A Shrine to Lord Saturn

This year, both I and my husband turn 28.  It helps that we’re only born, like, six weeks apart, so our natal charts aren’t too dramatically different from each other’s, at least for the slower-moving planets out there.  This is especially the case for Saturn, which we both have in Sagittarius and dignified by both face and term.  It’s a weird place for Saturn to be, but it’s not a terrible spot for either of us.  This is a good thing, as we’re ramping up to face our first Saturn return together at pretty much the same time, which is awesome and awful.

What is a Saturn return?  Roughly every 30 years (29 years, 5 months, 15 days to be exact), Saturn returns to the same place it was when you were born.  As Saturn gets closer and closer to this position, people start feeling these effects a little early, some as early as 27.  The effects tend to drop off soon after the return is made exact, so the range for feeling the effects of this first Saturn return transit usually goes roughly from when you’re 28 to 31, or three years.  The second time happens from ages 56 through 59, and the third from 84 through 87.  Some very few people ever get to experience a fourth Saturn return, but that’s neither here nor there.  Unlike other planetary returns, Saturn returns are most notable as being fundamental shifts from one stage to another in a person’s life: the first Saturn return marks either the midlife crisis or one’s final ascension into adulthood, the second return one’s passage into senescence, and the third return one’s preparation for death.  In general, how one adapts and responds to one’s return lays out how well or poorly one’s life will go through the next return.

So what is it like during a Saturn return?  Essentially, Saturn becomes the dominant theme of your life, and its energy and power suffuses every day of the transit.  Think: Saturn is the planet of final cosmic justice, restriction, obligation, limitation, scarcity, famine, depression, poverty, disease, and darkness.  By the same token, however, think about the idea of the thick cell wall of prisons or monasteries: sure, they keep one isolated and trapped, but by the same token, they also keep one safe and sound from anything going on outside.  Saturn shows us our limits, where those limits are to be obeyed without question, and where those limits can be pushed back or knocked down.  Saturn is a planet of atrophy, but it is also one of soundness; one might be thinner, but one becomes stronger in the process.  Saturn returns force us to confront ourselves and our own blown-up ideas of ourselves, and deflates us down to a shriveled, wrinkled mess.  In the process of everything we think we are and everything we think we need being taken away from us, however, we find out what it is we’re truly made of and what we truly need to survive on.  Once we know the bare minimum of what we can do and what we can survive on, we can build ourselves up once more in a proper way to truly come into our own.  Saturn return is a time of refinement through intense trial that we cannot escape or delay.  Jobs we think we love get taken away from us, lovers we think we can’t live without leave us, homes we think we will own for the rest of our days get burned down or sold from under our feet.  If you’ve ever asked for “take away everything that hinders me and holds me back”, Saturn return does this in fucking spades.  No need to do a cut-and-clean spell if you don’t want to; if you just wait long enough, the cosmic clockwork of the solar system will make it clear that it’ll happen one way or another.  Saturn is the cosmic judge who takes stock of everything you are and everything you do, and when Saturn comes home, he is going to clean house.

So, faced with this insurmountable trial of fate and gravity, how do I plan on surviving these next few years?  Most people become assholes and fight against it, or depressed and mope about it lamenting their inevitable fate that happens to each and every one of us.  Those are awful ways, and not what I consider to be the easy and proper way: by welcoming it, embracing it, and giving respect and honor where they’re due by setting up a shrine to regularly confront and propitiate the forces, energies, entities, and god of Saturn.  By working with the forces of Saturn, we can better integrate them into our lives, accepting the trials that come to us easier and forewarned that they will happen, acknowledging our pain and actively reaching for our own refinement, treating this as a time of tough cosmic love rather than cruel hellish fate.

With that in mind, let’s do a brief bit of some Liber 777-type research on Saturn.  For the sake of expanding our symbol set and connecting the dots together, what’re some of the attributes we can find about this planet in the Western magical literature?

