Possession

Dervishes of Chaos by Metehan Çakın

I sit in an armchair, reading something, and suddenly I feel a strange, cold excitement enveloping my back, climbing up my spine, seizing my neck, shoulders, the back of my head, and then my entire body. Then I suddenly stand up, but it doesn’t feel like “I” stood up; it’s as if my body is a puppet. It’s as if I’m a tenant in my own body while someone else has taken over my movements. I could only watch silently. My body stood up, went to the drawer, and opened it. It took out a notebook and a pencil and wrote some words. While the body was doing this, I managed to collect myself from the shock and mentally asked: what do these words mean? I didn’t get an answer, but images appeared on my “mental screen,” as if they were illustrations for the written words. That’s how I essentially saw the meaning of unknown words to me. Just when I gathered the courage to ask my “guest” who and what it is, my self-control returned. That’s what it’s like when someone is open or ajar to that other world. This is what it’s like to be possessed by occult forces. However, this is a very mild form of possession.

However, my biggest fear is not that the devil will take me away, but that some malevolent force will take over me and commit “katabasis” with my hands, and then leave me to face the terrible consequences. Then that same force could blackmail me: “we’ll get you out of trouble, we’ll undo the consequences, if you agree to something…” How does that scenario sound to you? I’m kidding. The first part of this story is true, but what I mentioned that secretly scares me is not true. To be possessed by spirits, you must first be marked as suitable for that purpose in a way that those spirits perceive. The forces that first approach you and mark you will “ride” you in various possible ways throughout your life. If those forces haven’t made your life a hell in your childhood or youth, there’s no fear they will do so in your middle age or near the end.

The Mantegna Tarocchi and the Art of Memory

Iustitia by Giotto

This text is taken from my book Ideology of the Tarot. 

If you want to buy this book, write to dorijan.nuaj@gmail.com 

    Many presentations on tarot begin with its general structure, and I will follow suit. However, I will not immediately delve into the structure of the well-known 78-card tarot deck. To start the discussion on tarot, I will focus on the so-called Mantegna Tarocchi, relying on Adam McLean's observations published in Hermetic Journal, issue 21, from 1983. As I have mentioned before, the Mantegna Tarocchi contains fifty numbered pictorial representations, actually engravings, divided into five thematic sets with ten representatives each. These are the celestial spheres, cardinal virtues, liberal arts, Apollo with the nine muses, and typical social classes of that time. Each celestial sphere is connected to a virtue, an art, a muse, and a social class.

The first ten images depict representatives of social classes numbered from 1 to 10, representing the social and spiritual-psychic states of people, or levels of inner development. Here, we see the lowest state of the soul in the beggar up to the pope: 1. Beggar, 2. Servant, 3. Craftsman, 4. Merchant, 5. Squire, 6. Knight, 7. Duke, 8. King, 9. Emperor, 10. Pope. The second group of ten includes the nine muses and Apollo, numbered from 11 to 20. To paraphrase McLean, this group represents the archetypal sources of creative inspiration for the soul. However, we must not forget the unmentioned mother of the muses, Mnemosyne, whose attribute is memory: 11. Calliope, "of the beautiful voice," protector of epic poetry and rhetoric, holding a stylus and trumpet; 12. Urania, "heavenly," astrology, with a compass and celestial globe; 13. Terpsichore, "delight of dance," lyric poetry and dance, with a lyre; 14. Erato, "stimulator of erotic desire," erotic and love poetry, with a tambourine; 15. Polyhymnia, "rich in hymns," heroic hymns and the art of mime, with a lyre or organ; 16. Thalia, "festive," comedy and pastoral poetry, with a violin and comedy mask; 17. Melpomene, "singer," tragedy, with a horn and tragedy mask; 18. Euterpe, "bringer of joy," music and lyric poetry, with a double flute; 19. Clio, "glorious," history, with a scroll; 20. Apollo, protector and director of the muses, with a laurel branch.

The third group, numbered from 21 to 30, includes seven liberal arts, along with poetry, philosophy, and theology. According to McLean, this group represents archetypes that influence thinking: 21. Grammar, with a file and vase; 22. Logic, with a dragon under a veil; 23. Rhetoric, with a sword; 24. Geometry, with a circle, square, and triangle; 25. Arithmetic, with coins or a measuring cup; 26. Music, with a flute; 27. Poetry, with a flute and vase; 28. Philosophy, with an arrow and shield (depicting the goddess Athena); 29. Astrology, with a starry sphere and pointer (depicting an angel); 30. Theology, with a sphere of heaven and earth (depicting an androgynous figure). There is a slightly different classification of the seven liberal arts mentioned by Frances A. Yates in her book "The Art of Memory," which includes: grammar, rhetoric, dialectic, arithmetic, geometry, music, and astronomy. This is a citation from the book by Martianus Capella from Carthage, De nuptiis Philologiae et Mercurii. Yates also notes that at the wedding of Philology and Mercury, the bride receives a wedding gift – the seven liberal arts, personified as female figures. Grammar is a strict old woman carrying a knife and file to scrape away grammatical errors from children. Rhetoric is a tall and beautiful woman, dressed in rich clothing adorned with stylistic figures, with a weapon in hand to attack the opponent. These personifications of the liberal arts fit exceptionally well with the rules for images in the art of memory – they are strikingly beautiful or ugly, bearing secondary figures that remind of their roles.

The fourth group, numbered from 31 to 40, includes seven cardinal virtues depicted as female figures along with three male figures representing the spirits or geniuses of life or the Sun, time, and the cosmos: 31. Helios (the genius of the Sun), with a solar disc; 32. Chronos, with an Ouroboros; 33. Cosmos, with a celestial globe; 34. Temperance, with two vases, a dog, a cat, a weasel or an ermine; 35. Prudence, with a mirror, dragon; 36. Strength, with a scepter, lion; 37. Justice, with a sword and scales, crane; 38. Charity, with a purse, pelican; 39. Hope, in a praying position, Phoenix; 40. Faith, with a chalice, host, and cross, dog.

The final group, from number 41 to 50, consists of celestial spheres – seven planets and three higher spheres: 41. Moon, with a lunar disc; 42. Mercury, with a flute, caduceus with two intertwined dragons, rooster; 43. Venus, with a shell, ducks; 44. Sun, with a solar disc, scorpion, crabs; 45. Mars, with a sword, dogs (hunting); 46. Jupiter, with an arrow (lightning), eagle; 47. Saturn, with a scythe, Ouroboros; 48. Eighth sphere, with a starry disc; 49. Prime Mover, with an empty sphere; 50. First Cause, with the universe.

