Archive for the ‘enochian’ Category
Greetings Faithful Listeners!
Deeper Down the Rabbit Hole
In just a few days I’ll be returning to the Deeper Down the Rabbit Hole podcast, where I’ll be interviewed by Andrieh Vitimus and Jason Colwell about The Essential Enochian Grimoire.
I had a ton of fun last time – these guys are great to talk to. (As I recall, I stayed on the phone with them for about an hour after the interview was over!) So, needless to say, I’m both honored and excited to be invited back on the show. :) Make sure to tune in!
Click Here for the Podcast Page
Greetings Students of Enochiana!
My new book The Essential Enochian Grimoire has finally been released! :):):) Have you received your copy yet? What do you think?
There are several pieces of information contained in the book that I fully expect to be controversial. Some of it is simply obscure material that has never been published before – such as the proper design and use of the reverse side of the Holy Lamen, the little-known 92nd Part of the Earth, or the proper correlation between the four Watchtowers and the “quarters of the Earth.” Some of it includes corrections to long-standing mistakes, – such as the fact that only three of the four Watchtower Seals was given in Dee’s journals, or an incorrect number in the circumference of the Seal of Truth, or the six names of God that were switched on the famous “Banner Diagram.“
One of the most important corrections I made to the material was the restoration of the functions of the Heptarchic angels. Students of Dee’s material will already know how confused and incomplete Dee’s list of functions for these angels was. What you may not know is that Dee was well aware of the problem and made several notations in his journals that give us the necessary keys to restore the list.
Unfortunately, I just didn’t have room in The Essential Enochian Grimoire to lay out all the details of how I went about restoring the information. But this is a pretty big change to the commonly-published material, so I felt it was necessary to show my work. It is important for students to realize this is a restoration I have made based on Dee’s own records, and not merely an innovation I came up with on my own. The Essential Enochian Grimoire is ultimately about Dee’s work, not mine. (Mine will follow in a future publication.)
So, in order for you to see my process – complete with journal references and quotes from Dee to back up my points – I wrote an essay entitled Restoring the Enochian Heptarchia. It has been published by the Llewellyn Journal thus far, and you can read it for free.
Enjoy – and feel free to comment!
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.
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.
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.
Greetings Angel Workers!
James Clark, the artist behind the diagrams and images in The Essential Enochian Grimoire, has released a second image from the book:
And I saw the holy city, new Jerusalem, coming down out of heaven from God, made ready as a bride adorned for her husband. – Rev 21:2
This is a very important diagram from Dee’s journals (though this one has been elaborated from the original), as it reveals the basic cosmology of the Enochian system. The Holy City (representing the physical universe – see Reveltation 21) has twelve gates through which the Sun enters and exits – each one designated by a sign of the zodiac. Interestingly, these 12 Solar Gates are described in detail in the Ethiopic Book of Enoch, a text which was lost for thousands of years – including Dee’s lifetime.
Dee’s original diagram did not include the zodiac signs, only the names of the Hebrew Tribes and the numbers 1-12. If we look in Agrippa’s Three Books of Occult Philosophy, the “Scale of the Number 12“, we find Dee’s numbers relate to zodiac signs: 1 = Aries, 2 = Taurus, 3 = Gemini, etc. Thus, we see in Dee’s diagram that the Tribe of Dan (in the east) is given the number 1, and sure enough Agrippa tells us that Dan relates to Aries. Dee gave the number 2 to the Tribe of Reuben (in the south), and Agrippa tells us that Reuben relates to Taurus. And so on for the remaining Tribes and zodiac signs.
Once we add in the 12 signs, it becomes apparent that Dee did not intend the zodiac in this diagram to run in proper order. Instead, he grouped them by Elemental triplicity – Fire in the east, Earth in the south, Air in the west and Water in the north. (This is the zodiacal ordering of Elements, based upon where the Cardinal signs naturally fall on a horoscope: Aries in the east, Capricorn in the south, Libra in the west and Cancer in the north.) This is a completely different association of Elements to directions than would be used in the later Golden Dawn Enochian system.
It is interesting to note that this grouping by triplicity is a traditional method of classifying the Shem haMephoresh. – and through it the 24 Elders of the Apocalypse. Those Elders figure into Dee’s Watchtower hierarchy of angels – and I’ve discussed the links between all of these things in a previous essay.
Greetings oh Patient Ones!
James Clark is the artist behind the diagrams and images in The Essential Enochian Grimoire. (He worked mainly from sketches made by me and Carrie Mikell.) Just for fun, and to tease the hell outta you guys, he has decided to let a bit of artwork from the book “leak” onto the interwebs every once in a while. And, for the very same reasons, I’ve decided to make a series of blog posts about each image.
