Pennsylvania Dutch Hexen Magick

Pennsylvania Dutch Hexen Magick

Part One- Background

Origins
Hexen magick seems to have migrated to America with German immigrants, mainly from the
Rhine region, when the religious freedoms offered by William Penn and his Charter of Liberties
attracted an influx of migrants to South-eastern Pennsylvania. These people brought with them a
strong culture of folk art, along with their folk magic and the occult writings of the day. The
interaction of this European influence with the native Algonquian culture resulted in a home-
grown American practice. The native influence is still evident as Hexenmeisters are also often
referred to as Pow-Wow Doctors (pow-wow is an Algonquian word for a meeting of medicine
men). Commonly the practice is referred to as Hex Work or Speilwerk in the local dialect of the
Pennsylvania Dutch. The influence of the indigenous American culture of the Algonquian upon
the essentially Platonic/ Hermetic system is extant, especially in the herbal studies associated
with the system.

Literary Sources
Largely oral in tradition, Hex draws heavily on the mainstream medieval Grimiors, especially
Albertus Magnus and the Key of Solomon, but there are two main literary references that form
the foundation of these practices. The first, and most common, was The Long Lost Friend by
John George Hohman, a very traditional collection of European magick spells that use prayers,
magick words, and simplistic rituals to cure common illnesses and to deal with various rural
troubles. This book is the source of the Besprechen, or spells, that are used by Hexenmeisters in
their arts. The second, and by far the more obscure literary source is The Sixth and Seventh
Books of Moses by John Scheible (presumably the Pentateuch are the first five books of Moses).
This book seems to be a compendium of many of the aforementioned Grimiors and is full of
mainstream 19th Century qabalah. It is claimed by the author that this book contains the secrets
of the magicks that Moses used to free the Israelites from Pharaoh’s Egypt.

Practices
Hex is divided into three main braches; the Besprechen or spells, the Himmelsbrief and
Teufelsbrief (letters to Heaven and to the Devil, respectively) which are blessings and curses
written on paper or parchment, and the Hex signs that are used to decorate mainly barns but
sometimes (more recently) houses. Late occult writers have attempted to "Wiccanize" the
practice, but the essentially qaballistic symbols employed, from Albertus Magnus &etc., make
this impractical if not unwise. The isolation of talent for Hex is one of the powers attributed to
some Hexenmeisters and it echoes the very common practice with magick/mystick orders
worldwide wherein often the talent for spotting potential is in itself considered a great magickal
ability (note big league, baseball scouts!).

The areas of practical expertise are of a totally utilitarian nature, mostly comprising objectives of
sorcery, bewitchments and exorcism (as is proper to an insular rural based community) with a
certain amount of medical/scientific/botanical study included as R&D (nature is the greatest
teacher). The Christian cloak that Hex often attires itself with is a ruse to throw off the
inquisition (and the Tabloids?), and to be less frightening to Neophytes (Christian influence in
these things is often to invoke a secrecy of society- thus early Hex worker no doubt employed
this to their advantage also). The non-sectarian nature of its workings implies more strongly a
connection again to the Hermetic cults of Medieval Europe that often invoked Jehovah and Zeus
in the same breath &etc.

Looking at its basic points, Hexen practice is:

1. Hexenmeisters are born not made, (vide anything on Tantric Buddhism in Tibet!).

2. The passage of the "Power" from one person to the next, usually to the opposite sex, and the
ability to communicate the "power" to others is finite, implying that to teach this art to someone
is a strong karmic connection (or that progress in this practice leads to a higher practice or ability
which is exclusive of the lesser works of the beginner in this art).

3. The use of a "Bonnet" as ritual headgear, (a crown of humility? Also: very similar to the
practice of the sacred magic- wherein a crown is the focal Magickal Weapon of the operation
[the attainment "crowns" the Great Work in the Glory of the Knowledge and Conversation of the
Holy Guardian Angell).

4. Written & spoken charms are very consistent with an Hermetic method of Magickal Practice-
the use of German having a strikingly similar effect as the "Barbarous Names of Evocation"
(vide- The Key of Solomon; the Goetia). Charms, written in foreign languages would be
likewise "barbarous" and so somewhat incomprehensible allowing disbelief to be suspended
slightly more easily.

5. The schema of the sigils and talismans, which is almost rote taken from a number of medieval
grimiors (vide: The Key of Solomon, Grimorium Verum, anything by Albertus Magnus, works
on Number by Plato, etc. etc. etc....

Part Two- The Himmelsbrief, Teufelsbrief and Besprechen

Taken in greater detail, the Himmelsbrief, Teufelsbrief and Besprechen (charms and spells) are,
simple sorceries- The Himmelsbrief, or “letter to heaven”, and the Teufelsbrief or, “letter to the
Devil” are very reminiscent of the Norse practice of “casting the Runes”, wherein a charm is
made in runic script and symbolically transferred to its intended recipient. The Besprechen are
simple spells or mantras that are intended to focus the Will by the surest of methods- devotion.
The practitioner that had recited these mantras of healing was focusing on their most immediate
needs, hence the nature of the intended outcomes. The Himmelsbrief and Teufelsbrief use the
same method but employ a different form of symbol, the Mandala (although, especially to a
people that were largely illiterate, the script itself was a Grimior!) The method is a common
practice of Medieval Hermeticism.

The Besprechen
Let us then dissect some of the Besprechen; the spoken charms:

“I walk through a green forest,

There I find three wells; cool and cold.
The first is called courage,
The second is called good
And the third is called
Stop the blood.” †††

The first line is intended to draw the speaker (I walk) into the correct focus to draw upon the
particular energy/ ability that will be required.
The second line calls upon these reserves of energy in a controlled manner (cool and cold).
Lines three through six define the energy being invoked; courage, good and cessation. The
trinitarian arrangement is then the heart of the matter; courage is Solar, being glorious. Good is
also Solar, and cessation is of Earth, where all things have their end, thus the charm seems to
conjure the healing powers of Sol (and thereby Tiphareth- the Sixth Sephirah and also of the Path
of Resh) into material existence. The crosses, made thrice, invokes the elements (vide- The
Qaballistic Cross, from the Pentagram Rituals and notes upon symbolism of the crosses in The
Magick Weapons).

In another:

“Holy Mary, Mother of God;

Who stoppeth pain and stoppeth blood,
In the name of God,
Amen, Amen, Amen.” †††

The First line directly invokes the Goddess (i.e. of the Christians), and makes the connection
with the ultimate godhead of the working.
The second line defines the objective, and the reason for the connection between the Goddess
and her progeny.
The, third line directly invokes the godhead, without the feminine influence.
The fourth line then names this godhead as Amen, invoking the essential form of the 'hidden god'
within us all, to restore the perfection to the form, The triple invocation is a direct connection to
the grimiors of the time, and implies the Trinity, (I.A.O.). The object of this charm is to put an
end to the disruption of the healthy form.

In another charm, this time against burns:

“Three holy men went out walking

They did bless the heat and the burning
They blessed that it might not increase
They blessed that it might quickly cease!” †††

The first line repeats the motif of walking, indicative of leaving the normal conscious state. The
three holy men are the adept himself magickally represented as his spiritual being, his mind, and
his physical functions.
Each of these identities blesses the burn, which is to say that they apply their power of ‘Fire’- the
consecration to it. The two fires become one, in the control of the Adept now.
This control is asserted to confine it to the will of the Magus then finally, to extinguish it.
Notably, the spells in their original German, are less specific in their identifications, for instance.

“Von deine koph

Zu meine hand
In Gottes Hand!” †††

The pain is defined, as being in the head. It is grasped by the adept, who invokes God
(generically) to hold the pain. Simple and direct- very German.

Even more interestingly;

“Dies wasser und dies feuer

Dies wasser und dies feuer
Dies wasser und dies feuer
Dies ist ein gross dinge
In dies grosses geheilinge land
Unser shoene Frau Mari.” †††

This rune invokes the elements three times, calling upon the focus required for the operation.
Next the pain is formulated into one big thing from its bi-polar state, which is then made a part of
a larger world of pain that is as nothing to Mother Mary, the goddess of creation.
The language of these charms is half of their power. They are concise and pointed and only
marginally Christian- a Germanic measure of compromise from their pagan roots. This is where
the local sorcerers melded their magickal practices with those of the Hermetic Schools (i.e.
Albertus Magnus) whose works were only just becoming the world’s first bestsellers.

One other point impresses itself, the use of strange words; for instance,-

“God has created all things and they were good,

Thou only serpent art damned.
Away with thee and thy sting!
Zing! Zing! Zing!” †††

In this spell, the Adept invokes Tetragrammaton (the essence, of Genesis), by reference to the
creation. This is continued by the reference to the serpent, and its first interaction with mankind.
This establishes the power of man over the serpent, and its innate harmfulness, Next the serpent
is formally banished, and the Magick Words of the incantation Zing! Zing! Zing!- are recited.
This is exciting! What is the meaning of Zing?

The phonetic value of Z, by qabalah, may refer to either Zain or to Tzaddai, most likely the
former, as Tzaddai is a sharp T. If Zain, then it implies Air, in the form of Gemini, the Oracle of
the Gods (i.e. Genesis), that places the snake under Man in the schema of creation. Zain, a
Sword, gives the Adept that wields it the engine wherewith to disperse the Serpent in his Garden.
Z in the English Qabalah is Saturn and implies the connection between the Serpent and Set, or
Satan, and therefore an evil thing. The final letter NG, implies knowledge (i.e. Gnosis), and also
the Norse God Ing, the Ice God. Whatever its arcanum, Zing is most definitely used as a
Barbarous Name, a Word of Power etc.

The Hex Signs

The origin of the Hex signs is somewhat controversial as there are two schools of thought on the
matter. Commonly they are held to be based upon a fusion of German talismanic art with some
local Algonquin motifs, and that they have a magickal effect when placed onto buildings. The
word Hex is often said to be derived from the German word for witch, but others contend that it
may also be a corruption of ‘sechs’, German for six, as the most common Hexen motif is a six-
armed star called a rosette. It is of significant note that these Hex signs only began to proliferate
as decorative attachments after c. 1850, prior to which paint was too expensive for use on
outbuildings. There are two distinct groups of the original German migrants to the region classed
as the Plain People, such as the Amish and Mennonites, and the Fancy People, in the Lutheran,
Catholic, Reformed and Moravian Churches. Of these only the latter group use Hexes to decorate
their barns and the Amish most definitely do not use or make these Hex signs. The modern
school of thought seems to be supported by this, claiming that the Hex signs are merely tokens of
folk art, similar to the patterns used in traditional American quilting techniques, and indeed many
people in the region use them entirely as ornaments without any knowledge of their uses as
charms or talismans. Currently it is common to buy Hex signs that have been screen printed onto
pressed wood in many of the tourist shops throughout the Pennsylvania Dutch Counties.

Part -Three- The Hexen Symbols

The Hex Symbols are the heart of the matter, and the largest link that is extant between Hex and
mainstream Medieval Hermetic Magick. More than a locally confined cultural symbolism, much
of these Hexes symbolic, is drawn from the archetypes common to us all, and the numerical
reference is almost entirely Platonic. The graphic elements of Hexen symbols are almost
identical with the method taught in many Grimior of the early part of the second millennium.

The use of a circular construction is very much influenced by The Key of Solomon, and finding
symmetry in the Talismanic design is one of the most important Talisman building lessons in the
Golden Dawn. Many of the traditional designs are no doubt mandalas of a very precise nature,
designed for a particular point of focus. The color schema employed is qaballistic.

The practical aspects of charging these symbols is too unclear to admit of comment. In their
employment as Talismans of protection for buildings etc. are never “uncharged” because of the
devotion of their attendants, as with every shrine of this type on earth.

The basic Hex Sign is a Talisman of the school of Pantacles, in that the symbols are for complete
ideas, and have the basic schema of an outcome in their design. They are a particular expression
of the universal pantacle or disk that the magician employs in his operations. These signs are
undoubtedly attributed entirely to Earth, and their expressions are all intended to act upon the
material universe.

The three elements of these talismans 1/ the segments; 2/ the signs and symbols; and 3/ the
colors. There are further three zones 1/ central representing the person for whom the talisman is
being made; 2/ the area of intent- the desired outcome; and 3/ the real world boundary- expresses
how the sign will operate an the material world. The use and complexity of the designs within
this basic framework are then multiplied limitlessly (in theory),

The symbols are a traditional alphabet of graphic elements evolved to express different
objectives and material elements of an operation.

The color scheme is qaballistic/ Platonic and its use is entirely flexible (not surprisingly).

The Hexen Symbols themselves are intricate symbols deserving of further investigation.
Generally, the designs seem to fall into three categories: 1/ Geometric Forms; 2/ Graphic Motifs;
and 3 / Hermetic or Alchemical Symbols; or a combination of these.

The Geometric Forms often accompanied by a motif of some natural object, or of a symbolic
shape (heart, spade etc.), seem to follow the general numerical rules of Platonic Qabalah; for
instance:
The Whirling Star, a simple motif made by arranging six scalene triangles in a circular pattern.
This talisman is for advancement through change. Let us consider its several components.

Firstly, the triangles represent a harmonious movement from a solid basis, both sides meeting at
a point above the centre of the base fine. There are six of these shapes, invoking Sol into the
design, but as a triune force, spirit, mind and body. The triangle also implies fertility, from two
separate points comes a conjunction, higher than either of its progenitors. These six triangles all
meet at the centre, focusing the invoked force, and the opposite end of each base line touches the
circle's circumference, extending the expression to the limits of the world.

Interestingly, the Hebrew expression of basic movement is called a Whirling, and the symbol of
its expression is the Fylfot Cross, of thirteen squares, expressing Sol's manifestation in the Signs
of the Zodiac, at the circumference of the Universe. Both symbols are very similar in their
graphic design and interpretation.

The Whirling Star: A symbol for advancement through

movement or change. This sign is recommended for use
when seeking a promotion or moving to new work or a
new locality. The star used in Experiment 1 was colored
yellow inside a black perimeter.