According to McLean, the first group pertains to the position of humanity and represents archetypal forces in the external world of man, depicted as social classes. The second group consists of the muses, or archetypal forces of humanity's imagination, expressing themselves through artistic creation. The third group comprises the liberal arts or skills, i.e., archetypal forces in human thinking, expressed in patterns of thought. The fourth group represents the so-called cardinal virtues, or archetypal patterns in humanity's consciousness, expressed through inner development and spiritual enrichment of the soul. Finally, the fifth group includes macrocosmic spheres, archetypal patterns of cosmic order, expressed in all aspects of the universe.

At this point, we can draw parallels between the standard tarot and the Mantegna Tarocchi: 1. Beggar = Fool; 3. Craftsman = Magician; 8. King / 10. Pope = Hierophant; 9. Emperor = Emperor; 10. Pope / 40. Faith = High Priestess (Papess); 27. Poetry / 39. Hope = Star; 34. Temperance = Temperance; 35. Prudence = Empress / Hermit; 36. Strength = Strength; 37. Justice / 23. Rhetoric = Justice; 41. Moon = Moon; 43. Venus = Lovers; 44. Sun / 31. Helios (solar genius) = Sun; 45. Mars = Chariot; 46. Jupiter / 50. First Cause = World; 47. Saturn = Death and/or Hermit.

The virtue of prudence is one of the key qualities that adorn good governance and can therefore be associated with the Empress arcana. However, this virtue is often linked to the Hermit as well. We notice the absence of Mantegna Tarocchi counterparts for the following standard tarot cards: Wheel of Fortune, Hanged Man, Devil, Tower, and Judgment. If we look at the fourth group of the Mantegna Tarocchi, we will see that it consists of four Platonic virtues: Temperance, Prudence, Strength, and Justice, to which are added three theological, or New Testament virtues: Faith, Hope, and Charity. Giotto di Bondone's frescoes in the Scrovegni Chapel in Padua, can help us with this. On these frescoes, pairs of virtues and deadly sins are depicted. Thus, Giotto placed Despair opposite Hope, depicted as a suicidal woman, a hanged woman, which we can associate with the Hanged Man arcana. Furthermore, Charity is opposed by Envy in the form of a monstrous woman with horns and large ears, indicating the Devil card. Giotto's Injustice is portrayed similarly to the figure on the Emperor card, which we have already equated with the Emperor from the Mantegna Tarocchi. Giotto's Folly is placed opposite Prudence, which indicates the Fool card. Giotto's Inconstancy (or instability) is opposed to Strength, which we can equate with the Tower card. Giotto's Infidelity as opposed to Faith, reminds us of the Hermit motif. Finally, Giotto depicted Anger opposite Temperance, but I did not notice an obvious counterpart in the tarot for this motif.

What is missing here are the Mantegna Tarocchi counterparts for the Wheel of Fortune and Judgment cards. However, interestingly, in that chapel, there is a monumental depiction of the Last Judgment by Giotto, showing Jesus Christ with outstretched arms within a halo, an important motif of the figure depicted on the World card. In the lower right corner of the painting, Hell is depicted with the devil painted in dark tones, sitting on a green dragon and holding a sinner in each hand while devouring another. This detail was likely the inspiration for the motif depicted on the Devil card. Let us recall that Dante Alighieri wrote his Inferno around the same time that Giotto was painting the Arena Chapel in Padua. Giotto's painting contains more details that appear in versions of the Judgment card. Four angels blowing long trumpets are depicted around the Savior, with eight more angels between them, totaling twelve, which would not escape the attention of lovers of astrological attributions. Also, among the many details of this painting, it is worth mentioning the cross below the Savior on which two angels stand. The depicted cross, with two angels on its arms, is in the shape of the letter T. Kabbalistic enthusiasts might see a connection between the tau glyph and the Judgment and World cards here, depending on which convention we adhere to. In the Visconti Sforza tarot, the Judgment card depicts two angels blowing trumpets.

Since we have already brought up the renowned Giotto, this is an excellent moment to introduce into this discussion on tarot a detail I only mentioned previously, which is mnemotechnics. One of the current hypotheses is that the tarot was used as a tool for the art of memory. Frances Yates, in the context of the art of memory, examined these very frescoes by Giotto and noted that these figures are famous for their diversity and vitality, brought to life by the great artist. They stand out from the background, creating an illusion of depth on a flat surface, which was a significant innovation at the time.

The art of memory, as Frances Yates highlights, was encouraged by leading scholastic authorities Albertus Magnus and Thomas Aquinas. According to them, it was essential to remember and remind oneself of the unseen joys of Heaven and the eternal torments of Hell. Frances Yates makes an interesting observation about the art of memory as an entirely unexpected medium through which pagan representations were preserved in the Middle Ages. In this context, she mentions Albertus Magnus, who recommended using poetic stories as mnemonic images. Albertus Magnus, a Dominican friar, theologian, Aristotelian, and teacher of Thomas Aquinas, is significant in the history of esotericism in Europe. He had a substantial influence on medieval and Renaissance thinkers and was considered an adept in alchemy by many. He meticulously studied magical and hermetic texts and observed alchemical procedures in laboratory settings, about which he wrote. In some of his works, he frequently cited Hermes Trismegistus as an authoritative figure. He also wrote about alchemy, the magic of sigils and images, necromancy, and more. There are unconfirmed claims that Albertus Magnus initiated the famous Roger Bacon into the secrets of hermetic sciences, whose name is also associated with alchemy.

In the context of the art of memory, Yates connects Giotto and scholasticism by highlighting the influence of the intense atmosphere created by theologians through their preaching. This atmosphere likely influenced Giotto himself, giving his depictions of virtues and vices particularly powerful meanings. Remembering them and recalling them over time takes on the significance of eternal life or second death. Hence, Frances Yates emphasizes the need to create truly striking images, in accordance with the rules of the art of memory. The necessity to find genuinely impactful pictorial representations imbued with spiritual intentions was the fundamental purpose of the art of memory, as interpreted by Thomas Aquinas. The diversity and vitality of Giotto's images, the new way they stand out from the background, and their spiritual strength, could have been manifested under the influence of scholastic understanding of memory and the strong emphasis on its significance as an integral part of prudence. Thus concludes Yates. Furthermore, she wonders what the devout Middle Ages most wanted to remember. Yates answers that it was those things concerning the salvation or damnation of the soul, the articles of faith, virtues leading to heaven, and vices leading to hell. These things were depicted in the Middle Ages on statues in churches and cathedrals, on stained glass windows, and frescoes. Yates concludes that remembering these things was the goal of the medieval art of memory, to engrave the complex matter of medieval didactics into the minds of people.

