#stele of jeu
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"My Name is Heart encircled by a Serpent; come and follow me"
#Akephalos#Headless One#Stele of Jeu#graeco-egyptian polytheism#PGM#graeco-egyptian magic#Headless Rite#Bornless Rite#art#personal art#my art
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Charm The Water podcast appearances.
Aaron David has removed many of the older episodes of Charm The Water. Below is an archive of the episodes I was involved with.Â
https://www.podchaser.com/podcasts/charm-the-water-55805/episodes/episode-37-spiro-nidelkos-the-14609805
https://www.podchaser.com/podcasts/charm-the-water-55805/episodes/episode-40-stele-of-jeu-headle-17021593
https://player.fm/series/1187690/186197690
https://www.podchaser.com/podcasts/charm-the-water-55805/episodes/ep-44-trithemius-w-alexander-e-18312183
https://www.podchaser.com/podcasts/charm-the-water-55805/episodes/ep-49-mage-table-w-kelly-spiro-18992314
https://player.fm/series/charm-the-water/ep-56-spiro-nidelkos-of-triple-snake
#podcast#charmthewater#akephalos#rspm#runesoup#magic#magicpodcast#headlessrite#bornlessrite#triplesnake#spiro nidelkos#glitch bottle#Aaron David#Alexander Eth#archive#podcastarchive#goats
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Bell, Book, and Blade: Adding Pages
The first pages of your book obviously and inevitably represent a highly idealized vision of your practice. For me that was the Stele of Jeu, followed by a triangle of art for each of the seven traditional planets. What followed were a handful of rituals that I had done and more that I wanted to do: the prayer for a vision from the Serpent-Faced God(dess), aTyphonic Initiation, a pair of scryingâŠ
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Donning the Mask of the Mastriss: An Adaptation of the Rite of the Headless One/Stele of Jeu
Bathe, then tie a Bull Rush, the leaf of a Cattail, or a strip of Goat skin on your head with the formula pictured above written on it.
Face North and gaze up towards Orion, stretching the emblem across your forehead from one of your temples to the other and reciting the six names written on the leaf:
âAĂTH ABRAĂTH BASYM ISAK SABAĂTH IAĂâ (Pronounced: âAH-OATuh AHB-RAH-OATuh BAH-SOOM EE-SAHK SAH-BAH-OATuh YAH-OHâ).
Then recite:
âMake all spirits become subject to me, so that every spirit, no matter where they dwellâthat they who dwell within the stars and planets, the winds, the lands, the depths, and the waters would all be obedient to me, and every enchantment and power that is under the dominion of the Mastriss of this World be under my control.â
Now, read aloud the summoning of the Mastriss of all Sorcery:
âI call to You, Headless Hunter Akephalon, who shapes the Sky and the Earth, who separated Night and Day, beautiful Ruler Who dies and is reborn each yearânone have ever seen Your true face, Mastriss OSORONNOPHRIS (pronounced: âAH-SAH-RAHN-NAH-PuhREES)! You are IABAS (pronounced: âYAH-BAHSâ)! You are IAPOS (pronounced: âYAH-POSEâ)! You are the true God of this world, the one Who humans have long said of, âIâve found the One!â yet few have.
Because You dwell in the middle, You show good from evil, just from unjust, dividing pleasure from pain. You made men and women as the divine Sun and Moon, Your eyes; revealing seed and fruit and teaching humankind how to plant and harvest, you manifest Your presence. You make people love or hate one another as is Your good pleasure, spreading Your madness to the ends of the Earth.
I am Solomon the King/Moses the Mageia/Isobel Gowdie the Witch (insert whichever mystical occultist youâd like here), Your seer in the Dark Glimmering Land Below to whom You have revealed Your Mysteries celebrated by the scholars of Alexandria; You cause the rains to fall and the mist to rise, the breeze to evaporate, and provide nourishment for all. Hear me, for I am the angelic messenger of PHAPRO OSORONNOPHRIS (pronounced: âPuhAH-PRAH AH-SAH-RAHN-NAH-PuhREES), which is Your true name, handed down to the prophets of Ees-rah-el!
ARBATHIAĂ REIBET ATHELEBERSĂTH ARA BLATHA ALBEU EBENPHCHI CHITASGOĂ IBAĂTH IAĂ! (Pronounced: âAHR-BAHTuh-EE-AH-OH RAY-BET AH-TuhEL-EH-BEHR-SAYTuh AH-RAH BLAH-TuhAH AHL-BEH-OO EH-BEN-Puh-KuhEE KuhEE-TAHS-GAH-AYE EE-BAH-OATuh YAH-OHâ)!
