i The Magician's Reflection: A Complete Guide to Creating Personal Magical Symbols & Systems The Magician's Reflection: A Complete Guide to Creating Personal Magical Symbols & Systems The Magician's Reflection: A Complete Guide to Creating Personal Magical Symbols & Systems Bill Whitcomb a Megarithica Books Stafford, England The Magician's Reflection: A Complete Guide to Creating Personal Magical Symbols & Systems Bill Whitcomb al tl t'|egalithica Eook Stafford, E.gland The Magician's Reflection: A Complete Guide to Creating Personal Magical Symbols & Systems Bill Whitcomb © 2008 Second edition All rights reserved, including the right to reproduce this book, or portions thereof, in any form. The right of Bill Whitcomb to be identified as the author of this work has been asserted by them in accordance with the Copyright, Designs and Patents Act, 1988. http://www.immanion-press.com http://www.imagineyourreality.com Cover Art: Michael Skrtic http://dreammanual.fatsyndicate.net/ Cover Design: Andy Bigwood Editor: Nick Pell Layout: Taylor Ellwood Set in Garamond and Bookman Old Style Megalithica Books Edition 2008 A Megalithica Books Publication http:/ /wwwim ma nion-pre ss.com info@irnmanion-press.corn 8 Rowley Grove Stafford ST17 9B3 UK ISBN 978-1-905713-23-3 The Magician's Reflection: A Complete Guide to Creating Personal Magical Symbols & Systems Bill Whitcomb @ 2008 Second edition A[ rights reserved, including the right to reproduce this book, or portions thereof, in any form. The right of Bill S7hitcomb to be identified as the author of this work has been asserted by them in accordance with the Copyright, Designs and Patents Act, 1988. htrp: / / www.immanion-pres s. com http : / / www. ima gineyourrealiry. com Cover Aru llfichael Skrtic http:/ / dreammanual.fatsyndicate.net/ Cover Design: Andy Bigurcod Editor: Nick Pell Layouu Thylor Ellwood Set in Garamond and Bookman Old Swle I\{egalithica Books Edition 2008 A N{egalithica Books Publication http: / / www.immanion-pres s. com in fo@immanion-pres s. corn 8 Rowley Grove Stafford ST17 9BI UK rsBN 97 8-r -9057 13-23-3 I II.. 5 . •4 II SAO M.M..1 Dedication To Marian - Upon reflection, glad we're both still here. Acknowledgements I'd like to acknowledge Nick Pa, Taylor Ellwood, and Lupa, whose editorial assistance and spiritual support have been invaluable in producing the new and improved Magician's Reflection. Special Thanks to OwiSpirit who supplied the Alphabet of Dreams font. Dedication To N{arian - Upon reflection, glad we're both still here. Acknowledgements I'd like to acknowledge Nick Pell, Taylor Ellwood, and Lupa, whose editorial assistance and spiritual support have been invaluable in producing the new and improved l\fagician's Reflection. Special Thanks to OwlSpirit who supplied the Alphabet of Dreams font. i_c<--c- 3-o< 44E------ 4=9-- - --Ae 0-1>e-Dcw moo C/x Lo- --, 4E-c:W C—a--)1E<--1-0 CC .0,--1>Oliz 4-4-0 L0E-0- 9-CK IX-A LECO-- QC 1_000-, )100 Dew- <:-.1) <--r 0.- - -E-w <-1_L - N #c-- CD* L0--• CAI^ :10(4.-• 9EC < V.-icy CC LL'•- n WE-0 - )1 0- V.< < - 0- 3-*CCI<D1-0 co -A-0 { q 1 dHfr+ B fi 0 n 5 q $ NH 3o IH 3fi t5 g? g* Table of Contents How to Use This Book 10 Introduction by Nick Pell 11 Chapter 1: Magic 13 Part 1 -- Magical Symbolism and Exercises 20 Chapter 2: Defining Archetypes 22 Chapter 3: Ritual Processes 35 Chapter 4: Colors 43 Chapter 5: Numbers 52 Chapter 6: Shapes and Forms 60 Chapter 7: Natural Phenomena 66 Chapter 8: Places 75 Chapter 9: Metals 86 Chapter 10: Stones 90 Chapter 11: Substances 100 Chapter 12: Living Things 110 Chapter 13: Mythological Creatures 129 Chapter 14: The Human Body 135 Chapter 15: Objects and Tools 145 Chapter 16: Plants and Herbs 164 Chapter 17: Trees 177 Part 2 -- Putting It All Together 194 Chapter 18: Personal Symbols 156 Chapter 19: Symbol Systems 204 Chapter 20: Magical Alphabets 220 Chapter 21: Energizing the System 227 Part 3 -- What to Do With a Magical Symbol System 231 Chapter 22: The Magic Circle 232 Chapter 23: Progression 237 Chapter 24: Pathworking 240 Chapter 25: The Magical Name 243 Chapter 26: Magical Tools 246 Chapter 27: Naming a Magical Being 257 Chapter 28: Telesmatic Images 262 Chapter 29: Spirit Talismans 264 Chapter 30: Evocation 268 Chapter 31: Invocation 273 Examples of Personal Symbol Systems 277 Appendix A: The NAR Alphabet of the Primordial Elements 278 Appendix B - The Alphabet of Dreams 321 Bibliography 365 Index 369 Table of Contents How to Use This Book Inuoduction by Nick Pell Chapter 1: Magic Part 1 -- M"Scal Symbolism and Exercises Chapter 2: Defining Archetypes Chapter 3: Rirual Processes Chapter 4: Colors Chapter 5: Numbers Chapter 6: Shapes and Forrns Chapter 7: Natural Phenomena Chapter 8: Places Chapter 9: Metals Chapter 10; Stones Chaptet ll: Substances Chapter 12: Li"itg Things Chapter 13: Mythological Creatures Chapter 14: The Human Body Chapter 15: Obiects and Tools Chapter 16: Plants and Hetbs Chapter 17: Trees Part 2 -- Putting It All Together Chapter 18: Personal Symbols Chapter 19: Symbol Systems Chapter 20: Magrcal Alphabets Chapter 2l: Energizing the System Part 3 -- V/hat to Do STith a Magical Symbol System Chaptet 22: The Mrgr. Circle Chapte r 23: Progression Chapte r 24: Pathworking Chapter 25: The