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insidemyrottenbrain · 4 hours ago

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Clamate auxilium - TSH (The Secret History)

TW: explicit content, questionable content

Your death leaves quite a toll on Henry and Camilla.

I encourage every willing pair of eyes that reads this to leave their thoughts, remarks and critiques under this post, be they one word or one hundred and one.

Hell is other people. When we are alone, we are absorbed in whatever is around us. In solitude, we all are (of course we are, because how could we not be?) an incorporeal omniscient presence that candidly studies humanity's mechanics undisturbed by reciprocal judgment. However, as soon as someone perceives us, we suddenly become the ones observed, and consequently, painfully aware of ourselves (the clench of the jaw, the body’s weight, the tongue between cheeks, the muscle strain). We get covered in labels, defined and thus limited. When painful death obeys fate, we lose all possibilities of changing how we look through another pair of empty eyes than our own. What we once were, the entirety of our souls and the darkest corridors get rendered into a misinterpreted, dehumanised fragment of other people’s minds. I am many things in Henry’s mind; hollow cheeks, cologne and smoke, long fingers turning yellowed pages, a melancholic existence and its absurd hands. Camilla, however, believes me to be rather imposing; long dark coats, cold forgotten coffee eyes, an untouchable paradox and its horrible mind.

Immortality is humanity’s greatest wish. However, not flesh or rationality, but the absence, along with the longing, of their desire is this species’ most defining characteristic. I no longer am alive but I exist. I am deemed inhuman by the achievement of my desiderium through the unrequested aid of their minds.

You are curious, I am aware, about my death. However, you must realise that your curiosity is not reason enough for me to speak freely about such traumatising events. I suppose you are aware of Aristotle's definition of a tragic hero, yes? Ah, you’re not? Very well then, according to Aristotle, a tragic hero is “A person who must evoke a sense of pity and fear in the audience. He is considered a man of misfortune that comes to him through error of judgment.” There are a few characteristics one should keep in mind: ἁμαρτία (hamartia - sin, missed mark), a fatal flaw that causes the downfall of the hero, ύβρις (hubris - originally towards the gods), excessive pride and disrespect for the natural order of things, περιπέτεια (peripeteia - sudden change), the sudden reversal of fate that the hero experiences, ἀναγνώρισις (anagnorisis - recognition), a moment in time when the hero makes an important discovery, nέμεσις (nemesis - also the goddess who takes vengeance against those who show hubris), a punishment that the protagonist cannot avoid, usually occurring as a result of their hubris, and consequently, κάθαρσις (catharsis - purification, cleansing), feelings of pity and fear felt by the audience, for the inevitable downfall of the protagonist. While Aristotle’s characteristics are, indeed, a reliable guide in identifying and constructing a tragic hero, and respectively, a tragedy, some peculiarities might appear in certain texts and render the guide incomplete. I believe αἰών (aion - a period of existence, everlasting) should be added to the list, designating the extension of the hero’s punishment in a metaphysical form.

When can someone be declared dead? For the sake of the hypothesis, let us define death as the moment when someone or something ceases to exist. Does the exhaustion of the body, the death or the forgetting of the soul represent the beginning of eternal peace? I can rule out for you, living physical being, the exhaustion of the body, for I am quite sure I am not in the way that you are. Alas, our collaboration is of no use for if ever I were to find out, I would have ceased to be and thus unable to communicate, and if you were ever to find out your possibility of contacting me is nonsense. Everything is absurd and it tortures me when I know I am incapable of anything, nothing, expecthing, something, existhing, everything, deathing.

Henry and Camilla, of course, both attended the funeral. Camilla cries with the rest, she’s much more comfortable with emotional displays. Her mascara forms black rivers which shed on the upturned, disturbed earth that covers the casket. She is messy (indeed in a hypnotising way, the one in which girls usually are), but how could she not be? The previous night, she fell asleep sobbing quietly, her swan-like shoulders trembling. The pillow sheets smeared her makeup, but she, nevertheless, still laid her head on them. Over bumps ameliorated by elastic oscillations, she applied dust over dust, before the funereal in the aluminium mimic. What a storm of bows and angel white, what a deserved distinction. If I were to focus my all-knowing being on Henry, the story would go quite differently. The stoic is, as expected, unyielding. However, just as unexpected (due to the eye of the omniscient), his umbrella is (incredible, I almost would not have believed it) clenched in his pale hand! What a pitiful display of emotion from the cold season, wouldn’t you agree? He hopes I don’t, but I do know the ice in his eyes melted la veille au soir et aussi the exact number of tears that rolled over his dry cheek.