Mnemonic methods recommended by authorities were often used by preachers to remember the order of their presentations, following the example of the ancient sources of this art. According to Albertus Magnus and Thomas Aquinas, practicing the art of memory is part of moral and religious duties, as this art is an expression of the virtue of prudence. Therefore, if we practice mnemonics, we are actively working on cultivating our prudence, which is a godly deed. Fulcanelli would agree with this to some extent, as he emphasized that many of these contents, wrapped in the guise of religious education, were designed to serve as symbolic and pictorial argot for communication among initiates of the alchemical art and the transmission of instructions. Thus, the secret could be preserved for centuries in plain sight. If any of these symbols were damaged over time and someone restored it without considering fidelity to the original appearance, according to Fulcanelli, this indicates that the restorer was not privy to the mysterious argot of the old masters. If they were not privy, then they were not part of their group. In this sense, the continuity of initiation does not exist.

Explaining the later transition of memory as part of the virtue of prudence, from rhetoric to ethics, Frances Yates mentioned how the Stoics attributed great importance to the moral restraint of the imagination. However, religious and moral reasons do not exhaust this topic, as Yates observes that the impetus for practicing occult memory in the Renaissance came from the Hermetic tradition. I suppose that in this connection, we should look for another very important source of the tarot. The Hermetic tradition, which was present in Europe even before the Renaissance and is evidenced by Gothic architecture and the writings of prominent individuals such as Albertus Magnus, Roger Bacon, and Michael Scot, is one of the important sources of inspiration for tarot images and their original use. These images, although dressed in Christian garb, whether as frescoes, church statues, or figures of medieval theater or literature, actually express the ideas of an older worldview. Yet, this older worldview is inextricably intertwined with the Christian one, so that their disentanglement and separation, as some later tarot authorities have done, could not be without consequences. The liberal arts and virtues should be considered equally sacred, from ancient times, through the Middle Ages and the Renaissance, up to our days.

The art of memory was an integral part of the training of ancient orators, helping them to improve their memory and deliver long speeches precisely. Yates emphasizes that it is precisely as a part of rhetoric that the art of memory has survived to more recent times, making it an indispensable part of European tradition. However, improving oratory was not the only motive for practicing memory. Yates notes that practicing memory for religious purposes became significant in late antiquity with the revival of Pythagoreanism. Frances Yates writes that the most common, though not the only type of mnemonic system, had its model in architecture. The application of the mnemonic method involves creating an imaginative image of a building, which was often a cathedral, temple, or castle. The building needs to be spacious and complex, with many rooms, decorations, and details. The details of the speech that need to be remembered are associated with specific objects, such as anchors or swords. These objects are then placed in visualization at certain locations within the rooms of the building. This is very important for our topic on tarot because swords are present in some major arcana, as are anchors. For example, in the Visconti-Sforza tarot's Hanged Man and Hope (Star) arcana from the 15th century, an anchor appears. The orator mentally walks through their memory house while delivering the speech, extracting the images they placed there from the remembered locations. This method ensures that the memory proceeds in the correct order, as the sequence is determined by the arrangement of places in the building. Establishing the places is of utmost importance since the same set of places can be reused each time, even to recall different content. The images placed in them to remember one set of things fade and erase when we stop using them. However, the places remain in memory and can be reused for a new set of images, for some other content. Thus, places preserve the sequence of facts, while images describe those facts.

Now that we have shed some light on one of the methods of the art of memory, we cannot help but wonder what the original purpose of the figures and numbers of the major tarot arcana was. It is evident that their structure can be used as a mnemonic sequence for storing many data, but those figures and their objects also tell a certain story on their own. The history of tarot is largely an attempt by various authors to penetrate and tell that story. We cannot be sure that they succeeded. This entire book was written based on my doubt that they succeeded, and that the secret of that story essentially remained hidden from later generations, which is particularly evident in the case of the Venetian Sola Busca tarot. Frances Yates mentions many authors of mnemonic treatises who emphasize that the images we form for that purpose must be interesting, unusual, beautiful, or grotesque because we will remember them more easily. In this context, we connect tarot images with the motifs of frescoes, ornaments, and statues of Gothic cathedrals, as well as literary and theatrical characters. Considering the statues of Gothic cathedrals, which appear demonic, Yates says that these representations, due to their unusualness or repulsiveness, affect emotions and thus stimulate memory. Frances Yates suggests that human figures were an integral part of the art of memory, which was transferred from Greece to Rome. Human figures later appear in the memory theaters of the Middle Ages and the Renaissance, so it is entirely reasonable to ask whether they were introduced into tarot from there. In this sense, the tarot sequence is quite striking and easy to remember. Tarot images are like torn places from someone's memory theater, but they follow a certain sequence. We can always place them in specific locations and, according to our purposes, assign them meanings and important content to us. The tarot serves as a basis for such a procedure.

Eros, Magic, and Manipulation

Edward Munch

This text is taken from my book Ideology of the Tarot. 

If you want to buy this book, write to dorijan.nuaj@gmail.com

Ioan Culianu emphasizes that Bruno's manipulator is part of the state, and I would add, even beyond the state. This manipulator, as a principle of power, is the cornerstone of the entire global order established since the Renaissance. The manipulator, according to Culianu, gains insight into the unconscious (or subconscious) of citizens through extensive surveillance, extracting shameful weaknesses that can be used to bind, manipulate, hypnotize, and control the subject. Similar methods were used by prophets, priests, and religious leaders. Culianu states that the founder of a religion is, in a way, like a transcendent instrument, because his goals are not selfish. The condition for his success is creating an environment where the collective subject becomes susceptible and willing to make personal sacrifices. Culianu concludes that religion can only be maintained through active control over the education of individuals, a control that must also be repressive to prevent individuals from emerging from a depersonalized state and becoming capable of reprogramming. The same criterion applies to an individual's advancement within the religious hierarchy.  