Magical Name Chapter 26; Magical Tools Chapter 27: Naming a Magical Being Chapter 28: Telesmatic Images Chapter 29: Spirit Talismans Chapter 30: Evocation Chaptet 31: Invocation Examples of Personal Symbol Systems Appendix A: The NAR Alphabet of the Primordial Elements Appendix B - The Alphabet of Dteams Bibliography Index 10 ll t3 20 22 35 43 52 60 66 75 86 90 100 110 129 135 t45 164 177 t94 156 204 220 227 231 232 237 24A 243 246 257 262 264 268 273 277 278 321 365 369 How to Use This Book The Magician's Reflection is intended as a dictionary of symbolism and as a workbook. It is intended to assist both in the understanding and the creation of personal symbols and symbol systems. I hope that it will be of use both to people with a general interest in symbolism and to those who want to create their own symbols for use in personal development, writing, and art. Though The Magician's Reflection is designed as a complete work, it is also serves as a supplement to my first book, The Magician's Companion, a reference work that explores traditional magical systems and their relationship to the general theories of magic. It lists numerous correspondences between standard magical symbols, alphabets, symbolic associations, and deities or other magical beings. This book explores magical symbolism from a different perspective, listing the associations of various categories of symbols such as colors, plants, animals, and minerals, with minimal reference to any particular tradition or culture. I have also tried to include a rationale for the symbolic associations described, since symbols are most effective when both the mind and the heart are satisfied. Each section of the dictionary portion of this book is followed by exercises that explore that particular category of symbolism. The remainder of The Magielan's Ref/ether discusses how to assemble symbolic associations into a cohesive magical system and provides examples of how such a system could be used. How to Use This Book Tlte Magician! Refhction is intended as ^ dictionary of symbolism and as a workbook. It is intended to assist both in the understanding and the creation of personal symbols and symbol systems. I hope that it will be of use both to people with a general interest in symbolism and to those who want to create their own symbols for use in personal developrnent, *titirg, and art. Though Tbe Magirian't Reflectioa is designed ^s a complete work, it is also senres as a supplement to my first book, The Magidan's Companion, a reference work that explores uaditional magical systems and their relationship to the general theories of magic. It lists nufirerous coffespondences between standard magical symbols, alphabets, symbolic associations, and deities or other magical beings. This book explores magicd symbolism from a different perspective, listing the associations of various categories of symbols such as colors, plants, animals, and minerals, with minimal reference to any particular tradition or culture. I have also uied to include a rationale for the symbolic associations described, since symbols are most effective when both the mind and the heart are satisfied. Each section of the dictionary portion of this book is followed by exercises that explore that patticular category of symbolism. The remainder of The Magirian's Reflectio,r discusses how to assemble symbolic associations into a cohesive magical system and provides examples of how such a system could be used. Introduction In his earlier work, The Magician's Companion, Bill Whitcomb gives the occult community an updated version of Uncle Al's epic meditation on meaning 777. A handy reference, the tome allows the student to see synergies which otherwise might go unnoticed- the similarities between sulphur, salt, and mercury on the one hand and alpha, omega, and iota on the other. Still, while the book is infinitely useful for novice and adept alike seeking a comprehensive (and comprehensible) compendium of magickal symbol systems, its goal is not to advance the student toward the creation of one's own magickal system. The Magician's Reflection stands head and shoulders above its. It is a triumph which builds upon Mr. Whitcomb's earlier work. Not simply because it allows the user (a far better term for what you are about to become than "reader") to push back a little against reality and create meaning, but because it addresses topics far more far-reaching than occultism. The book is of equal value to those whose primary interest is Jungian psychology and individuation, comparative mythology, guerilla ontology, self-improvement, or the interpretation / creation of literature. I fully expect novels to be written in the near future which are little more than formulaic pastiches of the concepts contained within this book. However, in the occult community the idea of creating one's own magickal symbol is very much in vogue right now. The crossover popularity of chaos magick has made it so that every urban Voudouisant and suburban magus wants their own home grown Enochian. Chaos magick theory is somewhat unsuited for this purpose, in that while it urges the user to create a symbol system it does litde to assist the novice or the adept in just how they would go about