Motifs used in these designs are generally of natural objects, leaves', seeds etc. Another class of
these motifs is of tulips, and sperm designs, usually arranged in geometric patterns. For instance,
 The Pomegranates: An ancient symbol of fertility,
prosperity and happiness. This particular symbol
indicates Hexen's connection to the Hermetic Schools that
originated in the Orient where pomegranates are native.

Hex symbol is for fertility, prosperity and happiness. The Pomegranates are a very old symbol
of fertility and of plenty, since at least ancient Greek times. The design incorporates three
pomegranates, and three stems of six leaves each, making two interlocking triangles, and so a
form of the Hexagram, invoking Sol, and Tiphareth. The center of the design is a six rayed star
circumscribed within a circle representing the complete self of the adept. Three is a number
associated with potential fertility, before it takes manifest form, but also a number of the
restriction of mortality (the three states of Existence: Becoming; Being- and Not Being). The six
leaves repeated three times, represents success in these three states, before, during and after an
event. The circumference of the design has twelve leaves, representing the progression 1→ 3→
6→ 12, implying the extension of the energy of the symbol to the limits of the universe. This
symbol is a much evolved motif, probably intended to be placed on a house or in a living space,
where constant devotion to the mandala increases its effectiveness.

The Prima Materia: The eternal struggle of opposites which

maintains the Universe in balance, and from which all things
come into existence. Here, the two Salamanders may be
understood as positive and negative polarity [sic]. The face
symbolizes the consciousness which guides and sustains
creation.

This Hexen symbol is one such that would he used as a focal point for the development of the
Magickal Power (I imagine). This is a classical example of the employment of an Alchemical
symbol, here one of the union of opposites that renders the Prima Materia, the One substance
which transmutes everything into the Gold that is the objective of all true Alchemy (and indeed
Magick!,) vide Liber Aleph.
Notes by Frater C.'. -

Part One: General Observations

What is Hex? What have we learned of its Schema? How can Hex be employed by the modem
Adept? These questions are a good starting place.

Hex, on the surface, appears to be a compilation of a localized magickal system and the Hermetic
practices of Medieval Europe of a more tradition. This localized tradition then moved wholesale
to the Americas, presumably under religious or political factional pressures, but why is probably
of little importance to the practice itself. This practice then met the indigenous culture of the
Pennsylvania natives and further evolved, taking on motifs of magickal power that were passed
on from native sources. This new then became an evolved tradition by generations of practice,
Trial & Error being Evolution’s most productive tool, the focus of the isolated society in which it
was practiced and the strict oral tradition of its teaching ensured that its technologies developed
to their fullest possible potential, probably rather quickly because of the limited range of symbols
employed. The strict teaching tradition also meant that, whilst Neophytes were somewhat
protected from pursuing unfruitful paths, tradition tended towards dogma, and a general
inflexibility of expression became inherent in the overall schema. There is obviously only a
limited amount of literature available concerning the spiritual development of the Hexenmeisters,
but the existence of symbols that relate to the Great Work in its seminal form as Alchemical
expressions, would seem to indicate some deeper meaning to the practice. From the nature of
these symbols, and the Hexen connection with Hermes Trismegistus, it might be assumed that
some form of initiation into the symbols of Hex may have been involved in the overall practice
at some time. If the records of these practices are not extant it is because of the oral transmission
and the necessary secrecy of such schools and the possibility that through population dispersal
the secret societies of Hexen practice have disappeared, if they ever existed at all. Perhaps they
remain hidden and are secret to this day. Who Knows?

Of the schema of Hex a great deal more can be understood, and perhaps even more can be
deduced. Speaking strictly of its magickal practice and theory, Hex seems relatively sound. The
practice itself appears to have all of the requirements of any Magick Art. Neophytes are
apprenticed, though whether to learn the traditional craft of Hex or to be initiated into its secret:
is unclear. There. is some small ritual involved With the performance of a Hex, ritual
implements are employed, although leaning heavily towards the Weapons of Earth. There is a
complete Grimior of spells and charms, the Himmelsbrief and Besprechen (the Germans have a
word for everything!). The most striking though, about Hex, and its most precious treasure, are
the Hexen Symbols. and its system of talismanic operations. Hexen pantacles are of the most
reliable class of Talismans, those permanent images of devotion that acquire generations of
focused will and veneration. The actual charge invested in a Hexen symbol is imparted
incrementally, by the devotion of its operators over a potentially vast number of years. Only
shrines and temples, and great works of art, acquire this much magickal energy in our society. In
order for this class of talismans to maintain their veracity they must be expressed in symbols of a
radically archetypal nature, thus churches employ their central message in the symbols that they
are embellished with. This has been achieved in the Hexen schema by the wholesale adoption of
the Platonic-Hermetic system of number, which is in itself consistent with the above stated
theory of the genesis of Hex. Because of this adaptation of foreign influences, the symbol base
of Hex broadened, and developed into three different directions.

1 The most basic pantacles consist of pure geometric arrangements within the circular limitations
of the pantacle.
2. Graphic motif- drawn mostly from natural shapes, symbolic of different natural forces.
3. Strictly Alchemical and Hermetic symbols, often taken directly from Medieval grimiors (and
why not!?!)

For the most part Hexen Pantacles are composed of a combination of these elements, but there
are many examples extant of simpler arrangements, perhaps for the use of Neophytes to the art of
composition.

Finally, and most importantly, how can all of this wealth of Knowledge, tried and tested by
generations of Adepts, grown into a strong branch on the Tree of Magick Arts, be employed by
modern man to serve his ends. To answer this we must firstly compare Hex to the Magick
technology that we already know, and we must inquire of it how we might evolve it to suit our
particular purposes in a 21st Century context (a major failing of many Magickal Disciplines- The
Sacred Magick of Abramelin the Mage being a case in point, the motive of the operation is
flawless but the possibility of a modern performance is remote),

In comparison to other talismanic, systems, Hex is only moderately equipped with symbols. It is
really something of a compendium of the best of the Grimiors, taking much from the Key of
Solomon that is useful whilst ignoring totally some of the less palatable aspects, (i.e. conjuration
of daemons from the pits of bell, pungent incenses and etc.). At the same time it owes a large
debt to the fledgling scientists of Renaissance Europe. As a system of talismans it is not nearly as
complete as the Sacred Magick of Abramelin, with its Magick Squares that can be calculated
with mathematical accuracy (if one Knows how to!), but it lacks the severity of practice that
makes the sacred magick all but inoperable. The schema of John Dee and Edmund Kelly is
possibly the most perfect of all conceivable systems, the symbols are entirely all encompassing,
the invocations are the most sublime, perfect orisons, the practice is so simple in operation, but
the discipline is exclusive of all other systems, perhaps because it supersedes them all in purest
Magickal Practice. Devotion to system must be considered as a lifetime pursuit not as a useful
foil to a well stocked armory. In this respect Hex is more adaptable as its method is devotion, and
require, only momentary consideration over long periods to achieve its ends, slow and steady
wins the race.

From a practical standpoint, to achieve a particular objective the Hexenmiester makes a Pantacle
symbolic of that attainment. He designs the talisman, and devotedly colors it, perhaps saying a
small charm over it, and then he places it appropriately, so that in passing it he gives it his
momentary attentions. These accumulate over time until his objective is attained. In
comparison, Abramelin's Adept constructs a ceremony and invokes his Angel to tell him who to
conjure. This he does, by the Magick Square that he has been given in the previous rite. Two
long and perhaps dangerous operations to possibly achieve an objective (minimum). An Adept
of Enochian Magick may look for years to find the correct square to express his objective by
systematically skrying the Tablets of the Watchtowers. This done, the operation of any given
square is of the most inane method as to be totally unimportant. The traditional method of
talismanic magick, as is found amongst Hermetic schools, has a large compendium of images
and symbols upon which to draw. The Adept having decided upon his design, would make a
Pantacle of the operation which is then ceremonially consecrated, or employed to conjure a
particular Spirit who is set to the performance of the objective. In either case, the practice
involves a long and perhaps dangerous operation of Magick (usually of the blackest variety).

Based upon this comparison, Hex may be adaptable to the modern domestic lifestyle, the,
question remains as to whether it is flexible enough and capable of further evolution enough to
be relevant to the modem operator. For instance, the Hermetic practices of Modern Ceremonial
Magick are of a technical nature very much akin to man other modern practices, and so capable
of a great variety of applications and lines of investigation. At the same time, many books of
spells &etc, offer practices that are of a very limited scope and incapable of much development,
as in the case of candle magicks. Because of its basis in Platonic numerology and Alchemy, the
symbolism of Hex may he adapted to a great variety of objectives, and for this reason, whilst not
as accurate as a Hermetic Talisman (which usually names the Spirit involved in an operation),
Hexen symbols are probably a very workable schema.

Bearing all of this in mind, is it now possible to build a Qabalah of Hex, to codify its symbolic
elements, and to identify the divine names &etc. invoked towards particular ends. To answer this
we must investigate its basic symbolic schema, which has much in common with the Platonic
theory of numbers. In this schema the decimal integers were assigned particular qualities;

1. Perfection, the desired unity

2. Harmony and Balance of continual change
3. Stability and the fertility of Potential
4. Solidity and General Form
5. Power and Force
6. Beauty and Enlightenment
7. Passion and Devotion
8. Articulation and Intelligence
9. Introspection and Intuition
10. the Material World
11. the Magick Light

Further, the lineal figures and Shapes associated with these values are- held to be consonant with
them, so a Pentagon expresses the ideas of Power, and an octagon the concepts of articulation,
generally speaking, of course. The ideas of number are similarly expressed in a variety of
mediums to expand upon the compendium of available symbols. By further abstraction, the
concepts of color and other symbolic motifs can be similarly attributed to a numerical value.
A Scale of Eleven for Hexen Symbol Construction
No. Quality Shapes & Figures Color Motifs & Symbols
1 purity point white
2 harmony line sky blue rooster, eagle
3 stability triangle grey, indigo fish
4 solidity square, cross violet, royal blue acorn, sperm shape
5 power pentagon, pentagram red, infra red oak leaf
6 beauty hexagon, hexagram, yellow, gold six rayed circles,
six pointed asterisk solar glyphs
7 passion heptagon, heptagram green, brown hearts, pomegranates
8 intelligence octagon, octogram orange tulips, thunderbolts
9 intuition nonagon, nonagram silver, grey rainbow
10 material being decagon, decagram black squared circle
11 magick LVX enneagon, enneagram ultra violet zigzag, wavy lines

Part Two: The Development of Hexen Symbols by the Modern Operator

From this it can be seen, that a comprehensive scale of correspondences might be developed with
relative ease. This would mean that a Hexen Symbol might be devised for almost any purpose.
The objectives should best be in the nature of a gradual change, though the indications are that
dramatic results are not out of order. The general rules of Hexen construction must also be
obeyed, dividing the Pantacle into three zones and employing their structure within the overall
expression of the objective. Also, as often as possible, the traditional emblems of Hex should be
employed to emphasize the connection to the whole course of one's Magickal operations (i.e. to
the True, Will). It will also be necessary to adhere to the general rules for Talismanic
construction, and to avoid the inclusion of antinomian influences in the design,

The natural course to take is obviously to develop one's own Hexen Symbols, this being
achieved by the expansion of the symbol/motif collection. How are we to find new symbols for
operations of this Magick? Potentially there are several ways that this may be attempted.

Firstly; by the method of historical research, one may find previously undiscovered
configurations of traditional symbols, or more motifs may come to light. The obvious thing to do
in this case is to go to Pennsylvania to have a look- somewhat impractical.

Secondly; the development of purely geometric designs has an obvious line of investigation, the
different lineal figures may he employed to depict the very most basic expressions and
objectives. The simplicity of these designs makes this- fine of development very attractive, the
only real drawback to this course being the imprecise attributions of the lineal figures and shapes
themselves. A hexagram is a very broad Solar glyph, expressing the difference between 7 and 1
(six circumferential points and the center) and so has been employed by Qaballists for ever as the
symbol of Man. The question remains as to what its meaning might be to a Hexenmiester? And
so on for the other numerical figures.
Thirdly; new symbols and motifs may be attributed to Hex by associations that are purely
localized, or part of the modern common consciousness. The difficulty encountered by this
method is again the accurate interpretation of the motifs employed. How can one be
sure that a new symbol means what the operator intends it to mean?

Obviously, for any development or adaptation (to modem applications), a means of research
must be employed into the evolution of the motifs of Hex. Direct research is probably
impractical as a very small amount of literature will exist for a tradition of such an oral history.
The symbols themselves may be extant (a trip to Pennsylvania would be for this line of
investigation!) but what is the precise meaning of the symbol? Would the current possessor
know such a thing about a Hex that was made two centuries ago? And with what degree of
accuracy could one guess? Calculation of the probable objectives associated with certain lineal
figures is just as imprecise without some method of validation of the symbolic values of these
signs. Much may be assumed about these values from consonance with other schema; but with
what degree of accuracy? Motifs drawn from nature are too abstract to even try to guess at.
What then is a workable means of researching these values?

Obviously then, the only course for the modern operator to pursue is direct experiment. There
are two possible paths to investigate. Most directly one may make Hexen Symbols and wait to
see what their influence might (or might not) be. Trial and Error is a certain method, but a very
slow one (re: The Enochian School of Magick). Otherwise, the course open to Magicians is to
directly investigate the Hex itself. Perhaps by contemplation, meditation or, more positively, by
astral penetration. This is the line of investigation then that is most likely to bear fruit in the short
term (though till a laborious Process), and the obvious experiment to make is to Astrally Project
into a Hex and see what it shows us.

As a control one would of course investigate a very traditional Hex, so as to develop a basis for
comparison with new glyphs and motifs. This symbol should be as mainstream as possible, an
essential and unembellished design of proven veracity. Such a symbol is the Whirling Star (vide
supra):

The Whirling Star: A symbol for advancement through

movement or change. This sign is recommended for use when
seeking a promotion or moving to new work or a new locality.
The star used in Experiment 1 was colored yellow inside a
black perimeter.