  • Names in classical languages:
    • Latin: SATVRNVS
    • Greek: Κρονος (Kronos, the god/spirit of the planet), Φαινων (Phainōn, the titan/body of the planet)
    • Hebrew: שבתאי (Shabbathai)
    • Arabic: زُحَل (Zuḥal)
    • Persian: کیوان (Keyvan)
    • Sanskrit: शनि (Śani)
    • Egyptian: herukapet (Ḥeru-ka-pet, also known as Horus the Bull)
    • Sumerian: cuneiform |TUR.DIŠ| (Genna)
    • Babylonian: (Kayyamaanu, written as UDU.IDIM.SAG.UŠ or as above in Sumerian)
    • Chinese: 土星 (Mandarin Tǔxīng, Cantonese tou2 sing1, Middle Chinese /tʰuoseŋ/, Japanese dosei, Korean toseong)
  • Spirits and entities associated with it:
    • Angelic governor: צפקיאל (Tzaphqiel), often rendered into Latin as variants on the name Cassiel
    • Picatrix angel: Isbil (Arabic original), Heylil (Latin translation)
    • Olympic spirit: Aratron
    • Planetary intelligence: אגיאל (Agiel)
    • Planetary spirit: זאזל (Zazel)
    • Choirs:
      • Agrippa: אראלים (Aralim)
      • Pseudo-Dionysus: Thrones
    • Zodiacal angels:
      • הנאל (Hanael, angel of Capricorn)
      • כאמביאל (Cambiel, angel of Aquarius)
    • King of the Jinn:
      • Name: ميمون (Maymon, the Auspicious One)
      • Nickname: ابا نوخ (Abba Nuh̬, the Father of Rest)
    • Heptameron Spirits:
      • Angel: Cassiel
      • Angel of the Air: Maymon Rex
      • Ministers: Abumalith, Assaibi, Balidet
      • Wind: Africus (southwest)
    • Lemegeton Goetic Rank: Knight (only one spirit of this rank, Furcas)
    • Deities associated with Saturn:
      • Sumerian: Ninurta, Ninmah
      • Babylonian: Adar, Nintu, Tiamat
      • Persian: Zurvan
      • Phoenician: Asherah
      • Egyptian: Sobek
      • Gnostic: Yaldabaoth
      • Greek: Kronos
      • Roman: Saturnus, Lua
      • Etruscan: Vetis, Veiovis
      • Hindu: Śaniścara
  • Qabbalistic correspondences:
    • Numbers: 3, 15, 45
    • Shape: Triangle
    • Sephirah: Binah
    • Sephirothic colors: Crimson, black, dark brown, grey flecked pink
    • Path: #32 (the World, connecting Yesod-Malkuth or Moon-Earth)
    • Path colors: Indigo, black, blue-black, black rayed blue
    • Godname: יהוה אלוהים (YHVH Elohim)
    • Hebrew letter: ת (Tav, 400)
    • Greek letter: Ω (Ōmega, 800)
    • Weekday: Saturday
    • Zodiac signs:
      • Domiciles: Capricorn, Aquarius
      • Exaltation: Libra
    • Geomantic figures: Carcer, Tristitia, Cauda Draconis
  • Religious concepts:
    • Deadly Sin: avarice/greed
    • Heavenly Virtue: generosity
    • Hermetic Virtue: silence
    • Hermetic Vision: The Vision of Sorrow
    • Apostles: Simon the Zealot (Capricorn), Jude (Aquarius)
    • Prophets: Enoch, Samuel, Nahum (Capricorn), Habakkuk (Aquarius)
    • Judges: Elon (Capricorn), Abdon (Aquarius)
    • Theological Figure: The Virgin Mary and Mary Magdalene
    • Weekday archangel: Selaphiel or Sealtiel, the angel of prayer to God and who presides over the priesthood
    • Psalms for Pentacles (KJV): 72:8-9, 109:18, 18:7
  • Materials and substances:
    • Metals: lead, black iron, pyrite
    • Stones: onyx, sapphire, brown jasper, chalcedony, lodestone, sulphur, antimony, jet, turquoise, magnesium, all dark and weighty and earthy minerals
    • Plants: white daffodil, asphodel, dragonwort, rue, cumin, hellebore, benzoin, mandrake, cyprus, opium, pine, cypress, black fig, hemlock, yew, myrrh, sesame, aconite, cactus, cocoa, datura, spurge, fennel, male fern, lichen, mos, lungwort, soapwort, weeping willow, tobacco, pomegranate, ivy, orchis root, thistle, coconut, ramthorn, spikenard, galbanum, asafoetida, euphorbium, colophony, stammonia, rhubarb,
    • Animals: ape, cat, hog, mule, camel, bear, mole, donkey, wolf, hare, mole, dragon, basilisk, toad, serpents, scorpions, ants, mice, vermin, cranes, ostriches, peacocks, screech-owl, horned owl, bat, lapwing, crow, quail, eel, lamprey, dog-fish, tortoise, oysters, cockles, sea sponges, cuttlefish
    • Parts of the body: skin, bones, spleen, knees, lower legs, right foot, right ear, right eye, left hand, excretory system, mouth, intestines, bladder, genitals
    • Other organic substances: soma, civet, musk

