephic analysis of Στεφανος in Greek, and a similar analysis of שָׂרָה in Hebrew and compare what results.  Thus, I’d reduce the name to what it mystically means on a stoicheic and numerologic level, and use that as my means of comparison:

  • The Greek name Στεφανος has the stoicheia Aquarius (Σ), Pisces (Τ), Mercury (Ε), Air (Φ), Moon (Α), Scorpio (Ν), and Mars (Ο).  It has the isopsephic value of 1326.
  • The Hebrew name שָׂרָה has the stoicheia Fire (Shin), Sun (Resh), and Aries (Heh).  It has a gematria value of 505.
  • Sarah has almost entirely fiery symbols, while Stephen is mostly air and water.
  • Although the number of Stephan is close to thrice that of Sarah, by reducing the value down by adding up the individual digits, we get 1 + 3 + 2 + 6 = 12 → 1 + 2 = 3 for Stephen and 5 + 0 + 5 = 10  → 1 + 0 = 1 for Sarah.  Alternatively, we ignore the powers of ten: for Stephen, we get Σ + Τ + Ε + Φ + Α + Ν + Ο + Σ = 200 + 300 + 5 + 500 + 1 + 50 + 70 + 200  → 2 + 3 + 5 + 5 + 1 + 5 + 7 + 2 = 30  → 3 + 0 = 3, and for Sarah, we get  5 + 200 + 300  → 5 + 2 + 3 = 1.

So, when we’re comparing two names against each other for the sake of a pure stoicheic and isopsephic analysis, I’d prefer to use the systems in place for the scripts in which a name is derived.  However, as I mentioned before, I only really trust the systems for Hebrew and Greek, and when possible, I prefer Greek; thus, if I were comparing Stephan and, say, Julius, I’d convert Julius to Greek as Ιουλιος and go from there.  And, even if I were analyzing a Hebrew name, I’d convert it to Greek anyway if I were using something like Christopher Cattan’s Wheel of Pythagoras or the onomatic astrology of Vettius Valens I mentioned last time; if there’s a Greek-specific system in place that I don’t have in place for another language, then I’ll convert any and all names into Greek for that system if I have to.

Thing is, however, that Greek (and Indo-European languages generally) tends to complicate things because of how it’s written and spoken.  There’s the whole problem of word endings: case and declension for nouns, and the voice, tense, mood, and the like with conjugation for verbs.  English, mercifully, has tended to drop those things out or simplify them dramatically from its Germanic ancestry, but Greek uses them heavily.  As a rule, when analyzing a word on its own, I tend to use the nominative case for nouns, and for verbs…well, I’m not great with Greek grammar too well just yet, and I haven’t decided how to approach that.  Still, because the ending of the words change based on how they’re used in a sentence, their letters change, and so too do their isopsephic values.  For uniformity, I just stick with the “plain jane” or “unmarked” endings.

Hermetic Prayers to the Aiōn

Lately, I’ve been going back through some of my texts digging for more information on Hellenic and classical Mediterranean prayers to the One, sometimes known as Aiōn, the God of gods, ineffable and indescribable except by what we can see in our material and sensible world.  The Aiōn is not quite an elusive figure, since we see the same name pop up in the sense of both “eternity” as well as a deity of unbounded time and space, in distinction to Khronos, the god of limited and experienced time.  Aiōn was a notable figure in several mystery religions of the time, including Orphism and Mithraism, and even appears in some Pythagorean texts (or so I read).

One of the books I sometimes go to is G.R.S. Mead’s Hymns of Hermes, a cute little book that gives several hymns and prayers that Hermes Trismegistus gives in several Hermetic texts, such as the Discourse on the Eighth and Ninth as well as the Divine Poemander.  These forms of the prayers are not original, of course; Mead had a habit of very fancifully rewriting the prayers into a sort of modern English in the style of biblical prayers.  I can’t blame him; the book is from the early twentieth century, when many occult texts were being published widely for the first time and with a penchant for Egyptian exoticism and mysterious woogity.  That said, the book is a good one for picking out some “authentic” Hermetic prayers, and some even occur in the Nag Hammadi Scriptures, which lends it some credence towards this.

