Notes on the Heart Sutra

Slightly different track for today’s post.  A handful of people know that I have a deep respect and appreciation for Buddhism, especially the Thai Forest and Japanese forms of the religion/philosophy.  It was one of the first alternative religious traditions I was ever exposed to, and something I’ve taken more than a passing fancy in studying on my own; had I more time and energy and resources, I’d dedicate myself a lot more to it seriously than I can, but alas, my path is slightly different and does not (yet) allow for it.  Still, it’s always got a high place in my heart, and recently I’ve been dwelling on one of my favorite texts in the entire Buddhist canon: the Heart Sutra.  It’s a deep abiding not-quite-joy to recite and to meditate on, and given its popularity, I figure I may as well recognize it here.  Sure, it’s a slight departure from the usual Hermetic stuff on this blog, but I never claimed to stick to any one particular track, and I think bringing this up to most people’s awareness would do them and the general occulture some minor amount of good.

There have been endless translations of the Heart Sutra into any number of languages, but a problem is that it really is a summary overview of so much of Mahayana Buddhist philosophy and teaching that it can almost be considered a CliffsNotes-type of sutra; unpacking everything would pretty much necessitate a full exploration of Buddhist thought, which is just a little out of the scope of this blog.  I find that the one by Jayarava (provided in 2013 on his blog) is particularly excellent for modern readers, but below is another one based on the one available on Wikisource that I’ve modified for diction and clarity, with links to any possible Buddhist reference for terms or concepts that I can manage:

The Great Sutra of the Heart of Perfection of Wisdom

When the Bodhisattva Avalokiteśvara was practicing the profound perfection of wisdom, he examined the five aggregates of existence and saw that they were all empty of all suffering and affliction.

Śāriputra, form is not different from emptiness, and emptiness is not different from form.  Form itself is emptiness, and emptiness itself is form.  Sensation, perception, volition, and consciousness are also such as this.

O Śāriputra, all experienced phenomena are empty: not created, not destroyed, not dirty, not pure, not increasing, not decreasing.  This is because in emptiness there is no form, sensation, perception, volition, or consciousness.  There is no eye, ear, nose, tongue, body, or thoughts; no form, sound, scent, taste, sensation, or dharma; no field of vision, up through no realm of thoughts.  There is no ignorance nor end of ignorance, even up to and including no old age and death, nor end of old age and of death.  There is no suffering, its accumulation, its elimination, nor path.  There is no knowledge and no attainment.

Because there is no attainment, bodhisattvas rely on the perfection of wisdom, and their minds have no obstructions.  Since they have no obstructions, they have no fears.  Because they are detached from perverse delusions, their ultimate result is the release from suffering.  Because all buddhas abiding in the past, present, and future rely on the perfection of wisdom, they attain the highest-possible perfect awakening.

Therefore, know that the perfection of wisdom is a great spiritual charm, a great brilliant charm, an unsurpassed charm, an unequaled charm.  It can truly remove all afflictions.  This is true and real, this is no lie.  Speak the charm of the perfection of wisdom; the charm is spoken thus:


The Heart of Wisdom Sutra

So what does this all mean?  In many ways, the Heart Sutra is an ultra-condensed form of Mahayana Buddhist teaching, and the earlier/original versions of the text don’t even have the usual context set and setting.  The slightly longer form establishes the frame for the discussion of the Heart Sutra like this: at one point in time, the Buddha was gathered with a great community on the mountain of Vulture’s Peak (Gṛdhrakūṭa), east of the ancient city of Rājagṛha (modern Rajgir in India) .  Amidst all the monks, the bodhisattva Avalokiteśvara (also known as Guan Yin, Kannon, or Chenrezig) was practicing Prajñāpāramitā.  The Buddha himself entered a deep state of meditation and awareness, and by his powers, induced his disciple Śāriputra to approach Avalokiteśvara and ask the bodhisattva how one should go about practicing Prajñāpāramitā.   Avalokiteśvara then replied with the above sutra, describing what Prajñāpāramitā and how to practice it.  At this point, the Buddha himself left his state of meditation to praise Avalokiteśvara on the discourse, and that both he and every possible buddha ever approves of it, and then everyone lived happily ever after.

