Michael Wynn's Occult Reference Library
RUNE

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18276066 GRIMM JACOB TEUTONIC MYTHOLOGY VOL 1

een cut to pieces: in the marchen vom machandelbom (juniper-tree; in the myth of zeus and tantalus, where tlie shoulder of pelops being devoured by demeter (ovid 6, 406) reminds us of the he-goat's leg-bone being split for the marrow, and remaining lame after he came to life again; in the myth of osiris and st adalljert (temme p. 3;j; conf. 1)s. no. 62, and ezekiel .37. then in the eighth finnish rune, lemminkaimen's mother gathei-s all the limbs of his dismembered body, and makes them live again "the fastening of heads that have been chopped off to their trunks, in waltharius 11 f (conf. p. 93) seems to imply a belief in their reanimation, and agrees with a circumstance in morske eventyr pp. 199, 201. 18g thunar. formerly donerswe^ donnerswehe, donnerswede (kohli handb. von oldenb. 2, 55

. 7, 375 and diut. 2, 370; which i take to be not teutonoari, as zeuss does, pp. 146-9, but zioivari]\iartem colentes, warian expressing, like lat. colore, both habitare and depairevetv, so that the suevi are oepdirovte'i "apr]onature of the war-god await us at the hands of the pauiic alphabet. it is known that each separate rune has a name to itself, and these names vary more or less according to the nations that use them, but they are mostly very ancient words. the ohg. runes having to bestow the name dorn on d, and tac on t, require for their aspirate z which closes the alphabet the name of zio. in the on. 200 zio. and as. alphabets, dag stood for d, t/jr and tito for t ]7orn for, being the same three words, only i

t, as we go on. but what is very remarkable, is that in the vienna cod. 140 the name tyz is given to t in an alphabet which uses the gothic letters, for tyz comes very near to our conjectural goth. tins. as well the retention as the unavoidable alterations of this divine name in the runes of the various races, may be taken as proofs of the antiquity and extent of zio-worship. how comes it that no rune has taken its name from wuotan or osinn, the inventor of writing itself' k= reis, rad' i.e, waggon, may indirectly at least be referred to the god of the thunder-car; and f according to one interpretation signifies freyr. anyhow 't=tyr' appears to have been a supremely honoured symbol, and the name of this god to have been specially sacred: in scratching the runes of victory on the sword, the

ich some of them give the name zio, others again uo, uor, aer. and there are as. alphabets that actually set down by^ the two names tir and ear, though tir had already been given to. it is evident then, that tir and ear zio and eo, ear were two names for one god, and both must have been current among the several races, both low german and high. evidence as regards low germany is found both in the rune ear occurring in anglo-saxon, and in the remarkable name of ereshurg, aereshurg being given to a notable seat of pagan worship in a district of westphalia, in the immediate neighbourhood of the irmansul (v. supra, p. 116. that it was strictly eresscr (as siegburg was originally sigberg, p. 198, follows both from the latin rendering vions martis, and from its later name mersberg^ whose initial

er district of westphalia* this eresberc then is a ziesherc, a sig-tiwes-berg, and yet more closely an areopagus, mars' hill, apeioira'yo, irerpa irdyo'i t 'apecogerman races, especially the bavarian (jmarcomannic) pointed to by that singular name for the third day of the week, ertag, lertag, irtag, eritag, ercldag, erichtag, which answers to the rune eor, and up to this moment lives to part off the bavarians, austrians and tyrolese from the swabians and swiss (who, as former ziowari, stick to ziestag; along the boundaryline of these races must also have run formerly the frontier between eor-worship and zio-worship. true, the compound ertac lacks 1 in one poem, cod. exon. 481, 18, the rune contains simply the vowel sound ea. 2 this eresbur

motgers= in dem otgers hove [and, the nonce= then once &c* in the pagus marstem, j^iarshem, marsem (close to the wcser, near marklu, reg. sarachonis 42, 727. 202 zio. the genitive ending -s which is preserved in ziestac, and i have not been so fortunate as to hunt up an erestac^ in the older records of the 13-14th centuries; nevertheless the coincidence of the double names for the day and for the rune should be conclusive here, and we must suppose an ohg. erestac, to match the eresberg. one might be led to imagine that in ertag the earth (erde according to the forms given at the beginning of ch. xiii) was meant. but the ancient way of thinking placed the earth in the centre of the world, not among the planets; she cannot therefore have given name to a day of the week, and there is no such

suppl. xow comes something far more important. as zio is identical with zeus as director of wars, we see at a glance that eor, er, ear, is one with"'apr)zeus; and as the germans had given the rank of zeus to their wuotan, tyr and consequently eor appears as the son of the highest god. have we any means now left of getting at the sense of this obscure root eor? the description of the rune in the as. poem gives only a slight hint, it runs thus: ear bis egle eorla gehwilcum]?onne feestlice flsesc onginnes hrsew colian, hrusan ceosan blac to gebeddan. blseda gedreosas, wynna gewitas, wera geswicas; i.e, ear fit importunus hominum cuicumque, quum caro incipit refrigescere, pallidumque corpus terram eligere conjugem. tunc enim gloriae dilabuntur, gaudia evanescunt, foedera cessant

t is either zio himself, or a synonymous female personification ziu, bearing tlie same relation to zio as diu (ancilla) to dio (servus. here comes in another string of explanations, overbold as some of them may seem. as eresburg is just as often spelt hcrcsburg by the frankish annalists, we may fairly bring in the goth, hairus, as. heor, os. heru, on. morr, ensis, cardo, although the names of the rune and the day of the week always appear without the aspirate. for in greek we already have the two unaspirated words''apt]sword, weapon, to compare with one another, and these point to a god of the sword. then again the famous abrenuntiatio names three heathen gods, thunar, woden, saxnot, of whom the third can have been but little inferior to the other two in power and holiness. sah

after this weighty consonance of facts, which opens to us the meaning of the old national name, and at the same time teaches that' heru' was first of all pronounced' cheru' and last of all' eru, er' i think we may also bring in the gallic war-god hesus or esiis (lucan 1, 440, and state, that the metal iron is indicated by the planetary sign of mars, the as' tires tacen' and consequently that the rune of zio and eor may be the picture of a sword with its handle, or of a spear.2 the scythian and alanic legends dwell still more emphatically on the god's sword, and their agreement with teutonic ways of thinking may safely be assumed, as mars was equally prominent in the faith of the scythians and that of the goths. the impressive personification of the sword matches well with that of the hamm

the prilwitz figures, certain slavic idols, especially perun, podaga and nemis, have rays about their^ 0. miiller's archoeol. p. 481. 2 oottiiif. anz. 1838, 229* tliis beam from charles's mouth is like the one that shines into im beloved's mouth and lights up the gold inside (see ch. xvi, menni. 324 condition of gods. heads; and a head in hagenow, fig. 6, 12 is encircled with rays, so is even the rune e when it stands for eadegast. did rays originally express the highest conception of divine and lustrous beauty? there is nothing in the homeric epos at all pointing that way (see suppl. it is a part of that insouciance and light blood of the gods, that they are merry, and lavgh. hence they are called blis regin (p. 26, as we find' froh' in the sense of gracious applied to gods and kings^ and

raff 2, 523, now alrauii, from its old sense of a prophetic and diabolic spirit, has at length passed into that of the root (mandragora, 1 a similar tale about alexander severus: midier druias eunti exclamavit gallico sermone' vadas, nee victoriam speres, nee te niiliti tuo credas' ael. lampridiiis in alex. sev. cap. 60. and attila at the passage of tlie lech is said to have been scared away by a rune-maiden calling out three times' back, attila' paul of stetten's erl. aus der gesch. augsburgs, p. 25. of still more weight is the agreement of an on. tradition in saxo gram. p. 15 'iladingum (our mythic harding, hartung) obvia femina hac voce compellat: seu pede rura teras, seu ponto carbasa tendas, infestos patiere deos, totum]^ue per orbem propositis inimica tuis elementa videbis^ it throws

ALEISTER CROWLEY MEDITATION

enultimate, is the sun, tiphareth, the son. the other three letters of her name, b, a, and d, are the three paths which join the three supernals. to what cupboard did she go? even to the most secret caverns of the universe. and who is this dog? is it not the name of god spelt qabalistically backwards? and what is this bone? the bone is the wand, the holy lingam! the complete interpretation of the rune is now open. this rime is the legend of the murder of osiris by typhon. the limbs of osiris were scattered in the nile. isis sought them in every corner of the universe, and she found all except his sacred lingam, which was not found until quite recently (vide fuller, the star in the west. let us take another example from this rich storehouse of magick lore. little bo peep she lost her sheep

ALEISTER CROWLEY EQUINOX EQ I 2 2

n that arose with breasts slow heaving in splendour drops wine from her infinite snows. ineffably, utterly, tender. 209 o moon! ambrosial moon! arise on my desert of sorrow that the magical eyes of me swoon with lust of rain to-morrow! ages and ages ago i stood on the bank of a river holy and holy and holy, i know, for ever and ever and ever! a priest in the mystical shrine, i muttered a redeless rune, till the waters were redder than wine in the blush of the harlot moon. i and my brother priests worshipped a wonderful woman with a body lithe as a beast's subtly, horribly human. deep in the pit of her eyes i saw the image of death, and i drew the water of sighs from the well of her lullaby breath. she sitteth veiled for ever brooding over the waste. she hath stirred or spoken never. she is

he blasphemous secret of years; the veil is hardly rent while the eyes rain stones for tears. so i clung to the lips and laughed as the storms of death abated, the storms of the grevious graft by the swing of her soul unsated. wherefore reborn as i am by a stream profane and foul in the reign of a tortured lamb, in the realm of a sexless owl, 211 i am set apart from the rest by meed of the mystic rune that reads in peril and pest the ambrosial moon- the moon! for under the tawny star that shines in the bull above i can rein the riotous car of galloping, galloping love; and straight to the steady ray of the lion-heart lord i career, pointing my flaming way with the spasm of night for a spear! o moon! o secret sweet! chalcedony clouds of caresses about the flame of our feet, the night of our

these, and god for a gift, it needs no wine to be merry! i have bought for a wafer of bread a garden of poppies and clover; for a water bitter and dead a foam of fire flowing over. from the lamb and his prison fare and the owl's blind stupor, arise! be ye wise, and strong, and fair, and the nectar afloat in your eyes! arise, o ambrosial moon by the strong immemorial spell, by the subtle veridical rune that is mighty in heaven and hell! 213 drip thy mystical dews on the tongues of the tender fauns in the shade of initiate yews remote from the desert dawns! satyrs and fauns, i call. bring your beauty to man! i am the mate for ye all' i am the passionate pan. come, o come to the dance leaping with wonderful whips, life on the stroke of a glance, death in the stroke of the lips! i am hidden be

rs and fauns, i call. bring your beauty to man! i am the mate for ye all' i am the passionate pan. come, o come to the dance leaping with wonderful whips, life on the stroke of a glance, death in the stroke of the lips! i am hidden beyond, shed in a secret sinew smitten through by the fond folly of wisdom in you! come, while the moon (the moon) sheds her ambrosial splendour, reels in the redeless rune ineffably, utterly, tender! hark! the appealing cry of deadly hurt in the hollow- hyacinth! hyacinth! ay! smitten to death by apollo. swift, o maiden moon, send thy ray-dews after; turn the dolorous tune to soft ambiguous laughter! 214 mourn, o maenads, mourn! surely your comfort is over: all we laugh at you lorn. ours are the poppies and clover! o that mouth and eyes, mischevious, male, allu

ALEISTER CROWLEY EQUINOX EQ I 2

es! nay, but she curves to arise, to increase; glamour on glamour to sicken and cease. how shall the warrior wing to the peace? fade, o thou moon, in thy magical bark! sink in the ocean thy silvery spark! leave me, ah leave me alone in the dark! 193 art thou not burnt in the fire of my will? see, by the flashes that crimson and kill i am the master; the magic is still. vi see! how the wrath of my rune that i send her, fire of my fire, is flung flying to end her, wrapping in ruin that scintillant splendour. fire of my fire! how the brilliance darts forth, runs to the uttermost pole of the north, splashing all space with the spume of my wrath! ah! but the subtle, the perilous way; that hath no fire to enkindle the clay. ever to all be the word of me nay! i who am being and knowledge and blis

ALEISTER CROWLEY EQUINOX EQ I 3

. black, black, intolerably black! go, spectre of the ages, go! suffice it that i passed beyond. i found the secret of the bond of thought to thought through countless years through many lives, in many spheres, brought to a point the dark design of this existence that is mine. i knew my secret "all i was" i brought into the burning-glass, and all its focussed light and heat charred "all i am" the rune's complete when "all i shall be" flashes by like a shadow on the sky. then i dropped my reasoning. vacant and accursed thing! by my will i swept away the web of metaphysic, smiled at the blind labyrinth, where the grey old snake of madness wove his wild curse! as i trod the trackless way through sunless gorges of cathay, i became a little child. by nameless rivers, swirling through 36 chasms

ALEISTER CROWLEY EQUINOX EQ I 6 2

that arose with breasts slow heaving in splendour drops wine from her infinite snows, ineffably, utterly, tender. o moon! ambrosial moon! arise on my desert of sorrow, that the magical eyes of me swoon with lust of rain to-morrow! ages and ages ago i stood on the bank of a river, holy and holy and holy, i know, for ever and ever and ever! 115 a priest in the mystical shrine, i muttered a redeless rune, till the waters were redder than wine in the blush of the harlot moon. i and my brother priests worshipped a wonderful woman with a body lithe as a beast's subtly, horribly human. deep in the pit of her eyes i saw the image of death, and i drew the water of sighs from the well of her lullaby breath. she sitteth veiled for ever, brooding over the waste. she hath stirred or spoken never. she i

the blasphemous secret of years; the veil is hardly rent while the eyes rain stones for tears. so i clung to the lips and laughed as the storms of death abated, the storms of the grievious graft by the swing of her soul unsated. wherefore reborn as i am by a stream profane and foul, in the reign of a tortured lamb, in the realm of a sexless owl, i am set apart from the rest by meed of the mystic rune that reads in peril and pest the ambrosial moon- the moon! for under the tawny star that shines in the bull above i can rein the riotous car of galloping, galloping love; and straight to the steady ray of the lion-heart lord i career, pointing my flaming way with the spasm of night for a spear! o moon! o secret sweet! chalcedony clouds of caresses about the flame of our feet, the night of our

ese, and god for a gift, it needs no wine to be merry! i have bought for a wafer of bread a garden of poppies and clover; for a water bitter and dead, a foam of fire flowing over. from the lamb and his prison fare and the owl's blind stupor, arise! be ye wise, and strong, and fair, and the nectar afloat in your eyes! arise, o ambrosial moon, by the strong immemorial spell, by the subtle veridical rune that is mighty in heaven and hell! drip thy mystical dews on the tongues of the tender fauns, in the shade of initiate yews, remote from the desert dawns! 118 satyrs and fauns, i call. bring your beauty to man! i am the mate for ye all; i am the passionate pan. come, o come to the dance, leaping with wonderful whips, life on the stroke of a glance, death in the stroke of the lips! i am hidden

and fauns, i call. bring your beauty to man! i am the mate for ye all; i am the passionate pan. come, o come to the dance, leaping with wonderful whips, life on the stroke of a glance, death in the stroke of the lips! i am hidden beyond, shed in a secret sinew, smitten through by the fond folly of wisdom in you! come, while the moon (the moon) sheds her ambrosial splendour, reels in the redeless rune ineffably, utterly, tender! hark! the appealing cry of deadly hurt in the hollow- hyacinth! hyacinth! ay! smitten to death by apollo. swift, o maiden moon, send thy ray-dews after; turn the dolorous tune to soft ambiguous laughter! mourn, o maenads, mourn! surely your comfort is over: all we laugh at you lorn. ours are the poppies and clover! o that mouth and eyes, mischievous, male, alluring