The word mourn traces its origins to the Proto-Indo-European root (s)mer-, which means to fall into thinking, to remember, to care for. Its sombre connotation likely stems from the natural link between memory (memoria-Latinae) and sorrowful experiences. Since memory and experience are deeply personal, one might assume that mourning, too, is uniquely individual. Yet this hypothesis falters when considering Henry and Camilla; two people, two pasts, two lives, two distinct memories, one irrevocably ensnared being (which is, assumingly, the reason for their similar past-time activities). They visited the grave, separately, each on their own; 4:12, 16:07, 00:01, 20:39, et cetera. “Et revertatur pulvis in terram suam unde erat et spiritus redeat ad Deum qui dedit illum” and so clothes shed on the grave. The dirt that covered the body stained them; Camilla’s inside, Henry’s outside. During the Bacchanal, her hair was red, but during the visits it was brown. I cannot imagine it must have been very pleasant for her, but she still tried and her lipstick stuck to stone. He was reluctant at first, he found the cold earth unwelcoming, but soon got used to it and found it bearable when his mind conjured the image of the dead. How he huffed and cried through his movements was so sad I wanted to give him a flower.

Your life is not only your own, death has more than one victim. It creates a paradox for those left behind, where change and routine coexist. Henry still brews two cups of coffee in the morning, irons the clothes that should have been picked up from his flat, and writes Julian’s assignments twice, placing one copy on the empty desk. Camilla is haunted by the absence of the scent which she inhaled with every chance, and fearing she might forget it, purchases a bottle. This unrelenting cycle is, of course, followed by the attempt at escapism. Inexorable fate makes them unconsciously aware of the invasion that urges them to tilt each other. Small, transitive comparisons morph into manipulations: similar enough hair, a habit adopted without question, the freckle forgotten. Their bodies reek of my remnants and it stirs them. What begins as unforgivable parallels turns into desperate symmetries. Every time they reach for me, their bodies meet, oblivious to the fact that I am. The illusion of the one who exists neither fully alive nor entirely gone becomes more alluring than any sin. Henry and Camilla murmur, groan and cry the two syllables that define an individual, and I do too, along with them, for I am here, wondering when I will be granted the mercy to draw my last eternal breath.

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talonabraxas · 2 years ago

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“The psychological rule says that when an inner situation is not made conscious, it happens outside, as fate. That is to say, when the individual remains undivided and does not become conscious of his inner contradictions, the world must perforce act out the conflict and be torn into opposite halves.” ― C.G. Jung, Aion Aion (Greek: Αἰών) is a Hellenistic deity associated with time, the orb or circle encompassing the universe, and the zodiac. The "time" which Aion represents is perpetual, unbounded, ritual, and cyclic: The future is a returning version of the past, later called aevum. This kind of time contrasts with empirical, linear, progressive, and historical time that Chronos represented, which divides into past, present, and future. Aion 'Time' Talon Abraxas

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stoicbreviary · 2 years ago

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Sonnets from Marcus Aurelius 6

James Vila Blake

Ποταμός τις ἐστι τῶν γινομένων καὶ ῥεῦμα βίαιόν ὁ αἰών: ἅμα τε γὰρ ὥφθη ἕκαστον καὶ παρενήνεκται, καὶ ἄλλο παραφέρεται, τὸ δὲ ἐνεχθήσεται.

Time is like a river, or a streaming on, of all things that come to pass, even a violent flood of them. Each thing is no sooner seen than swept past, and another is sweeping by, and this also will be carried away.

—Marcus Aurelius, Meditations 4.43

There be drops small, and large drops, all being rain, Making the ocean, rivers and rivulets; There be moments slender, and mighty moments amain— Time’s tide, or torrents of hours, or minutary jets. The brooks and rivers that to oceans run, Navies and nations on their bosoms bear; The pendule’s pulses into centuries done Torrential whirl alike the foul and fair. All things rush on. One doth but well arrive Before ’tis gone—another hath his room— That too is sped in cresty fog and dive— All with distinguished shapes, all to one doom. Here do I halt to see them swirling by; And as they go, I drown them in mine eye.

IMAGE: Hermann Herzog, Raging River (c. 1860)

#stoicism #james vila blake #marcus aurelius #philosophy

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hollowed-theory-hall · 11 months ago

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Okay, so @twinsoulsentwined requested the full detailed process on how to make a Horcrux very nicely, so I'll add it here. This is less of a theory and more in the realm of headcanon and speculation on my part, and mostly for fic purposes but the full instructions from my notes are under the cut:

Note: I don't speak Ancient Greek and I'm not fluent in reading Ancient Greek. This is my attempt with an Ancient Greek Dictionary, so the grammar and translations might be off.

Step 1 - Life and Blood

Get access to a recently deceased human and extract their Mercury (spirit).