And, to top it off, a gallery of various Saturn-related seals, sigils, symbols, and signs from all the stuff collected across my blog:

With that said, I now present to you how we combined so much of all of the above into our household’s Shrine to Lord Saturn.

Shrine to Lord Saturn

The primary color of the shrine is black (the primary/Queen color of the planet) accented by crimson (the secondary/King color), accented by a pale Solar gold.  Within the shrine is a particularly pretty (to my mind) metallic print of Saturn eclipsing and illuminated by the Sun.  Surrounded by a the fabric canopy and lengths of chain is a custom talismanic art I made that concentrates the images and seals of Saturn together in a coherent way.  This artwork combines, again, all of the symbols, seals, sigils, numbers, names, spirits, intelligences, angels, and characters of Saturn together, with very subtle nods to the zodiac signs Capricorn and Aquarius (the domiciles of Saturn), Libra (its exaltation), and Sagittarius (where my and my husband’s natal Saturns are) and Aries (our housemate’s natal Saturn).  Additionally, there are three written statements on there: the Sanskrit mantra to Lord Shani, a Greek invocation to Phainōn and Kronos, and a Latin invocation to Saturnus:

  • Sanskrit: ॐ शं शनैश्चराय नमः (Om Śaṃ Śanaiścaraya Namah, “Hail to the great name of Shani”)
  • Greek: ΙΩ ΦΑΙΝΩΝ ΙΩ ΚΡΟΝΕ ΙΩ (“Hail, Phainon! Hail, Kronos! Hail!”)
  • Latin: IAVE SATVRNE MAXIME NITIDE SEVERE IA (“Hail, great, bright, grave Saturn, hail!”)

I had originally planned to do this in stark black and white, but I opted instead to use a blend of silver, gold, white, and a few basic colors to suit the characters or needs.  All told, this painting forms a sort of all-around “map” to the powers and resonances of Saturn.

Talismanic Saturn Painting

The focal point of the shrine table is the oil lamp in the middle.  In Indian astrology, devotees of Lord Shani burn sesame oil in honor of the god, so I figured I can incorporate the same.  I got a traditional ceramic oil lamp glazed in dark brown and dark blue, both colors associated with Saturn, and filled it with cooking-grade sesame oil mixed with three drops of myrrh essential oil.  Here I’m using a simple cotton thread wick, but normally I’d use a linen strip or a cotton ball, rolled out flat, pressed into a thicker cloth-like sheet, written upon with sacred symbols of Saturn in consecrated ink, and twisted back lengthwise into a wick.  I placed the lamp on a wooden placard I made that has the symbol of Saturn in the middle of a large hexagram, surrounded by the symbols of the other six planets in each of the triangular wings of the hexagram.  Around the symbol of Saturn in its central hexagon, and on the outside of each of the triangles, I inscribed the characters of the seven planets from Agrippa (book I, chapter 33) and wrote around the whole thing the name Κρονος in Greek.  Each of the planetary symbols are colored in the usual planetary color, as are their characters.  The word Κρονος, the symbol and characters of Saturn are all filled in silver, while the surrounding circle and the hexagram itself are all filled in gold.  Everywhere else on the placard is covered in black.  I also added on the name of God “Elohim” written in ancient Phoenician script around the edge, split into six characters and colored for the six non-Saturn planets.  On the underside is the name IHVH, again written in Phoenician and colored in gold, around the edge, surrounding a 3 × 3 grid.  I originally was going to have the nine numbers of Saturn etched in here, but my woodburner failed me for good; what I plan to do is draw in a word-sigil on the qamea of Saturn to tune our rituals to a specific need, such as “stability” in times of chaos or “wisdom” when preparing for a ritual.