The design consists of three components, the ground, the circumference, and the lineal figure of
the scalene, triangle. Such a simple symbol should yield exactly the results that we are looking
for, and there is a traditional interpretation upon which a comparison with a result can be made.
The given interpretation of this design is: ‘advancement through movement or change. A sign to
use when seeking a promotion or moving to new work or a new locality.’ I suspect that the
interpretation is somewhat broader than this, but that is the context of its usual application these
were relevant points of its efficaciousness.
Next, we must find a mean, of determining the accuracy of this interpretation. Therefore it
becomes expedient to project into the symbol to seek out its inherent value. This operation
would best be conducted by an experienced Traveler so as to have a reasonable basis for the
comparison and interpretation of anything that occurs on the journey. The ceremony would by
necessity be very simple, its focus being then actual investigation of the glyph involved. This
suggests a ritual as such-.

1. Prepare the Hexen Symbol, and arrange the Temple in a suitable manner for the operation of
an Astral Projection.
2. Perform the necessary Banishings prerequisite to the actual operation.
3. Invoke Hadit & ABRAHADABRA
4. State the intention of the rite, to penetrate the glyph and to make it reveal its meaning,
5. Project into the Symbol by the most comfortable method known to the Magus.
6. Record & interpret the Vision that results.
We shall call this Experiment 1.

The Pomegranates: is an ancient symbol of fertility,

prosperity and happiness. This particular symbol
indicates Hexen's connection to the Hermetic Schools that
originated in the Orient, where pomegranates are native.

Once a geometric form has been investigated, it would seem appropriate to investigate one of the
'organic' symbols so common to these compositions. Again, a common point of reference would
seem an advantage, and so a choice based upon a familiar motif would be the obvious choice.
Again, we wish to investigate a Hex that is reasonably certain to be of traditional origin and one
that has a clear Hexen interpretation. Such a symbol might be the Pomegranates Hex. A symbol
of fertility, prosperity and happiness, the investigation of this symbol shall be called Experiment
2.

Strength and Courage: Here the sign uses a rooster (symbolic

of watchfulness) rather than the usual eagle. This motif is
definitely evolved from the Alchemical symbols of similar
construction. The new symbolism of the eagle in America
may be responsible for the alteration of the glyph?

Lastly (three experiments is a very good beginning in these affairs); another symbol, at once
traditional and still somewhat Alchemical in its derivation could also be looked into. A symbol
that immediately leaps forward for such consideration is the Rooster. This symbol is obviously
akin to the Alchemical Eagle, symbolic of the synthesis of opposites that takes place in the
manufacture of the VITRIOL. We shall henceforth refer to the investigation of this very curious
symbol as Experiment 3.

So; as a result, Master A.'. has manufactured these three symbols, The Whirling Star,
Pomegranates and the Rooster Hexes. The temple is arranged as for the Neophyte, the Perfumes
are Incense of Nuit, The Ceremonial aspect is simply:
1. The Lesser Banishing Ritual of the Pentagram
2. The Eleven-fold invocation of ABRAHADABRA
3. Invocation to Hadit (as God of Knowledge & Delight & Bright Glory).
4. Statement of Intention to Project into Hex
5. Formulate Astral Body & Project it into Symbol
6. Orison to Adonai
7. Record & Interpret Vision.
Prior to the operation of these experiments, the Master A.'. determined to avoid contemplation of
the Symbols, except in so far as ,was required to color them appropriately (this was done
according to his scant understanding of the rules of conduct for such an undertaking by the
school of Hex, but he persevered and perhaps succeeded?). [cf. the ritual and the attributions of
the colors employed are appended to these notes- D. G. M. Jr.]

Part Three: Experiments Conducted with Some of the Traditional Hexen Symbols
Experiment 1: The Whirling Star- Saturday April 12, 2003, 7:20 pm,
After initial difficulty in formulating the Body of Light, I am immediately admitted into the sign,
passing through the image as if it were a mist of gossamer fine wisps. I find myself standing on
a gently rolling field of deep verdant grass, about knee deep, with long thin leaves, and seed
heads yet to be filled by ripening. Scattered abundantly through this field that slopes up and
away from me are myriad yellow daisy-shaped flowers, each of which is a tiny replica of the
Whirling Star itself. These are so thick as to carpet the entire vision with yellow spots. Each
flower resides atop a tall stem of deep black-green about half knee height. so that close up these
flowers seem to be set into the grass stalks like a garnish. The sky above is cobalt blue, with
puffs of cotton clouds sliding slowly away to the distant horizon behind me, where the sun is just
begun its rising over the eastern horizon behind the hill in back of me.

In order to penetrate further, I move up and over the hill in front of me, away from the rising sol,
and when I have crested it (quite an effort!), I see in the distance, a young girl, apparently
picking the yellow flowers of the meadows. By an effort of will, I approach her very quickly, and
her features become clear to me. She is young, blonde with very fair skin, and hazel eyes-
perhaps grey. She is attired in a full length dress of corn-flower blue, very plain without visible
seams or fasteners, her feet are bare and she wears a ring of daisies in her hair. Closer inspection
reveals that she is engaged in making long chains of the yellow flowers, and many are hung over
her bare forearms.

“What is your name, fair lady?” I inquire, and she replies readily, but the reply is clouded,
whereupon she becomes old and ugly, with piercing black eyes, I make the Pentagram on her,
and her visage resumes its beautiful aspect, as I repeat my question. This time her reply is;
“I am Ashera, Mistress of these fields.”

Quickly I add her name, after checking, with the Lady of the Vision that I have the correct
spelling, and discovering that it is 67, the number of Binah, and puts me in mind of
‘Understanding’ (and my own Grade of Magister), whereupon the lady grins and nods in
approval at my comprehension.
“What is your purpose here?” I probe, seeming to have won her confidence now.
“I serve my Lord, Master of this realm.” She replies without particular interest.
‘Take me to your Lord then!” I said, when it became apparent that she is back to making her
chains of flowers, and that I am of no particular interest to her. Stopping to look at me, she
apparently weighs in my favor and sets off across the meadow, gesturing for me to follow.

Alt length, after traversing quite a distance over the fields of yellow flowers, we arrive at a long
house with thick clouds of black smoke bellowing from its central chimney. As we approach, a
giant of a man emerges from the door. His bulk dwarfs me, as he regards me with a silent glare.

Calling upon the double word of power, I demand of him that he declare to me his name and his
station. As he begins to speak I start to be able to focus upon his countenance and attire. He is at
least eight feet tall, wearing rags of fur in a barbaric sort of cloak and tunic, with knee-length fur
boots. His swarthy face is set with dark black eyes, pits deeply recessed into his skull under a
shaggy brow. His mouth is all but hidden in a grizzled beard and the whole face is roughly
divided by an oft broken snub of a nose, whose nostrils sprout abundant moustaches. He carries
a round shield that bears the symbol of the Whirling Star in bright yellow upon his right arm, and
he carries a rough cudgel in his left hand.

“I am Banor!” replies the giant; “And I govern over all of this my realm, wherein the beginning
of all things is as a spinning or a whorling, such as is shown by this, my Emblem.” With this
Banor thrusts the shield forward for my inspection. As I watch, the triangles take on other forms,
shifting through the symbols employed by peoples and gods to show the force of creation (or so
it seems to me).

The vision begins to overwhelm me, so I make the sign of HaarPaarKraat and again I am face to
face with the giant, who is now regarding me with a favorable grimace of a smile. With a
sweeping gesture he invites me into the Long House. Stepping into the darkened interior, I find
it to be warm and very comfortable, reassuring. In the middle of the hall is a long wooden table
surrounded by heavy wooden chairs. Set upon the table are Bread, Wine, Honey and the tongue
of some game animal, which is shown to me as either a Moose or an Elk. Banor spreads honey
onto a slice of bread whilst gesturing to me to taste the tongue, which I do, finding it sweet and
tender. Next he, presses the bread and honey into my hand, and tells me to eat, which I do and
feel totally nourished thereby from only one small bite.

With this, Banor smiles and gestures to the walls of his house. Along one long wall are a line of
eleven shields, each decorated with the whirling star in different colors. These are grouped into
four, three and four, the first group being, yellow, green, orange and white, the second group are
red, purple and blue; whilst the last group are silver, black, grey and light blue.
“These are the shields of those- that I have conquered with my force, these are the clans that
serve me!” beams Banor, gesturing largely towards the neatly arranged roundels. Along the
opposite long wall are myriad shields, of mixed colors, and of differently shaped triangles.
“These are the clans that I have broken and made to serve me!” he explains. Looking at these I
am shown a vision of various armies throughout time that have marched under a banner of the
whirling force, battles from the mists of antiquity are revealed to me to show me the power of the
symbol, and its influence over the affairs of man.

Picking up a shield of red, blue and green triangles, Banor spins it to show me that the colors
fade to white as it spins, indicating that therefore it is of no effect. Picking up the yellow
whirling star shield he spins it to reveal a beautiful golden light emanating from its revolutions in
pulsating waves. With this he beams at me approvingly, so that I am encouraged to ask;
“What is your word, and -what is your number?”

“My Word is WHIRLZ, and my number is six by the conquerors, and seven by the conquered,
but it is eleven by the Magus whilst he wields the fourfold powers of creation!” I do not
immediately understand the word but Banor tells me that I have it aright, and we move on,
leaving the long house where I rejoin the Lady Ashera at the threshold.

We depart from Banor, he bows at the waist as we. do so, more to the Lady perhaps, but as I feel
compelled to follow her I do not concern myself over it further. The lady is walking towards a
small brook now, and when we reach it she bids me to follow it, telling me that it will lead to the
end of the Vision. Following the brook, I wander along its bank until it seems to just end in what
appears to be the surface of a bubble that I am trapped within. Pushing gently on this surface, I
pass through it with a start and the Vision is ended.

Experiment 2: The Pomegranates- Sunday 13th April 2003, 6:30 pm)

The symbol opens to me readily and as I pass into it I see that the central yellow and purple star
has separated from the rest and looks as though it is set back in the two outer circles. The image
remains the focus of the vision, drawing me through the doorway, as it becomes the setting Sol
of this Aire, set in a deep royal blue sky, streaked thinly with maroon and crimson bands of
clouds.

I find that I am entangled in a dense jungle, with twisted vines and broad green leaves, set
everywhere with the most spectacular fruits of every variety. All of these fruits are very ripe and
many of them spill their seeds onto the thickly rich soil in which they are growing. The smell of
over ripe fruit, is overwhelming as I push through the foliage, and moving forward with great
effort through the dense herbage, I perceive a break in the bush through which I can push myself,
and I am now standing at the edge of this jungle.

To my left is a sloping river bank that leads to a dark river flowing in darkness under a sinister
canopy of twisted branches from the trees that line its banks. These branches are intertwined
with stout creeping vines so that the river is quite inaccessible. Away to the right the jungle
seems to end at a field under heavy cultivation so I move in that direction. I am completely
alone.
Finally reaching the field I see that it is full of growing melons, large green and blue striped
Watermelons, some bursting open to reveal their black seeds set in the sweet red flesh. Further
along I see different berry bushes and on the horizon can be seen large groves of olives, apples
and other fruit bearing trees. Behind me the inaccessible river forms an impenetrable barrier, so I
move on across the fields until I see a large manor house amidst the fields,

As I approach the house I notice that it is set behind a moderately high wall, which surrounds a
perfectly manicured garden consisting of all manner of decorative plants and shrubs. Here and
there small, obviously cultivated plants produce berries and seeds in prolific quantities, coverings
the pathways with their over ripe carcasses. One path, central in the scheme, its gravel unmarked
by squashed and rotting fruits, seeds and berries, leads directly to the portico of the house, and so
I follow this to the front door.

As I approach a knight in full armor, with a shield and short sword emerges from the portico and
bars my way. The knight's shield has a diagonal yellow and black bar, above which is a black
and white checker pattern, and beneath which is a plain field of sky blue. Atop his, helmet, with
its visor thrown back, is a billowing white plume of hundreds of long and delicate feathers. His
piercing eyes are the color of gunmetal as he flexes them upon me in a challenge.

“Who are you, good sir knight?” I ask of him and coming to attention he replies,
“I am BARSUN, the guardian of the House of Plenty.” I quickly add his mine and it comes to 78,
the number of ROTA, and a solar number but the significance eludes me. The knight seems not
to mind, but still bars thy way, so I ask,
“What is this place that you guard? And on whose behalf do you keep this door?"

"This house is the Manor of Cultivation, and I serve my Lord, the Great Husbandman, who
presides over this realm.” Finding that I am likely to get little more from the knight, I attempt to
pass him, whereupon he blocks my entrance to the house. Thinking hard, I finally call upon the
name of the Lord of Knowledge and the knight shines brightly white, his armor gleaming, and
steps aside, to allow me to pass.

Upon entering the house I notice that it is perfectly square, with a door in the center of its facade
protected by the knight's little portico. Going into the doorway, I find myself in a central
hallway, with a stairway along the left wall leading to an upstairs apartment. The ground floor is
occupied by four large rooms, the first, upon my right is filled with pumpkins and gourds of all
descriptions. Behind this at the back right corner of the house is a room filled with grains in
bushels and sacks of flour and rice as well as other seeds and corns. Looking under the stairs
into the back left room I see that it is filled with meat, carcasses hanging from hooks, and cured
meats and sausages all arranged as in a butcher's cold storage. The front room upon my left, at
the foot of the stairs, is filled with wine barrels, and bottles scattered about apparently after
testing various vintages.

Finding nothing in these barn-like rooms to entice me into them, I turned and ascended the stairs,
seeking out the master of this manor. At the top of the stairs is a single room, very large, wherein
a very large man, regally dressed in red velvet with cheetah trim, black boots and a golden circlet
crown, sits at a voluminous desk apparently engaged in keeping ledgers of some description.
The room is decorated upon all of its walls by paintings of scenes of plenty, orgies and feasts.
Faun-- and satyrs caper about in enjoyment of the over abundance and abandoned revelry.