To do so, use the spell: “διεμμένω” - “diemmino”, to stop the spirit from slipping away.

Use the spell: “ὀχυρότης παστή αἰών φλόξ” - “ocherio pasti aion phlox” to strengthen a container to allow it to hold pure divine fire.

Then take a jar and use the spell: “ἀκράτεια αἰών φλόξ” - “akrateia aiona phloxia”, call the spirit to you and seal the jar. The spell should give the spirit a red, golden glow like a living fire.

Submerge the retrieved spirit with your own blood on a new moon (life and vitality).

Take the container with the living fire of life and add 7 drops of your blood to it.

place the container down in a bowl of water and place a charm (metal emulate, preferably silver) with the following phrase: “αἰών φλόξ καί αἷμα ὁμοφροσύνη” - “aion phlox kai aima omophrosune” - life fire and blood in unity of body and mind

Leave the container and charm on the night of a new moon for seven hours and it shall be ready.

Step 2 - Water of Fire

To complete the cycle of death and rebirth you’ll need the Phlegeton Water potion to return you to life at the end of the cycle.

As you brew the potion, it must be brewed in a dark room, preferably underground to remind as much of the underworld as possible.

While brewing the potion one must be in the mindset of the Phlegeton, must be willing to go through agony to achieve eternal life and imbue these thoughts in their potion.

List of Ingredients (~140g):

Dittany leaves (5g)

Dittany leaf juice (12g)

Dragon Blood (7g)

Dragon Liver (x1)

Rue (5g)

Valerian Root (x1)

Valerian flower petals (5g)

Mint leaves (7g)

Mint juice (12g)

Lavender root (x1)

Saffron spice (7g)

Hyacinth flower juice (12g)

Golden crocus flower juice (12g)

Pomegranate Juice (7g)

Pomegranate oil (7g)

Ashwinder eggs (x3)

Ashwinder venom (7g)

Ashwinder fangs (x21)

The Brewing Process:

Mix the Hyacinth Juice, Golden Crocus Juice, and Pomegranate Juice in a separate bowl.

Place in the bowl a golden thread that will be the Moriai Thread later in the ritual.

let the bowl set for 7 hours under the sun and then remove the Moriai Thread.

Fill a caldron (iron, size 2 -283g) with 140g of water over a low fire.

Crush Dittany Leaves, Rue, and Valerian Petals with a mortar and pestle to a fine powder.

Once the water reaches boiling temperature, add the plant leaves powder to the water along with 3g of the Dragon Blood

Mix 3 times clockwise.

Crush Mint Leaves and Saffron Spice with a mortar and pestle to a fine powder.

Add the powder along with 4g of the Dragon Blood into the caldron.

Mix 3 times clockwise.

Let simmer for 3 hours.

Burn Ashwinder fangs, Lavender Root, and Dragon Liver separately to receive 3 fine light grey powders.

Mix the powders into the brew after shimmering time is over in the order of ingredients mentioned above.

Mix 1 time counterclockwise after every powder addition.

Add the Mint Juice and the Dittany Juice.

Mix 1 time clockwise.

Let simmer for 3 hours.

Crack open the Ashwinder Egg and add the liquid inside to the mix.

Mix 1 time counterclockwise.

Add the Hyacinth Juice, Golden Crocus Juice, and Pomegranate Juice prepared earlier.

Mix 3 times clockwise.

Burn the Ashwinder Eggshells to retrieve a hot white, golden powder.

Mix the received powder with the Pomegranate Oil in a separate bowl to a fine mixture.

Add the bowl to the mix.

Mix 7 times counterclockwise.

Let simmer for 7 hours.

Add the Ashwinder Venom to the potion.

Mix 7 times counterclockwise

Step 3 - The Ritual Preparation

Set up a circle so none of the components may escape the ritual space and so the ritual will not be interfered with.

The circle shall have six letters written: Γ (foundation, soul) - Δ (threshold, change) - Θ (recovery) - Α (life) - Ξ (unity, binding) - Θ (time) in this order.

The circle and letters should be drawn in your blood.

The rest of the stages should take place within the circle. Make sure the Life Essence container is within the circle.

Make sure the item you desire will hold the Horcrux will be in the circle with you as well.

Use the same spell (”akrateia aiona phloxia”) to coax the life source out of its container and into the Horcrux.

Step 4 - Death and Rebirth

To create a thread of your soul to tie to the ritual you must die figuratively. Go through death to return stronger from the underworld.

To create this death, one must open their wrists on both arms and angle them upwards, holding a Moriai Thread (prepared earlier) in their hands that will act as their life thread.

Write the letter Σ (splitting, end) in blood on both your wrists.