In the language of occultism, it is said that the astral body of a human being, stimulated by obsessions under the influence of appropriate phantasms, becomes "magnetized," leading to a fundamental and systematic weakening of its overall energetic potential. This is akin to mass mutilation. For this state of affairs, the blame does not lie with occultists, whether past or present, but always and only with the rulers who have always been interested in magical knowledge and methods for less than noble reasons. Magic, in itself, is much older than the corrupt masters of this world and the herders of human cattle. Marsilio Ficino, in some ways, equated Eros with magic. The power of magic is based on Eros, which generally creates duality to provoke tension that strives for re-unification. The goal of magic, according to Ficino, is the unification of things through their inherent similarity. According to him, all parts of the universe, like the limbs of a living organism, depend on Eros. All of them are in mutual relationship according to their common nature. Eros is, therefore, the force that ensures the cooperation of the parts of the universe functions.

Love is magic and magic is love. Four centuries later, Aleister Crowley declared: “Love is the law, love under will.” Thus, our will is the law, but only when it is love. I would add, our will is the law but only when it is truly will. In his commentaries on the verses of the Book of the Law, Crowley states that magic, or magick, as he called his magical current, is the art of living, or the art of causing changes in accordance with will. Therefore, the law of magick is love under will, and every act of it is an act of love. We see the similarity between the fundamental magical principles of Ficino and Crowley. We also recognize the significance of the symbolism of the major tarot arcana The Lovers for this topic, as well as its connection to The Magician card. The Lovers and The Magician perform similar functions. Love is magic because magical processes are similar to love processes. The Lovers use their talents to gain control over the “pneumatic mechanism” of the beloved person. On the other hand, The Magician can influence objects, individuals, society, or invoke invisible entities, spirits, gods, and demons.

Culianu abstracts the understanding of magic from Marsilio Ficino and Giordano Bruno as a phantasmic process relying on the continuity of individual and universal pneuma, or spirit. Without faith, there is no magic, and without Eros, there is no will, since, according to Giordano Bruno, the only connection of will is Eros. Bruno emphasizes that conviction in the effectiveness of a magical endeavor is essential for its success. Faith is one of the magical links. Jesus did not insist on the faith of his followers without reason. The connection between magic and Eros is Mercury, and in the tarot, the nature of Mercury is most purely represented by The Magician card. He is the master of the game, the great manipulator and enchanter, the one Giordano Bruno described in his treatise De vinculis in genere. According to Culianu, the magician from De vinculis is a prototype of impersonal mass media systems, indirect censorship, global manipulation, and think tanks that exercise occult surveillance over the masses. Bruno’s manipulation requires a thorough knowledge of the subject and their desires, without which there can be no connection. The aim of Bruno’s erotic magic, according to Culianu’s interpretation, is to enable the manipulator to oversee individuals and the masses. The fundamental assumption for this is the existence of Eros as the most powerful tool of manipulation, which encompasses everything we love, from bodily pleasures to wealth and power. Sex scandals, pornography, pedophile networks, and media exploitation of the sexual—these are all parts of an extensive mechanism of manipulation, or what we might call programming today. For this purpose, colossal magical chains (or networks) are created that encompass the entire world. Eliphas Levi defines a magical chain as a current of ideas that shapes destiny and attracts a large number of wills into a given circle of active manifestations. The establishment of a magical chain falls under basic magical operations, which, as Culianu paraphrases Bruno, occurs indirectly through signs and images that assert their power over the senses of sight and hearing.

The previous century gave rise to the global dream factory of Hollywood, the film industry, and mass television production aimed at directing fantastical images towards creating specific associative patterns in human consciousness. Giordano Bruno says that the main entry point of all magical processes is fantasy, and there is nothing in the mind that was not previously in the senses, nor is there anything coming from the senses that can reach the mind without the mediation of fantasy. There is a mass influence on fantasy that has never existed before. Magical chains and spread-out networks traverse the fantasy of the recipients, reducing individuals to mere audiences. The mechanism is the same for both love magic and its darker counterpart, both aimed at manipulating individuals and the masses. This is not difficult at all since people lack self-control or control over the process of their own imagination. Individuals fantasize driven by desires, and these imaginings are unchecked and powerful. Thus, they easily become prey to manipulators of any kind. Prophets and founders of religions are also, in a certain sense, manipulators because they manipulate fantastical processes, stirring people's imaginations with their influence. Imagination is mostly stirred by external causes, whether by the actions of other people, non-human entities, or purely magical beings. These non-human entities can be completely independent or created by human imagination, or brought into imaginary existence. Keep in mind that if something imaginary exists, it does not mean it is not real. For something to be real, it does not necessarily have to be tangible. However, if something is already real in an intangible way, it is not necessarily so in every case and forever.

The magician, as a master manipulator, is primarily capable of creating fantastical images and directing their flow, with faith in the effectiveness of what he does, love in the sense of strong passion for what he does, and the will to create his own law in the realm of the fantastical. He is therefore free from external influences on his own fantasy, just as he is immune to the influence of the fantastical flow he himself has initiated. He participates, feels strongly, but does not surrender; he governs the energy. In terms of magical manipulation, according to Giordano Bruno, all chains are reduced to the erotic. He who desires something, who loves something, is thereby bound, for the strongest chain is that of Venus. And this chain, according to Bruno, is beauty in the broadest sense. In imagination, it is the property of the image that fascinates and binds the energy of passion. Thus, fantasy is real because its influence is real, and if the influence of fantasy is real, then the influence of magic is also real. In this sense, the tarot, even if it was not originally intended to be, has become over time a very important magical tool.

Evocatio terrae circuli, terrae aeternitatis

Liber Formularum magicarum ad evocandum occultas vires in servitium Divinae revolutionis catastrtophae

Ex meis Collectis Scriptorum Esotericorum

Nolite sensum verborum haec capere, significationem eorum ne quaerite. Pectore, non mente, haec patefacta sunt. Cantus vos ducat. Anima vestra sequatur rhythmum.