So what is Avalokiteśvara saying?  Basically, everything is empty.  This isn’t to say that everything is nothing a la nihilism, but that everything that exists or that is experienced is simply a construct.  Every entity does not exist as a thing-in-itself, concrete and independent from the rest of reality and existence, but that every possible thing lacks an intrinsic identity, quality, or existence.  Everything exists because of everything else that has gone before it so that it can be constructed; it is “empty” only so far as regards an independent nature.  My coffee cup on my desk, for instance, only exists because:

  • I bought it to exist in my life
  • I put it where it is for it to exist on my desk
  • The materials for it were harvested by other people
  • The processes to craft it were handled by other people
  • I, the harvesters, and crafters were all born and nourished by the actions of other people, who in turn were born and nourished by the actions of yet other people, ad infinitum
  • The materials for the coffee cup and all possible nourishment were generated/recycled through natural meteorological, geological, and cosmological forces

In other words, there is no part of this coffee cup that exists on its own without the input, causes, actions, or reactions of everyone and everything else that has gone before it; it is empty of “itself”, because there is no “self”.  There is no “being”, only “interbeing”; nothing is independent, because everything depends on everything else.  That is emptiness, generally speaking, and Avalokiteśvara describes the aggregates of existence (five skandhās) as all being empty: material form of objects, the sensory experiences of objects, the sensory and mental processes that registers and perceives objects, the mental actions and constructions triggered by objects, and the consciousness, awareness, and discernments we make involving objects.  All of these things are empty, no one of them existing apart from each other or the objects themselves, and for that matter anything else that exists in the cosmos.  But, going beyond that, Avalokiteśvara describes all phenomena as empty, as well.  The exact word here is dharma, which we usually mean as “law” or “doctrine” (as in Buddhism or Hinduism itself), but its meaning is wide enough to capture all possible phenomena, all monads or atoms, as empty.  It is out of these dharmas that the skandhās themselves are made, so if an object is the result of the processes and phenomena that developed it, then each process and phenomenon itself is likewise the result of other dharmas that developed it.  Thus, there is no thing, neither local or temporal nor material nor procedural, that exists apart of anything else.  Everything is the result of the interplay of everything else; there is nothing intrinsic to anything, no law nor self nor quality nor idea.  It is Heraclitus’ παντα ρει (“everything flows”) taken to its logical extreme.

Again consider, however, my coffee cup.  Speaking less philosophically, it is currently empty of drink, and yet it is not empty at all, since it is volumetrically full of air.  By pouring coffee into the mug, I have not really “created” coffee, but simply transformed the location of coffee from the coffee pot to the mug; I have not destroyed the air inside the mug, but instead displaced it.  I did not do this as its own divinely-inspired, pure-of-need action, but I poured coffee because I wanted coffee and needed something convenient to drink it from.  Because the act of pouring coffee took place within the greater context of my life, the act cannot be considered on its own but as an aggregate formed from everything else in my life, as well as an aggregate forming my life itself; there is no true “start” or “end” to the act of pouring coffee, just as there is no “start” or “end” to the existence of coffee itself; it is formed from water and coffee beans and heat, yes, but at what point do these stop being separate things that have never been coffee and start becoming a single thing that is only coffee? At what point does coffee no longer stay coffee but becomes something else that was never coffee?  These questions have no answer, because there is no intrinsic “coffee” to consider.  Thus, there can be no purity or contamination of coffee, just a series of phenomena and experiences and aggregates that collectively make something that I can give the label of “coffee” to for the time being.  As Avalokiteśvara says, “not created, not destroyed, not dirty, not pure, not increasing, not decreasing”.

It then follows that literally all of Buddhist thought—the five skandhās themselves, the eighteen dhātus of objects/sense faculties/consciousness that operate through the skandhās, the twelve nidanas of causes and effects that provide the basis for birth and rebirth in this world of suffering, the Four Noble Truths that the Buddha himself declared upon his enlightenment, even the notion of knowledge or wisdom itself or the ten bhūmis or stages of achieving them—are all empty.  All of it.  Everything is empty, therefore the whole religious philosophy and practices within it of Buddhism must all likewise be empty.  There is nothing intrinsic to Buddhism that makes it Buddhism, holy, special, or powerful; it’s the result of everything else and is the cause of everything else just as much as everything else is.  It’s not that it’s nothing, but that it’s part and parcel of everything, just as much as everything else is.  In other words, it’s reaffirming and emphasizing the teaching of Buddhism in its own terms, and because of this, the whole notion of Prajñāpāramitā (which is basically the wholesale realization of the foregoing and the insights and awareness it provides) is what gets bodhisattvas to where they’re trying to go.  If nothing has its own independent qualities, then nothing can be considered intrinsically scary.  If nothing can be scary, then there is nothing to fear.  If there is nothing to fear, then there is nothing to escape or hide from.  If there is nothing to escape or hide from, there is nothing to lie about.  If there is nothing to lie about, then there is nothing to be deluded about.  If there is nothing to be deluded about, then there is nothing stopping you from being free of suffering and illusion.  And, if you can be free from suffering and illusion, then there’s nothing stopping you from achieving the whole goal of the whole shebang: complete, utter, total enlightenment.  You’re already there, because there is no such thing as getting there, you just haven’t realized it yet, because you haven’t seen how empty you are yet or how empty your world is yet.