Listen to me and turn away all spirits contrary to my sorceries and my health! I call upon You emptied of breath, Old One, for I am in awe of Your might! AROGOGOROBRAĂ SOCHOU MODORIĂ PHALARCHAĂ OOO (Pronounced: âAH-RAH-GAH-GAH-RAH-BRAH-OH SAH-KuhEW MAH-DAH-REE-OH PuhAH-LAHR-KuhAH-OH AAHHâ). Windswept Headless Hunter, deliver me, (Full Name), son/daughter of (Motherâs Maiden Name), from all spirits which restrain me, ROUBRIAĂ MARI ĂDAM BAABNABAĂTH ASS ADĂNAI APHNIAĂ ITHĂLĂTH ABRASAX AĂĂĂY (Pronounced: âREW-BREE-AH-OH MAH-REE OH-DAHM BAHHB-NAH-BAH-OATuh AHSS AH-DOH-NIGH AHPuh-NEE-AH-OH EETuh-OH-LAYTuh AH-BRAH-SAHKS AH-AYE-OOOH-OOâ)âmighty Headless Hunter, deliver me (Repeat Yourâ Name As Above) from all spirits and powers that restrain me!
MABARRAIĂ IOĂL KOTHA ATHOREBALĂ ABRAĂTH (Pronounced: âMAH-BAHR-RAH-EYE-OH YAH-ALE KAH-TuhAH AH-TuhAH-REH-BAH-LOW AH-BRAH-OATuhâ), deliver me (Repeat Yourâ Name As Above), AĂTH ABRAĂTH BASYM ISAK SABAĂTH IAĂ! (Pronounced: â AH-OATuh AH-BRAH-OATuh BAH-SOOM EE-SAHK SAH-BAH-OATuh YAH-OHâ)!
The Mastriss is the Ruler of the Spirits; They are the Ruler of the World, the Wild Man, Azazel Who stole the blacksmithâs tools, Prometheus Who stole the fire, Who taught humans the civilized arts, Baal Hadad with the voice of the Storm; all the Winds obey Your command and call out, âmy Liege!â; You can create all things by the utterance of the Words of Power which You know!
Liege, Mastriss, Helper, Good Skin-Walker, fill my soul with Fire, IEOU PYR IOU PYR IAĂT IAĂĂ IOOU ABRASAX SABRIAM OO YY EY OO YY ADĂNAIE (Pronounced: âYEH-EW POOER YEW POOER YAH-OAT YAH-AYE-OH YAAH-OO AHB-RAH-SAHKS SAH-BREE-AHM AAH OOOO EH-OO AAH OOO AH-DOH-NIGH-EHâ).
Hurry, hurry, Good Goblins of the Huntsman, ANLALA LAI GAIA APA DIACHANNA CHORYN (Pronounced: âAHN-LAH-LAH LIE GUY-AH AHP-AH DEE-AH-KuhAHN-NAH KuhAH-ROONâ).
I am the Master/Mistress of Spirits and Beasts with eyes in My feet! I am the Turnskin Trickster Who has stolen the immortal Fire! I am the Good Judge Who hates the injustice of humankind! I am the lightning and My voice is the thunder that announces My will! I am the rainfall that fertilizes the Earth! I am the One Whose mouth is always flaming! I am the One Who creates and destroys! Fate favors Me: I am the apple of the Dark Motherâs breast! My name is Heart-Encircled-by-a-Serpent! Let them come forth and follow Me!â
This rite invokes the names of the Mastriss, the Skin-Walking Ruler of the Spirits, for a delegation of Their authority. Out of Her love for Her Child even the Dark Mother may bend Her pronouncements of Fate through the use of this rite. This being, called âPanâ among so many other names, was said to elicit the joyous laughter of all the gods. By the mere pronouncement of it, spirits may suddenly manifest and be plainly seen and the sorcerous conjurer may even soar gloriously into the very Depths, meeting the Strange Beings there. It will cause any spirits trying to keep you in the dark, any powers which are casting their glamour upon you, and anything opposed to your sorcerous work and Night flights to depart. It will give you the intuitive knowledge necessary to put on the body of the Double and walk about. Any evocation of any spirit will become successful to you, and hedge-walking will become as simple as waking from sleep. You may meet your Guardian Paredros Angel and/or have a visit from the âMan in Blackâ by the pronouncement of it alone.
The most important aspect of this is the timing of it. In the Northern Hemisphere, it must be done just before sunrise in August and September, around 4 am in October, 1 am in November, 11 pm in December, 9 pm in January, 7 pm in February, just after sunset in March and April, afternoon in May, noon in June, and mid-morning in July. Do the rite EVERY DAY until you are successful in it, which will be quite obvious when success is won. You should also be performing Dark Communions out of worship to the Mastriss as a payment for this authority. You should never perform the rite on either solstice, since Orion is headed by the Sun at the Summer Solstice and the Moon at the Winter Solstice, and it would therefore be sacrilegious to refer as such. Performing the rite on the day after the Full Moon in December is a very powerful time for its performance, as the energy is high and Orion is newly beheaded.
It should be noted that Orion was said by the Aztecs to be the final cause of the worldâs end. Each year, at the rising of Orion in August, they performed ceremonies that lasted through the Winter period designed to forestall the worldâs end. The Mayan doomsday clock is based on these stars. The constellation is the inspiration for the engineering of the pyramids at Giza, Gobekli Tepe, and the seven ancestral Hopi cities. In Aramaic, the constellation is called âNephilaâ, and is said to be the creator of the Nephilim, who are, of course, the parentage of the witches, progenitors of the witch-blood.
This rite is based on that of the âStele of Jeuâ, PGM V. 96-172.