ALEX SANDERS THE KING OF THE WITCHES

kev'then spend thy mighty love, 0 mighty one, descend to aid me who, without thee, am forlorn' as he rises, the high priestess raises herathame to draw down the power from the moon, while the others join hands 143 and, keeping within the perimeter of the circle, dance round gathering speed and chanting: darksome night and shining moon, east then south then west then north, hearken to the witches' rune, here i come to call thee forth. earth and water, air and fire, wand and pentacle and sword, work ye unto my desire. hearken ye unto my word. cords and censer, scourge and knife, powers of the witches' blade, waken all ye unto life, come ye as the charm is made. queen of heaven, queen of hell, homed hunter of the night, lend your power unto the spell, and work my will by magic rite. by all th

ALEXANDRIAN BOOK OF SHADOWS OCCULT

8 wiccan tenets circle casting circle opening circle closing consecration consecration of sword or athame consecrating other working tools initiations charge to new initiates first degree initiation ritual second degree initiation ritual legend of the descent of the goddess third degree initiation ritual/great rite verse version of priest's declamation in great rite esbats esbat sequence witches' rune charge of the goddess verse version of charge of the goddess drawing down the moon ancient call great god cernunnos invocation esbat cone of power wine blessing cake blessing ritual elements invocation to the horned god besom chant welcome to the public domain version of the alexandrian book of shadows compiled by sekhet sophia. layout& html by atho sabbats yule candlemas vernal equinox belta

ained' error? l the wiccan redes bide the wiccan redes ye must, in perfect love and perfect trust; live ye must and let to live, fairly take and fairly give; form the circle thrice about, to keep unwelcome spirits out; bind fast the spell every time, let the words be spoke in rhyme. soft of eye and light of touch, speak ye little, listen much; deosil go by waxing moon, sing and dance the witches' rune; widdershins go by waning moon, chant ye then a baleful tune; when the lady's moon is new, kiss hand to her times two; when the moon rides at peak, heart's desire then ye seek. heed the north wind's mighty gale, lock the door& trim the sail; when the wind comes from the south, love will kiss them on the mouth; when the wind blows from the west, departed souls have no rest; when the wind blows

text c. esbat ritual needs: l everything needed to cast a circle, l wand, scourge, priestess' athame l priest, priestess here is the sequence of modules in a standard esbat ritual. l cast circle l (optional: rare) declaim ancient call l drawing down the moon l charge l (optional: rare) hp declaims ancient call l great god cernunnos invocation (generally omitted if drawing down the sun) l witches' rune (or other circle chant, eg. ancient call) l cone of power l insert optional circle work here (eg. sabbat ritual) l wine blessing l cake blessing l relax and chat; coven business discussion, teaching, etc. l close circle notes a "standard" bos usually lists its owner's standard modules so that they follow each other, and optional pieces are probably given seperately with no written explanation

ss discussion, teaching, etc. l close circle notes a "standard" bos usually lists its owner's standard modules so that they follow each other, and optional pieces are probably given seperately with no written explanation of how to put things together. l l obviously, the term "modules" is not traditional. l there are a large number of published sources for the esbat ritual as a whole. the witches' rune darksome night and shining moon, hearken to the witches' rune. east, then south, west then north, here come i to call the forth. earth and water, air and fire, work ye unto my desire. wand and pentacle and sword hearken ye unto my word. cords and censer, scourge and knife, waken all ye into life. powers of the witches blade, come ye as the charm is made. queen of heaven, queen of hell, lend y

horned hunter of the night, work my will by magic rite. by all the power of land and sea, as i do will, so mote it be. by all the might of moon and sun, chant the spell and be it done. notes the original was written by doreen valiente, and is rather different (verses are arranged in an abab rhyme scheme: l darksome night and shining moon, east, then south, west then north, hearken to the witches' rune. here come i to call the forth. instead of in couplets; this is unlikely be found in its original form in a "standard" north american gardnerian or alexandrian bos (it seems to have been changed fairly early in its history) l see janet and stewart farrar's the witches' way (as usual) for historical details. see the following (and many more) for published versions: m janet and stewart farrar t

blished sources eg. janet and stewart farrar's the witches' way the charge (verse version) hps: all ye assembled in my sight, bow before my spirit bright. aphrodite, arionrhod, lover of the horned god, mighty queen of witchery and night. morgan, etoine, nisene, diana, bridgid, melusine, am i named of old by men. artemis and cerridwen, hell's dark mistress, heaven's queen. ye who would ask of me a rune, or who would ask of me a boon, meet me in some secret glade, dance my round in greenwood shade, by the light of the full moon. in a place wild and lone, dance about mine altar stone; work my holy mystery. ye who are feign to sorcery, i bring ye secrets yet unknown. no more shall ye know slavery, who give true worship unto me. ye who tread my round on sabbat night, come ye all naked to the ri

things living are mine own, from me they come, to me they go. notes l lots of published sources eg. grimoire of lady sheba originally written by doreen valiente for gbg. that version was somewhat different from the one given here. see doreen valiente's the rebirth of witchcraft. l drawing down the moon needs: l wand, scourge, priestess' athame l priest, priestess follows: casting circle, witches' rune next: the charge hps stands in god position in n. before altar, holding scourge and athame. coveners are in s. facing altar. hp kneels before hps and salutes her with the fivefold kiss (as he kisses her womb, she opens into blessing position. hp again kneels before hps who stands in goddess positon (right foot slightly forward. hp invokes the goddess, saying: hp: i invoke thee and call upon t

-point star of love and bliss- here i charge you, in this sign. this completes drawing down the moon. hps and hp now face the coven and deliver the charge. notes l lots of published sources eg. janet and stewart farrar's the witches' way the ancient call may be used as a circle chant, or declaimed (generally by hp) generally either before the great god cernunnos invocation, or before the witches' rune. hp raises his arms wide and says: hp (first three verses are sometimes dropped) eko, eko, azarak eko, eko, zamilak eko, eko, cernunnos, eko, eko, aradia eko, eko, azarak eko, eko, zamilak eko, eko, cernunnos, eko, eko, aradia eko, eko, azarak eko, eko, zamilak eko, eko, cernunnos, eko, eko, aradia bagabi laca bachabe lamac cahi achababe karelyos! lmaca lamac bachalyos cabahagi sabalyos baryo

's eight sabbats for witches the farrars say it is "the invocation to pan from chapter xiii of moon magic by dion fortune, with.[cernunnons..substituted for..pan. l cone of power hp leads a ring dance deosil about hps who stands in the center. coveners are arranged man and woman alternately, facing inwards and holding hands (left plams up, right palms down. all dance and chant either the witches' rune or the call of the ancient mysteries: all: eo, evohe! dance and chant faster and faster until hps senses that the time is right, whereupon she calls: hps: down! all shall drop to the ground in a circle facing the hps. if there is coven work to be done, now is the appropriate time to do it. or a meditation upon the moon's season, or such other matter as may be fitting or needful. at an esbat w

ght adaptations from the farrars. producing a text for any sabbat is made difficult by the fact that everyone seems to modify the sabbat rituals. even the farrars don't print the gbg sabbats. l the hp's speech was written by doreen valiente. it's given here as she wrote it (according to the farrars in eight sabbats for witches) rather than in one of the more common versions (as with her "witches' rune, many covens prefer a modified version) l kissing the hps appears to be a sheba-ism; however, it's probably only common among north american garneroids. l candlemas the hps, carrying the wand, leads the coveners with a dance step to the chosen site. the volta dance follows: in other words, lively dancing in couples. hps casts the circle in the usual way. hp then enters the circle, with a swor

hp says: hp: o gods, beloved of us all, bless this our sabbat that we, thy humble worshippers, may meet in love, joy and bliss. bless our rites this night with the presence of our departed kin. facing north with arms upraised, coveners hand-linked in a semicircle behind him, the hp invokes the horned one. hps bearing a priapus wand then leads the coven in a meeting dance, slowly, to the witches' rune. hp gives each an unlit candle and brings up the rear of the dance. the candles are each lit from the balefire before the outward spiral. when it is done the hps assumes the goddess position saying: hps: dread lord of the shadows, god of life and bringer of death! yet as the knowledge ofthee is death, open wide, i pray thee, the gates through which all must pass. let our dear ones, who have g

ircle is set thus, in motionless intensity, the hps begins to clap to the rhythym of the heart-beat. and upon this signal all open their eyes and step widdershins; slowly at first but with a quickening step as the hps quickens the beat of her clap, until three rounds are complete. and this must be accomplished smoothly and without awkwardness. now change direction and dance deosil to the witches' rune or some other tune; slowly at first, but faster and ever faster until, the power being at its peak, the hps shall release it crying "down, whereupon all shall fall to the ground to sit in a circle facing in. thus also was the cone of power raised of yore. notes l another variant on raising a cone of power. l this one's adapted slightly from the witches almanac, 1971-72, as reprinted in the wi

BLAVATSKY H P ANTHROPOGENESIS

expanse of heaven. seven hundred years she wandered, seven hundred years she laboured, ere her first-born was delivered. ere a beauteous duck descending, hastens toward the water-mother. lightly on the knee she settles, finds a nesting-place befitting, where to lay her eggs in safety, lays her eggs within, at pleasure, six, the golden eggs she lays them, then a seventh, an egg of iron (kalevala, rune i[[vol. 2, page] 15 stanzas from the book of dzyan. anthropogenesis in the secret volume (verbatim extracts) i. 1. the lha which turns the fourth is subservient to the lha of the seven, they who revolve driving their chariots around their lord, the one eye. his breath gave life to the seven; it gave life to the first. 2. said the earth "lord of the shining face; my house is empty. send thy so

BUCKLAND RAYMOND COMPLETE BOOK OF WITCHCRAFT

accept the screw. inscriptions i have talked about engraving and etching your working tools and putting your craft name on them (more on your name and how to choose it, later. there are a number of different "magickal alphabets* that can be used for this* most popular are various of the runic alphabets and the theban form of writing found in ceremonial magick. let's look at runes first. the word rune means "mystery" or "secret" in early english and related languages. it is certainly heavily charged with overtones, and for good reason. runes were never a strictly utilitarian script. from their earliest adaptation into germanic usage they served for divinatory and ritual uses. the seax-wica use a runic alphabet which is as follows: figure 3.8 there are to be found more variations of runes t

nogram will not be clumsy. the aim is to make it as simple as possible yet to incorporate all of the letters. practice with monograms. aim to get them down to the simplest sigil possible. one thing to remember in writing runes: do keep the characters upright. one reason (apart from just being incorrect to slope them) is that it can cause confusion. for example, in the seax-wica runes, a sloping n rune would look like ag. the theban alphabet is used quite a lot in the craft. in gardnerian, for example, it is used for writing the high priestess's name on her bracelet. it is an attractive form of writing. the runes are angular, with no curves, because they were used for carving into wood and stone. but the theban was written on parchment, as well as being engraved and etched on talismans, so

ng (with power) everything they needed: their sword, censer, wand, athame, bell, trumpet, trident, etc. they would even write words of power on their robes and on a parchment hat. you have already done something similar when making your athame, by carving the handle or etching the blade with your name or your magickal monogram. this helped put your own personal power into the instrument. the word rune means "mystery" or "secret, in early english and related languages. it is certainly heavily charged with overtones and for good reason. runes were never a strictly utilitarian script. from their earliest adaption into germanic usage they served for divinatory and ritual uses. there are more variations of runes to be found than any other alphabet, it seems. there are three main types: germanic

ently when put with an "r"(ar, er, ir, etc) or with another vowel and "r (air, ear, ere, our, etc. to indicate these, then, the symbol^ is used over the vowel. if this sounds complicated, bear with me. you will find that, with a little practice, it is really quite easy [a point to remember if you just can't get it no matter how hard you try, then just go ahead and spell out the words substituting rune for letter without regard for phonetics. but do give it a good try first, please] lesson twelve: the power of the written word/ 179 a final note on the vowels. as in hebrew, the vowel is written above the line, in pictish runes, rather you will notice that there is no "c "q" or "x. the reason is the use of the phonetic spelling. in the english language "c" is either pronounced the same as an

CASTING THE CIRCLE

by the power of the serpent, sacred of asmodeus and lilith, bringers of the craft of olde, that we shall emerge in the waking dawn of phosphorus! by the power of the goat, oz as known to the secret. bring us union and that opposites are joined, that we shall emerge knowing both good and evil! this circle is hereby sacred, blessed by the light of shaitan the double headed one! perform the witches rune "bagabi lacha bachabe lamac cahi achababe to that which is, unto that which was. a burning cycle is upon us, fear shan t ascend in its ugliness, failure is null, nothing is true. cast my earth and rise unto the shadow shining moon and velvet night i raise the witches' blade and give thee life come unto us this dark night! south, east, west and north thy spirit come forth in joy a fire from th

CHAOS MAGICK AND LUCIFERISM

. it is our psychic connection between the universe surrounding the casual world and us. the language of the fallen angels and those who would seek the promethean light of knowledge and wisdom is inherent also within us. it must be understood that chaos magick is not a form of magick specifically; it is open to possibilities. one may assume the doctrine of thelema but practice both witchcraft and rune magick. the potentials are never ending. any combination may be used only if it is perfectly suitable to the individual developing it. the quote used by aleister crowley and many chaos magicians is nothing is true, everything is permitted; this is attributed to hassan i sabbah. hasan bin sabah (perhaps a more accurate spelling) is the historical figure that was called the old man of the mount