Cast the spell:

εἰμί πυρίπαις καίme Τερπιάδης ἐκδιψάω καί θνήσκω ἀποτέμνω πηνοειδής αἰών ἐπίληψις ψυχορραγέω ζαφλεγής

Pronounced:

Eimi puripais kai teriades Ekdisao kai thnesko apotemno penoeides Epilesis Suchorageo zaphleges

5. And cut the thread of life. It will hurt as you feel fire cut through your soul to separate the sulfur from itself.

6. Once you feel like death has reached you and your soul is separated you should heal your soul and finish the cycle, bringing you out of death and back to life. Cast the spell:

παραδίδωμι δαλερός διυδατίζω Φλεγέθων ῥοή ψυχοσσόος καί ἀναποφέρω ἀπέκ καταγαΐδιοι

Pronounced:

Paradidomi daleros diudatizo phlegethon roe Suchossoos kai anapophero apek katagaidioi

7. And drink the Phlegethon Water immediately afterwards.

8. After the pain subsides you will feel healthier than before, stronger than before and you’ll have an additional thread of sulfur in your chest to be pulled out and placed into the Horcrux.

9. Use the spell: “ἀγινέω θυμόμαντις” - ”aginio thumantis” to lead the soul thread into the same Horcrux quickly.

10. Most times the spell isn’t necessary because the separated soul thread should bind itself to the closest, brightest Life Essence of its own.

11. The Life Essence should be powerful enough to, on its own, create a rudimentary connection between the soul thread and the Horcrux. But this connection may be unstable and unpredictable, so be warned of leaving it as such.

Step 5 - Oath of Life

Swear the oath of life to finalise the bound between you, the horcrux and the soul thread together to ward of death.

ἐμαυτοῦ, ἐξορκόω διαμηκύνω λιποπνόη, προκαλίζομαι μόρος, διόμνυμι Ἔφεσος καί λισσάνιος αἷμα καί ἱερόν, ὅρκος καταπροΐξομαι ἀλεξίμορος ἇς ἀπήρωτος, εἴποτε ἄγανος, ἐπιμείρομαι θυμοφονέω καί λοιγός, διόμνυμι

Pronounced:

Emautou hexorkou diamekune lipopnoe prokalizomai moros, Diomnumi efesos kai lissanios aima kai ieron, horkos kataproixomai aleximoros as aperotos, Eipote aganos, epimueiromai thumophoneo kai loigos, Diomnumi

The spell: “ἄλκαρ ὅρκος συντελέθω θυμόμαντις” - “alkario horcus sutlethio thumavis” is to be then cast on the new Horcrux to protect and safeguard it. The spell will only work on an item with a soul bound to it by oath. The incantation is too be accompanied by painting Ρ (resistance), Θ (recovery), Ξ (unity) in your blood on the item.

“ΡΘΞ” (”rox”) means breach, or breaking and would stop it from happening to the Horcrux.

Secrets of the Darkest Art: How to Make a Horcrux

So I saw many theories regarding how to make a Horcrux, but none of them really made perfect sense to me, so I decided to give it a crack myself as part of my mission to understand Lord Voldemort/Tom Marvolo Riddle (Which I think I did, big post coming about that at some point, this is but another piece of that puzzle of a man)

So this is my reverse engineering of a ritual to create Horcruxes based on book evidence, my knowledge of real-world alchemy, real-world ancient Greek cults and rituals and linguistic analysis.

How to reverse engineering a dark magical ritual:

The first thing, is to define what we knew fore certain:

The name: "Horcrux"

The creator is an Ancient Greek wizard named Harpo the Foul.

A death is required in the making.

A Horcrux holds a piece of the casters soul that anchors them to life so they won't die.

I'll actually start with the third point.

How to split a soul?

Both Dumbledore and Slughorn mention a death being required to tear your soul to make a Horcrux, and that never really sat right with me. It magically doesn't make sense and even the canon examples we have for Horcrux murders make this statment iffy.

We have seven examples of murders used to create Horcruxs (thanks to one Tom Riddle being dramatic):

The Diary - Myrtle Warren - killed by a basilisk. Sure, Tom freed the Basilisk, but it hardly seemed targeted at Myrtle specifically and you can argue he didn't actually kill her (more a manslaughter by negligence). He didn't cast the spell, so how come this tore his soul?

The Ring - his father (Tom Riddle Sr) - Avada Kadevra.

The Cup - Hepzibah Smith - she was poisoned by her house elf. Sure, the elf was under the imperious, but it wasn't a first-degree murder, and like with the Basilisk I find it hard to consider this the same as casting a killing curse. Magically those are very different things.