#headless one#witchcraft#witch#western folk#stele of jeu#hieroglyphist#hieratic#nephilim#orion#mastriss
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Detail from the Greek Magical Papyri, of the Headless One, from the Stele of Jeu (circa 350 CE)which Aleister Crowley adapted into his so-called âRite of the Bornless Oneâ. Because apparently, to him Bornless was cooler. (I disagree) Source here
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Iâve never entirely understood why magicians use bad second-hand poetry when they could use first class second-hand poetry or write their own shitty poetry. Â Admittedly, there are more examples of the latter than the former (see: Andrew Chumbley). Â The assumption often seems to be that if itâs old then itâs good, but that is patently un-true. Â If millions of dead people prove the validity of a thing then we would still be saying that leukaemia is un-treatable 1.
Most living traditions produce new material. Â Capoeira has a wealth of old songs, but young capoeiristas still write new ones. Â An inspired song has as much (or more) power as an inherited one. Â Itâs all about what the words are imbued with. Â I doubt that there is much traditional poetry in Chumbleyâs work. The core material may come from an older tradition, but the voice is too consistent across his published work for it to come from other sources. Â He either created it whole cloth or he gussied it up. Â People find it potent nevertheless.
The bones of the work and what it is intended to mete are more important. Â In Britain poets held the power to kill or maim with satire alone. That is a tradition that continued well into the Christian era. Â As an example, see this Welsh englyn attributed to Gwerful Mechain (c. 1460-1502, trans. Katie Gramich), which calls on no god or power beyond the poetic form:
Iâw gwr am ei churo Dager drwy goler dy gallon â ar osgo I asgwrn dy ddwyfron; Dy lin a dyr, dy lawân don Aâth gleddau Iâth goluddion
To her husband for beating her A dagger through your heartâs stone - on a slant To reach your breast bone; May your knees break, your hands shrivel And your sword plunge in your guts to make you snivel
(I am making a few assumptions here and skipping over the importance of the poetic form used, but I wanted to reference Gwerful. Â Also - if you compare the internal meter of the original englyn to the translation you can see that Gwerful was a much better poet than her translator, but thereâs not much one can do about that short of learning old Welsh)
I see some useful bone structure in the Headless Rite. Â The formula for invocation is clear just underneath its skin. Â Aiden Wachter uses a similar progression in Six Ways: State intention, call in the power required, identify the desirable traits of that power, then acquire or borrow them as oneâs own (p.18). Â However, although the stated intention of the Rite in the Greek Magical Papyri (PGM) is for exorcism it plainly has a more complex application.
Previously Iâve touched on parallels between the Headless Rite and the Song of Amergin. Â The main things I identify as being different between them are that 1) the Song calls up Eire, whereas the Rite calls on a(n unknown) god/s. 2) The Song dispenses with a lot of the early stages and proceeds directly to identifying with the land. Â Arguably that may be due to editorial interference, but personal experience indicates that those stages are not necessary. Â Especially if a relationship already exists.
A lot of people use the Headless Rite, or its Thelemic equivalent, as part of a daily practice. Iâve read they do this because the Rite confers dominance over spirits and may align the magician with a particular current.  Certainly it has been used to augment a variety of other practices, particularly deity obsession (Stratton-Kent).  The flexibility of the formula is confirmed by the Song, in my mind.  I suspect that itâs far older than the Headless Riteâs stated purpose in the PGM.
I see the sense of using praise or boast poetry as a daily practice. Â However is it necessary, or even desirable, to use such a dramatic martial formula every day unless you have regular goetic practice? Â To bombastically acclaim oneâs dominance on a daily basis? Â Itâs a bit like a yuppie in the 1980s yelling, âYouâre a TIGER!â at the mirror every morning.
As I think about using this as part of a daily practice I ask what purpose it should serve. Â Letâs say I want it to align me with a particular current of being, re-affirm who/what I am and build a core strength for later dealing with spirits. Â Fine. The Headless Rite would align me with an unknown deity or deities (at minimum it seems to reference Osiris and Yahweh) through use of some barbarous names we no longer remember the origin, meaning or use of. Â That doesnât really suit.
I could adapt the Headless Rite. Â I am tempted to adapt it for use alongside kaula/tantra. Â It would be fun making the syncretism work. Â However thatâs something Iâll probably come back to because right now I donât want to focus on deities and spirits. Â I want to strengthen myself and my practice.
So I went back to thinking about other work that exists in the same realm. Â Work that could support a useful trance and be imbued with the same principles I work with. Â I thought for a long time. Â I considered Sufi verses and other options, but I kept coming back to Walt Whitmanâs Leaves of Grass.
I have used Whitmanâs poetry in a similar way to the Song of Amergin before.  In particular Iâve used I sing the body electric.  It works if used with a correct method.  Whitmanâs poetry also has a broader scope than either the Rite or Song of Amergin. In Song of Myself he is singing up an ecstatic vision of what we could be, what he sees that we are underneath the eidolons that clothe us.  Itâs a much better fit for what I am and how my magic is arrayed.  It also fits the formula for invocation.
