Greetings again Egyptophiles!
James Clark has decided to wow us with another example of his Egyptian iconography from the Neo-Enochian (that is post-Golden Dawn) portion of the Essential Enochian Grimoire. This is another of the godforms that rule the “Truncated Pyramids” of the Watchtower squares:
The Greek name “Harpocrates” comes from the Egyptian Heru-pa-Khered, meaning Horus the Child. As the story goes, Osiris had impregnated Isis just before he left the realm of the living to govern the Underworld. Osiris’ brother and murderer Set, who had usurped the Throne of Egypt, was unaware of the pregnancy, and Isis did everything in her power to keep it that way. She went into hiding in a field of reeds to have and raise the child – who she named Horus - in secrecy. (As it happens Set did eventually find out, and made several attempts to assassinate his infant nephew, but all without success.)
Eventually, Hrous came of age and confronted Set to reclaim his father’s Throne. After 80 years of battle (on the field and in court), Horus achieved victory and became the ruler of Egypt. From that point forward, every Pharoah was considered a living incarnation of Horus.
The Child Horus became a special figure in Egypt, much as the Baby Jesus would become his own figure in later Christianity. (In fact, it is quite likely that images of the Madonna and Child are descened from older Egyptian images of Isis and Harpocrates.) Horus the Child represented the newborn Sun (in the morning, but especially after the winter Solstice) and the first appearance of crops and vegitation.
As Nick Farrell pointed out in his most recent blog post, our association with Harpocrates as a “God of Silence” was due to a misunderstanding on the part of the Greeks. They saw the young boy figure holding a finger to his lips, and assumed he was making the common gesture for “be quiet.” Thus, they associated him with their own God of Silence and Mystery – and that is exactly how he is viewed in the Golden Dawn system to this day.
In fact, the particular gesture being made by Harpocrates is simply an imitation of the Egyptian Hieroglyph for “Child.” I suspect this had something to do with children sucking on their fingers, or even making a non-verbal request to be fed.
Egyptian Hieroglyph for “Child”
Of course, even if Harpocrates is not specifically a “God of Silence”, there is still deep significance in the mythos of his being raised in secret by the Mother Goddess, and prepared for his eventual confrontation with Set. In the Golden Dawn’s Neophyte initiation ceremony, the candidate is presented as likewise raised in darkness and obscurity, protected and finally guided to seek spiritual wisdom by the Great Mother so he can someday reclaim his own spiritual Throne and govern his personal Kingdom.
In the Neo-Enochian system, Harpocrates represents balanced Air and Water. Two sides of his pyramid are Air (yellow with purple characters) and two are Water (blue with orange characters). His image is a youth wearing a yellow and blue tunic, a yellow pectoral collar, and a blue headdress. He also wears the double-crown of Egypt, colored yellow and blue. He holds a blue ankh and stands in the “sign of silence” – meaning his left fingertip is pressed against his lips. Sometimes he is depicted kneeling upon a Lotus blossom. He rests upon a yellow and blue base.
I’ll be making two lecture appearances this fall – and the first will be this Saturday at GreenSong Grove’s Samhain Festival. Make sure to click the link to register! Or you can write to them at Council@greensonggrove.org. Or give them a call at (727) 804-9370.
This year, I’ll be giving two lectures:
1) Secrets of the Girmoires:
Explore the history of the “Old Magick”, from anceint shamanic traditions, to the medieval Solomonic grimoires and into the modern occult revival. The Old Magick – a line separate from the Golden Dawn, Thelema and much of the modern Neopagan movement – has been a lost art in the West for hundreds of years. But now it’s coming back, and this lecture will explore how it got from its primordial origins to those of us following the same path today.
We will cover topics associated with famous grimoires such as the Key of Solomon the King, the Goetia, the Heptameron and the Book of Abramelin. We will disucss related systems of folk magick such as Witchcraft, Hexcraft and Hoodoo – as well as various African Traditional Religions. We will talk about the people and places that gave rise to the Solomonic grimoires, and we will talk about how the Old Magick is enjoying a massive resurgance in today’s occult communities.
Bring your thoughts, as this will be an open discussion!
2) The Old Magick in Today’s World (or ‘How to Make Your Magick Really Kick!’):
The term “Old Magick” is a blanket term to describe ancient and indigenous forms of occultism and folk magick around the world. Many cultures, such as those in the East, the Mid-East, Africa and South America preserved their old folk traditions even after Christiainity moved in. But here in the West, we lost touch with the Old Magick sometime around the Age of Enlightenment.
But the Old Magick isn’t gone from the West! It has survived in writings on tablets and parchment and early books. It has continued in New World folk practices like Hexcraft and Hoodoo. And it is currently enjoying a revival in today’s movements of Solomonic practice, conjuring, sorcery, etc.
Most students of magick are well versed in the material descended from the Golden Dawn, Aleister Crowley and Gerald Gardner. But it has become more important than ever for us to look beyond these uniquely modern forms of occultism and revisit what the ancients knew. This class will talk about some aspects of the Old Magick that are sorely lacking in most modern traditions, and how we can incorporate the ancient secrets into what we are doing today. Take this class to heart, and watch your magickal results increase significantly!