One such prayer, though, didn’t quite fit into the set of the others.  Mead described a prayer that was written in such a style as to easily fit quite into the Hermetic paradigm, and found in that most-beloved of texts, the PGM.  In comparing Mead’s version and that present in Betz’ version of the PGM (specifically PGM IV.1115), I noticed that Mead does away with the barbarous words scattered throughout the prayer and rephrases things in a way I find too fanciful.  I took the liberty of transcribing the prayer from the PGM with a few emendations of my own, but nothing as extreme as that of Mead, and reincluded the barbarous words.  It’s a fascinating prayer, and definitely one that deserves my attention:

Hail, whole cosmos of the aerial Spirit, ΦΩΓΑΛΩΑ
Hail, Spirit who extends from heaven unto earth, ΕΡΔΗΝΕΥ
Hail, Spirit who extends from earth which is in the middle of the cosmos unto the ends of the abyss, ΜΕΡΕΜΩΓΓΑ
Hail, Spirit who enters into me, convulses me, and leaves me kindly according to the will of God, ΙΩΗ ΖΑΝΩΦΙΕ

Hail, beginning and end of nature that cannot be moved, ΔΩΡΥΓΛΑΟΦΩΝ
Hail, revolution of untiring service by heavenly bodies, ΡΩΓΥΕΥ ΑΝΑΜΙ ΠΕΛΗΓΕΩΝ ΑΔΑΡΑ ΕΙΩΦ
Hail, radiance of the cosmos subordinate to the rays of the Sun, ΙΕΟ ΥΗΩ ΙΑΗ ΑΙ ΗΩΥ ΟΕΙ
Hail, orb of the night-illuminating, unequally shining Moon, ΑΙΩ ΡΗΜΑ ΡΩΔΟΥΩΠΙΑ
Hail, all spirits of the aerial images, ΡΩΜΙΔΟΥΗ ΑΓΑΝΑΣΟΥ ΩΘΑΥΑ

Hail to those whom the greeting is given with blessing, to brothers and sisters, to holy men and holy women!

O great, greatest, round, incomprehensible figure of the cosmos,
of heaven ΕΝΡΩΧΕΣΥΗΛ
in heaven ΠΕΛΗΘΕΥ
of the ether ΙΩΓΑΡΑΑ
in the ether ΘΩΠΥΛΕΟ ΔΑΡΔΥ
of water ΙΩΗΔΕΣ
of earth ΠΕΡΗΦΙΑ
of fire ΑΦΘΑΛΥΑ
of air ΙΩΙΕ ΗΩ ΑΥΑ
of light ΑΛΑΠΙΕ
of darkness ΙΕΨΕΡΙΑ
shining with celestial light ΑΔΑΜΑΛΩΡ
moist, dry, hot, and cold Spirit!

I glorify you, God of gods,
the one who brought order to the cosmos, ΑΡΕΩ ΠΙΕΥΑ
the one who gathered together the abyss at the invisible foundation of its position, ΠΕΡΩ ΜΥΣΗΛ Ο ΠΕΝΤΩΝΑΞ
the one who separated heaven and earth and covered the heaven with eternal, golden wings ΡΩΔΗΡΥ ΟΥΩΑ
the one who fixed the earth on eternal foundations ΑΛΗΙΟΩΑ
the one who hung up the ether high above the earth ΑΙΕ ΩΗ ΙΟΥΑ
the one who scattered the air with self-moving breezes ΩΙΕ ΟΥΩ
the one who put the water roundabout ΩΡΗΠΗΛΥΑ
the one who raises up hurricanes ΩΡΙΣΘΑΥΑ
the one who thunders ΘΕΦΙΧΥΩΝΗΛ
the one who hurls lightning ΟΥΡΗΝΕΣ
the one who rains ΟΣΙΩΡΝΙ ΦΕΥΓΑΛΓΑ
the one who shakes ΠΕΡΑΤΩΝΗΛ
the one who produces living creatures ΑΡΗΣΙΓΥΛΩΑ
the God of the Aiōns!

You are great, Lord, God, Ruler of the All!
ΑΡΧΙΖΩ ΝΥΟΝ ΘΗΝΑΡ ΜΕΘΩΡ ΠΑΡΥ ΦΗΖΩΡ ΘΑΨΑΜΥΔΩ ΜΑΡΩΜΙ ΧΗΛΩΨΑ

This section in the PGM is only described as a “hidden stele” or “secret tablet”, without instructions on how to use it or a purpose other than it seems to be an adoration of Aiōn.  I’m okay with that, since it’s general enough to be put to many ends, and the use of the barbarous words can offer a meditative aspect to it, intoning the name and linking it to the aspect listed for each name.  While many of the attributes ascribed to Aiōn make sense, some are a little unclear.  In Platonic thought, it was thought that the One was a perfect being of perfect shape and form, and to Plato, the most perfect shape was the sphere, hence the description of Aiōn as “greatest, round, incomprehensible figure of the cosmos”.  Personally, I get a huge kick out of working with this prayer, and the names are something I want to revisit later in a more mystical or capital-P Powerful way; I make use of this prayer before any serious working nowadays, especially as a preface to the Headless Rite.