In fact, Leaves of Grass is interesting beyond invocation. Â When Chumbley wrote Azoetia and Dragon Book of Essex he tried to create a living grimoire â something bigger than its pages. Â Whitman did the same, but, I think, more successfully from an ecstatic point of view. Â Leaves of Grass opens by defining Whitmanâs intention (âOneâs self I singâ), then by charging the book with its purpose (âThen falter not, O book, to fulfil your destinyâ). He casts aside materialism in EIDOLONS, summons up and addresses his audience with the purposes he tasks them with, and, in SHUT NOT YOUR DOORS, he opens the gates for the book to do its work. Â Walt Whitman may not have written Leaves of Grass to be a work of magic, but because it is structured like an inspired text it can act as one nevertheless.
The content of Song of Myself invokes some very particular states. Â Take 43:
âI do not despise you priests, all time, the world over, My faith is the greatest of faiths and the least of faiths, Enclosing worship ancient and modern and all between ancient and modern⊠Ranting and frothing in my insane crisis or waiting dead-like til my spirit arouses me, Looking forth on pavement and land, or outside of pavement and land, Belonging to the winders of the circuit of circuits.â
Or 48,
âI have said that the soul is not more than the body, And I have said that the body is not more than the soul, And nothing, not God, is greater to one that oneâs self isâ
Or 41,
âMagnifying and applying come I, Outbidding at the start the old cautious hucksters, Taking myself the exact dimensions of Jehovah, Lithographing Kronos, Zeus his son, and Hercules his grandson, Buying drafts of Osiris, Isis, Belus, Brahma, Buddha, In my portfolio placing Manito loose, Allah on a lead, the crucifix engraved, With Odin and the hideous faced Mexitli and every idol and image, Taking them all for what they are worth and not a cent moreâ
To me, that is bold magic and better suited to daily practice where one is building relationships and oneâs own self. Â Â
The main problem with Song of Myself is that it is bloody long. Â However itâs broken into 52 sub-sections. Â That allows for using the poetry flexibly as a more reflective and prolonged invocationary practice. Â Whitmanâs use of (sort of) free verse also allows editing to focus on sections that fit what is desired. Â Consider â charging a pentacle can be done (in part) through choosing sections of Bible verse that help evoke a particular quality. Â Something similar can be done here with invocation. Â Whitman wrote Leaves of Grass to inspire and to inform an alternative way of being in the world. Â This is entirely appropriate to its purpose.
Iâve gone on long enough, so I wonât get into the pros and cons of adapting supportive aspects of the Headless Rite like the barbarous names and paper crown.
1 Read The Emperor of all Maladies by Siddhartha Mukherjee
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Iâm ecstatic to announce my first full graphic novel H3AD1355 will be released through Void Front Press later this year. H3AD1355 is the story of Kim Samson; a 20-something non-binary individual who turns to magic as an escape from depression and existential ennui. During their intellectual pursuits into the occult, they come across an ancient Greco-Egyptian magical ritual which changes the course of their destiny forever. As well as the fictional memoir, this work contains an artistic recreation of the Stele of Jeu (aka the Headless Rite) in a visual format which may be used as, in the words of Samson, âa talisman for magical practitioners of all degrees.â
#the headless rite#h3ad1355#headless#stele of jeu#greek magical papyri#pgm#greco egyptian magick#chaos magic#chaos magick#occult#occult art#comix#alternative comics#sigil#hyper sigil#osiris
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1. Gnostic non-Christian:
On the Origin of the World
Eugnostos
The Paraphrase of Shem
The 3 Steles of Seth
Zostrianos
Thought of Norea
Marsanes
Exegesis on the Soul
Apocalypse of Adam
Allogenes
2. Gnostic with marginal Christian glosses:
Books of Jeu
Pistis Sophia
Untitled text
Hypostasis of the Archons
Tripartite Tractate
Gospel of the Egyptians
2nd Treatise of Great Seth
Valentinian Exposition
Trimorphic Protennoia
3. Gnostic with enhanced Christian elements:
Gospel of Truth
Apocryphon of John
Sophia of Jesus Christ
Melchizidek
4. Gnostic Christocentric:
Gospel of Thomas
Gospel of Philip
Book of Thomas the Contender
Dialogue of the Saviour
Apocryphon of James
1st and 2nd Apocalypse of James
Apocalypse of Peter
Gospel of Mary
For anyone interested in studying real Gnosticism, focus on the 1st and 2nd group of texts, only marginally on the 3rd, and you can completely ignore the 4th. Studying Middle Platonism and the Ancient Egyptian religion, particularly the various cosmologies and theogonies is absolutely necessary, since real Gnosticism is deeply rooted in Egyptian mythology and Hellenistic philosophy, and has no Christian or Jewish roots whatsoever.Â
#gnostic#gnosticism#gnostic literature#sophia#aeons#archons#emanation#emanationism#egypt#egyptian#hellenistic#roman
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Itâs about 10:30am and Iâm off to a late start. I waltz into âthe Sorcerorâs Denâ and mumble âTime for a late Reshâ. I do a super a late Morning Resh and proceeded to some other stuff.
Once Iâm done with those things I reach into the box of âMagic Lightâ candles, grab two white candles and my little etching tool.