The Locket - Muggle Tramp - Avada Kadevra

The Diadem - Albanian Peasant - Avada Kadevra

Harry Potter - himself - backfired Avada Kadevra

Nagini - Bertha Jorkins - Avada Kadevra

Now, I used the term "magically different" or "magically make sense" what do I mean by that?

Well, besides the fact I'm going to make a full post about how I see magical theory in the Harry Potter Wizarding World, I'll say it takes a lot after occult philosophies from Alchemy that are very old, Slughorn mentions as much in book 6 and there are a few other references to it. I'm just gonna cover the basics required for this theory.

In Alchemy, everything (people, animals, plants and rocks) are built of three base components:

The Salt - the body - the physical form.

The Sulfur - the soul - the self that holds the divine flame.

The Murcury - the spirit - the life essence that binds the salt and sulfer together.

Now, in Alchemy, the main study is in purifying and combining these different aspects of material. Let's look at a herb, for an example:

If we want to retrieve its salt, we'll dry the herb completely using fire to leave behind a fine light grey ash that represents only the physical form.

If we wanted its mercury we'd distill all liquids from it until we get a purified, clear liquid which in the case of plants would be alcohol (it's why alcohol is referred to as "spirit").

And if we wanted its soul, we would take the remains from the distillation and drying process which would be a kind of oil.

(it can get more complicated with different materials, but this isn't a post about Alchemy)

Now, back to Horcruxs.

So, if we would want to split a soul, Alchemecly, how do we go about it?

Well, we don't. Not really. See a soul can't really be split, as every part of it, every bit of that oil from our random herb represents the entire soul. It's why something like a Horcrux could theoretically work in giving a full life to the diary the way we see in Chamber of Secrets.

Additionally, to work with any material in Alchemy, you are required to purify it first. It means that to get a piece of soul to bind to a diary, you need a pure soul.

Killing someone else won't sever your own soul from the spirit and the body, it's not how this works. Killing someone severs their spirit and therefore splits their body, spirit, and soul. Besides, an Ancient Greek man, like Herpo was, would hardly consider murder as vile as we do today. It wouldn't even cross his mind that any murder (even an indirect one) could harm one's own soul.

No, the only way to "split" a soul is to first sever it from life, disconnecting the bond between soul and body. Essentially, the only way to promise you immortality is to kill yourself.

I know it sounds a little confusing, but, essentially, once the soul is severed from the spirit and body you can split it. Think of the herbal oil, once you have the oil, separate from the rest of the plant parts, you can combine it with new ingredients. You can only work on a specific aspect once you severed it from the other two and as what binds all three together is spirit — life — the only way to do it for a human soul — is death.

But really, how?

Well, here comes the second thing we know about making Horcruxs — that dear Herpo was Ancient Greek.

In Ancient Greece they had multiple different religious cults, some of which were Chthonic cults. Cults that dedicated themselves to death or ditties and heroes associated with death and more importantly — rebirth.

Many of these cults were dedicated to figures like Orpheous, Dyonysus, Persephone, characters in mythology who are known for going through the underworld — through death — and coming back out. These cults were very secretive and not much is known about their practices, but some is.

What is known is that they had rituals were they reenacted a death and then rebirth (usually drinking wine — a water if life, was the representation of rebirth).

This created a very clear idea in my head — to split a soul, you'll have to ritualisticlly, magically kill yourself, severe a peice of your soul and then revive yourself with a water of life — a potion.

This potion is never mentioned, but I believe it exists due to these Chthonic cult rituals and how they were structured. Not only that, but the Greek underworld did have a river known for being incredibly painful to drink, literally made of fire, but being able to bring the dead back - The Phlegethon River.

Note: Lethe River Water (the river in the Greek Underworld that makes the drinker forget) is a canon ingredient in a Forgetfulness Potion.

So what is the dead body for?

Well, congratulations, you killed yourself to retrieve a sliver of your soul and revived yourself so you won't stay dead. You found an item you can keep secure to tie that sliver of soul, too. Now, how would you bind then? After all, the only thing meant to bind a human soul to a body is a human spirit - a human life... you get where I'm going with this.

This is why Tom didn't have to be the one to do the deed. As long as he had a recently deceased corpse to harvest the life from to use to bind his newly split soul and the item of his choice.

It explains why nothing was missing from the bodies. Myrtle and the Riddles were investigated by the Ministry of Magic. One would assume the aurors would've noticed if any corpse was missing a hand due to the killer eating it (as other Horcrux theories suggest).

Not only was nothing missing from the body, the soul was intact. Myrtle became a ghost after death, a ghost is quite literally, just the soul, no body, no spirit.

So the only thing that was taken from Tom's victims was their life, quite literally at that.

Is that all? Can we make a Horcrux now?

Not really. See, when analyzing spells in Harry Potter is their name.