DAVID ICKE AND THE TRUTH SHALL SET YOU FREE

the world for good or evil. the one that hitler stole is now in the hofburg museum in vienna, where there was a major fire in november 1992, seven days before the blaze which destroyed part of windsor castle. another obsessive occultist in the third reich was heinrich himmler. he was into all matters esoteric and he used his knowledge in the blackest of ways. he was particularly interested in the rune stones, a system of divination in which stones carrying symbols are thrown or selected and the choice or combination 'read' by an 'expert. it was himmler who formed the notorious ss and, as with the swastika, he chose an esoteric symbol for his horrific organisation: the double s or 'sig' rune, which looks like two flashes of lightning. the ss was a virtually self-contained body and the epito

as with the swastika, he chose an esoteric symbol for his horrific organisation: the double s or 'sig' rune, which looks like two flashes of lightning. the ss was a virtually self-contained body and the epitome of all of the esoteric knowledge in which the nazis believed so passionately. only those considered racially pure were allowed to join, and instruction in the esoteric arts, including the rune stones, was fundamental to their training. the ss was run and governed as a black magic secret society. their rituals were taken from others such as the jesuits and the knights templar. the highest 212. and the truth shall set you free ranking initiates were the thirteen members of the grand council of knights (led by their grand master, heinrich himmler, and the black rituals were performed

DAVID ICKE CHILDREN OF THE MATRIX

ld write to a fellow believer "hitler is one of our pupils..you will one day experience that he, and through him we, will one day be victorious and develop a movement that will make the world tremble."23 heinrich himmler, the head of the ss, was another dedicated occultist who was into all matters esoteric. he used this knowledge in the blackest of ways. himmler was particularly interested in the rune stones. this is a system of divination in which stones, carrying symbols, are thrown or selected and the choice or combination read by an expert. it was himmler who formed the notorious ss and, as with the swastika, he chose an esoteric symbol for his horrific organisation. this was the double s or "sig rune, which looks like two flashes of lightning. the ss was a virtually self-contained bod

ith the swastika, he chose an esoteric symbol for his horrific organisation. this was the double s or "sig rune, which looks like two flashes of lightning. the ss was a virtually self-contained body and the epitome of all the esoteric knowledge in which the nazis believed so passionately. only those considered racially pure were allowed to join, and instruction in the esoteric arts, including the rune stones, was fundamental to their training. the ss was run and governed as a black magic secret society. their rituals were taken from others, such as the jesuits and the knights templar. the highest-ranking initiates were the 12 members of the grand council of knights led by the 13th, their grand master heinrich himmler. their black rituals were performed at the ancient castle of wewelsberg i

DAVID ICKE THE BIGGEST SECRET

will have control of theworld for good or evil. the one that hitler stole is now in the hofburg museum in vienna,where there was a major fire in november 1992, seven days before the blaze whichdestroyed part of windsor castle. heinrich himmler was another dedicated occultist whowas into all matters esoteric. he used this knowledge in the blackest of ways. himmler wasparticularly interested in the rune stones, a system of divination in which stones carryingsymbols are thrown or selected and the choice or combination read by an expert. it washimmler who formed the notorious ss and, as with the swastika, he chose an esotericsymbol for his horrific organisation and this was the double s or sig rune which looks liketwo flashes of lightning. the ss was a virtually self contained body and the epi

DIABOLUS

eran council, from the catholic encyclopedia. here we see that azazel and other angels possessed an original independence of being, that is they recognized that they could have the faculties of a higher state of being, they perceived themselves as separate from their original maker or source of being. the bible further describes satan as how he had fallen, which presents a connection of the vajra rune which anton szandor lavey made a part of his personal sigil within an inverted pentagram. the vajra rune is almost an s type shape, falling downwards. it represents health, vitality and strength. 22 i saw satan like lightning falling from heaven luke 10:18 the dragon itself is a symbol of the collective independence and intelligence of satan the adversary, while his angelic nature granted him

DICTIONARY GLOSSARY OF OCCULT TERMINOLOGY

a past member of the hermetic order of the golden dawn (q.v) who was a lay psychologist as well as a natural psychic (q.v) and ceremonial magician. dion fortune founded her own order based upon that order's teachings and gnostical christian mysticism known as the society of the inner light. she wrote works including sane occultism and the mystical qabalah. futhark: a word made up of the first six rune (q.v) characters in the german rune alphabet: f-u-th-a-r-k. other rune alphabets are called by slightly different names due to variations in the pronunciation of the letters. the english rune alphabet is known as the futhorc- g- gabriel: pronounced "gahb-ray-ehl" the archangel (q.v) and cosmic guardian of the west and of elemental water. in the tradition of christian mysticism, gabriel is the

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 2

25637, tempe, az 85285. its webpage can be found at http/ asatru.knotwork.com/troth/index.html. thorsson has authored several books on the asatru traditions, especially on the magical practices associated with runes. sources: gundarsson, kveldulfr hagan, ed. our thoth. n.p: ring of thoth, 1992. thorsson, edred. a book of thoth. st. paul, minn: llewellyn publications, 1989. futhark: a handbook of rune magic. york beach, maine: samuel weiser, 1984. the nine doors of midgard: a complete curriculum of rune magic. st. paul, maine: llewellyn publications, 1991. the truth about teutonic magick. st. paul, maine: llewellyn publications, 1989. rinpoche an honorific used in tibetan buddhism meaning precious master, now commonly encountered among tibetan groups operating in the west. ripley, george (

id here power-runes, undisturbed by evil witchcraft. in exile shall he die by means of magic art who destroys this monument. the use of runic inscriptions has been revived in both the modern magical and new age ideas and activities, and crated a vast contemporary literature. among the most popular, ralph blum has adapted runes for divination purposes. his publications the book of runes (1984) and rune play (1985) are issued in conjunction with a package of twenty-five runic letters on ceramic counters. these counters are cast, rather in the manner of a simplified i ching system, to give oracular guidance on personal questions and decisions. the concept of casting the runes also occurs in western magical practice, where spells are inscribed on a slip of paper in runic letters, to be unobtru

1) in which one character takes a ticket-case belonging to the victim and places the slip of paper with the runic spell on it inside the case. he then hands it to the victim, implying casually that he must have dropped it. the victim recognizes the ticket-case as his own, and gratefully accepts it, so the runes are cast. sources: blum, ralph. the book of runes. new york: st. martin s press, 1984. rune play. new york: st. martin s press, 1985. branston, brian. gods of the north. london: thames& hudson, 1955. elliott, r. w. v. runes. rev. ed. uk: manchester university press, 1963. flowers, stephen e. runes and magic: magical formulaic elements in the older runic tradition. new york: kang, 1986. hermannsson, h. catalogue of runic literature forming part of the icelandic collection at cornell

ormulaic elements in the older runic tradition. new york: kang, 1986. hermannsson, h. catalogue of runic literature forming part of the icelandic collection at cornell university. ithaca, n.y: cornell university press, 1918. howard, michael. the magic of runes. new york: samuel weiser, 1980. peschel, lisa. the runes. st. paul: llewellyn publications, 1989. thorsson, edred. futjhark: a handbook of rune magic. york beach, maine: samuel weiser, 1984. tyson, donald. rune magic. st. paul: llewellyn publications, 1989. willis, tony. the runic workbook. new york: sterling publishers, 1986. rupa in theosophical teachings, rupa denotes form, appearance, or the physical body, the most gross of the seven principles of encyclopedia of occultism& parapsychology. 5th ed. rupa 1331 which personality cons

rendered useless merely by the cunning of the object upon which it was wreaked. it does not seem to have risen very much above the type of sorcery in vogue among primitive peoples in modern times. it is surprising, with all these weaknesses, how powerful a hold sorcery had upon the popular imagination, which was literally drenched with belief in the supernatural. runes in its various forms.german rune, anglo-saxon run, icelandic run.the word is derived from an old low german word raunen (to cut or to carve, since the runes in ancient times were invariably carved instead of written. it later came to designate the characters themselves. comparatively few people were able to decipher the runes, and the elucidation was left to the curious, the ambitious among the females, and the leisured few

FRATER ELIJAH ANGELS OF CHAOS

ah-dah-ree-ahx) lower heavens orocha (oh-roh-kah-hay) under you (beneath) dodpal (doh-dah-pah-el) let them vex caosgo (kah-oh-ess-gee-oh) the earth abrang (ah-brah-noo-gee) i have prepared netaab (nay-tah-ah-bay) government de/ caosgo (day/ kah-oh-ess-gee) of/ the earth explosion- visualize a lightening flash descending through the heavens and strike the wand to the floor utilizing (astrally) the rune sowuz/ sowulo and the sigil for the binding of the eye which should be received prior to the rite from the angel. a flashing between both symbols is a good technique. while screaming, io choronzon! statement of office- the following is an adaptation of a calling given by the sons of hermes: universe, hear my plea. earth, open. let the waters open for me. trees do not tremble. let the heavens

GNOSTIC STUDIES THE GNOSTIC HANDBOOK II GNOSTIC THEURGY

hebrew code has shown that it can be used as a sound system with relationships to physical, astral and etheric parts of the human organism and that it encompasses a complex system of mudra (hand movement) and sound. while there is still a lot of research to do, we are at last starting to realise the potential of these languages and their relationship to the kabbalah and gnostic practise. the word rune comes from runa and means to whisper, in some sense this suggests the great respect shown for these languages by the original practitioners. to whisper and to speak from mouth to ear- each suggests the original oral nature of the alphabets and hence their close relationship to the kabbalistic mysteries. israel regardie in his introduction to enochian studies gives us some good advice about th

GRIMM JACOB TEUTONIC MYTHOLOGY VOL 3

er to each other. this last is a god of poetry and singing (p. 907, he is constantly called wanha, the old one, as the thunder-god ukko likewise is called father or old, and his wife akka mother or old. with the lapps, atia means both grandfather and thunder (see' old daddy' p. 168. as thor's minni was drunk, so full bowls were emptied in honour of ukko. wainamoinen wakes wipune out of her grave (rune 10, as o^inn does vcila. ilmarinen, the smith-god of the finns, reminds us of hephfestus and volundr, but makes a deeper impression than either; he fashioned a wife for himself out of gold (conf. p. 570 n. to the lapps, sarakka means creatress, from saret to create, a goddess of fortune. all finnish nations use yumala as a general name for the xxxll peefaoe. supreme being in the sense of our

ith hermes becomes quite startling in these myths. at other times however it is thorr with his heavy hammer (p. 180) that seeks a lodging, like zeus, and when -he stays the night at the peasant's, loki accompanies thorr (sn. 49; then again heimdallr, calling himself rigr, traverses the world, and founds the families of man. the finnish legend makes wiiinamoinen, ilmarinen and lemminkainen travel (rune 23, quite on a par with o^inn, loki, and hoenir. if now we look from these heathen myths to those in a christian dress and of a later time, the connexion between them can be no enigma: that of perkunos changing into the saviour has already set us the key. either christ and peter journey out together, or one of the two alone; the fable itself turns about in more than one direction. antique abo

ter antiquity did not leave gods out of the reckoning. when waiuamoinen touches his harp, the whole of nature listens, the four-footed beasts of the wood run up to him, the birds come flying, the fish in the waters swim toward him; tears of bhss burst from the god's eyes, and fall on his breast, from his breast to his knees, from his knees to his feet, wetting five mantles and eight coats, kalew. rune 22-9. such tears are shed by freyja (gratfogr, p. 325, her that well liked song, and was wedded to osr; in fairytales lucky maidens have the power to laugh roses and weep pearls. the stromkarl also breaks into weeping when he sings to the harp (p. 493. but as all nature, animate and inanimate, betrays her sympathy with human lamentations, so at the sound of the bewitching albleich (elf-lay, p

not occur in on. writings^ i am in doubt whether an as. tea/or is to be connected with zoupar; it signifies minium, color coccineus, and lye gives (without ref) tifran depingere, which ought perhaps to be t;^frian. the addition of the adj. red in redd ted/or (rubrica) favours the conjecture that ted/or was a general term for the colours employed in illuminating manuscripts, and thus may stand for rune, mystic writing, hence our zauber (magic- to identify zoupar with z'epar (p. 40, as. tedfor with tiher, is forbidden by the difference of vowel, though it would bring the notion of magic very near that of sacrifice again. one would much rather trace zoupar to zouwan, goth, taujan, as. tawian (facere, parai-e, and assume the operation of some anomalous change of the w into v, h, p^ even the li

wards died out of the language. the mhg. already used segen [blessing, from signum] for a magic formula, segencerinne for enchantress. chap. xxxviii. will go more deeply into this necessary connexion of magic with the spoken word, with poetic art; but, as the mystery of language easily passes into that of symbol, as word and writing get indissolubly wedded, and in our idiom the time-honoured term rune embraces both tendencies; it throws some light on the affinity of zoupar with teafor (p. 1033, and also on the method of divination (p. 1037) by rune-staves. the goth, afhugjan, to deprive of one's senses, bewilder, stands in gal. 3, 1 for /saakaiveiv= fascinare^ as. dyderian, bedgderian illudere, incantare, perhaps conn, with our hg. tattern, dottern (angi, delirare; we now say verblenden, d

(p. 483, whom the heroes are bent on putting down' hefi ec qvaldar qveldri^or/ i have quelled the witches, says atli. their riding is called gandreid, vectura magica, nialss. p. 195; gandr is properly wolf, they are said to have ridden wolves and bridled them with snakes' fann trollkono, su rei& vargi ok hafsi orma i tauviom' seem. 146' hyrrokin reid" vargi ok haf^i hoggorm at tatimum' sn. qq. a rune figure (bautil 1157) represents a troll riding a wolf, using a bent twig for reins. a swed. folksong makes her ride on a hear, and use the luolf as a saddle, the snake as a whip' bjornen den sa red hon uppa, ulfven den hade hon till sadel derpa, och ormen den hade hon till piska' sv. vis. 1, 77. nor must we overlook, that the servian vila, who has much more o the elf about her, rides a stag

s or places. to interpret dreams is in ohg. antfristun, n. boeth. 51, more simply sceidan, mhg. scheiden, diut. 3, 97, hesclieiden, walth. 95, 8. nib. 14, 2. 19, 2; traumsclieider meant soothsayer. the as. had swefn reccan, on. draum rdita (see suppl. dreams are foretokenings of the futm-e, rising out of images and impressions of the past; they and the figures in them might be called a writing or rune of destiny (p. 406 n, as avolfram finely says of parzival 245, 8' sus wart gesteppet im sin troum mifc swertslegen umbe don soura' so was embroidei'ed his dream with sword-strokes round the border. like the birds, they are messengers of the gods, and publish their commands; but other daemonic beings send them too' ir boten kiinftigiu leit (coming sorrows) sandcn im slafe dar^ parz. 245, 4. on

on to the sparkling stone was easy enough. heinr. von krolewiz, describing the sky as a house, again brings the eyes into connexion with the orphan, 11. 1194. 1203-16 (see suppl. the]:jearl, already in dreams a prognostic of the tear, is made in the myth to spring out of venus's tear, as freyja's tears turned into drops of gold (p. 1194; and wainamoineu's tears fall into the sea as pearls, kalew. rune 22. the pearl then is either metal or stone. our ancestors regarded it as a stone found in the sea, hence eorcanstan too may have meant pearl, and even the latin name wiio appi'oaches that notion of the incomparable orphan' in tantum ut nulli duo reperiantur indiscreti, undo nomen unionum romanae imposuere deliciae^ pliny 9, 35 [56' ideo' not only does freyja's tear turn into gold, but a gree