In other words, Prajñāpāramitā—the perfection of wisdom itself—is the full realization and insight of emptiness.  By this and this alone, everything else in the bodhisattva path of awakening follows.  The Heart Sutra recalls this very thing, to remind us that awareness of emptiness is the perfection of wisdom, and that by its recitation, we gird ourselves with the strength and compassion of wisdom itself for the sake of liberation.

So, onto chanting it.  The Heart Sutra, as can be seen above, is a pretty short text, if not one of (or the most) shortest in the Mahayana Buddhist canon.  For this reason, it’s a favorite for people to chant as an entire thing, and it’s not uncommon for it to be chanted daily at monasteries or temples across the world.  Current academia on the origins of the Heart Sutra suggest that it was originally composed in Chinese, and then back-translated into Sanskrit (or the hybrid Buddhist Sanskrit that was in use for many such texts, which is not properly Sanskrit as such).  The Chinese text is what was disseminated throughout Asia, and though it was historically recited in any number of local languages, they all rely on the same fundamental Chinese text using their respective Sinitic methods of recital; I prefer the Sino-Japanese style of reading this text mostly because I can actually trust and understand Japanese phonology.  The transcription below comes from Andrew May’s website, modified for diacritics and organization; note that hyphens link multi-character words together, and are generally (but not always) limited to Sanskrit-derived names or words (e.g. Han-nya-ha-ra-mi-ta for Sanskrit Prajñāpāramita, or Sha-ri-shi for Śāriputra).  In general, one syllable matches one character, though some characters are two syllables (e.g. 厄 “yaku”).


I translated whatever technical terms I could in the above translation, but there’s the notable exception about the final set of words.  This is generally considered a mantra, and mantras aren’t generally translated; their potency generally is said to lie in the actual sound and vocalization of them and less in any meaning, but Jayarava’s translation of the mantra here has it as “gone, gone, gone over, gone over to the other side, awake, svāhā” (where “svāhā” is a typical end to a mantra, literally meaning “well said” but used to mean something like “all hail”, “so be it”, or “amen”).  He’s also gone over the mantra in a more in-depth manner elsewhere, and notes that the descriptions of the mantra as great, brilliant, unsurpassed, and unequaled are usually epithets for the Buddha, and thus liken or equate the mantra itself to the Buddha, but that it’s less a mantra and more of a dhāraṇī or vidyā, in either case something more akin to a spell or magical invocation.  Thus, I’ve translated it above with the word “charm”, based on how the word is used for similar “words of power” sequences in more Western texts like the PGM (which, it would seem, would be a translation that even Jayarava might agree with).  In any case, the mantra-dhāraṇī-vidyā-charm-spell would be pronounced /gəte gəte pɑːrəgəte pɑːrəsəⁿgəte bod̪ʱi sʋɑːhɑː/ or, for a less IPA-based approach, “guh-tay guh-tay pah-ruh-guh-tay pah-ruh-sahn-guh-tay bohd-hee swah-hah”, if you wanted to use the proper Sanskrit pronunciation, though again, any vulgate language that the whole sutra is recited in would use its corresponding Sinitic readings of the characters 揭帝揭帝般羅揭帝般羅僧揭帝菩提薩婆訶, which were used in early/middle Chinese to transcribe the Sanskrit sounds themselves.

An excellent rendition of this text in Japanese is that of the Sōtō Zen monk and teacher Taisen Deshimaru, who in this particular recording leads a group of Buddhists in reciting the sutra.  The recording opens up with a brief bell meditation, recites the sutra three times at an increasingly fast but rhythmic pace, and concludes with  a slow recitation of different texts after the 7:26 mark:

I share this all not just because it’s been on my mind lately and I wanted to have some sort of outlet for it, but because it reminds me, in a grand sense, that we’re all in this together.  There is nothing that you’ve done that hasn’t affected me, nor vice versa; there is nothing that exists that hasn’t impacted the existence of anything else.  There’s another saying about emptiness: “if it exists, then one speck of dust exists; if it doesn’t, then the whole cosmos doesn’t either”.  We’re all here because each and everyone one of us is here; everything that is happening (or has, or will) is happening because, with, by, and for us, endlessly and continuously, just as we exist/happen for the sake of everything else.  As Ghandi (actually) said, “all the tendencies present in the outer world are to be found in the world of our body; if we could change ourselves, the tendencies in the world would also change”.  