Approaching the desk, I looked into the ledger which seemed to be a complicated register of
experiments, crossing different forms with each other and noting the result. As I am looking over
his, shoulder the massive man looks up at me so I ask who he is. He replies;
“I am Arturo.” At first I am uncertain if I have his name right, it seems too plain. I ask,
“Arturo, are you a King here in Your realm, and what is it that you are accounting there in your
ledger?” Shaking his head, the amiable giant says no, his is but the Lord of this Manor, and he
records all of his attempts to cultivate the good things, and the poisonous things of this world.
He goes on to tell me that the fields around his house are the works in progress, and that all of
the plants that are used by man have come from his book, by his husbandry.

“So what of the jungle?” I ask, gesturing toward my origin.

“That is the source of all of my new materials in this eternal endeavor,” he replies, “and the river
is the force that drives it, hidden and yet wild.” Looking at the walls upon the left of the room I
see that here are frescos of battle, bloody scenes of warfare that seem to plan themselves out in
front of my eyes. Seeing my interest, Arturo tells me;
“This is the image of the conquest of the cultivated world over the jungle whence you have
come, Now that you have seen my mystery displayed for you, depart.”

Without malice I am directed out of the manor house, the Knight stands to attention as I pass him
on my way out. Back across the fields I am driven out of the Vision by the route that I had
entered it, until as the jungle swallows me I am out, and the Vision is ended.

Experiment 3: The Rooster- Monday 14th April 2003, 4:10 pm

I enter the Vision easily, and I find myself in a darkened landscape wherein details are obscured
by the night. Above, the star of the Hex Symbol has become the Morning Star, and it rides high
in the firmament, providing the only feeble illumination that there is. As I watch the sky begins
to spread with light from the distant horizon, the deep blue sky is streaked with salmon wisps,
before the pale Yellow sum encroaches on the land with the first rays of the dawn.

As the scene begins to be enlightened, I see that I am surrounded by fields, all behind stout
wooden rail fences, wherein are growing all manner of tiny green seedlings, widely spaced in
perfect rows. Every field has this cultivation, and though it is obvious that the crops being
grown are all different, they are yet too immature to distinguish their various types. I am
standing on a rustic road, deeply rutted and a little muddy from a recent shower. Along this
track, standing atop a tall fences post stands the rooster with two heads from the Hex. This bird
is making a cacophony as an alarm, its two heads making the noise simultaneously. As I
approach it, the rooster jumps to the ground and runs off along the track, feathers and legs
flapping about in a seemingly random jumping kind of movement that gives the bird a strange
jerky sort of appearance as it runs.

I follow the rooster and it shortly leads me to a small stone cottage set right in amidst the fields
of seedlings. This little house has one or two windows and a rude doorway whereby I enter the
building in pursuit of the rooster. Sitting inside upon the only chair is an old woman, very bent
and wrinkled, with silver hair, clothed in a hang black dress with a shawl of knotted black wool
over her sloping shoulders. She seems serene, engaged in spinning a long thread with a drop
spindle. She take, no notice of the, rooster who has continued to dash about the single room,
cackling his awful crow in apparent alarm.

Approaching the old lady, I ask her for her name, and she replies
“I am AVANTI. The spinstress of this house.” Thus encouraged I continue, asking her about the
rooster who she tells me is named TARAT, I note that this name is a palindrome and she smiles
in reply that it is because the bird has two heads.
“Why does he give this alarm?” I inquire and Avanti replies,
“The Rooster calls a warning against the foxes that are come to take his chickens.” This leads me
to ask where the flock of hens is? Avanti shakes her head and says;
“All gone, taken and gone.”
“What good is his warning then if he has lost his flock?” I ask, somewhat confused by the
answer.
“Tarat warns me when the time is come to cut the thread that I spin, that I may begin anew upon
another.”

For the first time I can see the rooster clearly now and I admire his beautiful golden neck,
streaked with the occasional yellow or red feather, his black eye set under a brilliant scarlet
comb, and his strong plump crimson body. As he dashes about the now slightly risen son
occasionally causes his feathers to sheen purple and azure, contrasting all the more with his
yellow orange legs. Apart from the, oddness of his double head, the rooster is a glorious
specimen of a bird.

Returning to the old lady, I ask her of the Magick Word of this plane, but she begs off for her
ignorance of such matters. In answer to my inquiry as to who would know such things upon this
Aethyr, she merely nods out of her window and says,
“That would be the business of the Ruler of this realm, Our Lord that dwells in the Great House
yonder.” Following her gesture, I look out, of the window and am somewhat surprised to see a
large, high walled chateau overlooking the valley that I am in.

Leaving the old lady I head straight for the Great House. Sol has risen almost to the mid heaven
now, yet its brightness cannot obscure the Morning Star that rides in the sky in front of it.
Looking up I can see a large bird, an eagle or a hawk, wheeling around this star now, but the
extreme distance makes the figure unclear. Whilst I have been observing this I have rapidly
approached the massive gate of the manor, set in its very high wall that surrounds the entire
chateau which sits atop a small but steep hill.

I attempt to open the door but I fail, so calling upon the names of God I demand that the door
open for me. Finding no success with this I make the Sign of Horus and call upon the Double
Word of Power, ABRAHADABRA, for the power to enter this portal, whereupon a small
doorway opens in the giant gate and I am admitted. Inside the house it is pitch dark, there is no
visible detail except for the faint glimmer of a light ahead of me so I move towards it.
Entering into another door, where the source of this light seems to lie, I find myself in a large
room wherein sits a giant upon a golden throne. The walls of the chamber are filled with
windows almost from ceiling to floor, all filled with small diamond shaped panes and from his
vantage the ruler of this Aethyr can see the entire realm under his governance. He is an old man,
but exudes a sense of strength and of absolute power. He is attired in robes of scarlet with
golden fleur-de-lys over a tunic of royal blue trimmed with silver embroidery. His silver hair and
beard are topped by a solid crown set with many colored jewels from beneath which his piercing
dark eyes are now considering me silently.

I approach his throne and announce myself as a Master of Magick traveled into this realm
seeking the knowledge of its magick.
“Who are you great King of this realm, and what is it that you do here?” I boldly ask, for he
looks little inclined to make any reply.
“I am King ORIS,” he replies, “and I sit here to view my armies, making my commands and
determining my conquests.” With this Oris waves a golden scepter with his right hand and from
our vantage point I see an army rise up out of the very earth in one of the fields outside the
windows. This host then sets off speedily marching towards some unknown objective.
“Tarat gives the alarm, and warns that the time to move is at hand.” Continues the King. Seeing
that I am likely to be able to press for more I ask of the Magick Word of the Aethyr, and Oris
replies;
“The Word of this realm is War, for it is my mystery that by this means I make my entire world.
Know that after war comes peace, after destruction comes renewal, after violence comes
quietude. Now that you know of my mysteries you must pass on!”

As this pronouncement is made I am lifted from the floor of the chamber and passing through the
ceiling of the chateau I am soaring in the firmament. My only companion in this place is the bird
that I had seen earlier, and by sheer will I move up to where he circles, the morning star, now
descending towards the western horizon. This bird turns out to be a kestrel, a beautiful dark
brown bird with golden iridescence shining from his feathers as he soars past in the now full
sunlight. Suddenly, the hawk turns his wing and swoops straight down towards the earth below.
In an instant he has snatched the double headed rooster and they are climbing back into the sky
to rejoin me at my extreme altitude. As the pair reach my height, the kestrel grasps the rooster in
its talons and tears the bird in half before resuming his wheeling in the sky. The two halves of
the rooster drop to the ground, each one sprouting a new half and suddenly there are two.

I consider the hawk now but he seems too distant for communication and as I approach him I call
out, asking his name. The bird now swoops over towards me and opens his beak as if to speak,
but instead the entire Aethyr is filled with a blinding white illumination that originates from
within the hawk. This brilliance grows until it becomes almost unbearable whereupon it is
suddenly extinguished and I am again in total darkness wherein I can begin to see the furnishings
of my temple and the Vision is at its conclusion.

Part Four- Results and conclusions drawn from these Experiments.

The results of these first efforts are very interesting, full of imagery that will certainly find some
concordance with the other schema of Talismanic Magick. The question of how to interpret this
cacophony of symbols and make them present some coherent form that relates to their possible
arena of efficacy now arises. In order to do this we must first determine what qualities that we
hope to find in the Visions and attempt to associate them with other familiar schema. Just as the
Aethyrs of the schema devised by Dec and Kelly overlaps in a great deal of their symbolism with
that of the Paths of Sepher Yetzirah yet the two schema are totally different and the resultant
journeys are similar enough to allow only a superficial interpretation to be made between the
two, so too these Visions may have some small correspondence with those Planes of the Yetzirac
World that admits of the admits us to a comprehensive understanding of their particular
properties.

The immediate qualities that we might profitably took into then are those of our more familiar
systems, and the most obvious of these is to look for some Elemental correspondence. The
possibility of the expression of planetary qualities and those of the Signs is also present, and of
course, there are those symbols of almost universal legibility that should be considered. Because
the mode of communication on these planes is generally verbal, and because the names and
words encountered are all of some small value by the venerable study of Gematria, this qabalah
must also he considered (note that in three Visions we have, collected half a dozen names and a
couple of Magick Words- a Magus of greater skill in @ Art than Master A.'. might be able to
discern even greater depth by this method). Most importantly though, we must take account of
events that occur upon these Planes and by the exercise of our thought we must try to discern
what they mean in relation to ourselves, because that is the true value of these practices (and, I
suspect, of these Hexen Symbols).

So, at the conclusion of our three experiments how have we benefited? The objective that we
began these researches with was to determine firstly, whether astral penetration was a viable
means of investigating these symbols. Secondly, if the Hexes are open to this form of
investigation, is there some common denominator, or schema of correspondences by which we
can judge the interpretation of these symbols? Finally, how can we apply this information to
creating Hex Symbols specific to our particular requirements? (This also begs the question of
how accurately the Hex Symbols can be designed to represent quite specific objectives- in
general?)

On the face of it, the symbols seem to be of the first class of such images for the purposes of
Astral Projection. My own experience in these matters inclines me to consider these symbols
amongst the easiest to penetrate that I have yet operated. The uncertainty of how these symbols
correspond to other schema with which I am familiar makes certain operations awkward while in
progress, but this is more than compensated for by the rich variety of imagery that these journeys
generate. Superficially at least, Hexen Symbols are well suited to this style of investigation.

The general type of Vision generated by these symbols appears to correspond most strongly to
the Element of Earth, though it would seem that each one represents a very specific sub
elemental form of that Element. The colors of these Visions might have corresponded very
strongly with the traditional qaballistic correspondences, and the overriding symbols that set the
tone tend towards Airy/Akashic expressions- Sol in a blue firmament, the blonde maid in her
blue dress &etc. Numerical qualities may be significant, and the Gematria of the names and
words imparted in these Visions seem, on the surface, to be capable of yielding meaningful
results. Even the cursory examination of the symbols in the three experiments outlined above
appears to admit of some sort of overall schema to which these designs conform. Further
investigations are, of course, necessary to continue to build a compendium of symbols with their
correspondent interpretations, but it does look very much as though a structure exists here that
such a study will bring to light.

This being the case, it is very likely, at least superficially, that new symbols and arrangements of
this system are, not only likely to be possible, but probably highly desirable, as the Hexen
Symbols employed by a Magus will to some extent map out the course that he has pursued in his
Great Work. To achieve this, without many unfruitful experiments, it will be profitable to
determine the accuracy of the traditional interpretations of Hexen Symbols that are extant in
relation to our investigation of them. To begin to do this we should return to the three examples
of our experiments, and compare the resultant Visions with the traditional interpretations given
of these symbols. To begin with we must therefore look closely into the scant interpretations, the
designs and the tradition as far as we can, and by the exercise of our thoughts try to envisage
what the Hexenmeisters that made these designs intended by them. Then, without prejudice we
must consider the meanings intended by the episodes of the Visions that we have gone on to
determine what these tell us about the intentions of the designs. These we shall then compare,
with a critical eye, and thus shall we bring to light any schema (or corruption of one,) in this
system.

Experiment 1: The Whirling Star

In the first experiment the symbol that was investigated was “The Whirling Star”. The
traditional interpretation of this Hex is that it promotes good fortune in new beginnings
(“Advancement through movement or change. A sign to use when seeking a promotion or
moving to new work or a new locality”). Certain qualities are implied, firstly in the title of the
glyph, and secondly in the meaning that has come to us with it. The quality first movement is
indicated by the concept of whirling [from a M.E root meaning to turn around]. The association
with newness is underscored in the interpretation. The star is, descriptive of the shape, but
symbolically so, as an equally descriptive alternative might have been employed. ‘Star’ implies
light focused to a point, as a fixed beacon, or perhaps a point of generation of light. Either way it
implies Unity or the quality of Oneness. Thus the motive force is of an originating nature. The
application is recommended for bringing about successful new arrangements in life. It is an
agent of harmonious Change (vide 2: of Disks of the Book Tarot). The design itself, in as close
to a traditional arrangement as I have been able to re-construct, implies certain qualities
pertaining to this symbol also. The white ground, for the purity of newness, is circumscribed by a
black circle, symbolic of the material limits of the individual universe, to contain the energy of
six yellow scalene triangles. These figures, all identical, represent a balanced progress made
from a wide and stable basis (the symbolic. implication of this particular class of triangle as
opposed to isosceles or equilateral- vide: The Magick Weapons, Ch. 8) The direction of the
movement is towards conscious clarity, imaged by the number of shapes being six, the number
of Sol, their dynamic shape pointing deosil and their color. (vide: the appended notes to the
ceremony). This sums up as a symbol of beneficial material change, through new efforts or
directions in life. The colors are of a class that is almost universal in its legibility and the Solar
glyph of six triangles is pretty straightforward.
Our own investigations are more difficult to dissect. This Vision seems to be in three distinct
parts, and in the first the world of this particular plane is made apparent to the traveler. In this
case, the general imagery of rustic cultivation places us on a plane that corresponds most
basically to Earth; the corn in the fields is certainly of an Airy or Mercurial leaning, but
essentially of Earth. Whilst the Solar influence in the Vision probably stems directly from the
color chosen for the motif, the general quality of Air is also imparted, the strong admixture of
these two strongly implying the sixth Sephirah, Tiphareth (which also has certain qualities that
may be attributed to Spirit). Experience in these journeys made me almost immediately certain
of the correspondence upon entering the plane.