At the moment I am unsure what times these lectures will be held, but they will both be given this Saturday, October 12. Come on out and enjoy a day of Samhain fun, and we can have a chat!
Stay tuned for the announcement of my next appearance (at Florida Pagan Gathering), in just a couple of weeks!
So James Clark has finally released some new artwork from the Essential Enochian Grimoire - and this time he’s drawing from the Neo-Enochian half of the book, where we find the Golden Dawn’s version of Enochian magick. And, in the Golden Dawn, they used Egyptian godforms as talismatic images to represent the “Truncated Pyramids” formed of the Watchtower squares:
Hathor – Goddess of Passion
Hathor is the Egyptian Goddess of Fertility and Passion – much like the Goddesses of neighboring countries: Astarte, Ishtar and Inanna. Also like these other Goddesses, Hathor is also a Goddess of War.
Egyptian mythos tells us of the time Hathor overheard some humans planning to assassinate her father Ra and overthrow his kingdom. In her rage, she assumed the form of the Eye of Ra (the disk of the Sun) and flew across the Earth burning and destroying everything in her path.
So complete was her destruction, the other Gods became afraid she would exterminate mankind for good. So, they quickly chose a valley in Hathor’s path and flooded it with beer dyed red to resemble blood.
Sure enough, when Hathor saw what appeared to be a lake of human blood, she waded in waist-deep and began to drink her fill. The beer eventually took effect and Hathor, her rage finally spent, fell into a deep sleep. What was left of mankind rejoiced at being spared, and learned to never again plot against mighty Ra.
In the above picture, we see Hathor as she appears in the Enochian system. (It’s a shame the Essential Enochian Grimoire couldn’t reproduce these images in full color!) She represents balanced WATER and EARTH. Two sides of her pyramid are Water (blue with orange characters) and two are Earth (black with white characters). Her image is of a woman wearing a blue and black dress, a blue pectoral collar and a black horned headdress. The headdress is surmounted by a blue disk and blue feathers. She carries a black ankh and blue lotus scepter and stands upon a black and blue base.
James really outdid himself on these Egyptian images. When Llewellyn first told me they wanted to have an artist re-draw the traditional GD Godforms, I was skeptical. I pictured some kind of modern fantasy-style depictions of the gods – which would have been nice, but would not have carried that “Golden Dawn” tone or feeling. Thankfully, James happens to have Golden Dawn experience, so he knew exactly how these images should look. I am proud to have these new images in my book – I have no doubt they will be used by practitioners again and again!
Thanks goes to Chic and Tabatha Cicero for lending me the original versions of these Godforms.
Great news for Abramelin aspirants!
Over the years, many students have privately emailed me to ask questions about magick – and one of the most common questions I am asked is “How do I use the talismans at the end of the Book of Abramelin?”
Unfortunately, that is not a question that can be answered so easily in a simple email or forum post. The Book of Abramelin contains a rather sophisticated system of goety – most of it scattered and hidden throughout the text so as to discourage dabblers. In order to explain it all in detail, it would be necessary to write a rather lengthy essay on the subject.
So, in 2009, that is exactly what I did. I wrote an essay entitled The Spirit-Magick of Abramelin that outlines the entire system – including how to summon and work with the spirits, how to create new word-square talismans and how to use them once they are made. I published it in an anthology from Scarlet Imprint called Diabolical – which focused on various traditions of working with demons. (My essay might have been the only one from the perspective of an angel-worker who also works with chthonic spirits.)
The only problem was that the hard-bound Diabolical – though an absolute must-have book – was a bit obscure and somewhat on the expensive side. Students continued to ask me about the Abramelin word-squares and spirits – and I’m not sure how many of them were willing (or able) to purchase the book just to get my essay from it…
Now we are fast approaching the year 2014, and I felt it was time to let the genie out of the bottle, so to speak, and release The Spirit-Magick of Abramelin in a more easily accessible format. Therefore, I have re-published the essay in the Autumnal Equinox 2013 edition of Hermetic Virtues Magazine (subscription info here.).
Hermetic Virtues Magazine
It is an electronic-format magazine, coming in PDF form directly to your in-box. If you don’t want to subscribe to the magazine (but, really, why wouldn’t you??), I’m pretty sure HV Magazine is willing to sell single-issue copies. So if you desire to learn how to properly work with the talismans and spirits of the Abramelin tradition, you now have an affordable and accessible source for my essay. Enjoy!
Special thanks to Jayne Gibson over at HV, who worked tirelessly to get the word-squares and other formatting issues with this essay exactly right. It was no easy task!
Also see my (free) essay on Abramlein’s Magickal Word Squares: Compiled and Corrected for the First Time. (This is just a taste of the work I’ve done on the existing word-squares, the bulk of which I will later publish in book form.)
Also see this blog post on Abramelin’s system of Mixed Qabalah. As well as this follow-up post on the same subject.