In other words, be good or be good at it.  The entire cosmos is literally riding on it.

(also oh my god Kalagni I’m so sorry if I bungled any of this, please fix anything that’s broken)

Towards a Greek Kabbalah: Meditating on the Greek Letters

So, if the gods reveal themselves by signs and omens, and those signs are the basis of the Greek letters, then the gods reveal themselves by means of the Greek letters.  This isn’t that big a stretch; after all, there is grammatomancy, that awesome divination system (which I strongly recommend buying the ebook I put out for it for more information on the Greek letters in magic, hint hint) where the Greek letters themselves are messages.  Plus, the Greek letters are also associated with number, which is the foundation for the creation of the cosmos according to Pythagoras, so if the gods didn’t make the universe by means of the Greek letters, then the Greek letters can certainly indicate how they did so by means of number.  Even if we don’t worship the gods or engage in explicit theurgy (which we really should be doing anyway), even coming to a deep understanding of the Greek letters themselves, on their own terms, as their own entities, will still help us achieve a deep understanding of the cosmos approximating or equalling a full theurgic understanding of the cosmos.

The question then becomes “how should we go about understanding the Greek letters”?  Well, let’s say that there are four parts to a letter:

  1. Name, the word by which we refer to a letter, such as “alpha”, “beta”, etc.
  2. Glyph, the graphical sign that refers to a letter, such as Α/α, Β/β, etc.
  3. Sound, the sound the letter produces, such as [a], [b], etc. (Knowing IPA is helpful for this part.)
  4. Meaning, the occult and esoteric meaning of the letter

The first three parts are fairly straightforward, barring regional and temporal variants in the Greek script.  For the purposes of kampala, I’m going to be using what’s been considered the Greek alphabet in use for the past 2400 years, the classical Ionian script, adopted by the archon Eucleides in 403 BC in Athens and quickly standardized across the rest of Greece shortly thereafter.  This script has the 24 letters of the Greek alphabet we’re all familiar with in the same forms we’re all familiar with, and has been roughly unchanged since their adoption.  Their pronunciation has shifted slightly in accordance with basic phonological laws over the millennia, but this is to be expected and isn’t that great an issue.

So, with that, let’s take a look at the Greek alphabet.  There are 24 letters, which are:

Letter Name Sound
Greek Roman Greek English Classical Modern
Α A αλφα alpha a, aː a
Β B βητα bēta b v
Γ G γαμμα gamma g ɣ ~ ʝ
Δ D δελτα delta d ð
Ε E εψιλον epsilon e e
Ζ Z ζητα zēta zd, dz, z z
Η Ē ητα ēta ɛː i
Θ TH θητα thēta θ
Ι I ιωτα iōta i, iː i
Κ K καππα kappa k k, c
Λ L λαμβδα lambda l l, ʎ
Μ M μυ mu m m
Ν N νυ nu n n
Ξ X ξει xi ks ks
Ο O ομικρον omicron o o
Π P πει pi p p
Ρ R ρω rhō r r
Σ S σιγμα sigma s s
Τ T ταυ tau t t
Υ U, Y υψιλον upsilon y, yː i, f ~ v
Φ PH, F φει phi f
Χ KH, CH χει chi χ ~ ç
Ψ PS ψει psi ps ps
Ω Ō ωμεγα ōmega ɔː p

Note that some of the English names for the Greek letters simplify the vowels a bit, such that Π is “pi” in English, not the more accurate classical “pei”, though in Modern Greek it’s “pi”.  Also, where there’re different possible ways to write the letter out, those are given in the table; for instance, Χ can be written as “ch” or “kh” (I prefer the latter, personally).

The thing about the number 24 is that it has a lot of factors and a lot of ways to be split up or multiplied by equally convenient numbers, which makes it mathematically appealing; for instance, 24 × 15 = 360, or 4 × 6 = 24.  Since there are 24 Greek letters, there are different ways to split them up in different ways.  I personally prefer a 7/12/5 schema: seven vowels, twelve “simple” consonants (which themselves are broken into seven stop and five continuing consonants), and five “complex” consonants.  This schema has important symbolic meaning, but let’s focus on the phonetic parts for now:

  • The seven vowels (letters that produce a clear vocal sound) are pretty straightforward: Α, Ε, Η, Ι, Ο, Υ, Ω
  • Simple stop consonants are those which are produced from one action in the mouth and stop the airflow completely: Β, Γ, Δ, Κ, Π, Τ
  • Simple continuing consonants are those which are produced from one action in the mouth but can be vocally continued: Ζ, Λ, Μ, Ν, Ρ
  • Complex consonants are those which are produced from two actions in the mouth: Θ, Ξ, Φ, Χ, Ψ