This tells us quite a lot about the Aethyr that we have traveled to. I am put in mind of a similar
investigation that was made by Frater AOMΔ 7°=4Δ whilst looking into several of the squares
from the tables of Enoch several years ago. Two occasions upon which squares from the Airy
angle of the Earth Tablet yielded correspondent results are cited from that record:

(From the Vision of the Square of ZNRI from the Air angle of the Tablet of Earth- 15/02/98,
1:45 am)- “I am inside a dark cave, more of a deep crack in the Earth, outside the blue sky
radiates a bright yellow light.” And again;

(From the Vision of the Square of RMNO from the Air Angle of the Watchtower of the Earth
28/02/98, 1:45 am)- “The landscape is very bright, warm and sunny, though Sol is not visible.
The sky is bright blue and vet it exudes a bright yellow light, the synthesis of these being the
bright green grasses. The air is of a warm spring day, the aroma of new growth and fertility is
intense.”

Also, the corn that grows in the field is a certain symbol of Earth, as can be seen from the
Visions of the 20 th Path of Sepher Yetzirah:

(The Sword and the Serpent, Ch 13)- “Initially, the vision appears to me as a picture of rolling
pastures, wherein abundant crops of wheat and corn are growing in orderly furrows. I call upon
the holy name of the Path, Elohim Tzaboath, and the Gods of Battle open the gate to the Aethyr
and I penetrate its portal easily. I have entered the vision to find myself standing upon a rustic
dirt road that wends its way between two abundant fields, wherein are growing grains of various
sorts, all of their golden tops, heavily laden with the fruit of their season, swaying in the waves
of a gentle breeze.”...
This harvest is bound for the Table of the Lord of this realm- The Hermit of the Tarot, Mercury
disguised in an Earthly costume, Adonai as the Holy Guardian Angel. And later in the same
vision, speaking to a serf that I have met there-
“These fields are the Fields of Life, Master, and I tend these crops for my Lord, the Hermit who
dwells upon yon mountain," and he gesticulates towards the horizon where a jagged peak can
just be seen,
“I grow at my Lord's whim what he will, so that he may choose the ripest and finest fruits of his
bounteous harvest for his feast table.” And, as if to confirm the Earthly correspondence of the
landscape:-
“All around me the fields stretch off to the distant horizons, presenting me with visions of rolling
fields of ripe grains, showing all of the colors of the harvest, ripening grains showing their
glorious oranges, reds, yellow, and ochres, evenly carpeting the rolling fields for as far as I can
see. Above me, the sky is the purest clear blue, becoming deeper in its hues as I look further into
its extremities. The Sun of this cloudless firmament beats down upon the rich fields all around
me in a beautiful golden light from the mid heaven, "

All of this tends to lend weight to the idea that the Vision, and therefore the Hex, is
correspondent to The Airy part of the Element of Earth. Importantly, the motion made into the
Vision of the Whirling Star is with Sol, Deosil as it were, and so the force of the symbol is of a
generative nature, going with the force of nature.

Next we meet the fair young maiden, a definite symbol of Earth, as she is the Princess of the
Tarot and of Tetragrammaton, not the wife but the maid servant of the Lord of the Astral Plane
of the Vision. The fair skin and blonde hair continue the motif of the sunny quality of earthly
fertility, the potential of Sol's energy as it is imparted to Earth. Again the blue and yellow color
scheme is emphasized, as if to ensure that this sub-elemental quality is not overlooked. The
other quality of the Vision that is being reiterated at this stage is the immaturity of the symbols,
they seem to represent the potential for manifest expression, but are as yet too undeveloped to be
ready for application. Also, the activity of the girl, making orderly connections between the
random expressions of force implied by the scattered yellow flowers, shows the beginning of a
process, not the result of its long implementation.

Further, the, maiden states her name Ashera (I checked the spelling with her at the time). This
has a value qaballistically attributed to Understanding, but also to fertility in its ideal state. The
office of this person is to make the Aethyr open to our comprehension by the symbolic import of
her action therein. She brings order to the randomly distributed energy of this plane. The
correspondent elemental forces attributed to her name underscore this. She is undoubtedly the
Princess of Swords, and her decisions are based partly upon ambition or a picture of order that is
in her mind or nature [Capricorn]. She is directed by the need to match her efforts with the
Voice of the Future- with an eye that is for evolution [Gemini] and her method is synthesis of
subject and object [Sagittarius].

Next we might turn our attention to the flowers themselves. At first sight these appear as
“daisies”, but upon closer inspection they reveal their form to be that of the Whirling Star
through which we have entered this Plane. This repetition of the motif implies that the force
manifests itself identically in myriad forms each of which then takes on its individual form. The
fact that these flowers are mature, whilst the field of corn in which they grow is unripe implies
that the force reaches it- maximum efficacy as material forms are just beginning to develop. In
short, it is a seminal driving force behind material existence. This again puts me in mind of a
similar Vision undertaken by Frater AOMΔ:

(From the Vision of the Aire of TEX from the Calls of the Keys of Enoch; performed 31/01/98,
12:00 am).
“The Aire, is filled with whorls of energy, spirals resolving themselves into swastikas, spinning
furiously, creating sparks in great waves, showing the Aire with their flashes of glory and
illuminating it to its very depths.”... and also;
"Your breath has the force of the whirling fylfot, and this is its secret force...."; whereupon a
swastika is seen to smash into the obsidian cube [at the center of the Vision] with great force, at
once merging with it and smashing it to atoms, which momentarily take on the form of the,
spinning swastikas before swirling in an effort to re-coalesce and then dispersing themselves
like, dust throughout the Aethyr.”
Note that the central character of this vision wore a ring set with a seal that very much resembled
a fylfot cross. Note also that the vision ends with the comprehension that the obsidian cube is
that of the black cross of this system that bears the supreme name-- of Godhead, and that this
cube is formed out of the swastikas after they have discharged themselves into the Aire.

Deeper into the Aethyr, the symbolism of Earth is strengthened by the appearance of a House.
Here we meet the Lord of this realm, the Yod of its Tetragrammaton (to the maiden’s He final),
identifying the purest nature of the expression. His name is a formula for the operation of his
energy, a statement of some natural law. The anagrammatic nature of this word (the association
was immediate during the, process) implies. its base meaning as ‘man’ and thus strengthens the
connection with Tiphareth. The imagery of this energy’s progress from initiation to fulfillment
shows, it to be an energy that infuses itself (by its symbol) to act in ways that are manifested by
agencies other than itself. That is to say, it is a seminal driving force behind a number of
agencies of change.

By its Gematria, this name adds to 49, a perfect square of the number 7, the most venerated of all
of the integers after 1 (by Qaballists). 49 is also the number of the Living God- i.e. of the visible
force of god in the manifest world. It is also a number attributed to nativity- as the first manifest
extension of the desire symbolized by 7. All of this befits the name of the Governor of the realm
of the beginning of the whirling force that drives creation. The correspondences of the names
continue as Mercury is a motive-creative force (Ptah named the creation as Tahuti set it in
motion), Air and spirit are twin forces of articulation, one inner and one outer. Leo is the fire
that drives the whole and synthesis is the method, again evoking a certain resonance with the rest
of the vision. The central expression of Banor is the multitude of forms that his symbol is made
to assume, all consonant with spiral or spinning energy, again calling to mind the experience of
the Enochian Vision cited above.

Next we enter the house of these symbols and we are confronted by an established order, the
intention of which is to nourish, this being emphasized by the food that is laid out. Again, the
energy of the Aethyr is expressed as a consumable (vide: The Sword and the Serpent, Ch 13 - the
produce of the fields is for the table of the Lord of the Aire). Here, the seats are marked
perspectives from which the matter on the table might be viewed. We are not invited to take a
place here though only to partake of the food and thereby the knowledge of the Plane.

Now, looking at the issue from this seminal symbol of the Lord of the realm, we have his ‘gifts’
to us. The Elemental repast is somewhat instructive; upon this plane the Elements take on these
forms is the implication here. The foods are four. Firstly there is the, bread, basic sustenance.
Bread is earth, the material issue of this plane is sustenance (a repetition of the grain symbol).
This is spread with honey, a symbol of labor's results. The honey is Fire, that is why Banor pours
it upon the bread, to manifest its effect, activity upon this plane is labor. We are instructed to eat
the tongue. This is an interesting symbol; it represents flesh, one of the mediums of expression of
the Whirling Star, but in its most materially sensual form, combining taste and touch, the engine
by which the mature flesh is nourished is used as a symbol of the potential for there to be mature
meat in the future. Articulation in nourishment at its most basic and wild level, indicating an
energy that is primordial or archetypal, such as the force that drives evolution. All of this is
somewhat obscure (and not a little Pagan!). The Wine, that we are forbidden, is Water, which
upon this plane is a mature expression, implying that rest has given way to motion. We are
denied the matured Vintage, because it is not of the symbol, but has about it the essence of that
which the Whirling Star aims at achieving.

After partaking of his repast, we are shown the dominion of this symbol and we for the first time
begin to learn directly how we may apply this symbol to other ends. Now we are given to
consider the shields (obvious Pantacles) and the clans which they symbolize. The mono-colored
designs, eleven in number are arranged in an orderly fashion along one wall, whilst the disorder
of the multi-colored shields is a clear indication of their failure. The force expressed by the
whirling star is as yet unmixed, perhaps unmixable, as the operation of these impure symbols
deletes their effective influence. Further, the successful symbols are strongly associated with
conquering armies, the necessity of a singleness of intention is of the nature of this force and its
symbol must reflect that if it is to be efficacious. It is notable that we are shown a distinct set of
grouping, of colors, which is somewhat instructive as to the possible applications of this Hex if it
is made in other colors than yellow. At the same time, the failure of the multicolored designs
teaches us to limit our operation of this Hex to monochromatic designs.

At, point we are given some useful instruction about, the integers’ interactions with this plane
that definitely connects these symbols to the Platonic Qabalah so popular up to the 17th Century.
Firstly it is six to the victorious. When it is successfully manifest it becomes aware. The ground
upon which it operates is conquered, and here it is seven, representing its influence as being by
way of addition. For those though that have risen above this illusory duality it is eleven, the
Magick Light, ABRAHADABRA. It is a particular form of expression of the One energy of the
Universe to progress (deosil at that!). Thus the operation of the Whirling Star of six arms is to
move to change, with seven arms it is intended to bring change to it and with eleven arms it
draws change out of the operator himself.

Next we are given a Magick Word! (this is far more than I had hoped for, as it at once makes a
spell for the operation of the symbol calculable but also supplies a formula for its application).
This word: WHIRLZ (I checked the spelling- twice!) has a value of 131. This a clear indication
of the accuracy of the word, for that is traditionally the number of Samael- The Devil. It
represents the Secret Force of Change, and thus evolution (there is nothing more frightening to
unenlightened mind as change). This Magick Word is a formula for the operation of this symbol
(which should thus be called The Whirlz?) It sums up the types of change that are fundamental to
its operation, and it implies the progression of its action. W= Pisces, the plane of dreams and
illusions of the sub conscious, H= Gemini, the oracle of the Gods, Enlightenment, I= Fire which
transforms everything, identification; R = Sagittarius, Art and the synthesis of opposites that
results in a new higher form, (connected with the Alchemical Gold), L= Virgo, inner vision, of
clarity and self meaning, and finally Z= Saturn, Death, binding the whole within a temporal,
material world. The Whirling Star is shown thereby to be a seminal influence in all of these
means of energy transference. The Magick Word is very useful though, as is the description of
the values of the Whirling Star's operation. WHIRLZ represents the formula by which the
symbol operates, by the agency of natural states of change. The effect that this has upon the
matter of its manifestation is either six, seven or eleven, therefore the Hex can be for outward
objectives, inner development or applied directly to the Great Work, a very Magick Sigil indeed.
It would seem that this formula is best suited to the Hex if it is operated with eleven arms.

Finally this energy is shown to be of a flowing nature, a gentle trickle into the manifest world
rather than a constant force of change by destruction or upheaval. The conquering force is from
within not without. The brook represents the flowing nature of the force, as it leaves its place of
emanation: steady & incremental. This is a force that must join with other more complex
energies to flourish, for it is a brook not a river, and so it has the potential to dry up and to have
thus expended its energy fruitlessly.

The bubble effect upon exiting the Plane is symbolic of the unit of energy as it manifests,
material existence is the cessation of the whirling action, (and so a deviation from the True &
Essential nature?).

All of this is very interesting, but, what does it teach us about the symbol that we are
investigating and about Hex in general?

The main points of this Vision are: The Hex corresponds to the Solar part of the Air of Earth
(does this mean that a green Whirling Star would correspond to the Venusian aspect of this sub-
element?). The energy expressed is of an originating nature, easily dissipated if it is not
strengthened by the action of other influences. The expression materially appears as a labor or a
gradually cumulative effort. Its field of operation, is at a subliminal level, behind other forms,
starting things but not sustaining them, by a gently flowing force that is somewhat tenuous in its
effect.

To begin, there immediately appears to be a connection between this symbol and other symbols
employed by alternate schema to represent similar concepts. A powerful correspondence with
the Fylfot cross, or swastika is indicated. That symbol is representative of the Solar force
expressing itself Elementally via the personalities of the Signs of the Zodiac. The indications are
that this symbol, the Yellow Whirling Star is correspondent to the Airy part of Earth in the
Enochian system, and by its similarity of symbolism, it is similar to the mutable sign of Earth,
Virgo. The use of grain as a symbol is subtle; its immature state in the vision is a clever symbol
of a nascent force as opposed to a nourishing one. Similarly, the maiden gives a persona to this
idea, her distracted manner implies that the force is yet to become particular in its application,
whilst the manufacture of the daisy chains shows the beg of a material order. Again the symbols
are all of a potential, rather than a manifest nature.