In the PGM, the prayer is followed by yet another stele (PGM IV.1167), this time with the purpose that it is “useful for all things; it even delivers from death”, with the ominous warning that one is to “not investigate what is in it”.  This prayer, too, is addressed to Aiōn, but appears to be more of a protective incantation than mere adoration.  It’s not given in Mead’s book, but it’s useful all the same, as I reckon it.  Presented is the prayer below, again with my minor emendations:

I praise you, the one and blessed of the eons and father of the world, with cosmic prayers.
Come to me, you who filled the whole cosmos with air, who hung up the fire from the heavenly water and separated the earth from the water.

Pay attention, Form, Spirit, Earth and Sea, to the words of the wise who know divine Necessity.
Accept my words as arrows of fire, because I am Man, the most beautiful creature of the God in Heaven, made out of spirit, dew, and earth.

Open, o Heaven; accept my words!
Listen, Helios, Father of the World!
I call upon you with your great name, you, the only one having the original element:
ΑΩ ΕΥ ΗΟΙ ΑΙΟΗ ΥΕΩΑ ΟΥΟΡΖΑΡΑ ΛΑΜΑΝΘΑΘΡΗ ΚΑΝΘΙΟΠΕΡ ΓΑΡΩΑΡΘΡΗ ΜΕΝΛΑΡΔΑΠΑ ΚΕΝΘΗΡ ΔΡΥΟΜΕΝ ΘΡΑΝΔΡΗΘΡΗ ΛΑΒΕ ΖΕΛΑΝΘΙ ΒΕΡ ΖΑΘΡΗ ΖΑΚΕΝΤΙ ΒΙΟΛΛΙΘΡΗ ΑΗΩ ΟΥΟ ΗΩ ΟΩ ΡΑΜΙΑΘΑ ΑΗΩ ΩΗΩ ΟΩΟ ΩΑΥΩ

You are the holy and powerful name considered sacred by all the angels.
Protect me, N., from every excess of power and from every violent act.
Yea, do this, Lord, God of gods:
ΙΑΛΔΑΖΑΩ ΒΛΑΘΑΜ ΜΑΧΩΡ ΦΡΙΞ ΑΗ ΚΕΩΦ ΕΗΑ ΔΥΜΕΩ ΦΕΡΦΡΙΘΩ ΙΑΧΘΩ ΨΥΧΕΩ ΦΙΡΙΘΜΕΩ ΡΩΣΕΡΩΘ ΘΑΜΑΣΤΡΑΦΑΤΙ ΡΙΜΨΑΩΧ ΙΑΛΘΕ ΜΕΑΧΙ ΑΡΒΑΘΑΝΩΨ
O Creator of the world, Creator of the cosmos, Lord, God of Gods:
ΜΑΡΜΑΡΙΩ ΙΑΩ

I have spoken of your unsurpassable glory, you who created gods, archangels, and decans.
The ten thousands of angels stood by you and exalted the heaven, and the lord witnessed to your Wisdom which is Aiōn:
ΙΕΟΥΗΩΗ ΙΑΗΑΙΗΩΗΥΟΕΙ
and said that you are as strong as he is.

I invoke your hundred-lettered name, which extends from the sky to the depth of the earth!
Save me, for you are always ever rejoicing in saving those who are yours!
ΑΘΗΖΕ ΦΩΙ ΑΑΑ ΔΑΙΑΓΘΙ ΘΗΟΒΙΣ ΦΙΑΘ ΘΑΜΒΡΑΜΙ ΑΒΡΑΩΘ ΧΘΟΛΧΙΛ ΘΟΕ ΟΕΛΧΩΘ ΘΙΟΩΗΜΧ ΧΟΟΜΧ ΣΑΗΣΙ ΙΣΑΧΧΟΗ ΙΕΡΟΥΘΡΑ ΟΟΟΟΟ ΑΙΩΑΙ