Pronouncing the vowels can be a little tricky for some people, but it’s still easy.  Alpha, Epsilon, Iōta, and Omicron produce the same sounds you’d expect in English: “ah”, “eh”, “ee”, “oh”.  Upsilon is a little tricky; it’s like the combination of “ee” and “oo”, but a good example of the sound is the French “u” or German “ü”.  Ēta and Ōmega, to make the distinction simple, is that they were lengthened versions of Epsilon and Omicron.  I don’t mean that the sound changed (though it did in later varieties of Greek) except in how long you pronounced it.  So an Epsilon is “eh”, and Ēta is “ehhhh”.  That’s really basically it, though it ended up where Ēta had a sound only slightly closer to “ei” (between “bed” and “bait”) than “eh”, and Ōmega was more like a deeper “auh” (“thought”) than “oh”.

As for consonants, when I say “simple” versus “complex”, compare Tau and Thēta.  They both classically made a “t” sound, but the difference was that Tau was a simple unaspirated and nonbreathy “t”, while Thēta produced an aspirated (breathy) “t”.  It’s the difference between “water” (a nonbreathy “t”) and “tin” (a breathy “t”).  Thēta, Phi, and Khi are all aspirated, while their unaspirated versions are Tau, Pi, and Kappa.  The other complex letters, Xi and Psi, are combinations of two simple consonants: Kappa and Sigma for Xi, and Pi and Sigma for Psi.  The other simple consonants are pronounced the same way you’d pronounce them in English, bearing in mind the difference between aspirated and unaspirated consonants (try being aware of when you’re producing a breathy sound in the future).

Why am I spending so much time over the basics of Greek pronunciation?  Because this is going to be key for understanding the meaning of the letters in a meditative and contemplative way.  Sure, the letters have their own symbolism based on their shape and meaning, which we’ll talk about more another time, but I want to offer a method to meditate on the letters by means of their sounds.  This is similar to the use of seed syllables in varieties of Tantric Buddhism and Hinduism, as well as the use of speaking certain names of God with different vowels in Jewish kabbalah.  By truly, deeply vibrating, intoning, and focusing all of the body and mind on pronouncing the sounds of the Greek letters, we attune ourselves to them and begin to open up deeper mysteries of the letters.  However, there are many different ways to start this, so I propose the following methods:

For vowels:

  1. Intoning a single vowel.  Example: ΑΑΑΑΑΑ
  2. Intoning a sequence of vowels with a breath between each.  Example: ΑΑΑΑΑΑ   ΕΕΕΕΕΕ
  3. Intoning a sequence of vowels once.  Example: ΑΑΑΑΑΑΕΕΕΕΕΕ
  4. Intoning a sequence of vowels, cycling through the vowels themselves.  Example: ΑΑΑΕΕΕΑΑΑΕΕΕ
  5. Any of the above at different vocal pitches, such as at a high pitch then a low pitch

For  simple stop consonants:

  1. Making the consonant once, breathing out afterwards.  Example: B
  2. Making the consonant multiple times within a single breath with no sound.  Example: B B B B B
  3. Making the consonant multiple times within a single breath with an unstressed vowel.  Example: B B B B B (buh buh buh buh buh)

For simple continuing consonants:

  1. Making the consonant once, breathing out afterwards.  Example: Λ
  2. Making the consonant once, prolonging it within a single breath.  Example: ΛΛΛΛΛΛΛ
  3. Making the consonant multiple times within a single breath.  Example: Λ Λ Λ Λ Λ Λ
  4. Making the consonant multiple times over several breaths, continuing it on a single breath.  Example: ΛΛΛ ΛΛΛ ΛΛΛ ΛΛΛΛ
  5. Any of the above at different vocal pitches, such as at a high pitch then a low pitch

For a complex consonant, any of the making the consonant once but prolonging the complexity.  Example, ΞΣΣΣΣΣΣΣ, or Θ breathing out completely.  The other simple continuing consonant meditations should also be done with these, as well.