1°  Te invoco, o terra aeternitatis

2°  Te invoco, lapide sancti laboris

3°  Ego magister et initiator

4°  Soli fundatus sum

5°  Ego magister, deus serpens et adversarius deorum

6°  Ego sum deus qui venit  

7°  O sancta doctrina, ego sum discipulus sanctae doctrinae

8°  Ego parvam epulum celebro, in honorem heroum
9°  Ego grandem epulum celebro, in honorem deorum

10°  Te invoco, o terra aeternitatis

11°  Ego sum qui auscultat internam vocem et vocem universi

12°  Portae bellatores castrorum solis lumine gloriae radios intente effundunt

13°  Apparet terribilis praelator matutini mortis

14°  Magna sacerdotis mactatio est arcanum et occultum

15°  Confirmo robur meum ut belli victorisque

16°  Condo axem inlustratum Lunae vigore

17°  Voco custodem aeris elementi, reginam daemoniam

Voco custodem elementi terrae, magistrum vaticinationis

Voco custodem elementi ignis, dominum vitae

Voco custodem elementi aquae, dominae mortis

18°  Consensu terrae, virtutibus exorcistae, rito sacro Lunae dedicato, revolvo ordinem mundi legitimum

19°  Purifica me et protege, o solare intelligentia, tu fulgens mens

20°  Obsignet me et confirmet omnis tenebra

21°  Te invoco, o terra aeternitatis

22°  Aperiatur viae meas, sanctus nuntius

23°  Sit magica vis iusta modo

24°  Obversentur mihi angelus silentiae et angelus intellectus

25°  Operetur nox dea et sanctus mons invisibilis adversus malas influentias

26°  Te invoco, o terra aeternitatis

27°  Serviat mihi magna vis magica animae mundi

28°  Qui ex laqueis liberat, a me malos influentias magicae auferat

29°  Obmutet omnia alia agendi vis magica

30°  Qui incantationes magicas recte profert, iuste iudicet

1°  Creativa potentia dei-serpentis evolvatur

2°  Horrendum tenebrae repellat mala omnia a me

3°  Perdita revocetur inventa

4°  Ego sum sacerdotis primogenitus

5°  Ego sum consecratus dei-serpentis

6°  Ego sum unicum refugium, donum et gratia dei-serpentis

7°  Fiat pandemonium plenum locoque suo

8°  Fiat fatis nostris morsum spernens

9°  Fiat cantus montis albi regni mortuorum per omnia tempora resonans

10°  Fiat ut abyssorum et oblivionis aquae somnium prophetum expergiscendi et reminiscendi

11°  O magne albe lupus terrae aeternitatis

12°  Fiat ut segregatus, praestans et purus
13°  Spiritus magistri antecessorum, evanescite ex infinitate
14°  Fiat sacra vibratio omnia dissolvat et aequet per tempora
15°  Evanesce, astrorum desideriorum sidera

16°  Fiat magnus divinus spiritus flamma sua protegens magnam caelestem orbem a corruptione

17°  Latens et occultus, dirigam fluenta temporum

18°  Infernum mecum est
19°  Flecte caelestis nympham susurro, multitudine unum faciens
20°  Fiat terra amplectu visibilia semita invidentia
21°  Terra me defendat a mortuis
22°  Revelentur omnes meae infirmitates, quae me fatigant et perturbant
23°  Pater Mortuorum, Mors, accipe sanguinem sacrum hostiam
24°  Lexifer, qui rotam mundi movet, faveat mihi

25°  Te invoco, o terra aeternitatis

26°  Fiat potestas obscuri speculum bona in me erga manent

27°  Fiat potentia obscurae umbrae initiationem meam confirmet, terra consensum praestet

28°  Testis angelus, causas faciens et eventus repetens, tolle velamen ab umeris meis
29°  Servet me Salvator, magus luminis, qui rotat rota mundi
30°  Situsque meus sit tectum adamanteum, in quo malorum intenta calumnia non penetrabit

1°  Reddatur hereditas, viresque renoventur et augeantur
2°  Tacentes caecaeque vires magicæ mecum sunt
3°  Insignitus gloria, ad funereum carmen, gradior super aeternam arcam, quae ambulat ad pacem sempiternam
4°  Sonus divinus absconditus dirigat incantationes meas
5° Sylva arcana lucernis exstasis illustratur, quae ductum ad  numquam oblivionem praebent
6°  Te invoco, o mi deus
7°  Deus meus et ego in perpetuum unum sumus
8°  Pater Deus, qui seminas, respice ad me
9°  Amor furentem stimulet libidinem, incendat ignem flammae cupiditatis
10°  Sint magni et succosi fructus quos colligam, in amplectis dulcis gustus nobis demum
11° Terram aeternitatis sacrificium parvulum vorare sinat, heroibus in honorem, quos nobis semper faveant
12°  Pateant mihi fores invisibiles, quae deducant ad occultos mundos
13°  Dux immortalis mortis, mortalitatem meam prefer per ianuas aeternitatis
14°  Spiritus sanctus silvae, hunc locum sacrum tuere
15°  Dignus sim, ut recipiam fundamentum dominatoris invisibilitatis
16°  Benedicat dominatrix mortis cursus meum per umbras

17°  Fascinet potentia mea magica homines, omnia animalia, res et loca

18°  Sit felix mea discipulatio et cognitio
19°  Fiat potentia dei adventantis
20°  Descendat ad me deus occidens, ferens verba vera
21°  Incendat concupiscentiam descendens ille
22°  Magister meus, adducat mihi mulierem igneam suavem
23°  Fallax magister ad aetatem vetustam influat
24°  In actibus meis, ut sim invisibilis et inaudibilis sicut vampyrus
25°  Dominatrix animalis atavismi, adducat mihi amantem magiam phantomalem

26°  Ego sum sanctus heremita de speluncis

27°  Fiat mihi obsequens vis oblivionis creans
28°  Me ad prosperitatem deducat qui verba vera praestat
29°  Sit mihi favens Caput Mortis et eius servi: Inanimati, Immortui, Putridi
30°  Suscitet mihi magna striga sukubos et somnia amoris

1° Me, deus absconditus, occupet et circumfundat luce aeterna

2° Specula omnia magica imago ostendant illius qui est Gemellus

3° Verba huius incantationis me in somnum lucidum deducant
4° Inspiretur me ille, cuius vis occultum facit
5° Siccitas navim meam aeternitatis non arefaciat
6° Spiritus dei serpentis silvam incantatam claudeat
7° Ignis divinus puri unguentum noxias omnes delet
8° Luceat visio pura, ab erroribus temporis animi custodiatur
9° Dona mihi potentiam discernendi inter puras et immundas vires
10° Ille, cuius nomen est Celeritas
11° Ille, cuius nomen est Celeritas, custos termini inter mundos, transgrediendum mihi permittat
12° Verbis potentibus, magister magiae obscurae, infere tenebras in hunc mundum, potentias obscuras
13° Terra Mater, potentis temptatrix
14° Noctis puella, umbrae amatricem, adveniat ad me
15° Noctis puella, umbrae amatricem, mihi subdita esto
16° Lux divina nos illuminet, qui deos veneramur
17° Nobis, qui heroibus et deis canimus, celebremur, ut et nosmet ipsi celebremur
18° Voces et nuntii ab umbris adferantur,revelantes quod invisibile est
19° Omnia tacere, furtim oculi mei silentio me intueantur