Avada Kadevra - is a reference to an Aramaic healing spell "Abracadabra" pronounced in Aramaic as: "Avra Kadebra" and meaning "I will create as commanded". Merged with the Latin word "cadaver" meaning "corpse" to create -> "I will create dead bodies as commanded"

Or Wingardium Laviosa - is a cross of the English word "wing", the Latin word "arduus" (meaning "high, tall, lofty, steep, proudly elevated"), or "arduum" (meaning "steep place, the steep" and the Latin word "levo" (meaning to "raise, lift up"). So together the spell means -> "lift high up".

So, it's pretty clear spells, their names and incantations are very self-explanatory. So a Horcrux should be no different.

I've seen some attempts at translating the name Horcrux. Unfortunately, these attempts treated the name as Latin, modern Greek, or Old English. Herpo, was Ancient Greek, though, so I went and translated a few possible meanings from Ancient Greek (Classical Greek and Homeric Greek are what I looked at):

ὅρκος (orkus, pronounced "hor-kus") - an oath, the object by which one swears, bound by oath (still used in modern Greek).

κρόκες (crukes, pronounced "cru-kes") - saffron-colored (blood red in Greek), crocus flower. The crocus flower symbolizes both death (the saffron that is the spice) and rebirth (the golden crocus which brings renewal and joy) because Demeter wears them when Persephone returns from the underworld in myth.

So what we have is a spell called "binding oath of death and rebirth" which all around sounds fitting.

There might also be a "made in blood" tucked at the end due to the association of κρόκες with the color of blood.

But what does it matter?

Well, somewhat. As now with this name, I expect the binding between the spirit from the victim, the split soul, and the item would be done in a sort of oath - an orkus.

The association with blood gives us another hint. Blood is the part of the human body most representative of life. Therefore, in Alchemy, your blood is your spirit. So it'll make sense that your own blood would be used in the binding process or more correctly in the process of turning another person's spirit into your own. Making the thread to bind the body (item) and the soul piece your own. As it also refers to just a red firey color, it can indicate the Phlagatton potion I hypothesize should be part of the ritual due to how Chthonic rituals usually went, as the Phlagaton river is made of fire.

So we have a general idea on how to make a Horcrux. You need an item of your choice to bind your soul to. You need a life (spirit) harvested from a human that you transformed into being your own using your blood. And you need a piece of your own soul, which you get by killing yourself and then reviving yourself. And you finish it off by binding it all together with an oath.

But how could you make one accidentally?

So, everyone knows Voldemort succeeded in somehow making a Horcrux accidentally, something a lot of theories I saw don't account for. Becouse whatever process you need to go to to make a Horcrux, Voldemort went through all of it the night he died the first time and marked Harry.

All the steps for my method of making a Horcrux were met that night.

The item in qustion is baby Harry, nothing interesting there.

The soul sliver was split the way it always is — through death. Voldemort dies, killed by his own killing curse and that is what splits his soul.

The life or spirit that then binds his soul to Harry isn't Lily's spirit or James'; it's his own spirit that acts as a binder between Harry and Voldemort’s split soul. Because the spirit was already his, there was no need to transform it by blood.

Step-by-step guide to making Horcruxes:

I'm not going to actually give the full step-by-step least a budging dark lord is looking for this information. I do have notes about exact incantations and even the full recipe and instructions for the Phlagaton potion I'm going to mention. These instructions won't be here since they are more in the realm of speculation and headcanon. This is just the overview of the ritual based on canon information and the occult philosophy I mentioned above.

Step 1 - Life and Blood

Get access to a recently deceased human and extract their Mercury (Spirit or Life Essence).

Submerge the retrieved life essence with your own blood on a new moon (life and vitality). (7 drops of blood will probably do)

Step 2 - Water of Fire

To complete the cycle of death and rebirth you’ll need the Phlegeton Water potion to return you to life at the end of the cycle.

As you brew the potion, it must be brewed in a dark room, preferably underground to remind as much of the underworld as possible.

While brewing the potion one must be in the mindset of the Phlegeton, must be willing to go through agony to achieve eternal life and imbue these thoughts in their potion. (In alchemy, when working, it is believed you imbue your work with your thoughts during the Alchemical process. As an Alchemical process affects both the material being worked and the Alchemist themselves)

Likley Ingrediants:

Saffron spice

Golden crocus flower juice

Pomegranate juice

Step 3 - The Ritual Preparation

Set up your space so none of the components may escape the ritual space and so the ritual will not be interfered with.

Make sure the spirit you retrieved is within reach.

Make sure the item you desire will hold the Horcrux will be within reach as well.

Coax the spirit into the item and prepare it to tie your soul to the next step.