The reason why I made this planetarily all-inclusive placard, instead of one that just focused on Saturn, is that this would be used for a household shrine for both my use and that of my husband and our housemate.  While I’ve done the Work necessary to simply launch deeply into a planetary energy and come out unscathed, my husband and our housemate haven’t, and even though respecting and honoring Saturn would be good for all of us, there is a notable risk for them to be overloaded by Saturnine energies that could easily overwhelm and devour them.  To that end, I decided to balance out the light of Saturn that we would shine in our house by making a kind of planet-specific Table of Practice that would act to balance out and harmonize all the planets, focusing and building up to Saturn.  Thus, we first light six small candles, one on each of the triangles around the placard, and briefly invoke each planet before lighting the oil lamp for Saturn in the middle, which precedes the rest of our usual offering.

In addition to the crafts above, I also have a three-footed iron censer for burning incense, usually myrrh, placed atop an old Saturn magic square I made, woodburned and painted in gold and black, to the right of the lamp.  I’ve also incorporated and enshrined, in an unseen way not visible from the pictures above, the powerful Saturn talisman I made back in 2011 (almost five years ago to the day, holy crap!).  All this combined, we have a simple yet elegant Saturn shrine that, from the get-go, already brims with dark stellar power.  Over time, we will probably add more talismans, charms, statues, or pieces of Saturnine art, but this is good for now.

We present small glasses of offerings to Saturn: one of pure water, and three small bowls of a dry offering mix made from rock salt, black rice, black gram, and black mustard seeds.  We place these to the left of the oil lamp placard, while we burn incense in the censer.  We then take some time to recite the Orphic Hymn to Saturn (hymn #12), or, if we’re feeling more adventurous, the Picatrix Invocation to Saturn (book III chapter 7, one version as used here for my Saturn talisman consecration).  Alternatively, we might use the Heptameron Conjuration for Saturday or the equivalent from the Munich Manual (see this page) for a more directed purpose rather than a general laudation of Saturn, or we might just be cool and intone the vowel ōmega and offer a more personal prayer to Saturn.  We do this all every Saturday during one of the daytime hours of Saturn, if possible, usually the midday hour, as that’s the time we’re all most likely to do this together.  Barring that, due to scheduling or whatnot, we might do our own thing with a smaller offering.  We let the candles burn out on their own, and we let the oil lamp burning for at least as long or until it starts to sputter.  We let our offerings sit for a whole week, and then clean off the shrine before we make offerings the next Saturday.  We each clean off with our bowl of dry offerings, pour it into the water, and dump the whole thing out into the road.

Besides all these offerings we plan to make weekly and regularly, there’s so much else we can do to honor Saturn in our lives.  Saturn rules over all disabled people, especially those who are crippled, diseased, or handicapped in some way, as well as vagrants, the homeless, and in low social stations and in menial jobs.  Working for their sake, paying them respect, and making donations (especially in groups of three or in amounts of multiples of three) is a good way to get on Saturn’s good side, as well as making fasts in his honor.  It goes without saying that respecting Saturn in our daily lives is also of paramount importance, including not saying disrespectful or joking things about the god.  We still plan to be realistic about his awful, detrimental effects, but we’re not going to blow them out of proportion; Saturn is, after all, the planet of perspective.  Saturn, given the day of Saturday, is also associated with Shabbat and the Jews; observing a set of shabbat-like restrictions regularly is also a way to show one’s devotion to the planet and its spirits.

I’m honestly pleased I was able to set this shrine up, and I’m very happy with how it all turned out.  At the first invocation, I felt that usual Saturnine heaviness seeping into my bones, like wearing multiple heavy Siberian winter coats without the heat, but this time it lingered on the back of my neck and around my ears.  It’s good to finally give Saturn the respect he deserves and has deserved in my life; truly, Saturn now lives in our home, though I specified that this shrine would be set up for three years, with only the possibility of it remaining up longer.  We’ve enshrined Saturn to help facilitate the integration of his energies into our lives during our Saturn return periods, so that Saturn helps us and does not hurt us, so that Saturn gives us succor and not suffering.  He’s still a heavy, grave, serious planet and a malefic no matter what, but he is just as able to give blessing as much as he can dole out curses.  Here’s to hoping we only see his good side, with his bad eye turned and kept turned far away from us.