James’ first release is:
The Eagle – Kherub of the West
This is the symbol of the Western Kherub in the Golden Dawn traditions (and many traditions that followed). His name is Nesher. He is a form of Scorpius, the fixed sign of Water, though he truly embodies all three signs of the Water triplicity. He is always one of four – the others being angels in the forms of a Lion (Fire triplicity), an Ox (Earth triplicity) and a Man (Air triplicity). You can find these angels in the first chapter of Ezekiel and the fourth chapter of the Revelation of St. John.
You will only see this guy in the second half of the grimoire, dedicated to Golden Dawn-style Enochiania. You won’t see him in the Dee-purist half of the grimoire.
Greetings, Faithful Readers!
Since I got caught up in the blogosphere, I’m afraid I’ve been sorely neglecting my old Writings webpage. (How old is it, you ask? Check the link below and you’ll see the URL is called “indexaol.html” – because it was originally my old AOL homepage! LOL Now it’s on Tripod, where it has been for what seems like eons…) That is where you can read most of my published essays and book reviews, listen to/read my interviews, find links to my books, etc.
Today, I finally took the time to do a massive update to the page – bringing the list of published material pretty much up to date. I think I included everything that has been lacking – but if you know of anything I’ve missed, please don’t hesitate to let me know!
Greetings, history buffs!
Nick Farrell just posted a blog about a rare painting of Edward Kelley that recently sold at auction in the UK (pictured above). I had mentioned this on Facebook back when it was first sold, but didn’t bother to blog about it. The reason I’m doing so now is because of the fascinating discussion that Nick’s post has generated about Kelley’s actual appearance (and to some extent his personality).
As Nick points out, the above painting was certainly made long after Kelley’s time, and was at least partially based on the woodcut of Kelley created for Meric Casaubon’s True and Faithful Relation… (see below). That, too, was made decades after Kelley’s death and based entirely on how the artist thought Kelley might have appeared. (Specifically fitting his – likely erroneous - reputation as a rogue and con-man.) Yet there are some differences between that woodcut and the above painting that suggest there might have been some “local knowledge” at work in the creation of the later image. Note that the painting shows him older, dignified and even on the heavy side – while the below engraving shows him gaunt, with a shorter scraggly beard and shifty eyes.
Probably not what Kelley looked like
What really inspired me about this subject was a reply on Nick’s post by Vincent Bridges, where he quotes from his own work An Alchemical Enigma: A Short History of the Rise and Fall of Sir Edward Kelley. It’s just three short paragraphs, but they contain more insight into what Edward Kelley really looked like – and something about his personality as well – than I have ever read anywhere before. In fact, it is so fascinating I’m going to reproduce the comment here. Enjoy!
For example, we have no clear idea what he even looked like; the only portrait was done from “reputation” a good 60 years after his death by the Dutch engraver Franz Cleyn. It shows a gaunt, long-faced, bearded man, wearing a fur-trimmed cloak and a four-cornered hat like a cleric’s biretta. However, this image is at odds with the few details we do have from contemporary sources. An English visitor in the fall of 1593 commented that he was “fat and merry” and another noted that he was a “weighty” man. He walked with a stick, notoriously mentioned by Dr. Dee in his account of Kelley’s altercation with one of Laski’s guards on the morning of his first visit with the Emperor. In the angelic sessions, his difficulty in kneeling is mentioned, and most revealing of all is the Papal Nuncio’s characterization in 1586 of Kelley as Dee’s hunch backed, “il zoppo,” companion.
And then there is the question of his ears, or lack of them. Simon Tadeas Budeck, a Czech alchemist and occult tattletale, of whom we will hear more, describes Kelley as “having no ears.” Budeck however did not know Kelley, his manuscript comments are from 1604, and so are somewhat unreliable, though it seems his report is partly correct. The best documented evidence is from a letter, dated in Prague, 20 July 1593, in which an Englishman named Christopher Parkins reports being interrogated about Kelley by one of Rudolf’s councilors. Among the questions put to Parkins was “if I could give any account of the diminishing of one of his ears, or of his good or evil behaviour in England.” Parkins knew Kelley, he is the source of the fat and merry comment; therefore it seems likely that Kelley had had just one ear notched. The alchemist Budeck also describes him as being “long-haired,” perhaps to conceal the disfigurement.
If we see Kelley as a long-haired, bearded, heavy-set man, with a sense of humor and a taste for the good things in life, and with a bent or twisted back that required a stick for support, it helps not only to humanize the legend, but perhaps also provides a few clues to his personality. This of course does not take away from Kelley’s predilection for violence, his hysterical rants, or his talent for insulting people. But it is very different from the Faustian, demonic deluder of legend. Yet, this aura of unpleasantness makes his success even harder to understand. What was it about him that held so many in his spell?
Notice how this new vision of Kelley as a “weighty” man better matches the painting of Kelley? It is quite possible the artist was drawing on these descriptions of Kelley while also taking the woodcut into consideration.