ight take in at one view all that was effected by magic spells. they were painted, scratched or carved, commonly on stone or wood' runstones, runstaves; i-eeds served the same purpose (p. 1083-i. the ohg. liahalruna, tsrcina, lagoridia are named after the letters' hahal, is, lago; clofruna and stofruna remain doubtful, the latter appar. the mere tip (stupf, apex. helliruna means necromancy, death-rune, and plainly refers to halja, hella; i connect with it our jiouen-zwang, control over hell, by which is understood the mightiest of magic spells, such as doctor faust possessed. holzruna is to be taken not of a thing, but of a person, the wood-wife, lamia (p. 433, not without some allusion to her moaning and muttering. the ohg. women's names kundriin, hiltirun, sigiriin, fridurun, paturun, ar

e it was hid, ok hann kunni ;au lios, er upplaukz fyrir honum (unlocked itself to him) iorsin ok bicirg ok steinar ok haugarnir, ok hatt (bound) hann mes ordum einum]?a er fyrir biuggu (dwelt, ok gekk (went) inn ok tok j^ar slikt er hann vildi' afzelius in sagoh. 1, 4 mentions, too briefly and indistinctly, a strange swedish folktale of one kettil runske of kettilsas in alsheda, avho stole odin's rune-sticlis (runekaflai, and with them cast a spell on his hounds and bulls, nay at last on the merwoman that would have come to odin's aid. by this odin seems to be meant a shepherd or giant representing the former god; the surname rimshe evidently has to do with the acquisition and possession of the staves. songs and runes then can do very great things. they are able to kill and bring to life

aberet, propter quas ligari non posset? at ille respondit, nihil se talium artiuni nosse^ he was sold to a third man' sed nee ab illo ullatenus potuit alligari^ beda's explanation of the marvel is, that his friends, thinking him dead, had had masses said for the deliverance of his soul. the as. version goes a step farther, which seems worthy of notice' and hine acsade, hwseser he ?a, djysendlican rune cu'se, and j)a stdnas mid him dwritene haefde, be swylcum men leas spell aecgas' what were these stones written over with runes, which the translator had in his mind? we have to suppose tjtree sets of women, each plying a separate task (see suppl. the second merseburg formula is for healing a lamed horse: phol ende wodaji vuorun zi holza, do wart demo balderes volon sin vuoz birenkit (wrenche

ly mimer (ups. 1838 40) pp. 271 7. among these spells now reduced to writing, isolated runes can here and there be recognised even yet, and in some cases their use is enjoined; thus, on the mode of compelling a thief to restore stolen goods on pain of losing his eye, we find the following prescription: go at sunset on sunday evening to a place that lies high, bearing a bucketful of water, cut the rune s, and charge the thief within a certain time to bring back what he has stolen, or lose his right eye. the rune s apparently refers to sunday and sunset, perhaps to syn (sight, eye; does it also in connexion with the water-vessel point to the word sa (situla? most likely the water was poured out, and ran down the hill (see suppl. finis. indtohanselmann used for spiritus familiaris (phil. v. s

GRIMM TEUTONIC MYTHOLOGY VOL 2 1883 COMPLETE

language, the assimilated form puss, particularly in the pi. j?ussar, hrimjmssar; a dasrnonic being in the later sagas is called thusselin (miiller s sagab. 1, 367-8, nay, the danish tongue has retained the assimilation in its tosse, clumsy giant, dolt (a folk-song has tossegrefve, 4 and a norwegian dasmon bears the name tussel. the on]?urs, like several names of gods, is likewise the title of a rune-letter, the same that the anglo-saxons called]?orn (conf]?urs rista/ saam. 86a: a notable deviation, as the as. tongue by no means lacks the word; in beow. 846 we find pyrs, and also in the menology in 1 can the witch jettha of the palatinate (p. 96 note) be a corruption of eta, eza? anyhow _the jettenbiihel (jetthro collis) reminds us of the bavarian jetteiiberg (mpn. boica 2, 219, ann. 1317

was courting, declined his proposals; others maintain that a jette maiden slung it over from fiinen with her garter (thiele 3, 65-6; conf. 42. when giants fight, and one pursues another, they will in their haste leap over a village, and slit their great toe against the church-spire, so that the blood spirts out in jets and forms a pool (deut. sag. no. 325; which strikingly resembles wainamoinen, rune 3. in leaping off a, steep cliff, their foot or their horse s hoof leaves tracks in the stone (ibid. nos. 318-9. also, when a giant sits down to rest on a stone, or leans against a rock, 1 preusker in kruse s deutsch. alterth. iii. 3, 37. giants. 547 his figure prints itself on the hard surface/ e.g. starcather s in saxo gram. 111. it is not as smiths, like the cyclops, that giants are descri

f a giant; and even siegfried, pure hero as he is in the mid. age poems, yet partakes of giant nature when acting as a smith, like wielant, who is of giant extraction. moreover, both siegfried slightly, and strong jack more distinctly, acquire a tinge of that eulenspiegel or riibezahl humour (p. 486) which is so amusing in the finnish stories of kalewa, hisi, and especially soini (conf. kalewala, rune 19. this soini or kullervo bears the nickname of kalki (schalk, rogue; when an infant three days old, he tore up his baby-linen; sold to a carelian smith, and set to mind the baby, he dug its eyes out, killed it, and burnt the cradle. then, when his master ordered him to fence the fields in, he took whole fir-trees and pines, and wattled them with snakes; after that, he 1 stonehenge, as. stan

ye (p. 162; they come to the roaring (of the sea, ad aestum, trapa qlva troxvfaoia/soio 6a- xao-o-7, and find askr and embla powerless and inert. then n (8pherif) und ^beflozzen mit dem wendelmer, darin swebt die bal ma5 on r ti "i df^es ist conf" berthold basel mss. p. 287, and wackern. p. 20 the creation of heaven and earth out of the parts of an egg is poetically painted m kalewala, rune 1 (see suppl- indian legend has likewise fhpt ir f u wi the 6^ h. ven and earth bein8 eggshells, somadeva 1, 10. conf. birth of helen and the dioscuri out of an egg. extr from suppl creation. 561 0$inn endowed tliem with spirit, hcenir with reason, loisr with blood and complexion (see suppl. the creation of dwarfs is related in two passages which do not altogether agree. sn. 15 tells us, when

e that by rota communis, though it may perhaps mean gemeiner rath (vorrath, a common pro vision at the service of all men. that the sun was likened to a wheel of fire, and the element blazing out of him was represented in the stape of a wheel, has been fully shewn, p. 620. tit. 2983 speaks of the sun s wheel. the edda expressly calls the sun fagrahvd, fair wheel, saem. 50a sn. 177. 223. the norse rune for s is named sol sun, the as. and ohg. sigil, sugil, for which i have proposed (andr. p. 96) the readings segil, sagil, sahil, and may now bring in support the goth, sduil and gr. r/ato. but the gothic letter q= hv) is the very symbol of the sun, and plainly shews the shape of a wheel; we must 1 wagen waggon belongs to weg way, as carpentum does to carpere (viam; the car of heaven is also t

KETAB E SIYAH

iving in the east the flags upon the towers that made fast the walls of shurupuk, he urged his army to new speeds, eager to plunder that bright city. now as the embattled walls of the city appeared to his eyes as he stood at the euphrates' western bank he paused to read in the patterns of the fire's smoke the portent for the battle that he was to fight. 219 within the shifting fumes that rose one rune alone was seen 'calamity' dissatisfied with such an augur he doused the flame and, as he made to rekindle the fire in which he read, his army gave up a great shout of dismay as the battalions of shurupuk marshalled on the farther shore. to every spear of his that pointed eastward twenty shining glaives pointed westward across the ford and to each horse of his that stamped its hooves were ten

LIBER CCCXXXV ADONIS

d the couch] liber cccxxxv 32 psyche. life? is it life? what hour of fate is on the bell? of this supreme ordeal what issue? heaven or hell? i am stripped of all my power now when i need it most; i am empty and unreal, a shadow or a ghost. all the great stake is thrown, even now the dice are falling. all deeds are locked in links, one to another calling through time: from the dim throne the first rune that was ree.d by god, the supreme sphinx, determined the last deed [the king of babylon reaches forth his hand and arm. it is the hand and arm of a skeleton. he touches the forehead of the sleeping lord. instantly, radiant and naked, a male figure is seen erect] psyche. adonis! adonis. psyche [they run together and embrace. psyche. ah! long-lost! adonis. my wife! light, o intolerable! infini

LIBER CCXLII AHA

ck. black, black, intolerably black! go, spectre of the ages, go! suffice it that i passed beyond. i found the secret of the bond of thought to thought through countless years through many lives, in many spheres, brought to a point the dark design of this existence that is mine. i knew my secret. all i was i brought into the burning-glass, and all its focussed light and heat charred all i am. the rune fs complete when all i shall be flashes by like a shadow on the sky. then i dropped my reasoning. vacant and accursed thing! by my will i swept away the web of metaphysic, smiled at the blind labyrinth, where the grey old snake of madness wove his wild curse! as i trod the trackless way aha! 21 through sunless gorges of cathay, i became a little child. by nameless rivers, swirling through cha

LINDOW JOHN NORSE MYTHOLOGY A GUIDE TO THE GODS HEROES RITUALS AND BELIEFS

rked with both danish and swedish kings in the first half of the ninth century. the process was to bear fruit first in denmark in the later tenth century, when king harald bluetooth witnessed the priest poppo carrying a red-hot piece of iron, with no harm to his hands, as a demonstration that christ was greater than the pagan gods. at jelling in jutland, king harald bluetooth erected an elaborate rune stone celebrating his parents and himself, the person who gmade the danes christian, h as the jelling rune stone says. in norway there is evidence of christian burial from around this time, and hakon the good was a christian king whose reign ended around 960, when harald converted. but hakon was buried in a mound and celebrated in pagan poetry. olaf tryggvason, who ruled norway from 995 to 10

e less well informed about the conversion in sweden. although the kings of sweden were christian from the beginning of the eleventh century, the monk adam of bremen, in his history (ca. 1070) of the archbishopric of hamburg- bremen in northern germany, which had responsibility for scandinavia, reported a vast pagan temple at uppsala, with idols of the pagan gods and gruesome sacri- introduction 7 rune stones depicting thor fs hammer like this one in sweden are fairly easy to find. compare this to the rune stone on page 10; both are from the late viking age (statens historika museum, stockholm) fices. but eleventh-century rune stones from that very same part of sweden are openly christian: ggod rest his soul, h many of them ask, in runes surrounding an incised cross. most historians accept

rch brought manuscript writing to the north, there was some writing using the native runic writing system. since in the older runic alphabet there are no horizontal strokes, it is assumed that the system was originally invented for scratching the letters on wooden sticks, whose grain would obscure horizontal strokes. only special circumstances permit wood to remain 10 norse mythology compare this rune stone with a cross to the one on page 8 (statens historika museum, stockholm) undecayed in the ground for archaeologists to dig up centuries later, and as a result most (but by no means all) of the extant runic inscriptions are on stones. it is important to stress that carving on wood or stone is a fairly laborious process and that the kinds of things recorded using the runic alphabets tended

variations grew out of this basic viking age runic alphabet. of the approximately 4,000 runic inscriptions, most are from the viking age; most of these are from sweden; and most of these are from the provinces around lake malaren, especially uppland. most are memorial: they explain who erected the stone, whose death is memorialized, and what the relationship was between the two. although the few rune sticks and other kinds of runic inscriptions that have been retained show that runes introduction 11 detail of the rune stone from rok, sweden, from the ninth century c.e. created by varin for his dead son, vemod, with center as ode to theodoric, king of the goths (the art archive/ dagli orti) could be used in a great many ways, scandinavia through the viking age was for all intents and purpo

o the terms bond and hopt. the term is found a few times in early runic inscriptions, and the cognate is found in old english os, ggod, deity, h and in anses, gdemigods, h a latinized version of a word in gothic, the language of the well-known germanic tribe. the word ass, or its homonym, also means gbeam h or gpost, h and some scholars seek an association with wooden idols or the equivalent. the rune poems, which are relatively late, give ass or its equivalent as the name of the a-rune. in medieval icelandic the term asir is the one most often found when the gods are being described as a group, in prose and in poetry. in thrymskvida, for example, when it is revealed that thor fs hammer has been stolen by the giant thrym and that he will exchange it only for freyja, the poet writes: deitie

obably from around 975.985 c.e. in this stanza he refers to the temple lands of einridi and all the gods (bond. the form with d in the second syllable is younger. my translation of the name (either form) is what i think a norseman would have thought it meant; some scholars have thought that etymologically it may originally have meant glone ruler. h it is worth noting that this name is attested on rune stones for human beings, who may therefore have been named after the god. see also hlorridi; thor einherjar (lone-fighters) the chosen warriors of odin, who sport at valholl awaiting the last battle at ragnarok. vafthrudnismal, stanza 41, describes life at valholl: all the einherjar in odin fs fields hack each other each day. they choose slaughter and ride from the field later sit reconciled

worlds of gods and giants. ifing is known only in vafthrudnismal, stanza 16: ifing is the name of the river that divides for the sons of giants and for the sons of gods the earth; it will run open throughout all ages there will never be ice on the river. a river on which ice will never form is one that runs swiftly and therefore is extremely difficult to ford. ing figure found in the old english rune poem, implied in the germania of tacitus, and associated with the frey names yngvi and ingunar-frey. ing is the name of the rune that stands for the sound -ng. in the old english rune poem (eighth or ninth century, the verse in question runs as follows: ing was first among the east danes seen by people, until he afterwards eastward went over the wave; a cart ran after him. thus the heardingas

gin and founders of their people. to mannus they assign three sons, from whose names are called the ingaevones near the ocean, those in the center as herminones, and the rest istaevones. ing must be the son of mannus after whom the ingaevones (more often known as the ingvaeones) are named. the connection with the sea is interesting, 200 norse mythology and one might speculate that the old english rune poem testifies to a movement of the cult of ing away from the coast toward the territory that had once been that of the central herminones. if the baltic is involved, one might even put sweden on ing fs itinerary. see also frey; haddingjar; hadingus, ingunar-frey; yngvi references and further reading: see wolfgang krause, ging, h nachrichten der akademie der wissenschaften in gottingen, phil

tained in snorri sturluson fs ynglinga saga, where snorri refers to yngvi-frey. clearly the two forms of the name are related, and on a purely linguistic basis one would say gyngvi-frey h has a scandinavian form and gingunar-frey h a west germanic form; beowulf 1319 refers to the king of the danes as frea ingwina (lord of the friends of ing, and a figure named ing is also found in the old english rune poem. however, norse ingunar cannot be directly equated with old english ingwina, and what the norse form means remains open to debate. formally it looks like a genitive singular (ingun fs frey, and scholars have speculated that ingun could have been the earth or some other female deity. there may also be an association with the west germanic people called the ingvaeones. see also frey; ing r

hange of hostages (men exchanged as a pledge of good faith. hoenir appeared to have the qualities of a chieftain, and the vanir immediately employed him in that capacity. but hoenir relied exclusively on the counsels of mimir, and when mimir was not present, hoenir responded to queries by saying: 230 norse mythology thor stands in a boat with a raised hammer near the bottom of an eleventh-century rune stone from altuna. from his left hand dangles the ox-head bait while the serpent coils below (national museum of denmark) glet others decide. h the vanir therefore deduced that they had been cheated. they beheaded mimir and sent the head to odin, who preserved it and listened to the hidden things it had to say to him. thus in voluspa, stanza 46, as the seeress describes the onset of ragnarok

nian princess rinda is to bear the avenger of balderus, othinus sets out to seduce her. acting as a soldier, he takes up residence with her father, wins victories, and presses his suit, but she rejects him. a second visit, this time acting as a smith, also fails. on the third visit, othinus acts as a knight, but when he finally makes some progress toward his goal it is by touching the girl with a rune-carved stick, which drives her mad; here is the potential parallel with kormak fs stanza. othinus now assumes the guise of a woman to gain entry to the girl fs chamber, but he only succeeds in his goal when rinda falls sick. dr. othinus prescribes a potion so foul that the patient must be bound when she takes it. she is duly bound, and othinus rapes her. the result of the rape is bous. the us

a snow boarder today might. in book 3 of his gesta danorum, saxo grammaticus has a character called ollerus, who is clearly ull in latin form. this figure replaced odin when that god was exiled because of disgust over his rape of rinda to get an avenger for balderus. when odin returns, ollerus is in turn exiled and finally killed. he was, saxo deities, themes, and concepts 299 detail of sparlosa rune stone from vastergotland, sweden, around 800 c.e, interpreted by niels age nielson as depicting a sacrifice to ull (the art archive/dagli orti) says, such a cunning magician that he could travel over the sea on a bone; viking age bone skates are known from the archaeological record. two curious passages in eddic poetry refer to ull, one to his grace (grimnismal, stanza 42, the other to an oat