Finally, in the near future, keep an eye out for my latest essay that tackles the angelic side of Abramelin’s magick: After Abramelin: Working with the Holy Guardian Angel – to be published in Nephilim Press’ Walking with the Angel.
Greetings Angel Workers!
James is not only an accomplished graphical artist, but he also has practical knowledge of and experience with the subject matter. (That made working with him on these images *much* smoother. Not to mention it means he is as dedicated as I am to getting every detail just right.) The following is an image James is particularly proud of, from the upcoming Essential Enochian Grimoire:
The Seal of the True God.
“And I saw another angel ascending from the east, having the seal of the living God ” [Rev 7:2]
The Seal of God appears in the Book of the Revelation of St. John, carried by an angel from God’s Kingdom (of Light in the East) to the Earth. It is then used to mark the foreheads of all the world’s faithful who serve the Light. (See Rev 7, and 9:4.) And this isn’t a religious concern, as even St. John clearly states the Seal was received by “a great multitude, which no man could number, of all nations, and kindreds, and people, and tongues.” (Rev. 7:9). (The only catch was that 144 thousand Jewish guys got to receive it first.)
Personally, I suspect such a mark would be upon one’s aura – a spiritual mark. Consider the mark is places “in the forehead” in Revelation, the common location given for one’s “third eye” or psychic awareness.
The above Seal is probably familiar to most of you as the “Seal of Truth” – and Dee did refer to it by that term once or twice. However, its full and proper name is given in Dee’s journals as Sigillium Dei Emeth, which translates literally as “Seal God Truth.” In other grimoires that have versions of this Seal, it is called the “Seal of God.” Thus, I tend to refer to this image as the “Seal of the True God.” (However one could suggest other translations such as the “Seal of God’s Truth”, “Seal of the God (of) Truth” or even the “True Seal of God.” Plus “Seal” can also be “Signature”, so we get titles such as the “True Signature of God,”)
In any case, what you are seeing above is, in fact, a very unique image. Back in the old Enochian-L days (circa late 1990s), we dissected the numbers and letters of the Seal in minute detail – and we became aware of three problems in the available images of Dee’s Seal. The above image addresses these problems:
One appears to be a mistake (either of Dee’s or of some later copyist). A circumference character “y/15″ (see above) is rendered as “y/14″ in all published images of the Seal of the True God. The problem is that “y/14″ makes it impossible to decrypt the Angelic Name that contains that y. If you look on p. 103 of Joseph Peterson’s John Dee’s Five Books of Mystery, you’ll see the angels actually gave him “y/15″ (There is also a mathematical mystery having to do with the numbers in the Seal’s circumference that requires this to be 15.)
Interestingly, this letter is only used in the eighth “hidden” name Aborymon, which is associated with Antichrist and the End Times. (The name is likely related to Abaddon and Apollyon.) If one wanted to be completely ridiculous, one might even suggest it was a deliberate blind Dee introduced into the Seal so dabblers wouldn’t find Aborymon’s name…
The second and third problems were deliberate blinds on the part of Dee, so dabblers wouldn’t stumble onto Aborymon’s name. Really.
In most published versions of the Seal of the True God, you’ll find in the circumference a capital letter “A” without any numbers in its cell. That’s the first letter of Aborymon, and it doesn’t tell you where to go to find the next letter of the name. Dee originally recorded a “666″ in this cell, and noted that one was to move counterclockwise six spaces to find the next letter. Later, the Archangel Michael (in a vision) erased the “666″ in that cell to illustrate dominance over the Antichrist. Dee followed suit by leaving only the “A” on his own Seal. Most have followed suit, but a few practitioners are starting to put the “666″ back in place in order to repair the mathematical integrity of the circumference itself.
Finally, the last problem is a certain character “13/r” that also blocks the decryption of Aborymon. (This is why I suspect the “y/15″ was an honest mistake.) If you move thirteen spaces clockwise from “13/r”, it just takes you back to the capital “A” that started the name. However, this number 13 is necessary for that mathematical mystery I cryptically mentioned previously, so it has to stay. You just have to know that to decrypt Aborymon properly you have to remove the “1″ from “13″ and only move clockwise three spaces.
This image is really a joint effort of several people. First I drew up a sketch of a corrected Seal. Then Carrie Mikell took that sketch and turned it into something I could actually scan and submit to the publisher. (lol) James then had Carrie’s large and clear picture to work from to create the final version you see above.
Greetings Babblers and Glossolalia-philes!
I posted the following to my Angelical Linguistics group, and thought you folks might find it interesting as well:
I just found this great video that lets you hear how Early Modern English might have sounded. It comes from a group who performs Shakespeare’s plays in their “original pronunciation.”
And since I offer that Early Modern English is the basis of Angelical grammar and pronunciation (see here, here and here), then hearing the language spoken can give us an idea how Kelley and Dee might have been pronouncing the Adamic tongue.
Inspired, I went to YouTube to see what else they might have on Early Modern English, and found a wealth of great videos.