Candles in hand, I saunter over to the beat up white stool in front of my altar and plop down. I examine the candle for a second and then I carve the zodiacal glyph of Saturn into it. I then take my tool and carve a little nook in the bottom of it so it sit nicely in the black candle holder on the altar.
I grab the brazer of incense, pop the top off and empty out the ashes from yesterdayâs session. The sound of the brazier rustling around in my hand triggers elicits a strangely pleasurable shift in my awareness. Feels like my body is just getting hip to whatâs going on. Feels like a tiny spark of magic and it getâs me goinâ.
I snag a disc of charcoal, light it with the blue lighter on my altar and then I toss it in brazier. Then, without thinking, I light the candle.
I pause for a moment and say to myself âwait, thatâs too soonâ but I check myself and decide to roll with it. Normally Iâd wait to light the candle until I was ready to recite the Orphic Hymn of the day but something felt ârightâ about lighting the candle when I did.
I grab the plastic pouch of frankincense on my desk, grab a few grains and sprinkle them on the charcoal, which is pretty well lit at this point. I gently placed the cover of brazier on, stand up, tie the black headband across my head and begin reciting the Voces Magicae:
âAoth Abraoth Basym Isak Sabaoth Iao...â
I happen to notice that by the 2nd repetition of the opening lines, faint streams of smoke slowly start billowing out of the holes in the brazier.
I repeat the Voces Magicae 4 more times and by the time Iâm done, the faint streams are now full, bold pillars of smoke. I make a mental notice and then finish performing the Stele of Jeu from the PGM. Smoke slowly fills the room as the strange words of the ritual fumble out of my mouth.
By the time I get to the last line l : âMy name is a heart encircled by a serpent, come forth and and follow!â the entire room is filled with smoke and smell of incenses. The timing couldnât have been more perfect.
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Vineri, 5 mai 2017, la ora 16.00, la Centrul Socio-Cultural âJean Louis Calderonâ din BucureÈti (str. Jean Louis Calderon nr. 39, sector 2) va avea loc lansarea volumelor âTrecea un cĂąntec peste veacuriâ, antologie de poezie francezÄ (selecĆŁie de poeme Ći traducere Ăźn limba romĂąnÄ de Paula Romanescu) Èi âEt si lâamour avait raison?â, selecÈie din lirica originalÄ a Paulei Romanescu, ambele apÄrute la Editura Tipo Moldova. PrezintÄ: George Corbu.
Antologia de poezia francezÄ cuprinde traduceri din Guillaume Apollinaire, Louis Aragon, Felix Arvers, Aliette Audra, Henri Bachou, Georges Bataille, Charles Baudelaire, Pierre Bearn, Joachim Du Bellay, Yves Bonnefoy, Georges Brassens, Jacques Brel, Paul Celan, AndrĂ© ChĂ©nier, Paul Claudel, Jean Cocteau, Pierre Corneille, Robert Desnos, Paul  Ăluard, Benjamine Fondane (Barbu Fundoianu), ThĂ©ophile Gautier, Iulia HaÈdeu, Victor Hugo, Jean de La Fontaine, François de Malherbe, StĂ©phane MallarmĂ©, Henri Michaud, MoliĂšre, GĂ©rard de Nerval, Anna de Noailles, Charles dâOrlĂ©ans, Charles PĂ©guy, Jacques PrĂ©vert, Sully Prudhomme, Henri de Regnier, Arthur Rimbaud, Pierre de Ronsard, LĂ©opold SĂ©dar Senghor,  Jules Supervielle, Tristan Tzara, Elena VÄcÄrescu, Paul ValĂ©ry, Emile Verhaeren, Paul Verlaine, Boris Vian, Alfred de Vigny, Voltaire, Ilarie Voronca È.a., aforisme de Martha Bibescu, Constantin BrĂąncuÈi, Emil Cioran.
â[âŠ] Pe vremea cĂąnd, copil ĂźndrÄgostit de hÄrĆŁi Ći stampe cum am fost, transcriam Ăźntr-un «jurnal» frĂąnturi de poeme descoperite Ăźn acea foarte de folos zÄbavÄ care-mi era cetitul cÄrĆŁilor, nici nu ĂźndrÄzneam sÄ-mi imaginez cÄ acela va fi fost grÄuntele primei mele antologii, azvĂąrlit Ăźn cĂąmpul fertil al tÄcerii, Ăźn aĆteptarea vremii de cules. MÄ mulĆŁumeam cu bucuria fÄrÄ nume de a mai fi adÄugat micilor mele comori de gĂąnd o frumuseĆŁe nouÄ. Uneori nu pÄstram dintr-un poem decĂąt un vers, o frĂąnturÄ de zicere ca un tÄiĆ de fulger pe care-ai vrea sÄ-l prinzi Ăźn palmÄ, nebÄnuindu-i dulcea arsurÄ. ĂmpÄrĆŁeam cu cei de-o cale spre Ăźmplinire Ăźntr-un mĂąine al vieĆŁii de adult (vai, cĂąt de grÄbiĆŁi copiii sÄ devinÄ oameni mari de ani, ignorĂąnd capcana de a se trezi bÄtrĂąni chiar fÄrÄ a fi fost vreodatÄ adulĆŁi!) noua bogÄĆŁie Ći, prin acest gest simplu am ĂźnĆŁeles cÄ a dÄrui frumuseĆŁe ĂźnseamnÄ a te ĂźmbogÄĆŁi, ĂźmbogÄĆŁindu-i Ći pe ceilalĆŁi.