divining what symbols they should construct and what they should mean. Clearly, simply grabbing symbols out of thin air and hoping for the best is an approach that will lead to nothing at best, and madness at worst. The grand-entities of chaos magick theory were well-heeled in other occult traditions. They were equipped with various forms of meaning and were thus able to synthesize personal meaning. And somehow, the book you hold in your hands, The Magician's Reflection. was criminally allowed to go out of print for several years when it would have been more relevant than ever. While it may sound hackneyed to say that the Internet changed everything, it doesn't make it any Less true. People of all ages are attracted to the Internet precisely because it allows them greater control over their media consumption. Further, it engenders the user with a myriad of ways to produce media, while not excusing the user from creating quality product. It was this phenomenon of maximum customization that was the impetus behind Time naming "You" as the "Person of the Year." It is important to remember that chaos magick theory arose at least in part as a response to the hyper defined world of post-Golden Dawn 11 Introduction In his earlier work, The Magician's Companioa, Bill \Whitcomb gives the occult coffununiry an updated version of Uncle Al's epic meditation on meaning 777. A handy reference, the tome allows the student to see synergies which othenvise might go unnoticed- the similarities between sulphur, salt, and mercury on the one hand and alpha, omega, and iota on the other. Still, while the book is infinitely useful for novice and adept alike seeking a comprehensive (and comprehensible) compendium of magickal symbol systems, its goal is not to advance the srudent toward the creation of one's own magickal system. The Magirian's Reflection stands head and shoulders above its. It is a triumph which builds upon N[r. \X/hitcomb's earlier work. Not simply because it allows the user (a far better term for what you are about to become than "reader") to push back a little against reality and create meaning, but because it addresses topics far mor e faprcaching than occultism. The book is of equal value to those whose primary interest is Jungian psychology and individuation, comparative mythology, guerilla ontology, self-improvement, or the interpretation / creation of literature. I fully expect novels to be written in the near future which are little more than formulaic pastiches of the concepts contained within this book. However, in the occult cofiununity the idea of creating one's own magickal symbol is very much in vogue right now. The crossover populzrrry of chaos magick has made it so that every urban \roudouisant and suburban magus wants thek own home grown Enochian. Chaos magick theory is somewhat unsuited for this purpose, in that while it urges the user to create a symbol system it does little to assist the novice or the adept in just how they would go about divining what symbols they should constmct and what they should mean. Cleady, simply grabbing symbols out of thin air and hoping for the best is an approach that will lead to nothing at best, and madness at worst. The grand-entities of chaos magick theory were well-heeled in other occult traditions. Thev were equipped with various forms of mea.irg and were thus able to synthesize personal meaning. .tnd somehow, the book you hold in your hands, Tbe Magician's Reflectioa was criminally allowed to go out of print for several years when it would have been more relevant than ever. While it may sound hackneyed to say that the Internet changed everything, it doesn't make it ^ny less true. People of all ages are attracted to the Internet precisely because it allows them greater control over their media consumption. Further, it engenders the user rvith a myriad of ways to produce media, while not excusing the user from creating qualiry product. It was this phenomenon of maximum customization that was the impetus behind Time naming 'You" as the "Person of the Year." It is important to remember that chaos magick theory arose at least in part as a response to the hlper defined world of post-Golden Dawn 11 The Magician's Reflection occultism. Before even venturing into the most mundane of magickal acts, Golden Dawn initiates were required to memorize long correspondences of Hebrew letters, color scales, godforms, gems, plants, magickal tools and so on. This tradition places more emphasis on the signifier than the signified. Meaning becomes mechanistic, devoid of true understanding. While the latter day chaotes are certainly flawed in their penchant for vulgar post-modernism and bad physics, their 1970s forebearers were quite shrewd in their assertion that a custom-built deity can carry at least as much weight as one dusted off from old Khem- and with all the fun of parenting a god! Indeed, for reality engineers of all stripes, the book you hold in your hands right now could he the only book you need to start creating your own culture, which in an earlier, far more naive work published by the good people at Immanion Press, I referred to as something along the lines of "the only revolution we've got." Mr. Whitcomb walks the user