For vowels and consonants:

  1. Making the consonant with one vowel to prolong it.  Example: ΒΑΑΑΑΑΑΑ
  2. Making the consonant several times with different vowels with a breath between each.  Example: ΒΑΑΑΑΑΑ ΒΕΕΕΕΕΕΕ ΒΗΗΗΗΗΗΗ
  3. Making the consonant several times with different vowels within a single breath.  Example: ΒΑΑΑΒΕΕΕΒΗΗΗ
  4. For simple continuing consonants or complex consonants, prolonging the consonant followed by the vowel.  Example: ΞΣΣΣΣΣΑΑΑΑ or Θ…ΑΑΑΑ (exhaling halfway before making the vowel with a weak unstressed vowel, like “t-hhhuhhh-ahhh”)
  5. Any of the above with vowels coming to a stop with a consonant with no sound following.  Example: ΑΑΑΑΑΑΒ
  6. Any of the above with vowels coming to a stop with a consonant with an unstressed vowel following.  Example: ΑΑΑΑΑΑΒ (ahhhhhbuh)
  7. Any of the above at different vocal pitches, such as at a high pitch then a low pitch

And, perhaps it’s understated, but even intoning the name of a single letter (e.g. “ΑΛΦΑ”) is worthwhile, too, and I’d consider it to be the most complex of these basic meditative exercises.  Once one becomes comfortable with all the meditations on all the letters (and a good combination of consonants and vowels), the next logical step is to meditate on whole words in the same way.  This method produces mantras out of each and every letter in the Greek alphabet, as well as every combination of them, in a variety of ways to acclimate one to their pronunciation and use later in the study of kampala.  At the beginning, it might be preferred to use combinations of vowels and consonants in order (so alpha-bēta, alpha-gamma, alpha-delta, etc.) before jumping around the alphabet.

While pronouncing the letter, it also helps to give the mind something to focus on; I suggest the shape of the letter itself.  Either the capital or lowercase letter could be used; for the purposes of kampala, they’re treated the same, though all analyses are given based on the capital letter.  Visualizing the letter itself is simple, since none of the letters are particularly complex glyphs, and visualization exercises abound on the Internet.  As you breath in, let the mind clear; as the letter is pronounced, let the letter shine brightly in the mind; as the letter’s sound goes away or is breathed out, let the letter dim until only an afterimage or thought-echo is left in the mind until the breath is emptied out.

How much time should be spent on this?  As with anything, as much as you want to, and as much as you can.  I personally find it useful to sync up daily letter meditations, doing different letters and letter combinations based on the grammatomantic letter of the day of the lunar month, so I meditate on Kappa on Kappa-day, Omicron on Omicron-day, and so forth.  (I’ll be making increasing use of that grammatomantic lunar calendar throughout this kampala project, since it spreads things out nicely and regularly for me.)  This is a good way to get introduced to basic meditation on the letters, but you’ll notice that we haven’t talked about the meaning of the letters yet at all.  That’s coming up soon, and it’ll give us more things to meditate on when we do letter meditation in the future, but for now, keep it basic and get busy, since now we begin working our way into the emerging mysteries of kampala.

Search Term Shoot Back, June 2014

I get a lot of hits on my blog from across the realm of the Internet, many of which are from links on Facebook, Twitter, or RSS readers.  To you guys who follow me: thank you!  You give me many happies.  However, I also get a huge number of new visitors daily to my blog from people who search around the Internet for various search terms.  As part of a monthly project, here are some short replies to some of the search terms people have used to arrive here at the Digital Ambler.  This focuses on some search terms that caught my eye during the month of June 2014.

“what does it mean to trace the grid from the center crystal to each other crystal using a wand or your fingers show picture” — …I mean, I feel like the idea is pretty explanatory.  Center to crystal 1 to center to crystal 2…to center.  Do you really need more guidance than this?  You already described the method.

“saint cyprian wand” — I’ve never seen something like this, save for maybe the blasting rod of the Grimoirum Verum that forms part of the Book of Saint Cyprian.  The good saint himself is usually pictured with a crosier and a book, though as a magician himself he was likely familiar with the use of wands in the classical and early medieval Mediterranean.  Heck, his crosier itself could be seen as a type of wand, being associated with wisdom, spiritual authority, and guidance, all attributes commonly given to the wand.  Still, a modern wand for use in Cyprianic workings isn’t a bad idea.  Necromantic materials would be of use: an ebony or iron wand packed with graveyard dirt and capped with smoky quartz or jet, engraved with holy symbols and names, perhaps buried for a week at the head of the grave of a priest or magician during the New Moon, fed with the blood of a black chicken or goat.  Not a bad idea at all.

“how to use saturn seals in “key of Solomon”” — If you merely read the book (book I, chapter 19), many sections tell you how to use it.  Generally, you show a pentacle unto a particular spirit like how the FBI flashes a suspect their badge (Saturn pentacles I, II, III, IV, V).  Some of them cause some change in the world by their mere existence and construction and should be kept for future use as a ritual tool, similar to a wand but used to “fire off” work into the cosmos generally (pentacles II, IV, VI, VII).  When a pentacle is not being used, it should be kept hidden and safe, or it should be enshrined on an altar with other magical tools, perhaps reconsecrated every week or so with candle and oil and incense.