I call upon you, the one on the gold leaf, before whom the unquenchable lamp continually burns, the great God, the one who shone on the whole world, who is radiant at Jerusalem, Lord!
ΙΑΩ ΑΙΗ ΙΩΗ ΩΙΗ ΩΙΗ ΙΗ ΑΙΩΑΙ ΑΙ ΟΥΩ ΑΩΗ ΗΕΙ ΙΕΩ ΕΥΩ ΑΗΙ ΑΩ ΑΩΑ ΑΕΗΙ ΥΩ ΕΙΗ ΑΗΩ ΙΕΥ ΑΕΗ ΙΑΙΑ ΙΑΩ ΕΥ ΑΕΥ ΙΑΗ ΕΙ ΑΑΑ ΙΙΙ ΗΗΗ ΙΩ ΙΩΗ ΙΑΩ
I call upon you for your blessing, Lord!

Betz says that “this protective prayer presumes a section describing a gold lamella to be worn as a phylactery”, which “contained the hundred-letter name of the god and was worn as a protection against ‘every excess of power’ and the ‘very violent act'” mentioned in the prayer.  The notion of a name being 100 letters would’ve been important, and the final stanza of the prayer does say “the one on the gold leaf”, so it’s possible that such an instruction to the prayer might be omitted.  What’s interesting is that the two last strings of barbarous words are marked in the PGM as both having 100 letters each, though the final string only has 99 letters in it; the first string has 149, the second 108, and the third has 19, for comparison.  The style of the barbarous words is much more Egyptian in nature, and bears some in common with those found in the Headless Rite.  What’s even odder about this prayer is that it’s the only place in the PGM, according to Betz, is that Sophia (Wisdom) is identified with Aiōn.  This is an unusual thought, whether in Gnostic, Christianity, or other mystery traditions.  Further, despite the Egyptian Gnostic feel of the prayer, it even references the Jewish miracle of the undying light of the menorah in the Temple of Jerusalem, from whence the festival of Hanukkah comes.  Between the Jewish, Gnostic, and Egyptian influence (especially due to the reference to decans alongside angels), this latter prayer is a prime example of how syncretic and elastic Hermetic magicians could be in the old days.

Of course, not all the prayers that Mead lists were pared down so much.  One prayer that took me a bit of finding is one that Hermes Trismegistus taught to his son Tat, which Mead calls “the secret hymnody”, which is pretty much what it is, for it is “not taught but hid in silence”.  Hermes introduces it as an initiation, as it were, to Tat in Book XIII of the Corpus Hermeticum, titled the Secret Discourse on the Mountain.  This book focuses on the nature of rebirth, but also emphasizes the truth that only silence can tell (much as in the same way of the Hymns of Silence Hermes describes in the Discourse on the Eighth and the Ninth).  After some persuading, Hermes instructs Tat to recite it outside and bow down in adoration facing the south at the setting of the sun, and again at the rising of the sun facing to the east:

Let every creature in the cosmos give ear to this hymn.
Open, Earth!  Let every lock that holds the rains open to me!  Shake not, trees!
I am about to praise the Lord of Creation, the All and the One.
Open, heavens!  Winds, be still!
Let God’s immortal sphere receive my song.

For I am about to sing praise to the Creator of All,
who fixed the earth,
who suspended the heavens,
who parted fresh water from the ocean in lands inhabited and in the wild for the creation and sustenance of all mankind,
who ordained that fire shine for every use of gods and men.
Let us give praise to Him above the heavens, the founder of all nature.
He is the eye of Nous.
May He receive the praise of every power within me.

O powers within me, sing to the One and All!
All you powers, sing praise together at my bidding.
Divine Knowledge, illumined by you, I sing through you of the spiritual light and I rejoice in the joy of Nous.
Sing praise with me, all you powers!
Temperance, sing with me!
Justice, through me praise what is just!
Generosity, through me praise the All!
Truth, sing of the truth!
Good, praise the Good!
Life and Light, from you comes the praise and to you it returns.
I give thanks to you, Father, the strength of all my powers.
I give thanks to you, God, power of all my strength.
Your Word through me sings to you.
Receive all back through me by the Word, a spoken sacrifice.

Thus cry the powers within me.
They praise the All, they accomplish your will which comes forth from you and returns to you, being the All.
Receive an offering of speech from all beings.
O Life, preserve the All within us.
O Light, illuminate the All.
O God, inspire the All.
For Nous guides your Word, O spirit-bearer, o Creator of the world.
You are God.

All this your man proclaims through fire, air, earth, water; through spirit, through your creatures.
From you I have discovered eternity’s song of praise and in your will I have found the rest I seek.
By your will, I have witnessed this praise being sung.