The multiplicity of the imagery of the flowers and the shields implies that the effect of this
symbol is broad and nonspecific but that it also requires purity for it to be able to act effectively.
The spinning motif is constant, throughout the vision, which gives rise to the thought that the
Hexenmeisters may have trodden this path before us, to have the clarity to name the Hex as
appropriately as they did.
Finally we begin to see some of the fruits of the operation of the Hex. It is a symbol of the
potential for nourishment. It feeds the daily needs in an effort to attain to the state of ripeness in
some synthetic form under a different symbol. For this Hex it is enough to begin the operation,
setting it in motion to allow the development to evolve according to its own nature. There is no
way to taste this fruit as a ripened product as it is of the nature of things that are fresh one minute
and stale the next. It represents the energy that is needed to generate action, but without any
manifest activity being yet possible.

So it would seem that the two interpretations coincide, but of course the material gained from the
Vision is of a deeper, more intricate nature. An entire arcanum of symbols could be constructed
around this configuration alone, dealing quite specifically with the, beginnings of a number of
types of enterprises. (Perhaps eleven: vide supra, the vision and the eleven shields), Perhaps
operating a red Whirling Star will produce a Vision of the Fiery part of Earth? The experiment is
beyond the scope of this small investigation so we shall have to leave it there and progress to the
second motif that we looked into.

Experiment 2: The Pomegranates

This Hex is called ‘The Pomegranates’ and, with the traditional interpretation of ‘A symbol of
fertility, prosperity and happiness, is rich with implications. To begin, Pomegranates [O.Fr.
apple of many grains ] (Punica Glanatuzn) being an Oriental species that is grown in warm
climates (certainly not Pennsylvania!) are obviously employed entirely as a symbolic motif, as
there would be little hope of producing these fruits in such a harsh climate. In fact it is doubtful
whether the Hexenmeisters would have ever seen a pomegranate, so what is their intention in
using it here. Firstly, the fruit with its many seeds is a very ancient symbol of abundance being
the fruit by which Hades retained the essence of Persephone in the underworld and forced her to
be his. This is the central symbol of the use of this fruit here, I am certain. The pomegranate
represents the abundance that gives rise to the qualities of the intention of this Hex.

The motif itself is composed of three elements, distributed amongst its three zones that must
imply something of the nature of this intended abundance, for it is very specifically of fertility,
prosperity and happiness. There are also three pomegranate motifs and three stem and leaf
arrangements, giving the entire thing a triangular appearance. This threefold nature is indicative
of the Elements again, as the field of operation for these things is intended to be very broadly of
Earth. The fiery objective is the fertility, the Watery is prosperity and the Airy is contentment
(i.e. happiness). The qaballistic quality of three is the beginning of stability of form, thus its
employment in the construction of Hexes generally, I would imagine. Its use here is about the
creation of conditions favorable to that stability- thus the qualities cited. The general implication
is of a stable abundance.

This is colored by the schema chosen to decorate it, probably defining most accurately its arena
of efficacy (vide infra: the notes appended to the ceremony- As this is somewhat arbitrary I have
outlined the motive for the color choices that I made in this construction). So, the fruits
represent abundance, the leaves represent vigor as they grow in greater numbers than the fruits
but produce little value in proportion. The groupings of sixes implies that this vigor is to be
raised to a conscious level, echoing the star at the center which is obviously a motif of self
consciousness (the field of blue was chosen as a symbol of worldly position). The leaves at the
circumference indicate that the force of the Hex is to be manifest by a means that is almost
organic, and their number twelve indicates that their influence is being invoked into every facet
of life (12 Signs, Houses etc.). The blue circle between the outer and middle zones is for the
righteousness of the operators place in his world and the black circumference extends the
influence of the Hex to the limits of his universe.

The general intention of the design and its traditional interpretation then is: The promotion of a
state of stable productivity that is conducive of abundance, by encouraging general fertility,
material success and physical contentment. Laudable ambitions for any man! See Marx!

How does this interpretation compare with the details of the Vision? To begin, this Vision is in
three distinct portions. The first again shows us the nature of the plane upon which we are
travelling. In this instance the general Aire is definitely of the Element Earth (again), and the
colors being deep and rich are indicative of a darkened Watery influence, perhaps also of
Chesed, whose forms are always illuminated by Sol. So at first glance we have a plane
correspondent to the Jupiter of the Water of Earth, (The mythological connection with the
pomegranates is that Persephone, Spring, is the daughter of Zeus.) Further, the over ripe quality
of all of the fruit, spilling its seed is indicative of the mature feminine quality of the Mother
rather than the virginal daughter of Tetragrammaton. The overwhelming fruitfulness implied in
the Vision is all indicative of a well established fertility. The whole is very watery, or of the
watery part of Earth. Also, the immediate colors of the Aethyr imply a watery influence, but the
overwhelming symbolism of the Aire is Earth, the abundant herbage, the smell of decomposition,
the ripened fruits, all express this Elemental force at its most manifest. The sky is the color of
Chesed implying both Water and Jupiter at the same time, streaked with the colors of Cancer and
Pisces, two watery signs, one cardinal and one mutable sign. Sol is setting, another image of full
Elemental development, and the golden yellow is Sol as the essential force behind the vigorous
growth of the jungle. The boundary of the inaccessible river implies that the driving current of
the energy expressed by the Pomegranates Hex is of a wild and secret nature.

The cultivated fields signify order, and that order is later shown to be the order of science. the
watermelons, with their black seeds, replicates the imagery of the pomegranates, as do the
berries, of over abundant production, the prodigality of nature, but here that prodigality is bent to
the calculated ends of order not to the uncertainty of nature. The distant orchards show that this
order extends to the limits of earthly dominion, wherever there are no jungles.

The square house is definitely a symbol of Earth (cf. the correct design of the Four of Disks- the
Lord of Material Power, is a square castle with four square turrets), the shape of which also
implies Chesed the fourth Sephirah. The grey stone house is set in an ordered garden, through
which a straight path leads to the entrance to the “House of Cultivation”. This garden represents
the fruits of study of the poisonous plants, just as the fields are the issue of the study of the good
things. Even so the garden here is over abundant, and reeks of excess fertility.

More essentially, we meet the outer persona of this Hex, the knight, a symbol of knowledge.
The that guards the entrance to the manor, and this guard tells us his name is BARSUN.
Investigation of the yetzirac influences of this word reveals much. The B is mercurial thus
knowledge is one of his possessions, this is articulated [Air] and then synthesized [Sagittarius],
with a definite material aim [Capricorn] from the mother [Water] and materializes as a living
creation [Leo]. His name equals 78, and so he represents associative learning, this is like that,
symbolic expression of material conditions (thus the Tarot). This learning is the knowledge of
the turning of the Wheel, the domain of the Lord of Knowledge, and so this name passes the
barrier that the knight places before us. The knowledge of the environment, the season &etc. is
the key to the entry of the House of Cultivation. He is defended by his shield, checks for the
balance of nature, light blue for the righteousness of nature’s means: and the black and yellow
diagonal representing the manifest consciousness that cuts across both concepts to re-make
nature entirely.

Thus knowledge is symbolized as guarding the accumulations of the cultivation from returning
to their wild forms, Cultivation being here defined as the choice of progenitors of a form to
arrive at a pre-determined arrangement of that form. The method employed to defend this
knowledge is the observance of the balance of nature and the righteousness of its methods whilst
still impressing his Will upon it. All a symbol of bending the natural world to one’s own ends.

Entering into the house, the four rooms are for the four Elements, or more accurately the four
elemental expressions of this Aethyr. The pumpkins are symbols of new life concealed in the
form of its progenitor, the stored potential for the next generation. This is the final objective of
the energy symbolized by this Aethyr, the potential of reproducing itself again and again. The
grains represent the staple nourishment inherent in this Hex, the continual feeding upon new
information that allows cultivation to progress. Flesh is chosen as the fiery symbol of this Aire,
being the most concentrated end product of the process of cultivation, to have tamed the beasts
that once roamed free, to supply the husbandman with the ultimate material for domestication.
Finally wine represents the maturation that accompanies all true cultivation and associates it with
the nurturing Element of Water, as if it is a drive from within our environment that we might
improve upon it for ourselves. These symbols are very complex and obscure.

This is the innermost portion of the Vision, and here we get to the essence of the intention of this
Hex, where its means of Elemental expression are shown to us. Most materially the Hex is
represented as being a storehouse of potential fertility and nourishment, capable of many forms
of expression- the orange pumpkin indicates an adaptable Mercurial force. Intellectually the
influence of this Hex is to store materials that may be processed to become a myriad of other
forms. The most straightforward form of this Hex is identified as flesh, it is meant to directly
feed the beast, as it were. Finally Wine for the element of Water indicates that it is meant to
promote a long lived capability to produce in abundance, to promote long term development.
The room above is an extension of that idea, where the work of accumulating the knowledge
goes on, but is interpreted from this one sided angle as the lawful conquest of that which is wild
so that it can be made to conform to the operators conceptions for it.

Next, the upstairs chamber with its scenes of plenty shows these Elements in various forms of
admixture, even the method of conquest employed is but another of their expressions. The
ledger implies that progress is determined by the non repetition of a particular experiment.
Overseeing all of this, the Lord Arturo, the completely Earthy manifestation of the Hex, (this,
name means "stone') and represents the force of articulate, and inspired, synthesis of forms from
their elemental components into existence. The Lord of this realm is attired in scarlet for force
and energy, with a trim of cheetah fur to show the domineering nature of that force's methods.
This force of creativity is shown to be unconcerned with good and evil, and the source of its
motion comes from the eternal, primordial flow of evolution itself (implying that man’s will to
cultivate is itself a part of a greater evolutionary plan).

In total we have gone from the original forms as we have found them and bent them at our
pleasure into various shapes and made it possible for them to be stored. The names of the
guardian and his lord imply how this is achieved, by science (that is natural observation) and by
ambition, and then by conquest. On the surface it would seem that the interpretations are
cognizant with each other. We shall move on.

Experiment 3- The Rooster

Finally we will consider the Hex called the Rooster. The implications of this name are of a
virile, alert focus of masculine energy. The traditional meaning is ‘strength and courage’
symbolized by a two headed rooster with a heart motif for a body, under a four pointed star
joined with a Greek cross, circumscribed b a number of loops (perhaps 32?). Obviously the
immediate interpretation of the two headedness is that the two qualities are of one force, but that
force is not named, vigilance is implied though, but so might many other qualities of a two
headed rooster. The star is a symbol of the Self (again) here expressed as the unity four
Elements inside, and outwardly, (vide: The Magick Weapons Ch 8- for the symbolism of squares
and octagons) the union of which produces the articulation which is capable of the specialization
that is represented by the many small circles. The connection between the motif and the
interpretation in this case is somewhat unclear, but the rooster seems to imply dominion and its
issue- power and the fortitude to use that power.

The Vision itself does not seem to immediately supply the answer either. Again we are
confronted by a confusing amount of imagery and allegorical symbolism. The overall
impression of the Aethyr is that it is again a plane of the Element of Earth, the dawn light and the
Morning Star are suggestive of Air as is Sol’s traversal of the meridian, in this instance, the dual
symbol of the Hex seems to have created very polar ages for its expression, the spinster with the
masculine qualities to her identity, the palindrome by which the Rooster is named & etc. This is
a long journey with six distinct portions, 'Me first is the opening of the plane where it is revealed
as an Earthly plane, with Saturnine and Virgonian inclinations. The Saturn of Malkuth of the
Element of Earth seems to be a concordant plane in another system. In any event the course of
operation of the Hex is considered to be natural expression.

Next we meet the rooster, who represents vigilance here, and where does vigilance lead us but to
stability and security, symbolized by the spinster and her cottage. Inside this room, she is
expressing the force of the Hex as measuring the allotted time of events and then ending them.
Her name implies forward motion, progress; facing the future with confidence, underscored by
her unconcern with the rooster's alarm. In fact everything about the rooster seems dualistic, and
so it seems right that the Hex has such a title. Perhaps his warning is of the uncertain future,
whereas the old lady is the calm of the settled past?

Interestingly, the secrets of this arcanum are expressed as something of a riddle, the cock crows
to warn the hens that are already taken by the fox. The effort at preservation expresses a
foregone conclusion. The mercurial fox may represent articulation and intellectual development,
by which the tenure of the flock- in these fields is measured. Material accumulations of power
are destined to wane and be replaced by new configurations, the agency of this change is the
development of new techniques for usurping that power.

The colors of the rooster, bizarre as they are, give a hint to the nature of its meaning, the
generally golden color shows it to be a Solar/spiritual symbol, the essence of the operation of the
Hex. The red comb crowns the bird, implying that its highest expression is of a violent nature.
The crimson body hints at an illusory quality to the rooster's function, and the whole is supported
on nervous yellow legs. The dark purple or azure sheen is the glamour of mortality that tints all
of the rooster's operations. The whole then is a symbol of consciousness, a passionate reactive
expression easily swayed by the illusion of material peril. On the whole this seems to fit the
description of this bird as an alarm.

Moving on we arrive at a fortress, locked to us except by the Word of Power. Knowledge of the
contents opens the gate, but only carefully as if what is inside cannot be too careful in its
admissions to it sanctuary. The darkness inside with only a single glimmer of light implies a
certain singleness. The Hex must be undivided in its field of operation to have any effect. This
effect is shown to be destruction, and conquest or the courage to overthrow established
arrangements and the strength to create new ones perhaps? The means implied by the king’s
name is synthesis directed by ambition.

The elevated house that contains the deep arcanums of this Aethyr, with its heavily locked portal
and its impenetrable darkness concealing a glimmer of enlightenment is almost a classical
mystical symbol. The need to enter this stronghold by main force, (ABRAHADABRA invokes
the entire force of the Magus’ Great Work upon the objective) implies the central importance of
the secret hidden herein. The Truth concealed in this Hex extends far beyond its intended field of
operation, to expressing an universal property of change. This secret is shown to be very well
guarded by the subconscious. This Truth is that there is a rebirth potentially possible from every
instance of the destruction of form that takes place. This transcends the basic duality of the
Aethyr and so the traveler is made to pass on.