Do you worship or have a devotional arrangement with Saturn, in any of his incarnations among the world’s religions?  How do you pay your respects to the planet or the spirits associated with it?

On Geomantic Education

To those who follow me on Twitter and Facebook, this will come as no surprise.  I’m finally working on my book on geomancy again.  It’s something that people have been dogging me about for years, and it’s been an on-again-off-again project since 2013.  However, since recently rebuilding my computer and getting all my files back together, I got the bug again to write that book, and good progress is being made again.  At this rate, it’ll be the size of a proper textbook, and my aim is to make it thorough and complete on a level not rivaled since Fludd or az-Zanati.  I’m not going to discount the extremely valuable books put out by John Michael Greer or Stephen Skinner, as I stand on the shoulders of those two living giants with regards to this art, but I aim to put out a text of a different kind.

And yet, despite that this book is (currently) estimated to come out at around 300pp., I can already hear a complaint off in the distance.  My goal is for this book to present a fundamental and thorough exploration of the art of geomancy in such a way that it will start from first principles (what is divination, what are the elements and planets and stars, what are the relationships between these forces and the figures, what are the relationships amongst the figures, how is geomantic “mathematical”, etc.) and go through every major technique I can document in Western geomancy, including variations and specifics of detailed things along the way.  In this sense, I’m following in the same steps as the geomantic authors of yore.  However, there is one major thing that my book does not and will not have that virtually every other book on geomancy has, and while it may frustrate people used to it, I find that it’s something that should never have been written by anyone ever to begin with.

If you haven’t guessed yet, dear reader, it’s lookup tables, those lists of premade answers to particular arrangements of Court figures, figures in the houses, and the like.  It’s these lookup tables (cf. Hartmann, Skinner’s “Oracle of Geomancy”, the Golden Dawn primer on geomancy, etc.) that I believe are a bane to the proper study of geomancy, and I refuse to include them in my work.

Now, I understand why they were written.  For the sake of completion, many authors have endeavored to provide a clear explanation and guide to interpreting each figure in each of the houses; since there are only 16 figures and 12 houses, this is only about 192 small entries.  After all, astrologers have done the same for the planets and parts in the houses for centuries, and they have a lot more to worry about in their texts.  And, for the sake of being reeeaaallly complete, many authors have also included premade interpretations for the different possible combinations of Witnesses and Judge; after all, if the Judge must be an even figure, then that cuts down all pairwise combinations of Witnesses to just 128 different combinations.  Again, not terrible.  For completeness’ sake, and to offer an illustrative guide to the gist of what figures mean for a query, sure, I can see why this was done.

The problem, however, is that many people are not as dedicated to the art when they claim to be its students, and would rather be lazy.  Mass-market publishers, additionally, want things that sell, and will happily cater to the many who would spend a few pence on a text that appeals to them rather than the extraordinary few who would spend more on a text that they need.  I mean, consider how much trash there is out there with the neopagan or pop magic literature; sure, it sells well, and it may very well be a good starting point for those who are serious about their studies.  Hell, even I admit to having a few of Scott Cunningham’s fluffier books somewhere in my library, and it did help me get started back in middle school with learning what magic is and how it works.  That said, if I were to stop there, I’d be putting myself at a great disservice and would never have gotten to where I am today; moreover, if I thought that Cunningham’s style of pop magic spells done on a beach or in the snow was all there was to magic, I’d insult all the magicians and occultists who came before him, not to say the field of magic as a whole.

The problem is that, as time went on in the Renaissance and more and more books were published on geomancy, all they really focused on was the lookup tables.  The techniques were discussed only inasmuch as they enabled you to use the lookup tables; for this, see Franz Hartmann’s book on geomancy as a prime example.  Geomancy became whittled down from this elaborate, profound system of divination that could elegantly answer any subject with extraordinary detail into this…well, the phrase “parlor game” comes to mind, something like Chi-Chi sticks or those little folded paper fortune-teller doodads we all used to make in elementary school.  Even though geomancy was more popular in Europe than Tarot is now, imagine if Tarot were reduced only to using its numbers and suits; it’s effectively playing cards, ignoring different spreads and the qabbalistic symbolism inherent in the art and structure of the Tarot.  That’s what basically became of geomancy towards the end of the Renaissance, and was one of the main contributors to geomancy effectively being lost once the Enlightenment and Industrial Revolution came around.  No, geomancy was not completely forgotten, but it was all but regarded as useless and overly complicated for an answer that usually amounted to little more than “evil, except for bloodletting”.