through the laborious process of creating a symbol system that has hitherto been occulted. While many stress the power inherent in a self-created semiotic system, no one else has taken the time to show the practitioner how to go about creating such a system. Years of esoteric study are not required. You hold in your hands the key to deconstructing meaning, but also the key to putting it back together again in some useful fashion. The exercises following each chapter are of even greater importance than the text preceding them. Without them, this book is an inert object. Utilizing the techniques transforms the book itself into a powerful magickal talisman. So dig deep within the self, and find the truest meanings possible. Not only is it powerful and productive, it's also a great deal of fun. Nick Pell Witch City, USA 12 The Magician's Reflection occultism. Before even venturing into the most mundane of magickal acts, Golden Dawn initiates were required to memorrze long correspondences of Hebrew letters, color scales, godforms, gems, plants, magickal tools and so on. This tradition places more emphasis on the signifier than the signified. Nfeaning becomes mechanistic, devoid of true understanding. $fhile the latter day chaotes are certainly flawed in their penchant for rmlgar post-modernism and bad physics, their 1970s forebearers were quite shrewd in their assertion that a custom-built deity c n c rry at least as much weight as one dusted off from old Khem- and with all the fun of parenting a god! Indeed, for reality engineers of all stripes, the book you hold in your hands right now could be the only book you need to start creating your own culrure, which in an earlier, far more narve work published by the good people at Immanion Press, I referred to as something along the lines of "the only revolution wete got." I\tr. Whitcomb walks the user through the laborious process of creatirg a symbol system that has hitherto been occulted. \{4rile many stress the power inherent rn a self-created semiotic system, oo one else has taken the time to show the practitioner how to go about cteating such a system. Years of esoteric study are not required. You hold in vour hands the key to deconstmcting meaning, but also the key to putting it back together again in some useful fashion. The exetcises following each chapter ate of even greater importance than the text preceding them. Without them, this book is An inert object. Utilizing the techniques transforms the book itself into ^ powerful magickal talisman. So dig deep within the self, and find the truest meanings possible. Not only is it powerful and ptoductive, it's also a great deal of fun. Nick Pell $7itch Ciry,USA I2 Chapter One: Magic The word "magic" has come to mean so many different things that there is no easy way to define it. To much of the population, magic is little more than a curiosity or fantasy, the product of fraud or superstition. Some people consider magic as the use of occult knowledge to control supernatural powers, or believe it is a way of manipulating natural forces not yet understood by science. For still others it is a system of psychology affecting only inner reality. Increasingly, many people in our culture are beginning to see magic as an approach to gnosis, spiritual growth, and a way of life that harmonizes the individual with the world. Aleister Crowley defined magic as the art and science of causing change to occur in conformity with Will. In this sense, any action that achieves an intended goal could be considered magical. This definition may be true, but is a little too broad for our current purposes. For the purposes of this book, magic is a means of using symbolism and ritual techniques to establish a link and cultivate a dialogue between the microcosm and the macrocosm, the inner and outer world. By some approaches, this is the dialogue between the individual and the divine. From another perspective, the magical dialogue takes place between the conscious and unconscious. However you decide to view the magical dialogue, balance and reciprocity is paramount -- as within, so without; as above so below. You change the world by changing yourself, you change yourself by changing the world. By means of this dialogue all things are made sacred and harmony with the world restored. Magic is also a collection of rule-of-thumb techniques (or rituals) for changing the focus and content of consciousness. What we perceive as the world could be said to be the interaction between the self (one's senses, emotions, perceptions, and preconceptions) and the actual world. If this interface is too close to you (the subjective side), it could be said that your world view is not realistic, but so much of our world is composed of our assumptions and subjective beliefs that it is very difficult to say how realistic one's view of things might be. We can only see the gaps and inaccuracies in our world view when they interfere with the accomplishment of our intentions. Most of us are somewhere in the middle — enveloped by delusion, but not so much that it kills us. What is clear is that by changing the shape of this imaginary boundary or interface, we change our awareness of what is the self and what is other, altering