The guardian of this realm, Oris, is a King, strongly identified with the Archangel Michael,
implying at once a Solar and a Fiery influence in the Hex. He may represent the force of
progressive evolution that is inherent in every change of a power paradigm. He is certainly a
driving force on this plane, yet he too is regulated by the alarms of the rooster, that now seems to
represent the reaction of evolution to material conditions. Oris is counterpart to Avanti (note that
oriz is the Italian word for the ‘horizon’ or linear qualities, and that Avanti meaning forward
gives the second axis of movement, the second dimension, the third being supplied by the ascent.
into the firmament with the hawk?)

The magick word, WAR, is from an O. F. word meaning quarrel. The inference is that only by
first destroying forms can a new form be created to fill the void that is thus created. The kestrel
underscores this by its violence, undertaken from a totally commanding vantage point. The
ultimate goal of the operation of this Hex is shown to be enlightenment, empowerment, through
self knowledge.
Finally, the kestrel is the purest expression of the Hex. The hawk's predatory power and its
strength are the means by which the rooster multiplies its effect. The action of the Hex is shown
to be destructive in order to be reconstructive. This is the central message that is given to us by
the King of the realm. It is very reminiscent of the Lao Tzu; Ch. 22- “Bowed down and then
Preserved, bent then straight, hallow then full, worn then new, a little then benefited, a lot then
perplexed.” Even so, the connection between the two interpretations is somewhat tenuous and
obscure. The Vision tends to indicate that the meaning of the Hex is that dominion is a two
headed force, one of vigilance and one of power that is maintained by that vigilance. Strength
and Courage seems a bit of a stretch from this point, but still after four hundred years is not too
far off the mark.

Conclusions drawn from these Experiments:

So from all of this it appears that the, traditional interpretations of these Hexen Symbols is
relatively accurate, that they appear to be based on a definite schema of correspondences that
links their motifs to legible meanings. It follows then that by building this compendium of
symbols new and particular Hexes can be constructed. It will be necessary of course to
investigate several more motifs to assemble a legible qaballah, but it does appear, at least on the
face of it, that much of the symbolism is concordant with the Platonic correspondences already
familiar to us. If that is the case, any number of configurations might he constructed for any
number of objectives. In short it is very probably possible to codify the entire system and to
build a large compendium of motifs to employ in its operations.

These talismans are most likely all Pantacles, that is that they all partake of something of the
quality of a Magick Disk (vide: The Magick Weapon, Ch 8) which accounts for their permanent
nature, as opposed to a parchment talisman that is meant to be destroyed when its course of
operation is finished. For this reason, Hexen Symbols are mostly designed to generate general
sorts of energies, even though quite specific results can equally be expected from their operation.
The nature of the Visions in all three instances, referred to the Element of Earth, even though the
Hexen Symbols chosen for these Experiments were chosen basically at random (in relation to
their possible Elemental correspondences anyway). Because the Earth Elemental association is
based upon previous experiences of accurately definable Visions that were undertaken by Frater
AΔ, they are at once highly subjective, but also extremely comparable, and so this
correspondence is 99% certain in my mind. If further experiment with these symbols proves
otherwise I shall be greatly surprised.

All in all this system is interesting but its specific nature means that a great deal of raw
investigation is necessary for the operator to acquire the skill necessary to manipulate the
symbols of Hex with the same degree of accuracy as he might by other better documented
schema. That is not to say that the system is without its own merit, but one must submit to this
particular discipline in order to benefit more than superficially from these practices. Certainly
the spells associated with this school of Magick would require some sort of disciplined practice
to accompany them and make them effective, it most certainly follows that there is more to this
practice than just painting the motifs and hanging them up. It occurs to me that there may even
be some core set of Hexen Symbols that are meant to be employed exactly as I have operated
those in the Experiments, and that the objective of this could be some sort of system of initiation,
but this is merely speculation. Still and all, the final Vision of the Plane of the Rooster tends to
indicate that this may well be so.

In fact, the depth of the Visions indicates that Hexen Symbols that are extant are perhaps a
fragment of a system, the corruption of which seems minimal, but the completeness of which is
difficult to make certain. The entire number of possible symbols is incalculable but the
possibility of developing new symbols is thereby very great. It may even be that the keys to the
evolution of this schema exist within these Hexen Symbols themselves rather like the
development of Dee and Kelly's system was buried within their compendium of symbols.
Without that structure though, Hexen Magick seems to be an open ended system- or system of
systems.

The importance of the Besprechen in the operation of these central symbols remains unclear, but
at the same time, it is strongly implied. The current application of this schema appears
somewhat disconnected, and it would appear to be certain that the operation of these Pantacles
would be facilitated by a rune of some sort. (On the other hand; Silence is the Earthly Power of
the Sphinx). The incompleteness of this aspect of the practice may stem from the secrecy that
would have originally surrounded the practice, making it unlikely that any publication would
give a complete account of its operation. It was a very common practice amongst medieval
Grimior compilers to leave out some trivial yet vital detail of their disciplines, which would
undoubtedly be transmitted to worthy candidates by another means. Even modern writers on the
occult arts continue to do this (some because they don't know enough to know any better!)

It may be that further traveling upon the Hexen Planes in the Astral Worlds will reveal more of
these Besprechen spells. Perhaps the Magick Words revealed even by these simple Visions
could be put to skillful use by an Hexenmiester employing some means unknown to us in the
present day. It does seem likely that further travels upon these Planes will disclose more
practical information- perhaps this is the purpose of the Hexen Symbols with the definite
Alchemical connections. It is also useful to note that this Magick Art seems to be based upon the
Germanic/ Latin language; that is to say that the Magick Words that have been communicated
have old European roots, as opposed to many of the Hermetic schema wherein Magick Words
are invariably of Semitic origin. This implies that these practices might be very accessible to
modem operators whilst being able to be expressive of a great variety of occult systems that do
not rely upon studying foreign and archaic languages. Their application to Wiccan ends is
undoubtedly desirable as a codified schema of Talismanic Magick would benefit that school
greatly. At the same time the possibility of developing Thelemite Hexes is great because of the
open ended nature of the symbol base. Perhaps Wiccan Hexes might employ Lunar shapes and
glyphs to express its religious or magickal truths, whilst Thelema may employ hawks heads or
stars to express itself similarly.

The final conclusion that can be drawn from all of this is more questions rather than answers.

1. Are all of these Hexen Symbols Pantacles of a sub elemental expression of Earth? Do other
Hexes exist which relate to the other Elements, or are the operation of these symbols related only
to material affairs?
2. How many different motifs might be applied to this system, and in fact, how many different
systems are we dealing with here?

3. What are the methods best employed in operating these Hexen Symbols? Also, what is the
best means of acquiring new symbols or motifs? What is the potential of any special words
drawn from these Planes?

4. Is there a system of initiation hidden in all of this that may be obscured by time or intention?
If so, how can we access its methods, and what possible enlightenment might it offer to a
Neophyte? How far could it lead one upon the Path? Are there any other methods of operation
that are inferred by this system that remain as yet obscured to us?

Part Five: Thoughts on the development of Hexen Symbols

In order to answer the preceding list of questions, obviously a great deal of research and
development is going to have to be, undertaken. It would appear obvious that if the method of
investigation is going to be astrally, that an experienced traveler (such as Master AΔ) should
undertake at least the initial journeys. In this it would also probably be beneficial to have some
idea of structure about these studies, as has been indicated by the results above. It would also
seem that the development of one portion of this school at the expense of attention to the others
is an issue that might need careful consideration, especially if the Visions of the Hexen Planes
tends to produce Magick Words at the rate that they are currently indicating that they might do.
The connection between the words and the operation of the Hex is clearly stated in the Visions,
so the Besprechen spells might possibly be capable of a similar expansion to that of the Hexen
Symbols.

In order to facilitate the aforementioned research then, we must determine upon a course of
investigation. Because we have already begun to divide the exercises into three ‘types’ it will
probably be most reasonable to continue upon that track, at least until the practices indicate
otherwise. Also, it will be useful to be able to split our attentions so as not to be overly
influenced by too similar Hexes being investigated too closely together. As we progress in these
investigations it would also seem reasonable to begin to operate some of the Magick Words that
we acquire along the way, perhaps it will be beneficial to create new Besprechen or
Himmelsbrief from them by way of experiment, to determine their arena of efficacy and their
potency (it is always useful to know how much force to apply to acquiring an objective, one
mustn't try to crack almonds with a sledgehammer unless one is making marzipan!). Perhaps, if
several Hexen Symbols have the same, or similar, words associated with them it will be
propitious to employ those words in the investigation of that class of symbols.

So it would seem that to begin our investigations we must go some way to considering the
structure of the schema. What do we already know, and what can we perhaps safely deduce or
assume about this schema? Firstly, there seems, on the face of it, to be a Platonic correspondence
to these symbols. Thus the Besprechen often have a threefold nature, symbols are repeated three
times and so on. This can safely be carried over into the prima facie investigations and
assumptions when we encounter a new Hex. This being so, we can to some extent already begin
to build our structure, and so we can at least begin to form an idea of which sorts of symbols we
may wish to investigate.

If it is our intention to build a compendium of symbols then we should first investigate those
symbols that may contain the keys or arcanums of this system as a whole. These symbols would
seem to be the Alchemical symbols that are often identical with symbols and images that are
found in many Medieval Grimiors. Thus, the rooster would be of this class, The other available
symbols that may be considered are the ‘Sign of the Horns’, the ‘Prima Materia’ (vide supra), or
the 'Distelfink'. This last image is so interesting that it is deserving of special consideration, and
is perhaps suitable for astral penetration if one is in search of deep Hexen arcanum in particular.

This sign brings good fortune into the general environment. The
Distelfink rules over the heart, indicating good fortune reigns [sic] in
matters of the heart, and the tulip enforces faith and loyalty in love.
The Distelfink should have a yellow body (divine love), red head and
wings (emotional) and a green tail (good fortune), The heart should be
red on the outside and yellow on the inside, while the tulips should
also be red and yellow. It should be displayed in the living area of the
house. [Note: I have also painted the eye blue for constancy- D.G.M.]

The Sign of the Horns: Protection against the 'Evil Eve' and
Black Magick. Looking here, the evil eye stares into the eye of
God, and the devil is balked in all directions by the ‘horns’ of
the Earth Star.

The next most obvious course of investigation would seem to be the traditional Hexen symbols
that are devised around the use of natural motifs or designs. Symbols that incorporate motifs
such as the acorn or various leaves and perhaps flowers, as well as those motifs that have what
appears to be a culturally influenced legibility such as the hearts (though it may be that some of
this class of symbols is of the nature of the first category, or perhaps the last). A couple of
obvious choices in this might he either the Oak Symbol, or the Earth Star Flower Symbol, both
of which are traditional organic motifs with quite specific interpretations.

The Oak is a traditional Hexen Symbol of strength, maleness and

virility. The acorns refer to male sexuality, the alternation of
light and predominant colors of this design dark to the spiritual
and physical aspects of masculinity.
 The Earth Star Flower: Symbol of Life seen as beauty, with faith
reaching out, and with love in the four directions, becoming all a
part of the greater flower. The predominant colors of this design
would undoubtedly be red, yellow and white, with only a trace of
blue.

It might, also be profitable to isolate these motifs, making new Pantacles from them, perhaps
incorporation something of their tradition I configuration such as the number of repetitions of the
motif in a design or its orientation to the circumference of the Symbols that it most commonly
appears in. For example, one might make a Pantacle with four hearts or with four tulips, for the
purpose of astrally projecting into it to learn of the specific qualities of that particular motif, and
how that information compares to the interpretations given of the Hexen Symbols from which it
has been derived. Many of these motifs are of such simple construction that they are often
employed in other types of artistic composition, how does this affect our interpretations? By
looking into these motifs we may be able to develop new areas of Hexen Magick for 21st Century
applications (a Hex to avoid car trouble? Another to avoid bank queues? The potential is
unavoidable!)
The heart motif most often occurs in a
fourfold configuration, probably in red, and
likewise the tulips that are traditionally red
and yellow, most often appear in groups of
four. It was noted that this sperm shaped
motif was being employed for commercial
ends, but it remains a seminal (sic joke?)
Hexen symbol, again the color might depend
upon the objectives intended by its
operation.
The final area of investigation is the purely geometric motifs employed in many of these Hexen
Symbols. It would be beneficial to investigate many of the traditional images of this nature, as
well as geometric arrangements of the organic motifs that also occasionally occur. Images such
as the Double Creator's Star might render interesting details concerning the structure of the
symbol base employed in this schema by defining the qualities of six as expressed by the
Hexagram designs that taken in comparison with motifs of the other integers may form the basis
of extrapolation of new geometric forms with little or no need to deeply investigate their
potencies before they be operated, with any degree of accuracy. It may also be interesting to
investigate various of the stars that are curious and generic to these Hexen designs. The six
leafed star that recurs throughout these Symbols might be an interesting motif to begin with, or
else one of the three or four pointed star motifs taken singly, may be useful to investigate as it
would make the inclusion of this component in a larger format, more easily calculable in its
efficacy.
 The Double Creator's Star, undoubtedly a Yellow circle, surrounded by six red triangles
and that by six blue, circumscribed by black.
The Six leafed star, probably green, is a common motif as are the three and four pointed
star motifs to the left. These may be in any color I would imagine, depending upon the
arena of the desired result.

Another line of investigation might have even been suggested in Experiment 1 (vide supra),
where it was suggested that The Whirling Star could be profitably made with seven or eleven
arms as well as with the traditional six. It was also implied that there were eleven different
possible colors under which it would operate. This implies that a complete set of thirty-three
Whirling Stars might conceivably be possible in operation. That would certainly merit some
small investigation as to its correctness before being abandoned.