20° Vocem mea, servus et fidelis spiritus, adsumatur potentiam meam

21° Protector ostium caelestium, visiones propheticae adferat mihi
22° Intram ad umbras inferos, eventus et fata mutans fluenta
23° Benedictione donantis benedictiones, in magico opere mihi adsint divinæ gratiæ
24° Spiritus vates, visio clarissima, nuntia verborum ducat ad quem oportet
25° Qui evocat defunctos, sit mecum in parte
26° Nigrae vampirae, quae virilitatem tollunt et homicidas protegunt, mihi faventes sint
27° Sit potentia mea in detegendo et cognoscendo claustra scientiae
28° Arte bene loquendi cum spiritibus et entibus invisibilibus fruar
29° Ego sum qui solis lumine firmus innitor
30° Qui causas creat et eventus impellit, mecum est

1° Terrae custos et magister magnus vaticinii, pandat mihi vias, fores et transitus
2° Qui est draconis ignea supra abyssum, sanet et purget me coram vultu aeternitatis
3° Caput alterius mortis, intelligentia abyssi, permitte me ad magnitudines stellarum
4° Nebulam penetrabit aura sideris distantis
5° Omnia conglobentur et convertantur in ludum cosmicum

6° Omnibus rebus amorem cosmicum spectaculo adducat

7° Veneranda amica siderum, omnia benedictione tua complectatur
8° Fiat potentis protegendi circulus circa me
9° Custos ignis dominusque vitae me celent et tueantur
10° Fiat verba adorationis magnae deae quae significant
11° Domum meum custodiat potens servator possessionis
12° Avoident me falso cursu, falso aspectu, falso agendi modo, malevolentiumque malignitate
13° Auscultate me, vos omnes qui estis dii et conditores
14° Conferite mihi vestram divinam tutelam a malitia magiae et tristi casu defendite

15° (Noli invocare mortem)

16° Venia amoris, mea carminis virtus, mulieris favorem ad me cunctos attrahat

17° O divinum fulgur, o caelestis tonitrua, vultus vestri placidus in me respiciat

18° Semper me sequatur et consilietur mysteriosum praesentiam magistri mei

19° Te invoco, o terra aeternitatis

20° Robora audax mea, virtute valli fortis bellator, qui lupum candidum occidit, dominum horroris et daemoniorum hominum
21° Impletus sim et confirmatus virtute ferarum magnarum
22° O, lucidus spiritus aquae, per fluctus me duc ad arcana sancta, ubi divina mysteria revelantur
23° O, spiritus arcanae divinae lucis, me complectere et invela me mysteriis tuis ineffabilibus
24° O, spiritus occultus, per umbrarum vias me ducat ad lucem transcendendam
25° Celebremur in aeternum

26° (Canticum Animae Guide)

27° (Canticum Animae Guide)

28° (Canticum Animae Guide)

29° (Canticum Animae Guide)

30° (Canticum Animae Guide)

1° (Canticum Animae Guide)

2° (Canticum Animae Guide)

3° (Canticum Animae Guide)

4°  Sit mihi placidus custos portarum mortis

5°  Voco eum qui aperit portas mortis

6°  Sit potentia verbi sacramentum custodire concordiam
7°  Tace cor immolator opprimatur silentio meo
8°  Ordo silentii speculum est silentii, silentii ordo est tentatio silentii
9°  Saluto vexillarium dei qui descendit
10°  Amor nexum est mortis, mors nexum est amoris
11°  Salve magnus Draco septemcaput, qui in solio caelesti sublime residet
12° Tua potestas super homines est stratificata, invisibilis et inaccessibilis intellectui
13°  Absconditus in terra, evoco amorem caeli

14°  Fortuna, patera donorum, lactentia dona mihi perfundat

15°  Te invoco, o terra aeternitatis

16°  O domina, conditrix omnium, deorum ac hominum
17°  O domina, conditrix omnium, deorum ac hominum, tu quae genuisti deum draconem
18°  O patrona animae, te quae tutelaris
19°  O donatrix vitae aeternae, te quae largiris

20°  O magnifica dea, quae omnia parere vis, et trino deo lumen in mundum dedisti

21°  Salve, o aeternum deum, te saluto

22°  Stabilis columna, quam dii posuerunt, terra haec sustinet, et aeternitatem fovet

23°  Ego sum is qui resurrexi et saluto deos, vita mea exoritur, aeternitas me complet

24°  Oculi mei videant splendorem aeternorum camporum, in luminis gaudio requiescam et æternitatis gloriam intuear

25°  Nares meae percipiant odorem aeternorum camporum, perfusus dulcedine odorum aeternae gloriae exultabo

26°  Perfundar in deliciis aeternorum camporum, et totum corpus meum aeternae voluptatis sensibus impleatur

27°  Fulgorem sanctarum luminis spirituum in aeternitate incessanter flagrare permittant

28°  Vim numen nunquam deserat animam meam, semper sit potentia mea in aevum

29°  Vetusti spiramen ne advehatur malum, mortuorum et maledictorum animarum

30°  Absit ut me vorat serpens infernalis, perniciem effugiat mea persona

1°  Excitet potentiam meam nympharum sacra et amabilis caelestis, ut flamma mea divina resplendeat

2°  Exspiresset mihi esse ne mutetur in spectro nocturno vagante aeternaliter, nebulam tenebrarum in perpetuum errantem

3°  Largus deus victor, tribue mihi aeternam gloriam regum, ut perpetua laus mea in saecula regnet

4°  O quam pulchrum est meum aeternum caeleste domicilium quod me exspectat, ubi habitare iucundum eternitatis gaudium me suscipit

5°  Celebretur sanctus hircus, stans ad limina templi, qui custodit mysteria divina et arcanum sacram

6°  Celebremus sanctum aegocerum, qui stat in penetrali sanctissimi templi, custos arcanorum divinorum, arcana mysteriorum

7°  Benedicatur sacrum sarcophagum, quod me in aeternum iter ad mundum mortuorum ducit, osculis deae aeternitatis sacratum

8°  Sum hortulanus qui magnam gerit onus - meum pondus est libertas

9°  Ego sum qui in aeternitatem graditur, dominus scientiae

10°  Ego sum qui meipsum perficio et in lumen propriae essentiae gradior

11°  Exaudita sit mea voluntas, per hanc precem, invocans magnam lunae potentiam

12°  Reviviscat potentia sancti totematis, in hoc loco vivificando et divina praesentia permeando