our relationships with everything. Essentially, you can change the world by changing yourself. The magician changes the focus of consciousness by techniques such as concentration, breathing, motion or postures, abstention from food or sleep, or the manipulation of sexual energy. The magician changes the content 13 Chapter One: Magic The word "magic" has come to mean so many different things that there is no easy way to define it. To much of the population, magic is little more than a curiosiry or fantasf, the product of fraud or superstition. Some people consider magic as the use of occult knowledge to control supernatural powers, or believe it is a way of manipulating narural forces not yet understood by science. For still others it is a system of psychology affecting only inner reality. Increasingly, many people in our culture are beginning to see magic as an approach to gnosis, spiritual growth, and a way of life that harmonizes the individual with the world. Aleister Crowley defined magic as the art and science of causing change to occur in conformity with Will. In this sense, any action that achieves an intended goal could be considered magical. This definition may be true, but is a litde too broad for our current purposes. For the purposes of this book, magic is a means of using symbolism and rirual techniques to establish a link and cultivate a dialogue benveen the microcosrn and the macrocosm, the inner and outer r,vodd. By some approaches, this is the dialose between the individual and the divine. From another perspective, the magrcal dialogue takes place between the conscious and unconscious. Flowever you decide to vierv the magical dialogue, balance and reciprocity is paramount as within, so without; as above so below. You change the world by changing yourself, you change yourself by changing the world. By means of this dialogue all things are made sacred and harmony rvith the wodd restored. Nfagic is also a collection of rule-of-thumb techniques (or riruals) for changing the focus and content of consciousness. What we perceive as the wodd could be said to be the interaction berween the self (one's senses, emotions, perceptions, and preconceptions) and the acrual wodd. If this interface is too close to you (the subjective side), it could be said that your wodd view is not realistic, but so much of our wodd is composed of our assumptions and subiective beliefs that it is very difficult to say how realistic one's view of things might be. We can only see the gaps and inaccuracies in our world view when they interfere with the accomplishment of our intentions. IUost of us are somewhere in the middle - enveloped by delusion, but not so much that it kills us. What is clear is that by changng the shape of this imagnary boundary or interface, we change our awareness of what is the self and r,vhat is other, altering our relationships with everythirg. Essentially, you can change the world by changng yourself. The magician changes the focus of consciousness by techniques such as concentration, breathing, motion or postures, abstention from food or sleep, or the manipulation of sexual energy. The magician changes the content 13 The Magician's Reflection of consciousness through the use of belief-systems (basic assumptions about reality), signs, symbolism, language, music, and visualization. We use many of these techniques in daily life without thinking much about them. Counting to ten and taking a deep breath, doing whatever you do to wake up and get moving in the morning, or doing whatever you do to relax when you first get home from work are all examples of little rituals performed to affect consciousness. This book is primarily about that part of magic concerned with the creation, arrangement, and use of symbols. The Magical Symbol "[E]verything, whatever happens, has three meanings. The first is its practical meaning, what the book calls 'the thing the plowman sees.' The cow has taken a mouthful of grass, and it is real grass, and a real cow--that meaning is as important and true as either of the others. The second is the reflection of the world about it. Every object is in contact with all others, and thus the wise can learn of the others by observing the first. That might be called the soothsayer's meaning, because it is the one such people use when they prophesy a fortunate meeting from the tracks of serpents or confirm the outcome of a love affair by putting the elector of one suit atop the patroness of another." "And the third meaning?" Dorcas asked. "The third is the transubstantial meaning. Since all objects have their ultimate origin in the Pancreator, and all were set in motion by him, so must all express his will--which is the higher reality." -- From The Shadow of the Torturer; by Gene Wolfe A symbol is something that represents something else by association, resemblance, or convention. The word symbol is derived from the Greek "sroubolou" which was a token used for identification by comparison with a counterpart. In essence, a symbol is something that is given an identity by being related or connected to another thing. In scientific thought and common usage, the term symbol is usually used to denote an abstract sign. In many schools of religious