Aceasta mi-a fost porunca: SÄ realizez din iubire de cuvĂąnt prezenta antologie Ăźn limba romĂąnÄ.Â
Cuvintele ard uneori. Chiar sĂąngerÄ. Alteori capÄtÄ adĂąncimi Ăźn care, de te afunzi, «dai de stele-n apÄ», cum zice lancrÄmeanul poet din Valea Frumoasei. Dar numai astfel sufletul se preschimbÄ-n armonie, bucuria Ăźn luminÄ Ći lacrima Ăźn cĂąnt.
SelectĂąnd Ći traducĂąnd poeme din literatura francezÄ, apÄrute de prin secolul al paisprezecelea pĂąnÄ Ăźn zilele noastre, am vrut prin aceasta sÄ aduc un omagiu culturii unei ĆŁÄri de la care au luat luminÄ de-a lungul timpului Ći «ai noĆtri tineri» care vor fi ĂźnvÄĆŁat pe la Paris nu doar «la gĂąt cravatei cum se face nodul», ci Ći cum se poate Ăźnnobila prin cunoaĆtere mintea Ći sufletul omenesc.
DacÄ nu am ocolit nici poeĆŁi anonimi din nu se mai Ćtie care timp, nici poeĆŁi-interpreĆŁi de muzicÄ dintre cei care s-au impus Ăźn conĆtiinĆŁa publicului Ći care au fost percepuĆŁi de cititori drept creatori de poezie adevÄratÄ â Brel, Brassens, FerrĂ© â, cum aĆ fi putut ocoli pe acei poeĆŁi romĂąni sau trÄitori un timp Ăźn RomĂąnia, cÄrora limba romĂąnÄ le-a rÄmas patria din suflet Ći, care au adus prin scrisul lor Ăźn limba francezÄ o contribuĆŁie deloc neglijabilÄ ba chiar de o excepĆŁionalÄ originalitate Ći valoare â Emil Cioran, Gherasim Luca, Iulia HaÈdeu, Anna de Noailles (prinĆŁesÄ BrĂąncoveanu), Paul Celan, Martha Bibesco, Barbu Fundoianu (Benjamin Fondane), Elena VÄcÄrescu, Tristan Tzara, Ilarie Voronca dar Ći un BrĂąncuĆi, acest sculptor de aforisme Ći poet al pietrei, al lemnului, al metaluluiâŠ
Am credinĆŁa cÄ doar astfel «sporim a lumii tainÄ» ori de cĂąte ori un poem care va fi traversat veacurile se amestecÄ Ăźn cĂąntul nostru luminĂąndu-ne cu o frumuseĆŁe nouÄ.â â Paula Romanescu, âMÄrturieâ, prefaÈÄ la vol. âTrecea un cĂąntec peste veacuriâ.
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IlustraÈii coperÈi: Adina Romanescu
Arhur Rimbaud
Cel ce-odihneĆte-n vad (Le dormeur du val)
E un vad de verdeaïżœïżœÄ unde un rĂąu subĆŁire CĂąntÄ aninĂąnd prin ierburi de-argint strÄluminÄri, Unde un soare mĂąndru ĂźĆi cerne peste fire Din crestele muntoase luminile din zÄri.
Un soldat tĂąnÄr doarme cu gura-ntredeschisÄ, Cu capul gol, cu ceafa scÄldatÄ-n reci undiri, Doarme Ăźntins Ăźn iarbÄ sub bolta necuprinsÄ, Palid Ăźn patu-i verde sub ploaia de lumini.
Doarme Ći gladiole picioarele-i cuprind, SurĂąde-n somn cum face copilul suferind. LeagÄnÄ-l cu blĂąndeĆŁe, naturÄ, Ăźi e frig.
Ăntreaga-nmiresmare nu-l tulburÄ ca altâ datÄ, Tihnit doarme sub soare cu mĂąna aĆezatÄ Pe piept; Ăźn coasta-i dreaptÄ douÄ rÄni se deschid.
Traducere de Paula Romanescu
Paula Romanescu
Je nâaime pas les statues
Je nâaime pas les statues, NĂ©ron non plus dâailleurs ; Il les dĂ©capita Puis sa tĂȘte roula Et le jeu continue: Un tyran est tombĂ© De son socle rougi, Lâoiseau dans la forĂȘt Chante et lâherbe refleurit.
Un nouveau jour se lĂšve, Dâautres pas sur la grĂšve, Et moi je rĂȘve Dâun Paradis perdu Au goĂ»t de bonheur.
Je nâaime pas les statues: La vie non plus dâailleurs.
Ètiri: DublÄ lansare de carte Paula Romanescu (5 mai 2017, BucureÈti) Vineri, 5 mai 2017, la ora 16.00, la Centrul Socio-Cultural âJean Louis Calderonâ din BucureÈti (str. Jean Louis Calderon nr.