13°  Glorificetur domina nostra creatrix, aeternum laudata

14°  Aperiatur ad me ianua sacrorum spirituum per Mulierem Coccineam

15°  Conspicere me dignatione ac potestatibus dignis virtutum, oculis apollinis bellicosi, precor, et mihi tribuantur

16°  Ego sum qui deum conspicit, sum videntis qui deum salutat

17°  Ego sum videntis, scriptor et vates, qui arcana divina revelat et verba divina inscribit

18°  Radiantibus radiis sacri divini oculi, sit benedictus illuminatusque mihi

19°  Sacro divina lumine me circumdedit, ab externo ad internam, ab interna ad externam, benedictus sim

20°  Ecce, ego sum equestris sanctus, qui fulget virtutis lumine et gloria divinae fortitudinis

21°  Mea sedes est in urbe sancta post velum huius mundi, ubi divina mysteria refulgent

22°  Salve, eia salve, o illa quae vitalis est et quae vitalis efficitur

23°  Salve, quae vitalis es per sanguinem sanctorum rediviva

24°  Sit tacitae virtus enchantamentorum externorum opprimatur

25°  Veritas potentiam meae incantationis confirmet et efficiat

26°  Effundo et frustra ponuntur vis magica externa

27°  Sit eum, invisibilem cunctis magicis viribus externis, ne perturbetur ab illis et abscondatur ab oculis mundi

28°  Sedent potestates furoris et voracis vis magicae sub voluntate mea

29°  Sit satus in solio potestatum magicarum

30°  Perveniat vis magica mea ultra potentiam imaginis

1°  Sacrum secretum a profanis aperiri ne sinat

2°  Nunc mihi donentur numina sacra, honoribusque receptus sim ante thronum dei serpentis, in urbe dei serpentis

3°  Sit bona mea munera recepta in secreto initiationis cubiculum

4°  Gloria sit abscondito nomine magnae deae

5°  Sit celebrata immortalis et amabilis femina, quae super omnes mundos stat

6°  Haec est hymnus amoris mei, in honorem eius infinitae suavitatis

7°  O magna et potens dea, ne me degluteas ut vulgarem mortalem

8°  Donis mihi ampla et infinita amore tuo praemium

9°  Robora me potentia magica et evoca in me magnam virtutem

10°  Revela ante aspectum meum sphaeram mysteriorum immortalitatis

11°  Revelare coram me, o flammans et immortalis mulier

12°  Salve, magna regia Draco, cuius solium est lapis aquaticus

13°  Salve, vis potentia lapidis aquae, ex quo quaero potentiam praenuntiationis

14°  Ego sum heres patris mei et pater eiusdem

15°  Ego sum heres illius qui suscitat et reducit retro mortuos quos devoravit tenebrae

16°  Saluto maxillas magnae aeternae piscis mortis, ex quarum ventre sumo et reduco illos qui illuc pertinent

17°  Ego qui ex altera vita et morte, qui habeo omnia memoria et scientia, ex voluntate incito spiras temporis

18°  Evoco potentias creationis et destructionis, quae movent universum et regnant supra omnia

19°  Radiat mihi fulgor auri deorum absconditi, qui illustrat viam meam in mysteriis divinis

20°  Ego velut speculum, divini luminis radios effundo et attraho, diffundo et colligo, divinae lucis effulgentiam imitans

21°  Sit tenebrae mortis speculum, sit speculum immortalitatis

22°  Sit verbum hoc inscriptum in chronica aeternitatis

23°  Benedicant me aeterni flammae ignium

24°  Ecce ad patrem fecundum specto, qui verbo creatorem imitari possum

25°  Sicut pater noster fecundus, et ego creo et dissolvo quod creavit

26°  Quemadmodum pater fertilis, ego res colo, aperio ac claudo, evoco et expello

27°  Sicut magister lapicidae, ego polit et formo lapidem rudem in perfectum cubum

28°  Beatus sum tribus divinis telis, tribus radiis solis, tribus aedificatoribus labyrinthi, qui me ducunt in laboribus aedificiis meis

29°  Clavis inferni in manu mea est, quae aperit seram portam inferni et totum subterraneum orbem

30°  Sicut sancti adepti qui lucem reflectunt, etiam ego corusco in tenebris

1°  Ego adnixus sum inter milites et aedificatores generis aberratii, quorum via praeteritis viis humanis ducit

2°  Nullus daemon mea lux et aurum vastabit

3°  Per nomen deus qui dominatur mortuis, ego expello vires magicas invocatas

4°  Per nomen deus bellator cum capite accipitris, ego expello vires magicas malas et invocatas

5°  Evolvatur mens mea ad secretorum multa, audiatque voces arcana universi

6°  Sum ex illis quos dii elegerunt, ex illis qui sanguinem potentiam gestant

7°  O, suscipiat me in aulam suam et mihi dignitatem exhibeat deus serpentis

8°  Coniungar magnae deae, nam in ea gaudium meum est

9°  Sit ventus venenatus, qui mortem afferens subruit intrusos, audaces in mea praesentia

10°  Coniunctus sit amor meus cum illa, quae pura est, ut unum cor habeamus, in amore iuncti

11°  Ad thalamum amoris admittat me dominatrix caeli, ut in torum suum me excipiat amata coeli

12°  Sit vox divinae magnae formaris lenis in corde meo, ut essentiam meam molle tangat numen divinae figuli

13°  Inspire mihi vitam illa quae spiritum vitae inspirat creaturis carnis et sanguinis

14°  Adsummonem spiritus aedificatores, servos magnae antiquae creatricis et genitricis

15°  Testimonium de mea existentia, magnam meam caelestem amicam e profundo abysso temporis

16°  Faciat me regem regum super omnia regna, ut dominor et imperem in aeternum

17°  Audiant et dii et homines, surget magnus rex mundi, qui imperat et dominatur in aeternum

18°  Lumen clementis intuitus creatoris et dominatoris mundi me illuminet

19°  Sit in manibus meis potestas evocandi et expellendi, obsessionem daemoniacam, bonorum spirituum et idearum

20°  Ego sum magus magnus, dominus illusionis, qui evocat et expellit illusione

21°  Fons divinae lucis, sapientia vera, ad me fluit scita recta e solio sacro

22°  Divortia sint viae meae a viis eorum quorum praesentia est malitiosa et venenosa

23°  Angelus sanctus qui vigilet super me, apparere et docere me omnia quae scire debem