Step 4 - Death and Rebirth

To create a thread of your soul to tie to the ritual, you must die figuratively. Go through death to return stronger from the underworld.

Once you feel like death has reached you and your soul is separated you should heal your soul and finish the cycle, bringing you out of death and back to life by drinking the Phlegeton potion.

After the pain subsides you will feel healthier than before, stronger than before, and you’ll have an additional thread of sulfur (soul) in your chest to be pulled out and placed into the Horcrux.

The split-off soul should, on its own, try to search for life and a body to be bound to. If it doesn't, coax it out yourself and bind it to the Horcrux with the spirit you made in step 1.

Step 5 - Oath of Life

The connection between the body (the item), soul, and spirit is still unstable, if most likely strong enough to hold.

Swear the oath of life to finalise the bound between you, the Horcrux, and the soul thread together to ward off death.

I'll end with this note I made regarding Horcruxes when I started working on this theory:

I don't know what all goes into the process of making a Horcrux but I don't believe a person who truly likes themselves and doesn't want to inflict pain on themselves could make a Horcrux. Tearing up your soul is an act of arrogance above nature, sure, thinking you deserve to change the laws of the world and be the exception is part of it, but it's also an act of self-hatred. You need to hate yourself enough to be willing to kill yourself, hurt yourself, and tear yourself up in the most unnatural ways — hence why so few can do so, let alone more than once.

And Tom Riddle does seem to have that exact mix of arrogance, spite, and low self-esteem that would allow it.

#harry potter #harry potter thoughts #wizarding world #horcrux #horcruxes #hp headcanon #hollowedheadcanon #lord voldemort #voldemort #tom riddle #tom marvolo riddle #hp magical theory

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proxigean · 1 year ago

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Aion or Αἰών in Greek is one of the lesser known Greek deities. He is the god of perpetual time and cyclic ages (meaning the time is not progressive and linear but rather recurring).

He is also the god of zodiac and his symbol include a hoop, an ouroboros and a wheel. He is mostly portrayed without clothes for whatever the reason.

Due to his niche domain he is often associated with Chronos, titan of linear time, or not mentioned at all.

#greek gods #deities #gods

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criaturassolaress · 2 years ago

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1 Início Primordial

Uno substancial imanente

concepção da unidade absoluta do Divino e de todas as coisas fundidas nesta unidade

«É o Uno que reúne em si a totalidade dos particulares e em si os absorve» (O Belo na Arte, Hegel)

todos os opostos são manifestações da unidade primordial

Aion teleos (αἰών τέλεος "The Broadest Aeon"), Bythos (βυθός, "depth" or "profundity"), Proarkhe ("before the beginning", προαρχή), Arkhe ("the beginning", ἀρχή)

THUNDER PERFECT MIND

«(...) sou o sabor do que é líquido, o odor puro da terra, o fogo das chamas, as naturezas que verdadeiramente existem, aparentes e obscuras.» (citação dentro O Belo na Arte, Hegel)

(...)

you will hardly know who I am or what i mean

but I shall be good health for you nonetheless,

and filter and fiber your blood

(...)

(Song to Myself 52, Walt Whitman)

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noughtlux · 2 years ago

Photo

Nous (2nd version) Digital art 2023 (Lic.: CC BY-NC-ND 3.0)

#dark art #circle #light #sepia #noughtlux #clouds #metaphysics #allegory #αἰών #aion #abstract #inscape #digital art #artists on tumblr #art #CC BY NC ND

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ronk · 2 years ago

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Deep Time

Photo by Sami Anas on Pexels.com The chronology of Earth’s history: not present, opening into past and future, not measured in hours, years, but epochs and aeons, recorded in stone, stalactites, seabed sediments, drifting tectonic plates, and stopped only by our fallen Sun in five billion years. Photo by Lorenzo Castellino on Pexels.com Aion (e-on Greek: Αἰών) is a Hellenistic deity associated…

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#deep time #future #gods #history #natural history #past #time

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reedreadsgreek · 2 years ago

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John 3:13–15

13 καὶ οὐδεὶς ἀναβέβηκεν εἰς τὸν οὐρανὸν εἰ μὴ ὁ ἐκ τοῦ οὐρανοῦ καταβάς, ὁ υἱὸς τοῦ ἀνθρώπου. 14 Καὶ καθὼς Μωϋσῆς ὕψωσεν τὸν ὄφιν ἐν τῇ ἐρήμῳ, οὕτως ὑψωθῆναι δεῖ τὸν υἱὸν τοῦ ἀνθρώπου, 15 ἵνα πᾶς ὁ πιστεύων ἐν αὐτῷ ἔχῃ ζωὴν αἰώνιον.