MAGIC AND SPELLS

f dispel magic cast into a .wild magic zone causes magic in the area covered by the spell to function normally for 1d4 minutes. an area dispel use of greater dispelling causes magic to work normally for 1d4x10 minutes. a wish or miracle spell permanently repairs all wild magic zones in a 30-foot-radius area (or a 30-foot- weave through the lioly (or unholy) power granted her. many types of magic- rune magic, shadow magic (not to be confused with the shadow weave, gem magic, elemental magic, even the elven high magic of old-have been spoken of down the years, but these are all merely different processes or paths to the same mastery of natural energies. this endless, ever-shifting web of forces is known as the weave. humans refer to the entity or awareness that is bound to the weave of toril

ythal is an ancient form of elven magic created by a group of spellcasters working together to create a lasting magical effect over a large area. mythals that remain today usually are beginning to fail but resist attempts to dispel them. they can produce any number of bizarre effects, including wild magic (see the wild magic section above. the exact nature of such effects varies with each mythal. rune magic in the snowbound mountains of the north, dwarves and giants have dwelled for uncounted years as rivals and enemies, and their deeds are only rumored in human lands. in the lore of the shield dwarves, runes-carefully inscribed symbols from the secret characters of the dwarven alphabet-can be carved to hold spells of great potency. learning the runes in order to use rune magic, a characte

d mountains of the north, dwarves and giants have dwelled for uncounted years as rivals and enemies, and their deeds are only rumored in human lands. in the lore of the shield dwarves, runes-carefully inscribed symbols from the secret characters of the dwarven alphabet-can be carved to hold spells of great potency. learning the runes in order to use rune magic, a character must learn the inscribe rune feat (see chapter 1: characters. rune magic is strongly tied to the dwarven and giant deities and is thus the province of divine spellcasters. some students of rune magic choose to virtually abandon the normal practice of magic in order to concentrate on their chosen medium, becoming runecasters of great power. magic creating runes if you know inscribe rune, any divine spell you currently hav

. rune magic is strongly tied to the dwarven and giant deities and is thus the province of divine spellcasters. some students of rune magic choose to virtually abandon the normal practice of magic in order to concentrate on their chosen medium, becoming runecasters of great power. magic creating runes if you know inscribe rune, any divine spell you currently have prepared can instead be cast as a rune. a rune is a temporary magical writing similar to a scroll. it can be triggered once before it loses its magical power, but it lasts indefinitely until triggered. a rune written or painted on a surface fades away when expended, erased, or dispelled. a rune carved into a surface remains behind" as a bit of nonmagical writing even after its magic is expended. inscribing a rune takes 10 minutes

an be triggered once before it loses its magical power, but it lasts indefinitely until triggered. a rune written or painted on a surface fades away when expended, erased, or dispelled. a rune carved into a surface remains behind" as a bit of nonmagical writing even after its magic is expended. inscribing a rune takes 10 minutes plus the casting time of the spell to be included. when you create a rune, you can set the caster level at anywhere from the minimum caster level necessary to cast the spell in question and no higher than your own level. when you create a rune, you make any choices that you would normally make when casting the spell. you must provide any material components or focuses the spell requires if casting the spell would reduce your xp total, you pay this cost upon beginni

ou can set the caster level at anywhere from the minimum caster level necessary to cast the spell in question and no higher than your own level. when you create a rune, you make any choices that you would normally make when casting the spell. you must provide any material components or focuses the spell requires if casting the spell would reduce your xp total, you pay this cost upon beginning the rune in addition to the xp cost for making the rune itself. inscribing a rune requires a craft check against a dc of 20+ the level of the spell used. the craft skill you use is anything appropriate to the task of creating a written symbol on a surface (metalworking, calligraphy, gemcutting, stonecarving, woodcarving, and so on. you paint, draw, or engrave the rune onto a surface and make the check

the craft skill you use is anything appropriate to the task of creating a written symbol on a surface (metalworking, calligraphy, gemcutting, stonecarving, woodcarving, and so on. you paint, draw, or engrave the rune onto a surface and make the check (dwarves usually engrave their runes in stone or metal in order to take advantage of their racial affinity for these items) if the check fails, the rune is imperfect and cannot hold the spell. the act of writing triggers the prepared spell, whether or not the craft check is successful, making the spell unavailable for casting until you rest and regain spells. that is, the spell is expended from your currently prepared spells, just as if it had been cast. a single medium-size or smaller object can hold only one rune. larger objects can hold on

ne is imperfect and cannot hold the spell. the act of writing triggers the prepared spell, whether or not the craft check is successful, making the spell unavailable for casting until you rest and regain spells. that is, the spell is expended from your currently prepared spells, just as if it had been cast. a single medium-size or smaller object can hold only one rune. larger objects can hold one rune per 2s square feet (an area s feet square) of surface area. runes cannot be placed on creatures. the rune has a base price of the spell level x caster level x 100 gp (a 0- level spell counts as 1/2 level. you must spend 1/2s of its base price in xp and use up raw materials costing half this base price. a rune's market value equals its base price. triggering runes whoever touches the rune trig

2s square feet (an area s feet square) of surface area. runes cannot be placed on creatures. the rune has a base price of the spell level x caster level x 100 gp (a 0- level spell counts as 1/2 level. you must spend 1/2s of its base price in xp and use up raw materials costing half this base price. a rune's market value equals its base price. triggering runes whoever touches the rune triggers the rune and becomes the target of the spell placed in it. the rune's creator may touch the rune safely without triggering it, or deliberately trigger it if he so desires (runemakers often carry healing or restorative runes for just this purpose) the rune itself must be touched in order to trigger it, so an object with a rune may be handled safely as long as care is taken to avoid contacting the rune

eator may touch the rune safely without triggering it, or deliberately trigger it if he so desires (runemakers often carry healing or restorative runes for just this purpose) the rune itself must be touched in order to trigger it, so an object with a rune may be handled safely as long as care is taken to avoid contacting the rune. if the spell only affects objects, then an object must trigger the rune. as with a symbol spell, a rune cannot be placed upon a weapon with the intent of having the rune triggered when the weapon strikes a foe. unlike the spell glyph of warding, the rune spell is not concealed in any way and is obvious to anyone inspecting the object holding the rune. a read magic spell allows the caster to identify the spell held in a rune with a successful spellcraft check (dc

ikes a foe. unlike the spell glyph of warding, the rune spell is not concealed in any way and is obvious to anyone inspecting the object holding the rune. a read magic spell allows the caster to identify the spell held in a rune with a successful spellcraft check (dc 1s+ the spell's level. disarming runes runes can be disarmed or deactivated in several ways. a successful erase spell deactivates a rune (dc 1s+ your caster level. touching the rune to erase it does not trigger the rune unless the erase spell fails to deactivate the rune. a dispel magic spell targeted on an untriggered rune can dispel its magic if successful (dc 11+ your caster level. untriggered runes are not subject to area dispels. finally, a rogue can use her disable device skill to disable runes (dc 2f+ the spell's level

creature, which bestows on that creature a -2 enhancement penalty to strength and dexterity for 1 minute on a successful attack. this spell-like ability does not affect creatures immune to critical hits. suffering domain spells slime domain spells 1' grease 6 transmute rock to mud 2 melf's acid arrow 7 destruction 3 poison 8 power word, blind 4 rusting grasp 9 implosion 5 evard's black tentacles rune domain deities: aerdrie faenya, anhur, auril, isis, istishia, talos, umber- deities: deneir, dugmaren granted power: free scribe rune brightmantle, jergal, mystra, thoth. scroll feat. domain spells lee. granted power: you gain storm electricity resistance 5. domain spells 1 erase 6 greater glyph of warding 1 entropic shield 6 summon monster vi 2 secret page 7 drawmij's instant summons 2 gust

MASTERING WITCHCRAFT

water and fire i conjure thee that there remain within thy frame no adverse thought nor enmity. hear my will! attend to me! as my word, so mote it be! having done this, paint the following runes around the cup with a new brush and paint. black or white enamel or stove-black is best for this. for this ritual you may also mix into it a pinch of your powdered herbs, vervain, et al. as you paint each rune, chant these words, visualizing the signs glowing with magical light as you do "blessed be thou cup of water" having done this, paint the runes that spell your witch name around the base of the cup, pronouncing each letter out loud as you do so. when you finish, chant the words "so mote it be" and put your completed cup safely away for future use. the thurible again, a simple process. buy a n

ep this up for a good five minutes, always stroking in the same direction, chanting these words at each stroke: blade of steel, i conjure thee attract all things as named by me! as my word, so mote it be! finally, paint the proper runes upon the handle in white paint with which you may again mix any of the powdered herbs you used in your previous infusion. chant the following words to charge each rune "blessed be thou knife of art" then paint your witch name on the reverse side of the handle, again spelling the letters out loud to charge them, finishing with the usual words "so mote it be" finally, you must bury the athame for three days and three nights in the earth, point down. your backyard will amply suffice. at the end of this time, you may dig up your athame, and, wrapping it in an e

t or moire silk. others prefer a leather or skin, often reptile. the choice of colour ranges from black or white to red and green, even an occasional silver or gold! you should then exorcise the book with water and fir then, with a pen and ink specially bought for this purpose, draw in this pentacle and its runes on the front side of the first page and the reverse of the last. as you draw in each rune, chant the following words: book of words, book of deeds, blessed be thou book of art! the "art" referred to is magical art, needless to say. finally, write your own witch name in the centre of the pentacles, charging each letter as you do so in the usual way, and sealing again with the words "so mote it be" this book, along with your athame, will be your most treasured magical possession and

known as psychopompos or guide of souls. the saxons knew him by the name "earendel, the morning star" the witch knows him by the name "herne" before beginning any divination, it is always important for the witch to bring her deep mind into contact with mercury; to tune into his waveband if you wish, whether the divination be performed by means of the relatively rudimentary entities governing the rune sticks, or by questioning a highly sophisticated entity such as vassago in a show stone. there are several methods of doing this, ranging from simply meditating upon one of the classical magical images of the winged mercury to the full ceremonial rite of invocation. to my way of thinking, none of the methods are as aesthetically satisfying or successful as the use of the magical square of mer

mmon up a mental image in your mind which in some way strikes your fancy and links the work in hand with an idea concerning mercury, such as wisdom, speed, starlight, the air, a crossroads at night, or even one of the classical images of mercury. it might be as well to consult a book of mythology at this point to acquaint yourself with some of mercury's traditional forms and attributes. sample of rune divination showing placement on a horoscope chart when you reach the number 64, finish by "sealing" the talisman with the words "so mote it be" and drawing three crosses in the air with your right forefinger above the paper (this is a very old method of sealing, or benediction, which was appropriated by the christian church from their pagan forebears) now your square of mercury will be charge

the end, however; you may begin the divination immediately. keep your completed square in a new box or wrapped in a clean linen or silk cloth, as with your other magical artifacts; you will be constantly using it. i shall now move on to a simple type of witch divination, which you as a beginner would be well advised to learn. the operation is known by the name of casting the runes. divination by rune sticks is one of the most ancient and celebrated witch methods of prognostication we have. the process dates back certainly to druidic times and probably before. it is a very good example of a method of augury, that is, prediction or knowledge gained by signs and omens, as opposed to that of the inner vision as employed when scrying in a show stone or mirror. basically the rune sticks consist

cle. now, using your brush and paint of art, make a large and obvious dot on one side of each of them, centrally located. when the paint has dried, turn the rods over and make two large dots on the other side of them, spaced so that the gaps between the dots themselves and the ends of the rod are all equal, in fact, so that the rods are marked into three equal segments by two dots. these are your rune sticks. you should carry them about with you for a period of time before you use them to charge them with your magnetism, or witch power. now the method of their employment is this: provide yourself with some pieces of clean paper, your pen and ink of art, a good supply of mercurial incense, your square of mercury, a flat-surfaced table, your thurible and your cup of salt and water. lock all

king, and if there is any chance of being overlooked through a window, make sure the drapes are drawn. then purify the chamber with fire and water as you were taught in an earlier chapter, using your mercurial incense. begin with the square of mercury ritual to tune your deep mind to the correct level. at this point, write out your question on the paper provided with the pen of art. then take the rune sticks in your right hand and cast them so they tumble away from you in parallel formation on the table. say as you do so: in thy name herne lord of the crossroads, i take up the runes; from a word to a word let me be led to a word from a deed to another deed. throw the rods three more times in the same manner, repeating the spell, and note down all the figures formed by the rods on your pape

however, remains the same, the idea of heaven leaving its impress upon the earth being implicit therein. the pendulum another device frequently resorted to by witches to "find things out" is the dowser, or water witch's pendulum. this device is exactly what it purports to be, namely, a weight attached to a piece of twine. the advantage of its use over that of other divination devices such as the rune sticks is the fact that it needs very little ritual preparation and its use is extremely simple. the disadvantage, however, lies in the fact that the answers it gives to questions are restricted to a solely "yes" and "no" basis. often, however, this suffices, so for that reason i am including the pendulum here. the traditional witch manner of making a pendulum is this: obtain a lodestone or