So much for how the publishing and spread of lookup tables influenced the general perception of geomancy.  However, there’s another part of the problem with relying on these: lookup tables are inherently limited.  Sure, the small number of combinations of figures in houses or Witnesses and Judge is sufficiently limited to offer a good high-level summary in a single text; it’s not the fact that there are only so many combinations in geomancy, but it’s that these summaries cannot be helpful in all circumstances and for all queries.  These interpretations are very general, but also very isolated from other factors in a geomantic chart.  Yes, Fortuna Maior in house IV is a good thing for one’s personal life, but what if we’re asking a query about having an ex-lover move out of our house, and this figure is aspected by opposition, and it’s in company with a negative figure, and the querent has indicated that health issues may be at play?  Fortuna Maior, although a good figure, is sufficiently negated that it becomes stressful and harmful to the querent.  Yet, what can a lookup table say?  Not much, except that the querent will do well and strong in their personal life and home.  That’s all well and good, but the geomancer still has to link that to every other factor present to actually give a useful answer.  Without indicating how, books that stress the importance of lookup tables without teaching how to synthesize these factors gimp the geomancer.

Lookup tables, in effect, cheapen the art of geomancy; it reduces a synthetic, holistic, detailed divination system to a copy-and-paste, abbreviated, vague system of terse and snippy answers.  Because of this, geomancers who rely primarily on lookup tables aren’t really learning how to actually use geomancy beyond following page numbers like a “choose your path” story book.

That’s why my book will not have these lookup tables.  Tables of correspondence that indicate what figures mean in specific contexts?  Absolutely! Detailed interpretations of each figure as they are and how they relate to other figures to explore their own worlds?  You got ’em!  Case studies of geomantic readings that explore each individual factor and technique used for a particular chart, then synthesized together to form a coherent, cohesive narrative?  But of course!  These are all parts of understanding the principles of geomancy from a ground-up approach, so that lookup tables become useless anyway.  By enabling the geomancer to develop their own interpretations through a deep knowledge of each figure, understanding how the figures interact with each other ideally and in particular charts, and giving them the tools to synthesize different parts of a reading, the geomancer will never need to use lookup tables for answers on “will he obtain his love” or “how will the undertaking end”; at a glance, the geomancer will be able to answer these on their own anyway based on their own skill and intuition.

So, if the fact that my book is gonna be around 300 pages and remind you of college, dear reader, don’t worry.  This is not a book to flip through because you want to be lazy.  This is a book to absorb thoroughly because you want to be excellent.

Current Status

So, I haven’t made a post in a while.  I apologize, guys, even though I’m not usually one to do so; this is my blog, after all, and I post when and how I feel like it.

No, I haven’t abandoned you, or my Work, or my spirits.  However, I’ve got a lot going on in my life and certain threads are being weaved in unexpected directions; I had my own designs for the warp and weft of this year, but clearly it’s not turning out the way I expected it to.  It’ll still be beautiful and awesome, though, trust me.  However, in the meantime, my plate is rather full and I’m having to shift my efforts away from the usual and expected to other things.  I may be able to make a post here and there, but don’t expect much and you won’t be disappointed.  Taking on crafting commissions for the foreseeable future is right out; regrettably, I’m unable to take on crafting commissions (including designing) from anyone at least through this summer.  I’m still available for divination readings and consultation sessions, either through Skype or through Etsy, although I’m declining to perform ritual work for others like I am for crafting.

Here’s hoping it’ll be a great 2016 for all of us, both according to our plans and those of the gods who look upon us!

On Simplicity in Constructed Speech and the Occult

I’ve been interested in linguistics since at least middle school, when I took my first foreign language class.  It was a semester-long course in Japanese in my sixth grade, but unfortunately, the teacher had to leave back for Japan one or two months before the semester was actually over.  To fill out the rest of the semester, the school had another teacher come in and teach us the basics of Latin, for some reason.  For me, it was an awesome twofer!  That one semester started off a lifelong interest in languages, much to the chagrin of my mother, who wanted me to stick with Spanish or French because there’d be more money in that.  (I still do need to learn Spanish, of course, but for entirely different reasons than either of us would expect.)

