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Diaryland
Word Squares Research May 20, 2008 @ 6:08 p.m.
Hey Aaron, thank you again for all the work you've done with researching Abramelin and shamanism and priesthood and such. My primary instruction from the spiritual world comes through the writings they send my way, and your works played no small part in my education :)
I'm working on constructing and creating the word squares for the spirit magic, and I've been comparing and contrasting with the versions you published on the web. A lot of times I agree with your choice, but other times I'm not so sure. Anyway, you had said that you would be publishing some more material about the word squares and your research and findings regarding them. How's that coming along? I'd be really interested to see what sources you drew on and how you arrived at the arrangements you did.
Some things I wanted to mention right off the bat though, were that some of the squares in your pdf showed up identical to those in the Dehn version, and some of your citations of Dehn's letter spreads were incorrect. Specifically, one example is 2/1: To have reports about all sort of doubtful things (I'm thinking in war for this particular square) - Dehn's book, your Dehn citation, and your square are identical. There was another one I saw where you cited Dehn's square incorrectly, and your correction was identical to the one he printed... I'll double check on it for ya.
Also, generally - would it not be permissable, perhaps, to have "backwards" squares with a language like Hebrew, that normally runs right to left?
In addition, do you think perhaps that word square magic might have Latin or Roman origins? I wonder because it appears that while all the "classical" languages are invoked in the squares, with an obvious bias towards Hebrew, the letters themselves are Latin alphabet. You can see from the manuscript snapshots that the latin script is very different than the medieval German script. And additionally, the word squares don't seem to use any letters like "J" that aren't in the Latin alphabet (Don't step on that tile, Indy!), and "V" can do double duty for both our modern V and U. I also know that the SATOR square has an ancient tradition going back to Rome, and a Strega I know is quite familiar with it.
One more thing - in trying to discern the method behind this magic, I was wondering about the choice of words and the structure of the word squares themselves. It would appear that at least three words are necessary:
1) An outside frame word (or two) that will 'marquis' across the edge of the square.
2) One or more 'flow words' that will flow "as the ox plows" (I forget the Greek term) around the central bisection: in one direction above and in the opposite below it. I've noticed the word ORARE/ERARO and its variants are frequent factors - wonder if they might have a particularly useful etymos?
3) Either a palindrome, reflected palindrome, or in the case of squares whose size is of an even number of letters, additional ox-plow flow words.
Now, the thing I'm really wondering about here, and maybe this is or isn't a part of the original magic, is the context within which the words that form the squares are selected, drawn out, permuted, and combined to form complete (and asthetically pleasing) magical squares.
Some examples:
*Do the words that 'frame' or 'marquis' the square (and isn't that synchronicity interesting?) define the limitations, setting, or context of the magic?
*Is the central cross word the 'crux' and heart of the matter? I know that in Enochiana the central crosses provide the names of the ruling angels over the entire elemental square divisions, and the great cross over the entire table.
*Do the words that flow as the ox plows define the practical action of the magic - ie, the hard, tough, 'work in the field' that outlines how the magic will come into manifestation?
*Do the palindromes, and especially the reflected palindromes, showcase an action of reversing, transformation, or reflection of certain principles?
*Does the interconnection through shared letters between words in the square dictate how the magical elements and factors will interact and blend?
*How specific are the actions dictated by the key words used in the square?
*Is the size of the square and its constituent words important? IE, do larger squares engineer more complex events? Do more words mean more specific results?
Abraham provides two post-op (hehe) procedures to obtain additional word squares from either the HGA or the spirits, and the method reveals both a square and the spirit(s?) that will carry out the magic. I'm wondering though, as I come to understand and speculate more on the nature and workings of the squares, if it might be possibly to create new word squares on one's own with some linguistic skill, and then just check in with the authorities to see what spirits will do the job?
Oh, and one last thing - have you noticed any kind of correlations between the rulership assigned to the chapters of squares (HGA, Spirits, Mixed) and the nature of the squares themselves? I haven't noticed any thusfar, but maybe I've missed something.
Lots of thoughts, lots of questions... thanks as always!
David "Emet Eli"
"Details in the Fabric" - May 31, 2009
Not So Quick Questions - April 6, 2009
The Morning Stars - Lords of the 15 - April 9, 2009
Sincerity and Faith in Magic - April 10, 2009
Not So Quick Questions (2) - April 14, 2009
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