and the operations of light, it is best performed on a sunday, the day of the sun, preferably around noon, having cast your circle at the requisite time and lit a solary incense, purify your materials or newly purchased candlesticks (which may be made of any material you choose. then formulate in your imagination the brilliant, burning light of the noonday sun, and repeating a blessing with each rune such as "blessed be thou, creature of light" paint the following characters with your materials of art, right to left as usual. when finished, seal them with the triple cross and "so mote it be" and store in your safe place till you need them. always use exorcised white candles in them during your rituals, unless otherwise directed (see page 52 for candlestick runes) the show stone and the ma

employ a fresh sigil every time. dreaming true the subject of acquiring prophetic dreams, generally speaking, comes under this mercurial heading. processes concerned with acquisition of dreams concerning lovers, present or future, will, however, be kept for chapter 4, part 1 "the loving cup" but should you or a friend wish to acquire knowledge about a certain matter, and not wish to resort to the rune sticks or any form of conjuration ceremony, a very simple, and sometimes quite effective method of securing said information is by inducing a prophetic dream. wait until the moon is waxing, approaching full. then, prior to going to bed, take a warm bath in which has been mixed a few drops of the following mixture: oil of lavender oil of rosemary oil of peppermint oil of thyme powdered poppy s

recourse to it, and she maintains a serious, respectful, and considered attitude toward the operation, then chances of success are high. there are two types of motive which make the operation of necromancy feasible and indeed permissible: intelligence and love. the first, that of intelligence, is resorted to when all else fails, when tea leaves or tarot cards give unintelligible answers, when the rune sticks talk in riddles, when even vassago falls silent, and when the one person who can give you the answer to your question is dead. this is the more complicated operation to perform. the second permissible motivation, that of desiring to meet a loved one again, gives recourse to an operation which is easier than the first mentioned and is of the type which is often incorporated into the gra

the situation for you, with the express instructions to exercise as much scepticism as possible. it is to this fellow-practitioner that you must turn also for the relevant divinations, for these are the first practical magical steps to be undertaken under the circumstances. to divine the nature and if possible the source of the hostility should be your purpose here. the pendulum, vassago, and the rune sticks are possibly the best methods to employ. tarot and the i ching can also be used. generally, you will find a magical attack to be motivated by one of two factors: lust or hate. however, in these days of more readily available sexual gratification, the first factor has faded very much into abeyance, save in such barbarous institutions where chastity is still enjoined. hate, on the other

rry logs across the dogs smell like flower of broom. ash logs, smooth and grey, burn them green or old, buy up all that come your way- worth their weight in gold. poplar, cornel (dogwood, sandalwood, cedar, and juniper are also worth considering, the first two being highly traditional. the sticks themselves should be set crossways on top of one another "cross them, cross them, cross them" the old rune says. in order to facilitate lighting, a spirit such as alcohol may be sprinkled on them, or a bed of quick-lighting charcoal laid underneath. in order to light the balefire, you are going to employ what is variously known as need fire, wildfire, elf fire or living fire. this is a flame produced either by friction of wood on wood or from the flame of a taper lit by the rays of the sun, concen

MICHAEL FORD WITCHMOON

ach witch within the rite should possess one, sword, incense burner, consecration fluid (a bottle of the sorcerers' blood, not animal blood mind you, specifically the life fluid of your very own self) all sabbat rites should be opened with the witches' sabbat text, adapted from ao spare's ritual (8, proving most effective for those of burgeoning inspiration. the particular version of the witches' rune pertaining to coven nachttoter is as follows: such words i advise be altered to suit the individual working such rites. witches rune "bagabi lacha bachabe lamac cahi achababe to that which is, unto that which was. a burning cycle is upon us, fear shan t ascend in its ugliness, failure is null, nothing is true. cast my earth and rise unto the shadow shining moon and velvet night i raise the wi

relinked with the 82 82 sorcerers of babylon and egypt, who passed on the cups of witch blood to those psychically connected or of lineal descent. rites on the equinox should be employed to benefit the coven or individual witch, so that balance is achieved. these goals have plentiful magickal energy to employ, will and athame- the cause of change and passion! approach the equinox with the witches rune and, according to your atavistic desires and ancient gnosis of memories, explore and rejoice! this rite sees a change of emphasis from the life giving sun to the height of the moon in it's death aspect. all things return to black just as black gives birth to light. give farewell to the sun and welcome forth the moon which rises as the twilight approaches. the dead rise as the leaves fall, mak

potions in which you are able and knowledgeable. drops of your blood should be added as a gift to the dead. the night of vampiric rising and shape shifting has highest priority, revel and bask in the great glory that your very blood is of hecate! a bonfire should feature if outdoors in seclusion, a blaze to mirror the great sabbath feast of the spirit. 83 83 the rite should open with the witches rune and then intone "samhain, great god of the dead to which the veil is lifted: we call those of our blood, with our many desires, to walk! azazel, from the hidden forests of thy seraphim walk, to live within every grave, from which we too are come; and stalk with us the skies by night! this is our passion of shadows and of night, so our eyes burn as does thy great fire, thou that revealest, tho

be a sentence as" i desire to attend the witches sabbath. random letters should then be crossed out 'idrettdbth' and the rearranged 'idttrdbthe' until the sentence forms a working symbol. the sigil should then be consecrated via sexual fluid or your own blood. it should be placed in a pouch with herbs or other small objects which hold significance to the sorcerer. an invocation with the witches' rune should be performed and the pouch kept close to the body of the individual for several days. once the sigil is memorized and consecrated ritualistically, it may be placed upon the altar. legends also tell of witches smearing their bodies in some obscure ointment in order to obtain flight across the sky. one workable explanation of such tales is the witch obtaining flight in dream facilitated

force with which the wolf spirit will be invoked. the chamber or area should be darkened with illuminating candles, sigils should be painted on the body: the sigil of the spirit marchosias (1) obtained from the goetia of solomon, from the author's personal experience, this spirit s aid proves a significant benefit, and the sigil should be available for the purpose of visualization. the wolf hook rune the sign of luna (the moon and it's current) the sign of saturn (death and transformation) the sign of mars (blood and sex) the wolf skin should be worn please note that mars is also the planet of war and aggression such energies should be controlled and channeled through the self. there they are refined as lycanthropic power within the conscious mind, and bound to the particular elemental wh

ONYX TABLET OF SET

iation will always be the *most* sacred *most* important aspect of your life, but that does not mean you should not seek to broaden your exposure to other schools. the iii is a teacher of the system, but his initiation is by no means finished, and he should have learned to turn anything into setian initiation. the iii becomes a time when you can explore other non-religious initiatory systems (the rune-gild, the o.t.o, a local gurdjieff group, the jung society, nlp training, etc. you should explore these things firstly for your own self transformation. of course take the best methods, universalize them and bring them to the temple. remember that even though you are now a teacher, you will always be a student. 3. research: using the methods outlined in chapter one of the seven faces of darkn

legal or dangerous, not only is it not compatible- expulsion from the temple must occur immediately (some examples include drug use, blood drinking, and the goat problem mentioned above. if a person conceals his or her affiliation with another group, after you have asked him or her directly and clearly, they should be expelled. this allows for a variety of other affiliations such as the oto, iot, rune gild, order of the triskelion, esoteric order of dagon, and so forth. it is a good idea to consult with a iv+ member about these groups. but such affiliations are still a gray area. we don't view other groups as our equals or peers. we view ourselves as the elect. there are two big considerations. firstly if the person holds a low degree in each group they should be urged (but not required) t

REGARDIE ISRAEL THE COMPLETE GOLDEN DAWN

the planetary kameas (magic squares) has been incorporated into this printing of the golden dawn and is presented in depth in an appendix to his annotated version of the three books of occult philosophy of heinrich cornelius agrippa, forthcoming from llewellyn. tyson is the author of many books and articles on such subjects as the philosophy of magic (the new magus, the history and use of runes (rune magic, and the occult revival in the renaissance. he is the creator and designer of the runemagic cards and rune dice as well as a new system of runic astrology. a regular contributor to the pallas society news and the llewellyn magickal almanac, his articles occasionally appear in fate and other periodicals dedicated to neo-paganism and the modern occult tradition. how to use this book norma

RUBY TABLET OF SET

t the point where the two vectors come together is the precise configuration of the seal of runa itself. no other shape or juxtaposition of lines and curves could conceal and convey its mystery more perfectly or simply. it is mysterious and projects a sense of impenetrable darkness- yet paradoxically contains all the keys necessary to the unlocking of its own mystery. and so it is with every true rune. it seals out the unworthy and seals in the secret upon the heart of every knight or dame who has partaken of its essence. those who are without move only in curved space, i.e: in the mundane space/time continuum. but those with the power to penetrate the veil and go beyond the barrier can move in angled space, i.e. the realms of the nine angles. the angles have power over the rings, just as

, fanged guardian of the wealth of koboldom. i am the dark shape that hides in your own houses. if you would hear my secret, you must take a terrible oath [magus flowers] we would learn your secret even if the knowledge damns us [arachne] this is the oath: i will use all my arts- venom, hiding, snaring, that my kind will live. this is the sign of the oath [she makes the hondstodhur of the hagalaz rune. the other initiates do likewise as a sign of taking the oath] this is the secret of the spider: if you bring what is within your black hearts in the shape of a web, you can create an intricate living balance between all things within your life and the worlds [magus flowers walks to the next station. priestess elizabeth reynolds lights the candles, and magister neilly speaks] i am selket, sur

will swallow your sun. i am the wolf whose packs persist despite the evil of men. if you would hear my secret, you must swear a terrible oath [magus flowers] we would learn your secret even if the knowledge damns us [fenris] this is the oath: i will find a pack to run with whose members are as strong and fierce as i. this is the sign of the oath [priest rigby performs the hondstodhur of the wunjo rune, by closing the tip of the thumb together with the ring and little fingers of his left hand- keeping the other two straight and pointing the fingers downward. the initiates do likewise as a sign of taking the oath] this is the secret of the wolf: you can gather in packs which increase your power, and you can learn from those stronger and weaker than you [magus flowers walks to the last statio

nguishes the three candles [the ritual is complete] ancestral working [sir roger whitaker's runic march is begun just prior to the entrance of the assemblage and plays throughout the working] opening [adept carla kelly] i swing the mighty hammer mjollnir, that its thunderous roar may herald the approach of wotan and signal the beginning of this holy rite [the hammer is struck nine times. the bind rune of the black phoenix pylon is drawn in the air with a black-handled dagger before the pentagram of set (by the sentinel [female initiates](1) we have come to this stead to honor our lusts and life in the name of our mother freya, who taught seith to wotan. come forth in thy guise as gullveig, greedy for gold. fare forth from folkvang full of the seith of cycles- of birth and death and living

h initiate approaches the altar, swears his/her oath, and drinks from the graal. said initiate then performs personal work with his/her ancestral property] closing [adept watson] time and space are become as servants before us, for the power of a self-created god knows no fetters, save for the residue of their own human weakness, which by the force of will may be over-come [adept watson draws the rune hagall in the air before the assemblage, and says] as this deed is done, so shall the seed of our future perfection grow strong in the dark light of our becoming. for our wills are become as the mighty sword nothung, who's blade bears the eternal flame of xeper [all] folkvang! hammer [9x "so shall it be done [the absence of the closing of the gate should be noted, as it is representative of t

he masters of the order. conferring of knighthood is by decision of any master of the order, and upon signature to the oath of the order. thereafter each member is under obedience to no other member of the order, but rather to the divinity of the psyche (in ancient teutonic, the fylgja. members of the order may use the prefix "sir" or "lady, the initials "o..t" or "o.t" after their names, and the rune tyr) as a mark of identification to other members of the order. installation as a master of the order is by decision of the grand master. a master of the o..t. must also have been recognized as a priest of set iii. titles of address for masters of the order are the same as for the knighthood, but the identifying rune hagall) is employed. the grand master of the o..t. is appointed by the high

been recognized as a priest of set iii. titles of address for masters of the order are the same as for the knighthood, but the identifying rune hagall) is employed. the grand master of the o..t. is appointed by the high priest of set and must also have been recognized as a master of the temple of set iv. title of address for the grand master is the same as for the knighthood, but the identifying rune eolh) is employed. any member of the o..t. is free to retire from the order honorably at any time by declaring his oath withdrawn. dismissal of any member of the order is by decision of the grand master. tenure of the grand master is only by decision of the high priest of set. since the order of the trapezoid is an order within the temple of set, membership in the temple will be a prerequisit

be separately available to all members of the o..t. and shall also comprise a separate section in the sapphire tablet of set. the seidhr is named after a collection of black magic spells and songs attributed to wotan in ancient teutonic legend. within the seidhr shall be articles and historical documents bearing upon magical, historical, and philosophical aspects of the o..t. among these will be rune-lore, ancient& medieval priesthoods and secret societies, vehm, german romanticism, fichte, hegel, wagner, chamberlain, weimar expressionism, thule gesellschaft, haushofer, horbiger, hitler, rosenberg, himmler, wewelsburg, and ahnenerbe. consequent to this material will be analyses and magical and philosophical syntheses of them. active functions of the o..t. will be determined by the the ord

usionis [master strikes the hammer three times and says] i herewith end the spiritual work of this perfected and legitimate saturnian lodge. brothers webb and watson, extinguish the lamps [all candles are extinguished, except the three black candles of saturn] we pledge ourselves to the nameless one that stands behind all things. what was, what is, what will be [the master thrice traces the gibor rune with the middle and index fingers of his left hand [first warden strikes the gong three times [master] we are now closing our eyes! all becomes empty within us- in us is silence- every image is extinguished [first warden strikes the gong softly three times [master] out of the nameless was formed the first name: nuit [first warden strikes the gong once, and says] we greet nuit! the eternal mot

SAPPHIRE TABLE OF SET MAIN

to fuel the order's initiatory devices (i am also working with priestess kelly on my ammonian initiation. i hope this will in time result in my being able to teach the ammonian way in europe- in as much as this way is communicable (a project that i think will also make northern europe more conducive to setian initiation- and to the return of real initiatory traditions in general- is bringing the rune- gild here. i am working with the ninth door of midgard and my fellowship examinations in this respect, and envision myself as a rune-master in the future. i am "steward of the baltic" in the rune-gild, but this function has not yet been actualized to any meaningful degree. i have, however, run a consistent finnish runa-workshop (b) language (closely connected with location. at this time finl