24°  Lux unica in caelo vacuum et obscurum, stella aeternitatis meae fiat

25°  Verba potentia mea per infinitum hiatum penetrant

26°  Tibi coniungor, cuius subterranea urna est centrum mundi

27°  Illustreris me, divinum intellectum, qui consecratos illuminat

28°  Incipe lusus ascensus et demergentia

29°  Exaudi cantum ducis animas de uno in alium mundo

30°  Magnum orbem coarctat orbis maiorem, parvus orbis coarctatur in punctum centri magni orbis

1°  Hoc carmine evoco molles manus fragrantis voraginis nihili

2°  Comitante fatis, super nubibus sto, fixus in stellam transmutationis meae

3°  Mei praeceptrices, suscipite me tanquam aequalis vestris devotus

4°  Voluntas mea evigilata aperiat fores futuri, ita ut per eam nova gaudia et arcani mysterii in me fluant

5°  Sit entitas mea collocata in medio mundi, ubi omnes radios divinitatis colligunt

6°  In mea cursu adversarii malorum intentio deturbetur minaci maledictionis potentia, et pellatur inane malum procul ab omnia

7°  Magnifica numinum persona, donum deorum, protegat vultum meum ab malo et vanitate profanorum

8°  Virga potens, donum magni spiritus, propulsabit impeditores et viam meam patefaciet

9°  Sit laudatus aeternus et immortalis miles, cuius ipsa devotionis immolatio est apoteosis voluntatis eius

10°  Ego sum qui superat omnia tentamenta et adversitates vitam vincit

11°  Gratia diei ac noctis

12°  Sacrata sint mihi cunctae artes cæcae et avarae magicae vires numquam opus habeant

13°  Magnifica testis, legitime fiat meae existentiae et actionis

14°  Cum corpus mortis occupet, animam meam canit ex æternitate ductam

15°  Centrum mundi est ubi dominetur voluntas mea

16°  Funes salutis silentii veniunt ad me et me integre capiunt – clangor exitiosus me non occupat

17°  Corpus et animus meus sanus sunt et mihi bene servient usque ad finem vitae

18°  Sub signo extasis completa volatus animae meae nocturnae fiat

19°  Quod ego vinco magicus, id alligatum est in re, quod ego solvo magicus, id dissolutum est in re

20°  Tacita sit arrogantia, quae in cosmico ordine tumultum generat

21°  Ab impiis locus in nave salutis caret, vivi putrescant

22°  Voco dominae amoris, reginam terrae solaris

23°  O regina, me elige ut rex tuus, qui in sinu tuo collocandus est

24°  Tuis genibus solium meum, ex quo intueor regnum sanctum nostrum

25°  Defendant splendidi solis orbitae radios mei

26°  Tutelam meam potentiam deus magnus caelestis

27°  Tutelam meam potentiam terrae

28°  Conveniant in amore, illa tota mellis et ille qui lambit mel

29°  Amorem filiam terrae solis invoco

30°  Audiat verba mea venerans soror tota

1°  Mea voluntas in fundamentis aeternae domus amoris

2°  Effunde super me, mea divina salvatrix, tuam clementiam

3°  Ebrius sit amoris in aeternis complexibus divae meae caelestis

4°  Nexum nostrum sit indissolubile, tam suave quam robustum vinculum

5°  In via mea creentur opportunitates multis et casus

6°  Ex fastigio sacrae turris, insonet exsultatio triumphalis mea, perlucente luce e victoria

7°  Magicas vires omnes voco et saluto, quae mecum sunt

8°  Omnes me audiant

9°  O magna dea, stella desiderii

10°  stella vigiliarum somniorumque indefessi
11°  te invoco, ego qui nihil sum

12°  solus tuus filius, corpus ex corpore tuo

13°  anima ex anima tua, spiritus ex spiritu tuo

14°  Meus desiderium est et tuum

15°  Regina caeli, quae mundum et omnes deos peperisti, quae ipsa abyssus es, te invoco

16°  O dea, tuus odor, aura, tactus, tenera stellata cutis et dulcis vocatus
17°  Vultus amabilis, aeternus vinctus, voluntas tua quae mundum sustinet
18°  Aspectus tuus ex occulto pervenit, amor tuus e tenebris splendet et viget

19°  Lux tua supra omnes alios lucis est

20°  Labia mea sunt domicilium osculorum tuorum

21°  Ror tuus in me stillat

22°  Lux me circumfundat et faciat me defensorem vitae et mortis

23°  O magna et potens dea, sede me in gremio tuo et amplectere me pectoribus

24°  Circumda me totam et perfunde me tui

25°  Tu, quae es extra circulos et in circulis

26°  quae semper idem es et semper alia

27°  quae es vis mea et potentia mea

28°  Sit nomen meum evocet et vacuum impléat infinitum tuum

29°  In oculis tuis ut perennem sim

30°  In osculo tuo ut unicus et solus existam

1°  O dulcis coluber, verba mea, verba desiderii sunt

2°  Sit via mea plana et recta

3°  ut me sol et luna, Caelum et Terra, omnes planetæ et stellæ

4°  ignoti et noti, omnes dii et spiritus
5°  mortui et viventes, immortales et errantes

6°  veteres, novi et futuri

7°  qui sunt et qui non sunt, et qui sunt et non sunt

8°  qui sunt in tempore et qui sunt supra tempus

9°  qui sunt in spatio, interstitio et extra spatium

10°  qui sunt sub lege, qui sunt extra legem et supra legem

11°  boni et mali

12°  reges et servi

13°  angeli et daemones

14°  serpentes et dracones

15°  milites et vagabundi, sancti et scelerati

16°  qui sunt ignei, aerei, aquosi, terreni et in spiritu

17°  qui sunt in me et qui sunt extra me

18°  qui ante me et qui post me

19°  Quicumque obstet, iter ne meum impediat

20°  Volo mea atque via mea cedant omnia

21°  O, splendens spiritus aquae, te nunc invoco

22°  Duc me in arcana, in luminis et fulgoris loco

23°  Incita profunditates, resuscita arcanum

24°  Perduce me per viam, quam soli dii norunt

25°  In undarum scintillantibus, potestas tua latet

26°  Arcana antiqua, sapientiae, in ipsis pulchritudo viret

27°  Illustra me, o, splendens spiritus

28°  In tuis aquis magicis, anima mea flammescat

29°  Per maris amplitudines et fluviorum decursus, duc me

30°  Haec sunt verba domus aeternae