To which Tat adds, with Hermes’ corrections and exhortation to use caution with his words:

To you, God, first author of generation, I, N., send these offerings of speech.  God, you are the Father, you are Lord, you are Nous, receive these words of mine as you will.  For by your will all things are accomplished through the Word.

This final prayer, though without barbarous words or names of power, is important in the Hermetic tradition since it represents a type of Hermetic initiation.  Once Tat, the most intuitive and spiritual of Hermes’ sons including the intellectual Asclepius and technical Ammon, is initiated properly into the seven spheres of the planets, he is finally able to join the eighth sphere, that of the fixed stars, that of Silence, and begin further work into direct realization of gnosis.  It’s only with the initiation, however, that Tat receives in properly communicating in the manner of this sphere that allows him to do this, as well as the similar initiation that Hermes gives in his Discourse on the Eighth and the Ninth:

I call upon you,
who rules over the kingdom of power,
whose word is an offspring of light,
whose words are immortal, eternal, immutable,
whose will produces life for forms everywhere,
whose nature gives form to substance,
by whom souls, powers, and angels are moved,
whose word reaches all who exist,
whose providence reaches all who exist,
who produces everyone,
who has divided the eternal realm among spirits,
who has created everything,
who, being Self within Self, supports everything,
to whom one speaks in silence, being perfect, the invisible God,
whose image is moved when it is managed, and it is so managed,
who is exalted above majesty, mighty one in power,
who is superior to those honored!

ΖΩΞΑΘΑΖΩ
Α ΩΩ ΕΕ ΩΩΩ ΗΗΗ ΩΩΩΩ ΗΗ ΩΩΩΩΩΩ ΟΟΟΟΟ ΩΩΩΩΩΩ ΥΥΥΥΥ ΩΩΩΩΩΩΩΩΩΩΩΩΩΩΩ
ΖΩΖΑΖΩΘ

Lord, grant us wisdom from your power that reaches us that we may relate to ourselves the vision of the Eighth and the Ninth.
Already we have advanced to the Seventh since we are faithful and abide in your law.
Your will we fulfill always.
We have walked in your ways and have renounced evil so your vision may come.
Lord, grant us truth in the image!
Grant that through your spirit we may see the form of the image that lacks nothing and accept the reflection of the Fullness from us through  our praise.

Recognize the spirit within us,
for from you the cosmos received soul,
for from you, the one unbegotten, the begotten came to be.
The birth of the self-begotten is through you, the birth of all begotten things that exist.
Accept these spiritual offerings from us which we direct to you with all our heart, soul, and strength.
Save what is within us and grant us immortal wisdom.

Then, after Hermes once more coaches Tat on how to hymn in silence and the two ecstatically praise God, Tat continues the hymn:

I shall offer up the praise in my heart as I invoke the end of the cosmos, and the beginning of the beginning, the goal of the human quest, the immortal discovery, the producer of light and truth, the sower of reason, the love of immortal life.  No hidden word can speak of you, Lord.  My mind wants to sing a hymn to you every day.  I am the instrument of your Spirit; Mind is your plectrum, and your guidance makes music with me.  I see myself!  I have received power from you, for your love has reached us.

O Grace!  After this, I thank you by singing a hymn to you.  You gave me life when you made me wise.  I praise you.  I invoke your name hidden in me!

Α Ω ΕΕ Ω ΗΗΗ ΩΩΩ ΙΙΙ ΩΩΩΩ ΟΟΟΟΟ ΩΩΩΩΩ ΥΥΥΥΥΥ ΩΩΩΩΩΩ ΩΩΩΩΩ ΩΩΩΩΩΩΩ ΩΩΩΩ

You exist with spirit.
I sing to you with godliness.

The series of vowels given in these prayers are evidence of ecstatic glossolalia, but their varied nature indicates a collected power from their previous initiations with the seven planetary spheres, given the relationship of the seven Greek vowels to the seven planets.  Hermes concludes this discourse not with instructions of practice but with instructions to preserve the lesson he gave Tat through a detailed list of directions to engrave the prayer and discourse on turquoise steles, to be done when the planet Mercury is at 15° Virgo, the Sun is in the first half of the day.  The final set of instructions seems odd, I admit, but it attests to the holiness and permanence of the teachings of Hermes Trismegistus, as many prayers to the Aiōn are throughout Mediterranean spirituality.