To begin, we have acquired the applications of three values for this Hex (my number is six by the
conquerors, and seven by the conquered, but it is eleven by the Magus whilst he wields the
fourfold powers of creation). This implies that six-fold stars are for conquering, or dominating
something, seven is for being conquered by something and eleven is for works of pure
(elemental) Magick. Also, there are eleven colors shown as being operable by this flex, and they
definitely indicate a schema, as they are arranged m distinct groupings: Along one long wall are
a line of eleven shields, each decorated with the whirling star in different colors. These are
grouped into four, three, and four, the first group being, yellow, green, orange and white. The
second group is red purple and blue; whilst the last group is silver, black, and light blue). These
colors are enough to correspond entirely to our scale of eleven (vide supra): the first group are
yellow, green, orange and white- these might correspond to Sol, Venus, Mercury and Unity
(white is a symbol of unified purity). The second group are red, purple and blue, which again
might correspond to Mars, Jupiter and the Sphere of the fixed Stars (the Zodiac), and finally, the
third group is silver, black, grey and light blue, which possibly correspond to Luna, Earth, Saturn
and to the Magick Light of Eleven. Thus we might have these qualities implied:
 No. Color Correspondence
1 White
2 Blue The Zodiac
3 Grey Saturn
4 Purple Jupiter
5 Red Mars
6 Yellow Sol
7 Green Venus
8 Orange Mercury
9 Silver Luna
10 Black Earth- the Elements
11 Light Blue LVX- ABRAHADABRA

Assuming that we, are dealing with a symbol that relates to the Air sub-element of Earth, and
that we encountered a Vision of the Solar part of the Air of Earth in Experiment 1, we might
begin to conclude that time colors used for the Whirling Star might reveal Visions of the other
planetary aspects of this symbol. Thus a purple Whirling Star might produce a Vision of the
Jupiter of the Air of Earth, an orange Whirling Star might produce the Mercury of the Air of
Earth, and so on. Multiplied by the threefold designs suggested, and we may have an inwardly
and an outwardly operating Hexen Symbol, as well as one that operates in all four of the
Elements or that is specifically designed to render Visions that lead to initiation into the arcanum
of this schema.

Perhaps it might also be profitable to attempt to employ the Magick Words that are encountered
upon these Hexen Planes, by using them as the basis of a Besprechen, or as a basis for the
construction of an Himmelsbrief. It occurs that a spell for the operation of the Whirling Star
might begin by calling upon the Elements, or upon Sol, and then it may state its objective and
then call upon the Magick Word (as in the Zing spell- vide supra) [I apologize for this rhyme in
advance-D.G. M.]:

The Sky and the Earth,

The Sky and the Earth
The Sky and the Earth
Where you meet all things begin,
The Worlds turn to start again;
WHIRLZ, WHIRLZ, WHIRLZ!

Perhaps the letters of the word might be employed as an acronym, supplying the initial letters of
a spell, or the initial letter of the lines of a rhyming charm, or rune. It is also very likely that
there is some method that may be discovered for the construction of these spells and charms, but
upon that we can only speculate. The Besprechen and the Himmelsbrief are both practices of
basic sorcery, being the low magick of Hex, and obviously used for those simple objectives that
are always the aim of these types of magicks. The efficacy of their operation stems in part from
the strangeness of their language, and from the traditional weight behind their proper method of
oral transmission from Master to Neophyte. The Himmelsbrief are probably the evolution of
earlier Germanic practices involving writing which until the first millennium was often
considered magick in its own right. For this reason it may be that their proper time of application
is in the past, perhaps the Hexenmeisters even intended this obviously oral tradition as a sort of
Ark wherein the essential symbols of Hex would be certain to be safe through the centuries until
the atmosphere of enlightenment permitted their most thorough investigation.

Finally, these studies have inspired me to construct my own configuration of Hexen Symbol, to
be employed for the acquisition of Wealth. Its component elements are explained: The central
eight-pointed star is half orange, standing for articulate awareness, and for intelligent
shrewdness, and half green for good fortune. This is circumscribed by a yellow circle for success
(this is the inner zone and the whole is indicative of intellectual harmony in material exchanges,
and for the awareness to seize upon fortunate opportunity).
Around this zone are four roosters, one for each of the Elements (Red= Fire; Yellow=Air; Blue=
Water and Black= Earth), these are alternated by four diamonds half purple for worldly
influence, and half black for material expression. These diamonds are thus twin triangles
implying a stability behind the material influence that they promote. The second zone is
circumscribed by a blue circle representing a calm, stable expression of these forces, the
vigilance over our Elements has extended to the sphere of the Signs (its natural development).
The outermost rim, the third zone representing the means by which this Hex is to manifest its
influence, is regularly divided by eight yellow thunderbolts, the energy of this Hex is to be
sudden, passing and successful- enjoyable but transient and moving quickly onto the next,
opportunity. The successful expression of intelligence, The multiplicity of the Thunderbolts
promotes this repetition whilst extending the original eight fold star at the centre to the limits of
the universe, symbolize by the black rim that implies the material limits of the central unified
expression.

David's Hex
A Ceremony for the Investigation of the Properties of Hexen Symbols

The Preliminary Banishings

The Ritual Bath

Bathe and, preparatory to entering the temple, let the Magus take the Water from the Magick
Cup and make a cross upon the forehead, breast and genitals and say.
Aspergis me, Therion, hissopo et mundabor!
and taking the Holy Oil anoint the forehead, breast and genitals, saying:
Accendat in nobis, Therion, ignem sui amoris et flammem aeternae caritatis

The Salt and Water Purification

Let the Magus take the Pantacle of Salt from the North and Circumambulate once Widdershins,
hold the Magick Wand upright in the right hand over the salt and say-.
Creature of earth, I conjure thee that there be banished from whatever place thou art used, every
power of adversity and evil, every force of deceit and every phantom of darkness. By the double
word of power ABRAHADABRA! And in the holy names of earth Adonai Ha-Aretz! Be thou
pure!

Taking the cup of water from the West, circumambulate once deosil then move to the Altar at the
centre. Hold the Magick Wand upright over the Water as before and say:
Creature of water, I conjure thee that there be banished from whatever place thou art used,
every power of adversity and evil, every force of deceit and every phantom of darkness. By the
double word of power, ABRAHADABRA! And in the holy names of Water Elohim Tzaboath Be
thou pure!

Take the Magick Dagger and with its point add three mounds of salt from the Pantacle to the
Water in the Cup. Let the Magus stir this thrice widdershins with the Magick Rod saying:
Sign of the ox and the eagle conjoined
Powers of Earth and Water made one;
Wings of Spirit exalting form.
In the holy names and powers of light
And by the double word of power, ABRAHADABRA!
Be thou pure! So mote it be!

Let the Magus sip the purified water and share it with other celebrants, then
Circumambulate thrice widdershins sprinkling the Lustral Waters at the perimeter of the Magick
Circle, beginning and ending in the East.
Return to centre and place Cup upon the Altar
Let the Magus take up the Magick Sword or Wand, face Westward, salute and say:
Hekas! Hekas! Este Bebeloi!
I banish the shells unto their habitations.
Bahalasti Ompheda!
Be far from here all things profane!
Replace sword at centre.
The Lesser Ritual of the Pentagram

1. The Qaballistic Cross

Touching the forehead say Ateh (Unto Thee).
Touching the breast, say Malkuth (The Kingdom).
Touching the right shoulder, say ve- Geburah (and the Power).
Touching the left shoulder, say ve-Gedulah (and the Glory).
Crossing the hands upon the, breast, say le-Olahm, Amen (To the Ages, Amen).

2. The Inscription of the Pentagrams

Turning to the East make a pentagram (that of Earth) with the proper weapon (usually the
Wand).
Say (i.e. vibrate) I H V H.
To the South, the same, but say A D N 1.
Turning to the, West the same, but say A H I H.
Turning to the North, the same, but say A G L A.

3. The invocation of the Archangels

Extending the arms in the form of a Cross say:
Before me Raphael,
Behind me Gabriel,
On my right hand Michael,
On my left hand Auriel,
For about me flame the Pentagrams,
And in the column shines the six-rayed Star.

4. The Qaballistic Cross

Repeat step 1

The Elevenfold Invocation to ABRAHADABRA

This is the day, this is the hour

Cry aloud the word of Power
ABRAHADABRA!
By blazing noon or black midnight
It is my will to seek the Light
ABRAHADABRA!
Be far hence all things profane
from the portals of this fane
ABRAHADABRA!
Elevenfold the right I claim
By the virtue of this Name
ABRAHADABRA!
Faring forth adventurous
By the Pathways perilous
ABRAHADABRA!
end from me the fear of fear
By the voice of the chief seer
ABRAHADABRA!
Show within the darkest night
The extension of the Light
ABRAHADABRA!
Great Ones who have gone before
Speak the blessing evermore
ABRAHADABRA!
Here between two worlds am I
Child of the Earth and sky
ABRAHADABRA!
Deeply do I dare assay
One step upon the mystic way!
ABRAHADABRA!
Aid me from the realms above
Powers of Life and Light and Love
ABRAHADABRA!

Invocation to Hadit
I am the Snake that giveth Knowledge & Delight and bright glory, and stir the hearts of men with
drunkenness. To worship me take wine and strange drugs whereof I will tell my prophet & be
drunk thereof! They shall not harm ye at all. It is a lie, this folly against sell The exposure of
innocence is a lie. Be strong, o man! lust, enjoy all things of sense and rapture. Fear not that any
God shall deny thee for this,

The Oath
Let the Magus return to the center of the Magick Circle, face East, and strike the Magick Bell
once with His Magick Wand then shall the Magus place his right hand upon the threefold Book
of the Law while he recites his grades of attainment, giving all of their Signs and Words.
I, Master Ankh af na Khonsu; 8° Master of the Temple of the Attainment of the Knowledge and
Conversation of the Holy Guardian Angel as A.O.M. 7° Exempt Adept, HORVS 6° Major Adept
and, A.a.n.K. 5° Minor Adept, Who is One Chosen, the Child of the Beast 666, as was foretold in
the Book of the Law, and the ordained Prophet of the Low of Θελημα, having passed the four
gates to one palace as Chien, 0° Neophyte of the order of the Stella Maututina...
[Then shall the Magus proclaim the purpose of the ceremony]
...do solemnly swear that it is my intention to formulate my Body of Light and this I will project
into the Hex before me with the intention of discovering its true nature,
Do What Thou Wilt Shall Be The Whole Of The Law
The word of Sin is Restriction. So with thy all, thou hast no right but to do thy will. Do that, and
no other shall say nay
Let the, Magus now strike the Magick Bell once with the Wand of Art:
For pure will, unassuaged of purpose, delivered from the lust of result, is every way perfect.
Let the Magus give the Sign of Horus
The Perfect and the Perfect are one Perfect and not two, nay, are none!
Let the Magus answer with the Sign of Hoor Paar Kraat

The Formulation of the Body of Light and its Projection into Hex
Let the Magus assume his Asana and by Pranayama let him focus himself within his Body of
Light. Let the Magus look upon the Hex, forming its symbol into a doorway. Let the Magus
pass by this, portal if He will. Let the Magus take careful note of whatever transpires upon this
Plane of the Astral, making all possible inquiries & etc. Let the Magus make a careful record of
everything that has occurred during his journey. Let the Magus give thanks to His Angel for the
Enlightenment attained by it.

The Hymn of Praise to the Serpent Girt Round the Heart

I am the Heart, and the Snake is entwined
About the invisible core of the mind.
Rise, 0 my snake! It is now is the hour
Of the hooded and holy ineffable flower,
Rise, 0 my snake! into brilliance of bloom
On the corpse of Osiris afloat in the tomb!
0 heart of my mother, my sister, mine own,
Thou an given to Nile, to the Terror Typhon!
Ah me! But the glory of ravening storm
Enswathes thee and wraps thee in frenzy of form.
Be still, 0 my soul! That the spell may dissolve
As the wands are upraised and the aeons revolve.
Behold! In my beauty how joyous Thou art,
0 snake that Caresses the crown of mine heart!
Behold we are one and the Tempest of Years
Goes down to the dusk, and the Beale appears
0 Beetle! The drone of Thy dolorous note
Be ever the Trance of this tremulous throat!
I await the awaking! The summons on high
From the Lord Adonai! From the Lord Adonai!
fin

Note on the Symbols employed in this operation and the colors used to construct them,.

Experiment 1:The Whirling Star

Upon a white ground, for the purity of newness; a black circle, symbolizing the material limits of
the individual universe, circumscribes and contains the energy of six yellow scalene triangles.
These figures, all identical, represent a balanced progress made from a wide and stable basis, the
direction of the movement is towards conscious clarity, imaged by the number of shapes and
their color.

Experiment 2: The Pomegranates

Upon a white ground, showing a lack of false intention, three pomegranates are alternated with
three sprigs with six long leaves each in a central zone that surrounds a golden yellow six
pointed star, upon a circle of royal blue. The third and outermost zone is a blue circle upon it,,
inside with a black circle at its extreme circumference, between these two being three groups of
three long leaves, arranged and aligned with the pomegranates, alternated by three single long
leaves, aligned with the sprigs. The central star represents the movement of the worldly position,
the pomegranates, red for force and effort, represent prosperity, and the two-toned green leaves
represent fertility, sprouting from black stems showing the material fertility that is sought [note
that 18 leaves implies that this materialism is but illusion!] The twelve leaves at the
circumference symbolize the orderly sprouting of then various blessings into the world of the
operator, symbolized by the extreme black border.

Experiment 3: The Rooster; Strength and Courage

The Rooster is a symbol of watchfulness, a prerequisite of courage is caution (fools run in where
angels fear to tread). The body of the rooster is red for energy and force, the tail displays this
power mixed with orange for tension generated by the need for maintenance of a position of
strength- the powerful must display their power and their willingness to use it. The black dots at
the extremity of the tail are the material affairs wherein this strength is exercised. The wings are
royal blue, plumed with blue for the noble motive of true force with faith as its foil. The heads
are yellow for clarity of consciousness, but plumed with orange for the nervous energy of
constant vigilance, the beaks and combs are golden for the successful application of force, and
the victory of strength over weakness, but the rooster has black eyes that are fixed upon material
ends. Behind the vigilant rooster is the source of its power, a four pointed star of blue,
representing righteousness, crossed by four black lines extending the righteousness into the four
elemental worlds, which remain uncolored because they are as yet untarnished by the application
of power into their arenas, the rooster is yet to give the alarm that sets the awful power in
motion, so the elements remain in their spiritual, un-manifest form, and give the appearance of
being myriad material matters, symbolized by the 32 tiny circles that circumference the star and
cross. The entire symbol is circumscribed by a single black line implying a simple constant
expression o f energy.