#Alfred de Vigny#Aliette Audra#AndrĂ© ChĂ©nier#Anna de Noailles#Arthur Rimbaud#Benjamine Fondane (Barbu Fundoianu)#Boris Vian#Centrul Socio-Cultural âJean Louis Calderonâ#Charles Baudelaire#Charles dâOrlĂ©ans#Charles PĂ©guy#Constantin BrĂąncuÈi#culturÄ#Editura Tipo Moldova#Elena VÄcÄrescu#Emil Cioran#Emile Verhaeren#Et si l&039;amour avait raison?#Felix Arvers#François de Malherbe#George Corbu#Georges Bataille#Georges Brassens#GĂ©rard de Nerval#Guillaume Apollinaire#hÄrĆŁi#Henri Bachou#Henri de Regnier#Henri Michaud#Ilarie Voronca
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Do Magick Day 5-2=3
Today was a big day for magick!
Meditation
Sat down to meditate in the afternoon. Â Set my timer for 10 minutes (since I did 45 yesterday with no trouble), but was suddenly overcome by the sensation of itching all over my body at 6 minutes and had to stop.
Magic Art
Put a second coat of paint on my Venus mask. Â Itâs not quite ready to show off, yet, but probably later this week.
I also re-wrote a ritual from last October to fit tonightâs Esbat celebrations. Â The ritual combines elements of eclectic Wiccan elemental circle casting, Gnostic theology, and the Stele of Jeu.
Full Moon Esbat Ritual
This evening, a half-dozen friends came over to celebrate the full moon Aradia and I. Â We performed my purification ritual, then took turns undergoing a Portuguese ritual to cure the evil eye that Aradia and I picked up recently.
We went with purification for this monthâs Full Moon Shennanigans on the advice of The Astrology Podcast, which described this full moon as âwashing away your sins.â Â I chose this purification ritual because Iâve been looking for an opportunity to field test the third draft. Â The purification ritual worked a little better last time I performed it, but last time I had a full on bonfire as my Light not just a small cauldron in my house. Â Everyone reported positive results.
The evil eye ritual was super effective. Â Itâs Catholic folk magic, of course, but my current Gnostic explorations are really helping work through some of my childhood antiChristian bias. Â We all turned out to be suffering from the evil eye to one degree or another (not really surprising for a lot of reasons), but it actually took three rounds of purification to clear me (also not super surprising.
Now comes the Tarot and Chill, but Iâm journalling now rather than risk missing a day.
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Experimenting with Headless Rite variants: issue #1
Yesterday I stumbled across an attempt to reconstruct the âsix namesâ described in the original PGM text of the Stele of Jeu, aka the Headless Rite. Typically most modern practitioners assume AOTH ABRAOTH BASYM ISAK SABAOTH to be the correct phrase to be uttered at the beginning of the rite, and which one should visualise as appearing across the forehead, but according to the above post at the Sublunar.Space blog this convention does not in fact have a solid basis in the PGM text itself; it is a convention derived from the fact that the only string of six words in the barbarous incantations happen to be the one that is now commonly used. Assuming important gematria numbers (9,999 in this case) the blogger reconstructs â or at least hypothesises a reconstruction of â the names to be
ÏαÎČÏÎ±Ï ÏΜΔÏÏÎ·Ï ÏÎčÏÏÎż ÏÎœÏ
ÏÏ ÏÏÏÏ ÎČÏÏ
but also suggests experimenting with preceding these names with the vowel incantation
αÎčη αÎčÏÎč ηÏÎčαη αη ÎčÏ Ïη αÎčηοÏ
ΔÏ
ÏαÎč ΔαÎč Ï
Îż ÎčÎ±Ï ÎčÏη οαÏ
αΔη Ï
ÏÏ
Ï
So, in a mode of both experimentation and, well, enterprising exploration, I decided to perform the Headless Rite using the text from Cecchetelliâs The Book of Abrasax but substituting the opening barbarous names with the above (i.e. the vowels, followed by the reconstructed names).Â
Unfortunately, I canât say that was a good idea. Two things to note:Â
1. The Stele of Jeu text used in The Book of Abrasax is not in fact the usual Headless Rite text I use. The translation Iâve used before is the one found on Sam Blockâs website; alternatively, Iâve also used Gordon Whiteâs version in Chaos Protocols before. But Cecchetelliâs version is one that Iâve read before but not used in practice yet.Â
2. I can see the reasoning behind the reconstructed names on Sublunar.Space, but the recommendation to use the opening vowels is something that escapes my understanding. I thought Iâd proceed, anyway.Â
Not long after Iâd finished performing this variant of the rite I found myself feeling deeply unsettled. I wasnât sure if it was just my chronic anxiety being set off for completely unrelated reasons, but it was hard to shake off and I found myself having to perform a Star Ruby to try and alleviate any spiritual pressure I might have accidentally placed on myself. I also found myself feeling a little nauseous and ill-ish even though Iâd made myself a fairly satisfactory dinner, but since Iâd made it late I assumed it was just hunger pangs. No; in fact I just continued feeling ill for a bit after food. My head slightly ached and I felt a bit dizzy.Â
I woke up okay this morning, but as the day got on today I found my headaches getting a little worse. They were pretty awful around lunch-time, but went away over the course of the day. The low-key anxiety ebbed and flowed throughout the day, made worse by the peak hour crowds after work, but now that Iâve had some time to myself at home and done non-magical things I find myself feeling a bit more at ease in myself now.