However, my interest in linguistics didn’t just stop at learning languages and the methods of communication involving grammar and syntax.  I experimented with making a number of experimental constructed languages, also known as “conlangs”, and developed a number of writing systems for each of them.  Some of those writing systems eventually became used as ciphers for English, and one of those I developed back in high school eventually became my personal cursive/shorthand script which I still use to this day.  Creating languages and writing systems for a variety of ends has always been a hobby of mine, and it’s one that’s shared across many people of different streaks and creeds.

Chances are, dear reader, that you’ve encountered at least one conlang in your time.  Klingon as spoken in the Star Trek fandom; Orwell’s Newspeak from 1984; the elvish languages of Quenya or Sindarin, the Black Speech of Mordor, and the dwarvish language of Khuzdul created by Tolkein in his Middle Earth; the script of the Atlanteans from the Disney movie of the same name; the list goes on.  Plus, not all conlangs are meant as artistic projects for fantasy worlds.  There are a number of constructed languages, such as Esperanto and Lojban, which are intended as actual languages to be used by people on a day-to-day basis, often to encourage lofty goals of world peace or better and more logical cognition.  The conlang community has done some pretty interesting experiments when it comes to linguistics, and it’s always held an appeal for me and several of my good friends.

And yes, dear reader, there are conlangs in the occult world, as well.  The number of mystical or magical writing systems is just the start of it.  There’s the obvious Enochian of John Dee, which should be apparent to pretty much everyone, but there’re other constructed languages lesser-known across occulture.

One conlang is one I’ve known of for years and years now: toki pona.  As far as conlangs go, this is a special one marked for its simplicity.  Unlike other languages both natural and constructed, toki pona has only 120 words (when I first learned it, it only had 118).  A single word can have dozens of meanings, all semantically related depending on how it’s used.  For instance, consider the word “moku”.  This word refers to something related to consumption or digestion: to eat , to drink, to swallow, to ingest, to consume, to digest, food, meal, snack, something edible, etc.  In a sense, each word is a semantic category clarified by its use in a sentence, and not a single meaning.  The grammar is likewise very simple with only a handful of possible constructions (though, of course, with endless variations).

Why such a simple language?  The creator of the language, Sonja Lang, designed the language to be an experiment in testing the Sapir-Whorf hypothesis, which can best be summed up as “the limits of my language are the limits of my world”.  Although strong forms of this hypothesis are generally believed now to be false, it’s still being researched to see how much language influences the way we behave and the way we think.  Lang (or, as known in the toki pona community, jan Sonja or “Sonja-person”) designed the language to be as simple as possible, even combining the semantic meanings of “good” and “simple” into the same word, so as to encourage a mindset and worldview focused on simplicity and dressing things down to a basic, simple means of existence.  The canonical example of this is that there is no word for “friend” in toki pona, but the way one communicates this is with the construction “jan pona”, literally “good person”.  A person who is good, especially to you, is known as a friend.  Thus, some constructions become illogical; a “bad friend” would be “jan poka ike”, literally “bad good person”, but a thing can’t really be good and bad at the same time.  Thus, if a person is bad to you, they probably shouldn’t be your friend.

One of the side effects of having such a linguistic structure is that toki pona is heavily dependent on context.  While you can take a paragraph of English text from any particular source, you can be fairly certain in a short time of what that paragraph is talking about and what kind of text it came from, be it chemistry, physics, literature, law codes, instruction manuals, comic books, or so forth.  Because of the generalized nature of toki pona, it’d be much more difficult to do the same, since unspoken (or previously-spoken) context plays such a huge role in toki pona.  Thus, toki pona utterly lacks finesse and nuance in words, and relies completely on context and (sometimes) lengthy constructions in order to describe something completely.  Then again, to describe something completely kinda defeats the purpose of toki pona.  The purpose is to communicate simply and to think simply; this is to speak well, literally “toki pona”.  To introduce more complexity than absolutely needed is unhelpful and makes what would normally be clear absolutely unclear, which is speaking poorly, literally “toki ike”.