“stones in sash black magic santeria” — …do people still consider Santeria to be “black magic”?  Really?  It means “way of the saints”.  It’s about as far you can get from “black magic”, and I’ve written about my thoughts on the term itself elsewhere.  As far as I’m aware, Santeria doesn’t really use sashes, though I’ve seen some massive elekes and collares that are used in limited ritual purposes, but those are all nearly entirely colored glass beads.  Also, I’ve seen sashes of fruit for newly made iyawos.  Beyond that, I can’t think of a Santeria sash, though I’m admittedly no expert in Santeria.  Sashes are sometimes used in other traditions, like the bandera of Palo Mayombe, but that’s a different thing and, again, is nearly entirely glass beads.  Stones might just be a personal flourish.

“h0w t0 consecrate oil with psalm 72” — I wasn’t familiar with this psalm before I wrote this post, but I like it!  Take some good, clean oil and pray over it fervently; that’s all you need to do to consecrate anything, really; the incense, candles, and hoopla of ritual can help but aren’t strictly necessary.  Psalm 72, specifically, sounds beautiful for blessing, dominating, and prosperity work.

“top 10 conjuring rituals real” — What, as if there’s a Buzzfeed list of magic rituals full of spooky GIFs?  C’mon, dude, get your act together.  There’s no such top-ten list of “real” rituals; any ritual that works is real, and different people often get different rituals to work for them.  Once you get the experience of a few conjuration rituals, you can start doing them on the fly with spirits you have a good connection with.

“seal of sealtiel angel” — Unfortunately, even though I’ve been making weekly offerings to Sealtiel the Archangel for a brief time now, I haven’t done much more than that and engaged the archangels in conversation, like I would in a conjuration.  I mean to in the near future, but I haven’t yet.  I don’t know of a seal for the angel, so you might want to stick with making a sigil based off the letters in his name a la chaos magic or by using my Greek Sigil Wheel idea.  Sealtiel often bears a thurible as his badge of office, so you might start with that if you want an image.

“how to use saturn to create prosperity” — Er, that’s not usually Saturn’s job.  Prosperity is usually in line with Mercury and Jupiter, the planets of exchange and expansion generally,

“autobiography of st. jehudiel”, “biography of saint sealtiel”, etc. — Seeing how these are angels who have never technically lived, it’s hard to have a biography of them, since a biography is an account of, you know, a life.  They’re immortal beings who serve the will of God directly; they don’t have lives like we think of them, and they don’t exist apart from God.  Also, an “autobiography”?  Not only does that assume a life of an angel, it also assumes they write and can communicate to us in language.

“horus demon god of sun sygils” — Much of this makes no sense to me on a conceptual level.  First, to spell the word as “sygils” means you’re probably in Thee Temple ov Psychick Youth (or however it’s misspelled) or just some middle-schooler who wants to be all dark and powerful.  That isn’t done with extra “y”s and the metal umlaut, you know.  As for Horus, yes, he’s a god of the Sun, but in no sense is he malefic or demonic.

“locating lost thing by star power” — What, are you Sailor Moon?  There are astrological and geomantic methods of finding lost objects, but unless you’re a Sailor Scout or one of the Three Wise Men, you’re not going to find anything directly through the stars themselves.

“most deadly buddhist mantras” — …I don’t think you understand the point of Buddhist mantras.  There might indeed be powerful spells and mantra-like charms in some distant and extant traditions of magic and applied Buddhism, but none I know that would kill a target or the user.  That tends to go against the Precepts, anyway, but you know, expedient means and all that shit.

“effects of reading saint cyprian book” — In my case, you’ll’ve learned Spanish and published a translation in English (hint: go buy my cheap ebook on Etsy!).  Supposedly, if you read the Book of Saint Cyprian, either front to back or back to front (I forget which), you end up summoning the Devil.  That didn’t happen in my case, and he might’ve just gotten confused with my flipping around randomly through the book.

“how to aproach the abramelin ritual if you already know your guardian angel” — Honestly, if you have contact with your HGA, why do the Abramelin ritual?  The meat of the matter is getting contact with your HGA, after which you go through and bind evil spirits from messing with you in the future.  Once you have your HGA, you can do anything, basically.  I know some friends who are going through the Abramelin as an initiation requirement in some groups, but that’s not the real use of the Abramelin, as I see it.

“is the word geomancy in the bible” — Nope.  Geomancy likely kicked off in the Sahara Desert around 900 or 1000 AD, well after the Bible was written (especially the Old Testament).  However, if you read that the Bible has a prohibition on divinatory arts generally, then that would include geomancy; if you read the Bible supporting the act of divination, then that also includes geomancy.  The word itself is coined more recently than the Bible, as is the art, so you won’t find biblical references to it, although some traditions hold that geomancy was given to the prophet Hermes Trismegistus, Adam, Idris, Daniel, Jesus, or Mohamed to discover more of the secrets of God, so it depends on what you consider meaningful.