Itâs possible that how I felt had absolutely nothing to do with my performing that rite, but suffice to say I canât help having my suspicions either that loading the Headless Rite with an opening vowel incantation numbering 9,999, followed by another six barbarous names numbering 9,999, might also possibly be too much for a rite thatâs already the magical equivalent of steroids.
For now, Iâm probably going to need another day to feel fully myself again ...
#stele of jeu#headless rite#pgm#ritual magic#michael cecchetelli#the book of abrasax#magical experiments#magical diary
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The Stele of Jeu from the Greek Magical Papyri
(Bornless Ritual)
~
Hellenized Egypt. These Greco-Egyptian magical spells are loaded with references to Egyptian, Greek, Gnostic, Orphic, and Hebrew deitiesâsometimes all in the same document.
#stele of jeu#jeu#greek magical papyri#ancient egypt#hellenized egypt#greco-egyptian magical spells#magical spells#history#occultism#bornless ritual#rituals
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What god?
What god Does now trespass on the fringes Of awareness?
Sly extension of foot So fleet and strong of sinew Disturbs the garden
Steps light in heated darkness Glides through viridian perfumes Seeking scarlet flowers
Soothing jaguar roar Into the rumble of pleased thunder As the hunters entwine themselves
About his calves Full of feline grace and serpentâs wisdom Fang forever embedded in his heel
What god has such sight? What god has such steps That brings forth from such soil all unknown? Coming forth aye Forth and following With mouth aflame
The Nameless God of Names - Akephalos! He who stirs the magicianâs oracle Enlivens the anointed In frenzied baptism The severed head With gory ashen locks a-writhing Cries out forever: AĆTH ABRAĆTH BASYM ISAK SABAĆTH IAĆ.
#hedkult#stele of jeu#akephalos#yes the headless one is a syncretic god#a magician's god#not one for worship though
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The Headless Rite bothers (fascinates) me. From the Chaos Protocols:
âI am the Headless Daimon with sight in my feet; I am the mighty one who possesses the immortal fire; I am the truth who hates the fact that unjust deeds are done in the world; I am the one who makes the lightning flash and the thunder roll; I am the one whose sweat falls upon the earth as rain so that life can begin; I am the one whose mouth burns completely; I am the one who begets and destroys; I am the Favour of the Aion; my name is a Heart Encircled by a Serpent; Come Forth and Follow.â
I love this section of the rite. It makes perfect sense to me. Expression, boast, inhabiting haecceity. In terms of adherence to the original it is not the best, though. Hereâs Stratton-Kentâs translation from the original papyri:
âI am the headless spirit, having sight in my feet, strong, the immortal fire, I am the truth, I am he who hateth that ill deeds should be done in the world, I am he that lighteneth and thundereth, I am he whose sweat is a shower that falleth upon the earth that it may teem, I am he whose mouth ever burneth, I am the begetter and bringer forth, I am the Grace of the World, My name is the heart girt with a serpent: Come forth and follow.â Stratton-Kent asserts that the rite was originally an exorcism/banishing ritual that has since been adapted for invocation, particularly of oneâs holy guardian angel, and prior to inviting visions. However, as Stratton Kent points out in relation to Crowleyâs use of the rite, a magician âproducing a ritual for a specific purpose, on synthetic lines, overlooks the possibility that that what he is adapting has a life of its ownâ.
Stratton-Kent analyses much of the content of the ritual, but not the format of this piece of poetry. What most interests me is that this segment of the rite takes a similar format to other inspired poetry.  For example, compare it with the Song of Amairgin White Knees, which is early Irish (translation by Du Jubainville because I like his poetry, though the translation is not the most accurate): âI am the wind that blows upon the sea I am the ocean wave; I am the murmur of the surges; I am seven battalions; I am a strong bull; I am an eagle on a rock; I am a ray of the sun; I am the most beautiful of herbs; I am a courageous wild boar; I am a Salmon in the water; I am a lake upon a plain; I am a cunning artist; I am a gigantic, sword-wielding champion; I can shift my shape like a god.â
Most translations also include a line roughly equating to âI am the god who shapes fire for a headâ, which is likely to be coincidental alignment with âwhose mouth burns completelyâ and may even be mistranslation. Nevertheless the underlying poetic conventions are consistent and I would say they demonstrate the underlying potency and breadth of the Headless Rite. Stratton-Kent argues for the rite having a relationship with kundalini, with an intention to invoke possession as a rising force and âheadlessâ relating to âremovingâ the head. He mentions Maya Derenâs accounts of possession ârisingâ in voudoun. The idea that the rite is grounded in both tantra/kundalini and a form of invocation/possession (using these with an intention to banish/exorcise) makes great sense to me. Stratton-Kent, J. The Headless One. Hadean Press.
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