, world and the more general world outside. any examples? this is hard to express. i have mostly put this in a very picturesque language, using my short path visions as an aid. last fall (or so) my inner world was reconfigured. my various initiatory interests suddenly found their place within the initiatory mill that my life is. i obtained a vision of an initiatory mill in the form of the hagalaz rune. this rune has four "horizontal (natural; relating to the objective universe) slots. my current projects fit into these slots: one slot was filled by my runic work, another with the shaman/poem-singer circle, third with beelzebub's workshop, and the final one with my o.tr. work. the vertical axis i sensed had to do with my ammonian work (at this time i was not a member of the order of amon- i

t dare to- manifest. and i know that i will do this. in the magical future it is a done deed; my life shall be an evocation to unfold that future (6) how would i describe the character of my current connection with the on of set (and the temple of set? how is this different from the way i saw this relationship a year a ago? how has my relationship to secondary manifestations of the on such as the rune-gild changed? well, a year ago i was still very active with the runes and fascinated about furthering the rune-gild here. this has not changed in itself (and i intend to do this, too, but my priorities have changed. now that my interests have been resynthetized (into an effective mill of becoming and beyond, i have developed a strengthened tie to the temple of set. set's chief tool of his on

) how has the focus of my magical interests been changing over the past year or so? have my interests become more one-pointed or more broad, for example _i_ have become more one-pointed _myself_ in the sense that denytenamun covers everything of my previous plans/dreams/projects and synthetizes them on a higher plane. at the same time my magical interests are outwardly more varied than ever (from rune magic to gurdjieff to magical applications of cognitive science to ammonian transmutation. but i think the essential thing is that i have become really onoriented/ rooted. almost everything i do is in some way related to my interest in furthering the on of set and protecting the temple of set. i seek to enlargen and recreate our vision and the scope/depth of the on (much of what i've mentione

SAPPHIRE TABLET OF SET

to fuel the order's initiatory devices (i am also working with priestess kelly on my ammonian initiation. i hope this will in time result in my being able to teach the ammonian way in europe- in as much as this way is communicable (a project that i think will also make northern europe more conducive to setian initiation- and to the return of real initiatory traditions in general- is bringing the rune- gild here. i am working with the ninth door of midgard and my fellowship examinations in this respect, and envision myself as a rune-master in the future. i am "steward of the baltic" in the rune-gild, but this function has not yet been actualized to any meaningful degree. i have, however, run a consistent finnish runa-workshop (b) language (closely connected with location. at this time finl

, world and the more general world outside. any examples? this is hard to express. i have mostly put this in a very picturesque language, using my short path visions as an aid. last fall (or so) my inner world was reconfigured. my various initiatory interests suddenly found their place within the initiatory mill that my life is. i obtained a vision of an initiatory mill in the form of the hagalaz rune. this rune has four "horizontal (natural; relating to the objective universe) slots. my current projects fit into these slots: one slot was filled by my runic work, another with the shaman/poem-singer circle, third with beelzebub's workshop, and the final one with my o.tr. work. the vertical axis i sensed had to do with my ammonian work (at this time i was not a member of the order of amon- i

t dare to- manifest. and i know that i will do this. in the magical future it is a done deed; my life shall be an evocation to unfold that future (6) how would i describe the character of my current connection with the on of set (and the temple of set? how is this different from the way i saw this relationship a year a ago? how has my relationship to secondary manifestations of the on such as the rune-gild changed? well, a year ago i was still very active with the runes and fascinated about furthering the rune-gild here. this has not changed in itself (and i intend to do this, too, but my priorities have changed. now that my interests have been resynthetized (into an effective mill of becoming and beyond, i have developed a strengthened tie to the temple of set. set's chief tool of his on

) how has the focus of my magical interests been changing over the past year or so? have my interests become more one-pointed or more broad, for example _i_ have become more one-pointed _myself_ in the sense that denytenamun covers everything of my previous plans/dreams/projects and synthetizes them on a higher plane. at the same time my magical interests are outwardly more varied than ever (from rune magic to gurdjieff to magical applications of cognitive science to ammonian transmutation. but i think the essential thing is that i have become really onoriented/ rooted. almost everything i do is in some way related to my interest in furthering the on of set and protecting the temple of set. i seek to enlargen and recreate our vision and the scope/depth of the on (much of what i've mentione

THE CRAFT GRIMOIRE OF ECLECTIC VERSION 2

ction, and a female or receptive end. much like the athame, the wand can be employed to cast a circle, but its true power lies at a higher level, when used to invoke, and dismiss spiritual entities. it is associated with the element of fire. miscellaneous altar tools these include candles, cords, censor/thurible/incense, bell, sword, staff, crystal ball, scrying stone, magick mirror, tarot cards, rune stones, oils, cauldron, mortar& pestle, bolline, and broom. to name a few. your book of shadows, or grimoire, is one of the most important tools you will ever own. in the craft, it was the place where the young witches wrote down their thoughts and spells. called a book of shadows, because magick is not black or white. this is a journal, a collection of rituals, and a personal collection of s

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL

t prior to the ice age. according to some of the legends of the volsungr, the godlike beings gave the magical symbols as a gift that might assist lesser humans in their struggles to survive in the harsh environment of ice age europe. in the old norse religion, it was odin, the father of the gods, who, seeking higher wisdom, hung upside down from the world tree for nine days before he received the rune symbols as the answer to his quest. when the runic symbols were placed on small rocks or blocks of wood, the old norse cast them to predict the success of a hunting or fishing expedition, when to plant crops, or what course their children might follow throughout their lives. in the eleventh century when christianity began to replace the old viking religion and latin became the written languag

he book of runes: a handbook for the use of an ancient oracle. new york: st. martin fs press, 1993. davidson, h. r. ellis. pagan scandinavia. new york: frederick a. praeger, 1967. gordon, stuart. the encyclopedia of myths and legends. london: headline publishing, 1994. karcher, stephen. the illustrated encyclopedia of divination. rockport, mass: element books, 1997. sawyer, brigit. the viking-age rune stones: custom and commemoration in early medieval scandinavia. oxford: oxford university press, 2001. talismans the word gtalisman h comes from the arabic and means gto make magical marks. h an amulet can be a found object, a common item, or one bought in a store. a talisman, on the other hand, is inscribed with pictures, words, letters, or mystical signs and is crafted for a specific functi

THE WITCH CULT OF ZOS VEL THANATOS

. it is our psychic connection between the universe surrounding the casual world and us. the language of the fallen angels and those who would seek the promethean light of knowledge and wisdom is inherent also within us. it must be understood that chaos magick is not a form of magick specifically; it is open to possibilities. one may assume the doctrine of thelema but practice both witchcraft and rune magick. the potentials are never ending. any combination may be used only if it is perfectly suitable to the individual developing it. the quote used by aleister crowley and many chaos magicians is nothing is true, everything is permitted; this is attributed to hassan i sabbah. hasan bin sabah (perhaps a more accurate spelling) is the historical figure that was called the old man of the mount

TYSON DONALD NEW MILLENNIUM MAGIC

end their braves by their pectoral muscles so that they might receive illumination through suffering. in the mythology of the maya, the severed head of the sacrificed divine being hun-hunahpu, when placed in a tree, caused the tree to flower. one prominent western interpretation of the cross is endurance-to stand against time and change with a fixed purpose, unbroken and unbreakable. the germanic rune nauthiz (nyd, which means roughly "the will to endure' takes its form from an irregular cross: q. the christian cross is not regular, but has a vertical arm that is considerably longer than the horizontal. this signifies symbolically that the masculine, active principle is exalted in christ over the passive, feminine side. the vertical ray is akin to the primal lightning and is always the mal

hexagram in the air during magical rituals. it can be traced con- tinuously from start to finish in a way similar to the pentagram: when the unicursal hexagram is analyzed, it is seen to be made up of two sowelu (sigel) runes overlapped and joined at the top and bottom. runes were the magical alphabet of the teutonic peoples before the coming of christianity. the sowelu- which means "sun"-was the rune used by the nazi ss as their emblem: 11 4. the sowelu is in the form of a lightning stroke and is a powerful symbol of creative force. it could be written right to left( 1\1) as in the old norse alphabet, or left to right( m) as in the old english. if the two sides of the unicursal hexagram are separated, they will reveal themselves to be a sowelu rune and its mirror reflection: with this in

n the ritu- als and magical work of the hermetic order of the golden dawn. it is only in recent decades, with the growing availability of popular treatments of the runes, that they have firmly established themselves as a magical alphabet. runes are the magical symbols used by the germanic tribes before the coming of christianity. their beginnings are lost in time. petroglyphs have been found with rune-like inscriptions that date back to the stone age. around the first cen- tury these magical signs were merged with the roman alphabet by barbarians liv- ing in northern italy, and the runic script came into being. at times fiercely persecuted by the church, the use of runes continued down into the seventeenth century in iceland and other northern outposts. the rune alphabet is a complete magi

by barbarians liv- ing in northern italy, and the runic script came into being. at times fiercely persecuted by the church, the use of runes continued down into the seventeenth century in iceland and other northern outposts. the rune alphabet is a complete magical system that joins symbolic meaning with writing and, in this sense, is strikingly similar to the alphabet of the ancient hebrews. each rune is both a letter and a symbol of power. by combining the runes and forming them into words, complex magical effects can be achieved. the number of letters in the different rune alphabets varies from twenty-eight and thirty-three in old english rune alphabets to sixteen in the northern scandi- navian alphabets. for modern magic the twenty-four character german futhark is the most serviceable

st serviceable. the name is taken from the first six letters, which are translit- erated f-u-th-a-r-k. although these are the german runes, the same runes (with minor variations in form and pronunciation) also occur in the english futhorc (f- u-th-0-r-c, where they receive old english names. both german and english names are given here, with the english names in parentheses. the first form of the rune is its original germanic form; the second form in parentheses is how it appears in the old english rune alphabet. the sounds show the actual pronunciation of the runes, as nearly as this can be indi- cated without obscure phonetic symbols. the sound in brackets is the old english sound. the english letter equivalents indicate what english letters may be substi- tuted for the rune in forming r

in the old english rune alphabet. the sounds show the actual pronunciation of the runes, as nearly as this can be indi- cated without obscure phonetic symbols. the sound in brackets is the old english sound. the english letter equivalents indicate what english letters may be substi- tuted for the rune in forming rune sigils and when using runes for writing. these do not always correspond with the rune sounds, but are of practical convenience. 1. fehu (feoh: y (r) sound: f [f] english: f literally "cattle"-by association, that which is domesticated and mild. of a bro- ken spirit. slavish, stupid, slow. to be used and owned by free men and women. impotent. weak or cowardly. also, movable possessions, and thus wealth. the pos- session of cattle was an indication of wealth and power in ancient

but are of practical convenience. 1. fehu (feoh: y (r) sound: f [f] english: f literally "cattle"-by association, that which is domesticated and mild. of a bro- ken spirit. slavish, stupid, slow. to be used and owned by free men and women. impotent. weak or cowardly. also, movable possessions, and thus wealth. the pos- session of cattle was an indication of wealth and power in ancient times. this rune can be used magically to break the spirit of a foe and weaken his or her will until that person is incapable of effective action. when cast, it creates inde- cision, dullness or fear, depending on how it is emphasized. it can also be used to increase material prosperity, or as a symbol of ownership. 2. uruz (ur: h (h) sound: u [u] english: u literally "aurochs"-a fierce wild ox with a shaggy

with a shaggy black coat that stood six feet tall at the shoulder. it was both feared and respected by european hunters. its hunt was a test of manhood for young men. the aurochs was hunted to extinction in the early seventeenth century. courage, boldness, strength, virility, speed, and agility. freedom. that which can never be dominated or enslaved. the triumphant soul of nature. magically, this rune can be used to inspire determination and courage. to cause someone to act quickly. to gift with male prowess. to shatter the bonds of enslave- ment. when cast maliciously, it can make a man or woman hasty and careless. 3. thurisaz (thorn: b (b) sound: th [th] english: th literally "giantn-a frost giant, or demon of storms. a spirit of destruction and pain. all the evil reports of giants in eu

shatter the bonds of enslave- ment. when cast maliciously, it can make a man or woman hasty and careless. 3. thurisaz (thorn: b (b) sound: th [th] english: th literally "giantn-a frost giant, or demon of storms. a spirit of destruction and pain. all the evil reports of giants in european fairy tales apply. wicked, murder- ous, malicious. sower of storms and tempests. annihilator. magically, this rune may be used to physically destroy an enemy or to cause a disaster. cast against a foe, it brings ill fortune, accident, sickness, and death. 4. ansuz (0s: k (f) sound: a [o] english: a literally "god" in german, but "mouth" in old english -a good angel of reason and order. charitable, kind, benevolent. stern but just. the source of luck and hap- piness. from its english meaning, eloquence of

h and wisdom. magically, it is used as a sign of fortune. it opens the way in a just cause. the wise god, the good angel. cast, it brings justice and reason. 5. raid0 (rad: r (r) sound: r [r] english: r literally "journey by horse"-physical travel across the land. by extension, a jour- ney in search of fulfillment. a auest. the seeking of enlightenment. a test of courage and will. magically, this rune is used to seek into the unknown. it opens the way to the astral world in scrying. cast, it can be used to initiate a major change in life. it may be used as a charm to protect travelers and bring about a safe journey. also, a charm of protection for the dead in their journey into the underworld. 6. kenaz (ken( h) sound: k [c] english: k, c, q literally "torch-a flame that guides. thus stabil

hen cast, it can make another person the unknowing sacrifice for a higher purpose. 8. wunjo (wyn: p (p) sound: w [w] english: w, v literally "joy" or perhaps "gloryw-the blessing of the gods. exaltation, ecstasy, illumination. perfect knowledge. the merging into the light of spirit. magically, this stage in the life-quest follows trial and carries with it wisdom and power. this is a very positive rune of blessing and happiness. cast upon another person, it can give insight into &fficulty and triumph over adversity. 9. hagalaz (haegl: h) sound: h [h] english: h literally "hail"-hardship and the winter of the soul. natural disaster. involuntary suffering without purpose. loss. death of a loved one or personal sickness. any injustice cast down upon an individual man or woman by the fates. mag

ing and happiness. cast upon another person, it can give insight into &fficulty and triumph over adversity. 9. hagalaz (haegl: h) sound: h [h] english: h literally "hail"-hardship and the winter of the soul. natural disaster. involuntary suffering without purpose. loss. death of a loved one or personal sickness. any injustice cast down upon an individual man or woman by the fates. magically, this rune can be used to call forth ill fortune that does not redeem or temper the soul. cast, it carries suffering, pain and loss. 10. nauthiz (nyd% sound: n [n] english: n literally "need"-the necessity to survive physical and emotional hardship that drives human beings onward. defiance of the human spirit against the fates. in mankind, that part which refuses to be broken. stubborn will to endure to