Minor Things and Updates

Not much happening as of late; little conjuration work to be done, no big projects.  There have been some business requests made, in terms of readings and design work, which is absolutely fabulous; many thanks to those who have asked for them!  For those who are thinking of them, why not take a chance and spend some of that extra coin lying around?  I could always use the work, after all, and it keeps me busy.  But yeah, beyond the occasional reading and my normal daily practice, not much has been happening.  Which leads to me writing less, at least for my blog, which after all these months feels real weird.  Eh, I guess I needed the break.  Anyway, just a few little things I wanted to note lately.

First, as you may have heard from the rest of the interweb, Jason Miller of Inominandum and Strategic Sorcery fame recently released his newest work, Advanced Planetary Magic, a set of 49 calls to the planets based on pairwise combinations of the seven planets.  You may have heard of it somewhere else in the blogosphere, and I’ll keep my review short: it’s awesome, and I suggest getting yourself a copy of this awesome work.  He describes a system of planetary magic where one uses a particular short invocation or spell for each pair of planets (Luna/Sol, Sol/Luna, Venus/Saturn, etc.), to be used according to a particular situation and in a particular time (planetary hour and planetary day).  Nifty stuff, by any measure.  He’s starting a project called the Crying of Calls 49, where people who have the text are invited to perform 49 consecutive days of prayer, using each one of the biplanetary invocations each day in a particular hour on each day.  The first week starts tomorrow, July 8, with Luna of Luna in an hour of the Moon in the day of the Moon, Luna of Mars on July 9 in an hour of the Moon in the day of Mars, and so forth.  He’s set up a Facebook group for it, but as of this writing the group is still inoperational.  Quick, go get a copy for yourself and join in on the fun!

I’ve recently picked up my prayer beads again and started using them.  I’ve had this dark Indian rosewood mala with red thread for years, bought a long time ago when I was on a strong Buddhist kick, and though I used it for a while with some basic mantras (Avalokitesvara’s and Manjusri’s, to name two), I never really kept up the practice.  The prayer beads have just been languishing in their bag for years, maybe picked up once or twice out of nostalgia, and put back.  I figured I may as well augment my practice by using them again, though picking out the mantra or prayer to be used with them puzzled me slightly.  Then I remembered that I have my own magical motto, “Lautitia Laborum Lucis Laetor” (“I rejoice in the splendor of the works of the Light”), and since it rings pretty deeply with me, I figure I may as well use that as my mantra.  It’s pretty relevant to my own work, and is fairly devotional in and of itself.  I’ve gotten a good buzz from using my motto as a mantra, as I have the Trisagion and my Prayer of Light.  I’ve been experimenting with rhythms and numbers of circuits, and I like the preliminary results so far.  My goal is to do at least one motto circuit per day, twice if I have the time; doing this on the train works well enough, since I sit comfortably far back from the rest of the people in a quiet spot where others can’t easily bother me.

Speaking of daily practice, I’m also considering with toying around with my personal schedule.  Mondays, Tuesdays, Thursdays, and Fridays I go to work at the office, and I work from home Wednesdays.  On the days I go to the office, I normally get up around 5 a.m., hygeinate myself, do my prayers and meditation and other essential practice, leave around 7, then catch the train to work, then get home around 5 or 6 p.m.  Ideally, this allows me four or five hours of time once I get off work for more practice but…I normally just end up on the computer for the night instead.  Since I’m a morning person, and there is another train that leaves much later than I’m used to that can still get me to work on time, I’m thinking of shifting more practice to the morning, which gives me about two solid hours each day to really focus on my stuff: a half hour for prayers and offerings, a half hour for meditation, a half hour for energy work and other “kinetic” methods of prayer and practice, and another half hour for more meditation or astral work.  This should of course be backed up with more work in the evenings, but shifting more to the earlier part of the day is no bad idea.  I’m a morning person, anyway, so this should definitely help me out more in getting my ass in better magical shape.  I’d be getting home probably around 7 or 8, but that still leaves me enough time most evenings to relax and get at least another round of meditation again, not to mention any planetary work that happens in the evening.  I figure I can handle this fairly well; I’ll try it this coming week as a test round.

Anyway, time to finish tidying up my house and get to my prayers and offerings for the night.  How’s this past Mercury retrograde period been treating you?  Besides some minor holiday traffic, things have been delightful on my end.