My translation:

13 And no one has gone up into heaven if not the one having come down out of heaven, the Son of Man. 14 And just as Moses raised the snake in the desert, thusly to be raised is necessary for the Son of Man, 15 in order that each one believing in him might have life of the next age.

Notes:

3:13

καὶ introduces a new argument (“What is more”, McHugh), omitted in most translations.

οὐδεὶς is substantival and the subject of the perfect ἀναβέβηκεν (from ἀναβαίνω), which is modified by the spatial prepositional phrase εἰς τὸν οὐρανὸν. The phrase is an allusion to Deuteronomy 30:12 (LXX: Τίς ἀναβήσεται ἡμῖν εἰς τὸν οὐρανὸν καὶ λήμψεται αὐτὴν ἡμῖν “Who will ascend for us into heaven and bring it [this commandment] to us?”).

εἰ μὴ is, “except”. The phrase introduced by εἰ μὴ modifies οὐδεὶς above. The articular aorist participle ὁ ... καταβάς (from καταβαίνω) is substantival and the subject of an implied ἀναβέβηκεν. The participle is modified by the spatial prepositional phrase ἐκ τοῦ οὐρανοῦ. ὁ υἱὸς τοῦ ἀνθρώπου stands in apposition to ὁ ... καταβάς. For ὁ υἱὸς τοῦ ἀνθρώπου, see note on 1:51. Jesus’s point seems to be, “No one has ever gone up into heaven [to learn divine truth], but the Son of Man has come down from heaven [with it]”.

At this point several ancient manuscripts include the phrases ὁ ὢν ἐν τῷ οὐρανῷ or ὁ ὢν ἐκ τοῦ οὐρανοῦ, which would be attributive or appositional with ὁ υἱὸς. ‘If the clause were part of the original text, it is not easy to account for its omission’ (ICC).

3:14

The καθὼς ... οὕτως construction compares Jesus with the serpent of Numbers 21.

ὑψόω (20x) is, “I lift up, raise high” (BDAG), from τό ὕψος (6x) “height” (cf. ὑψηλός, 12x, “high”).

ὁ ὄφις (14x) is, “snake, serpent”. Μωϋσῆς is the subject of the aorist ὕψωσεν and τὸν ὄφιν the direct object. The verb is modified by the locative prepositional phrase ἐν τῇ ἐρήμῳ.

The aorist passive infinitive ὑψωθῆναι (from ὑψόω; see above) is the subject of the impersonal verb δεῖ (lit. “for the Son of Man to be lifted up ... is necessary”). τὸν υἱὸν τοῦ ἀνθρώπου is the accusative subject of the infinitive. ὑψόω can be literal & spatial, or figurative (i.e. “exalt”). As ICC notes, the latter sense is used elsewhere in the NT (and specifically of Jesus in Acts 2:33, 5:31), but only the literal sense in John, and thus here refers not to the exaltation and ascension of Jesus but his physical placement up on the cross (cf. 8:28). It is possible, however, that John intends a double meaning here, as appears to be his style.

3:15

ἵνα + subjunctive indicates purpose.

πᾶς is attributive with the substantival present participle ὁ πιστεύων (from πιστεύω). The prepositional phrase ἐν αὐτῷ could modify πιστεύω, indicating the object of faith, equivalent to εἰς αὐτὸν (so most translations), although this would be the only instance of πιστεύω ἐν + dative in Johannine literature. However, since John elsewhere uses εἰς with πιστεύω, it may be better to take ἐν αὐτῷ with ἔχω (“may have eternal life in him”, McHugh; so NIV). Some manuscripts read εἰς αὐτόν, likely a scribal ‘correction’ to the usual Johannine construction. ὁ πιστεύων is the subject of the present subjunctive ἔχῃ (from ἔχω) and ζωὴν αἰώνιον the direct object. αἰώνιον is attributive. This is the first of 17 instances of the phrase ζωὴ αἰώνιός in John. αἰώνιος is an adjective from ὁ αἰών “age”, and thus literally means, “of the age”, that is, by implication, the next/coming age. That age is neverending, hence the sense here, “eternal”. But ‘the stress is not so much upon the duration of the life, as upon its quality’ (ICC). The present-tense of the verb is progressive. McHugh says that ἔχω in the present subjunctive indicates ‘to hold on to that which one already has’, i.e., “not lose” or “retain”; however, that nuance cannot be held for other instances of ἔχω in the present subjunctive in John (e.g., 8:6), and so should not be overly stressed here.

NIV, NET end Jesus’s quotation here, leaving verses 16 through 21 to be the evangelist’s commentary; NRSV, NASB, HCSB include those verses as part of Jesus’s speech.

#John #John 3 #the Son of Man #heaven #Moses #belief #faith

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