splayed hand, or pos- sibly of the talons of a hawk. a shield against attack. sign of peace. a command to stop. magically, a barrier against attack or misfortune. it is a powerful charm against injury, and was used in this way by the vikings. cast, it protects a person or pre- vents that person from harming another. 16. sowelu (sigel: 5 (h) sound: s [s] english: s literally"sun"-the shape of the rune is a lightning bolt or ray from the sun. thus, an instrument of destruction. a weapon of the gods. equivalent to the sword of justice. magically, it is used to destroy enemies, especially in a holy cause. can be used to punish disobedient spirits. cast, it can strike a foe dead, apparently from heart attack or stroke. 17. tewaz (tir) sound: t [t] english: t literally the name of a war god, al

m heart attack or stroke. 17. tewaz (tir) sound: t [t] english: t literally the name of a war god, also called tiw or tew. his name was invoked to gain victory in battle. tir was the god of oaths and justice. he is the tew after which tuesday gets its name, and was linked in ancient times to the roman mars. tir guards soldiers from hurt or death by the weapons of the foe. marked on a weapon, this rune helps it to strike true and keeps it from breaking. a secondary meaning is "guiding star" quite possibly the north star, polaris, which always holds its place in the heavens and never wanders, just as true oaths never fail from their purpose. magically, it is used as a charm against attack and to give fortitude in psychic com- bat. it can also be used to test the truth of statements and will

pring. magically, it can be used to encourage growth on all levels. it is also used to cause love. cast, it can induce lovesickness, and also promotes the conception of children. 19. ehwaz (eh: n (fl) sound: e [el english: e literally "horsen-the means to an end. the method. the medium. the horse was sacred, closely related to the sun. it was admired for its grace, speed, and strength. thus, this rune represents the virtues of the physical body. magically, the instrument needed to accomplish a task or attain a goal. cast, it can provide the means to solve a problem, but can also be used to make a person an instrument for a given end. 20. mannez (man: fl (fl) sound: m [m] english: m literally "mankind"-adam, the father of the human race. archetypal or heavenly man. the will to an end. intel

ridden, human beings are made to ride. command over natural forces. magically, the determination that overcomes obstacles. the impetus to solve a problem. cast, it can be used to exalt the intellect or to dominate the mind of another. it is the spirit of the trickster, blind nature (polyphemus) defeated by human guile (odysseus. 21. laguz (lagu: f (f) sound: 1 [l] english: l literally "water"-the rune is in the shape of a bent reed. can mean water as a source of generation, or the dark waters of the underworld and the ocean of dreams. akin to the symbol of the cup or grail. thus spiritual love, friendship, kindness, sharing, yield- ing. life-giving power. but also secrets, mysteries, and the uncertainty of life. magically, a force that cleanses, revives, and refreshes. adaptability. accep

ng of massive strength. but cast with evil intention, nightmares and hallucinations. madness. general instability. 22. inguz (ing: o (3) sound: ng [ng] english: ng literally another name for the fertility god frey or freyr (yngvi) from whom the ingwine (danes) took their name. frey was the male consort of the fertility god- dess freyja, his sister. thus, carnal or physical love. procreation. this rune is a sign of the family, of pregnancy. god of the hearth. magically, it can be used to bring a project to full term or fruition. to realize an end. cast, it can cause desire in men and women. a love charm. 23. dagaz (daeg: m) sound: d [dl english: d literally "day"-the ascendancy of good forces. the light of day that drives away the darkness. awakening from sleep. insight. inspiration. safety

or "families' possibly derived from the germanic for "octaves. the rectangular enclosures display the various ways the runes may be grouped: a: one group of twenty-four an integrated whole that exhibits all the major forces in human life. here are the gods of justice and retribution, of war, of the family. here are the bliid forces of nature. and here are the many facets of human personality. the rune alphabet may be assigned to the twenty-four hours of the day and night. each rune may also be given its own color by combining the twelve colors of the zodiac in pairs to produce a total of twenty-four. the ordering of the runes should not be carelessly tampered with in making these assignments as it has been more or less fixed from several important archae- ological discoveries. however, the

ight. each rune may also be given its own color by combining the twelve colors of the zodiac in pairs to produce a total of twenty-four. the ordering of the runes should not be carelessly tampered with in making these assignments as it has been more or less fixed from several important archae- ological discoveries. however, there are minor discrepancies-dagaz (daeg) is sometimes given as the last rune, for example. in most examples of the german rune alphabet othila (ethel) is the last rune. it has been observed that this neatly brackets the alphabet with two symbols for property-fehu (feoh) for "cattle" and othila (ethel) for "land" exceptions are the vadstena and gtumpan alphabets, derived from two 6th-cen- tury swedish medallions, which invert dagaz (daeg) and othila (ethel. the order o

rune alphabet othila (ethel) is the last rune. it has been observed that this neatly brackets the alphabet with two symbols for property-fehu (feoh) for "cattle" and othila (ethel) for "land" exceptions are the vadstena and gtumpan alphabets, derived from two 6th-cen- tury swedish medallions, which invert dagaz (daeg) and othila (ethel. the order of these runes is also inverted in the old english rune poem, which describes twenty- nine runes of the old enghsh futhorc, leading scholars to speculate that the inversion resulted from the influence of christianity and was inspired by the desire that the third aett end on the spiritual syrnbol for light rather than the material symbol for land. b: two groups of twelve the runes may be divided in half, one portion signifying the magical hours of

sh futhorc, leading scholars to speculate that the inversion resulted from the influence of christianity and was inspired by the desire that the third aett end on the spiritual syrnbol for light rather than the material symbol for land. b: two groups of twelve the runes may be divided in half, one portion signifying the magical hours of the day and the other the hours of the night. assigning each rune a specific magical hour may be useful in helping to focus the mind on the power of the rune. the signs of the zodiac can be given to each half of the futhark, one side the zodiac of light and the other the zodiac of darkness. it is also possible to make an assignment of the twelve overt and twelve occult banners of tetragrammaton to the runes- these pairs of banners will be assigned to pairs

TYSON DONALD SOUL FLIGHT

not form a part of the golden dawn esoteric system, yet deserves special examination due to its extreme potency, is the twenty-four germanic runes. when used with a full awareness of their meaning, no symbols are more effective at evoking tangible astral landscapes. perhaps due to the extreme simplicity of their shapes, the runes resonate in the depths of the subconscious with primal force. each rune is a letter that may be used for writing, but as is true of hebrew letters and enochian letters, each is also a spiritual intelligence and its own astral world. the meaning of every rune expresses itself dynamically in these two ways-as a self-aware astral entity with whom it is possible to converse and interact, and as a landscape that contains and houses the entity, and reflects in its deta

orld of monsters and devils, of necromantic sorceries and blood magic. woden did not look upward when suspended from the tree; he gazed downward at the very roots of the tree, the depths of which no man has knowledge. the runes were carved into the roots of the tree. we know this because runes are not tangible things, but are symbols similar to letters of the alphabet. there is no such thing as a rune in a material sense unless it is inscribed on some physical surface. the practice of the germanic shamans was to carve runes into the bark of twigs and roots for various works of magic. carving runes into the root of a tree was a type of death magic. it was done to kill an enemy. a tree was selected and given the name of the foe in order to magically unite the two. death runes were carved on

of magic worked by the runes. they are both lunar creatures. the wolf is a beast associated with the fierceness of the natural world, and also with warfare. wolves were reputed to be unrelenting, ravenous, and pitiless. the raven is particularly connected with the gallows and with graveyards because it is a carrion bird. it ate the flesh of the dead who were executed by hanging at crossroads. one rune charm mentioned by woden in the havamal is a charm to make the dead speak, showing that his magic was at least in part necromantic: 158. a twelfth i know /if high on a tree i see a hanged man swing; so do i write land color the runes that forth he fares, and to me talks.212 those who travel astrally into the environments of the germanic runes will encounter the raw forces of the natural world

unes with blood. this would cause their action to be more energetic and independent than would be desirable. it is better to inscribe them using red ink or red pigment, which in a symbolic sense represents blood. this was done in ancient times, so it is not a modern cheat-runes were stained with red ochre, a natural pigment dug from the ground that served as the blood of the earth itself. using a rune key draw the rune you wish to travel into about three inches tall on a small square of paper or a card, using red ink or red paint, and let it dry as you meditate upon its meaning. this will serve as the key during the general ritual of projection, and will be held over the solar plexus beneath your folded hands as you lie on your back on your bed and project yourself into the astral chamber

, it becomes your keycard and unlocks the door of your astral chamber and the doors of the elevator. traveling to the worlds of the runes is a rare instance when you will press the down button on the elevator. all of the runes are drawn from the roots of yggdrasil and are in their fundamental essence infernal. the second door of the elevator may be conceived to open directly upon the world of the rune on the keycard. each rune world is dominated by its ruling god or goddess, whose name is the same as the name of the rune. these deities may also have other names by which they are more commonly known. it was usual in the mythology of northern europe for the gods to have many names or titles that were descriptive of various aspects of their personalities. woden in particular had dozens of dif

ure as spiritual beings. many runes are explicitly known to have been linked to deities, and those in which the link is not explicit were also probably associated with a god or goddess of the natural world. in any case, the forces that energize and define the runes express themselves as intelligent beings when the runes are entered as astral landscapes. 246 soul flight once within the land of the rune, it is important to seek out and confront the ruling deity. the rune itself, drawn upon the air in front of you with the index finger of your right hand, can be used as a sign of power. it will test the truthfulness in the appearance of the astral environment-if the land is out of harmony with the nature of the rune, inscribing the rune upon the air will cause the land to dim and become indis

important to seek out and confront the ruling deity. the rune itself, drawn upon the air in front of you with the index finger of your right hand, can be used as a sign of power. it will test the truthfulness in the appearance of the astral environment-if the land is out of harmony with the nature of the rune, inscribing the rune upon the air will cause the land to dim and become indistinct. the rune can also be used to subdue the deity of the astral world it governs. it is that god's highest sigil, and it has power over the god, should the god attempt to frighten or threaten you. the following descriptions are subjective. the lands of the runes and their rulers will be different for each soul flyer who encounters them. these descriptions are based on my own early astral investigations of

deity of the astral world it governs. it is that god's highest sigil, and it has power over the god, should the god attempt to frighten or threaten you. the following descriptions are subjective. the lands of the runes and their rulers will be different for each soul flyer who encounters them. these descriptions are based on my own early astral investigations of the runes, as presented in my book rune magic.213 the earlier descriptions were quite brief, and they are here expanded, and in some details corrected to correspond with my more recent impressions of the rune environments. 1. fehu literal meaning: cattle general sense: possessions, ownership, wealth, submissiveness, slavery the land of fehu is a farming community dominated by herds of cattle. there is a small village of simple hous

ochs, an extinct species of wild ox general sense: virility, freedom, courage, manhood, trial of strength, power, the will uruz is a primal forest filled with wild beasts that stalk each other and engage in fierce battles. they are seldom clearly seen amid the leaves and shadows, but their presence is announced by the shaking of the undergrowth and their snorts and grunts. you may en- 213. tyson, rune magic, 1404. chapter fourteen: runes 247 counter wolves, bears, stags, wild boars, foxes, serpents, and creatures less natural in the dim and dappled light that filters through the forest canopy. there is a profusion of birds, and they keep up a constant chatter and song. the god is a barbarian hunter who carries a short spear and wears the mask of a bear. his body is nearly naked and painted

ty or spirit. sometimes, the spirit of an astral realm may be abstract, a quality or condition that perhaps serves as its common name, and this can be used as its mantra. for example "summerland" would make a good mantra when seeking to travel into the summerland of myth. the name or title of a god or goddess particularly associated with an astral world might be used. passage into the land of the rune ansuz would be aided through the repetition of the mantra "wodenl' whether a mantra should be voiced aloud or spoken only in the mind is also a matter of preference. i have experimented extensively with both techniques. i find that speaking the mantra with my voice so that it resonates in my chest makes it more potent, but also that speaking it can interfere with the rhythm of my breaths, par

likelihood that any demonic being will notice your existence and decide to take a personal interest in you. this would be bad. as much as possible, you are well-advised to shun the attentions of demons, even when they appear amusing or harmless. they are filled with malice and always seek some way to express it. a protective amulet a simple yet effective amulet of protection can be made from the rune symbol algiz, which is shown in the illustration in chapter 14. it is shaped like the capital letter y laid on top of the capital letter i, so that the y has a vertical branch rising from its upright. it was used by northern europeans as a symbol of protection. an amulet can be made by marking or inscribing the rune on any surface. that is one of the great advantages of the runes-they can be

chapter 14. it is shaped like the capital letter y laid on top of the capital letter i, so that the y has a vertical branch rising from its upright. it was used by northern europeans as a symbol of protection. an amulet can be made by marking or inscribing the rune on any surface. that is one of the great advantages of the runes-they can be formed on anything, from any material. for example, the rune may be marked on a small square of paper in red ink and folded up, then placed in a locket and worn about the neck, or it may be inscribed on the outer surface of a pendant and worn so that it is exposed and visible. a paper with the rune drawn on it may be carried in the pocket or the wallet. in an emergency, it is possible to evoke the protective power of the rune by cutting the rune into t

d in a locket and worn about the neck, or it may be inscribed on the outer surface of a pendant and worn so that it is exposed and visible. a paper with the rune drawn on it may be carried in the pocket or the wallet. in an emergency, it is possible to evoke the protective power of the rune by cutting the rune into the surface of your right palm while on the astral plane, so that the lines of the rune bleed. this can be done with the fingernail of your left index finger, or with your left thumbnail. if you have a penknife in your pocket when you lie down to project your astral chapter eighteen: astral self-defense 315 body, it will carry over into the astral world, and you can use the knife. the blood feeds and empowers the rune. holding up your bleeding hand so that the rune is exposed an

apter eighteen: astral self-defense 315 body, it will carry over into the astral world, and you can use the knife. the blood feeds and empowers the rune. holding up your bleeding hand so that the rune is exposed and upright will create a powerful barrier. needless to say, this should only be done on the astral level so that no damage is done to your physical body. another way of forming the algiz rune with your hand is to fold your thumb against your palm and to spread your fingers with the two middle fingers together, so that your hand forms the shape of the rune. this takes a little practice, but it is not difficult. extend your arm with your hand in this position and imagine a barrier between your astral body and whatever threat you seek to ward off. by forming two algiz runes, one with

TYSON DONALD THE MAGICAL WORKBOOK

to the publisher's website for links to authors' websites and other sources. llewellyn publications a division of llewellyn worldwide, ltd. p.o. box 64383, dept. 0-7387-0000-2 st. paul, mn 55164-0383, u.s.a. www.llewellyn.com a printed in the united states of america on recycled paper other books by donald tyson enochian magic for begznners the messenger (fiction) new millennium magic ritual maw rune dice kit rune magzc scryingfor begirtners sexual alchemy tetragammaton the truth about ritual magic the truth about runes three boob of occult philosophy the tortuous serpent (fiction) for llewellyn's free full-color catalog, write to: new worlds c/o llewellyn worldwide p.o. box 64383, dept. 0-7387-0000-2 st. paul, mn 55164-0383, u.s.a. or call 1-800-the moon contents introduction. xi preface

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