Let’s bring this back to my life as a magician, shall we?  Why would a Hermetic magician, immersed in a cosmos full of complexity and correspondences and nuance and detail, at all be curious or appreciative of such a simplistic, simple language?  What good would a language that doesn’t even have a good means of describing numbers above 5 (and was never originally designed to have a words for numbers beyond “one”, “two”, “none”, and “many”) serve a person whose fundamental influences include the great mathematician-philosophers of the Mediterranean?  With an utterly small phonemic gallery of sounds somewhere between that of Japanese and Pirahã, how can I be served by such a language when my own Work requires subtle and exact descriptions of barbarous words of the gods?

It’s simple.  Complexity and nuance often doesn’t serve us all the time, and it helps to see things in a simple way.  toki pona helps to see the forest for the trees and not be overwhelmed by the individual leaves, especially if you’re nowhere close enough to actually enter the forest.  It’s a common-enough problem in occulture that we end up theorizing and extrapolating everything to an ungainly degree, insisting on artificial divisions of particular subsets of styles of magic, based partially on Aristotelian impulses for binning things and partially on the influence of fantasy divisions of magic into the occult.  However, if we end up theorizing and complicating things to the point where we can’t actually do the Work, then we’ve fucked ourselves over and paralyzed ourselves from getting anywhere.  For all the education, training, research, and meditation that goes into a ritual, the rite itself is the simple execution of a series of actions that may or may not have a particular result.  It’s the things we feel, the things we see, the things we experience in its most basic, vulgar form that direct, inform, and destroy our theoretical models.  After testing, the models should always be adapted to fit the data, as the data can only be interpreted in but so many ways to yield but so many models.

toki pona is a philosophical language, but it’s not philosophical in the sense of the great φιλοσοφοι or the rabbis of old.  Those who speak toki pona aren’t much interested in drawing the finest distinctions between abstract concepts, the division of a speck of dust’s width between two things.  We explain what happened in the simplest, barest of terms available to us to get rid of confusion and complexity and just come out with it.  To abstract away, justify, or obfuscate is really the same sort of action, much as how exaggeration and extreme modesty are two sides of the same coin of lying.

So, how would I be using toki pona as an occultist?  I mean, to those who’ve been reading my blog for a bit, I’ve already talked about this all before.  (I actually only remembered that I wrote a post just like the present one over two years ago on the same topic with many of the same points.  Herp derp.)  After giving it some thought, and after having gone through a few more experiences in the time since the prior post, I think my original idea from two years ago is still good: using toki pona for “the description of a desired state or outcome”, how things should be at their core.  I can talk about the planetary influences of the choirs of angels all day long and how they impact the sensations of my individual fingertips at different times of the day until the celestial cows come home, but it doesn’t change the fact that all I’m doing is emitting air and sound, especially when the topic is so theoretical and strained that it’s hard to make sense even in a well-described language like English or Greek.

I find that, as I get older and a bit more experienced (however little experience a few years can make), I get less and less interested in theory.  Sure, I will always keep researching and understanding different models of reality, and I’ll keep learning correspondences and the theory behind magic, but as I keep coming in contact with it, it gets dry and boring without the moist nourishment of action to apply it all.  Besides, it’s only in the application and results of this stuff that I get to see what theory is valuable and what isn’t; by testing these theories, not all of which should have been preserved from the ancients, I get to separate the wheat from the chaff and throw out the useless junk from the useful gems.  Invariably, as I understand the theories better, my rituals get simpler and more powerful, but only because of the work that’s already gone into them.  And, should I deign to go full-steam-ahead with the complexity and decoration and embellishment of a full Solomonic shebang, it’ll be even more powerful, but the need for that is limited at best and nonexistent at worst.

Simplicity works.  That said, simplicity is the highest form of elegance, and it’s working toward that elegance that takes much time and effort.  It’s a poor choice to separate out things at the start, when it should be by proof of demonstration that we come to know what’s necessary and what’s unnecessary, what’s able to be separated out and what’s able to be coupled together, what can be kept and what can be forgotten.  toki pona helps with that in a few ways.  I don’t expect to rewrite Agrippa’s Three Books in toki pona, but it will help in affording me another internal viewpoint to understand some of the things I do.