or mystical thought and practice, symbols are considered a sensuous representation of a transcendent reality. The 14 The Magician's Reflection of consciousness through the use of belief-systerns @asic assumptions about reality), signs, symbolism, language-, music, and visualization. Sfe use many of these techniques in d^ily life without thinking much about them. Counting to ten and taking a deep breath, doing whatever you do to wake up and get moving in the morning, or doing whatever you do to relax when you first get home from work ?re all examples of litde rituals performed to affect consciousness. This book is primarily about that part of magic concerned with the creation , attangement, and use of symbols. The Magical Symbol "[E]n.tFthing, whatever happens, has thtee meanin5. The fitst is its practical meaning, what the book calls 'the thirg the plowman sees.' The cow has taken a mouthful of grass, and it is real grass, and a, real cow--that meaning is as important and true as either of the others. The second is the reflection of the wodd about it. Every object is in contact with all othets, and thus the wise can learn of the others by observing the first. That might be called the soothsayer's meaning, because it is the one such people use when they prophesy a fortunate meeting from the tracks of serpents or confirm the outcome of ^ love affau by putting the elector of one suit atop the patroness of another." "And the third meaning?" I)orcas asked. "The third is the transubstantial meaning. Since all objects have their ultimate origin in the Pancreator, and all were set in motion by him, so must all express his will--which is the higher realitv." -- From Tbe Shadow of the Torturcr,by Gene Wolfe A symbol is somethirig that represents something else by association, resemblance, or convention. The word symbol is derived from the Greek " sumbolorf' which was a token used for identification by comparison with a counterpaft. In essence, a symbol is somethfulg that is given an identity by being related or connected to another thitg. In scientific thought and cofiunon usage, the term symbol is usually used to denote an abstract slgn. In many schools of lsligious or mystical thought and practice, symbols arre considered ? sensuous representation of a ffanscendent reality. The L4 Bill Whitcomb phenomenon of nature itself is perceived as a symbolic writing that reveals the laws governing both the physical and spiritual aspects of the universe. In a sense, all symbols are magical. Symbols can communicate information through space and time, and in doing so, can influence great amounts of energy. As William Gray puts it, "symbols are coins for the exchange of consciousness" (1971). Much of our civilization is founded on this magic. The symbols of scientific and logical usage are extensive, while those of myth and religion are intensive. In other words, the mundane symbol is specific and narrow, but the mystical or artistic symbol is broad and contains many layers. The mystical symbol penetrates reality, containing something of the character of that which is symbolized, linking the two by some similarity of pattern. This type of symbol participates in the reality it indicates. in this way, it mirrors a living thing that comes into being, undergoes metamorphosis, and sometimes dies. The magical symbol also possesses the Living quality, the many layers and breadth of the mystical and religious symbol. The chief difference between the mystical and the magical symbol is that the magical symbol has layers of correspondences that are ordered in a deliberate, even scientific fashion. Typically, each symbol in a magical alphabet or "symbol system" might be associated with: * A sign, image, or pictograph * A conceptual principle * A phoneme (sound) or letter * A number or magnitude * A color * A geometric form * A species of animal * A species of plant * A part of the body or one of the senses * A part of the mind or personality * A natural force or phenomenon * A male and/or female personification * A physical substance (such as a gem or metal) * A gesture or body posture * An activity * An odor 15 Bill Whitcomb phenomenon of nafure itself is perceived as a symbolic writing that reveals the laws governing both the physical and spirirual aspects of the universe. In a sense, all symbols are magical. Symbols can coffununicate information through space and time, and in doing so, can influence great amounts of energy. As William Gray puts it, "symbols are coins for the exchange of consciousness" (1,971). Irfuch of our civilization is founded on this magic. The symbols of scientific and logical usage are extensive, while those of myth and religion are intensive. In other words, the mundane symbol is specific and narrow, but the mystical or artistic symbol is broad and contains many layers. The mystical symbol penetrates reality, containing something of the character of that which is symbolized, li"ki"g the two by some similarity of pattern. This q'pe of symbol participates in the reality it indicates. In this wxf, it mirrors a living thing that comes into being, undergoes metamorphosis, and sometimes dies. The mag{cal symbol also possesses the living quality, the many layers and breadth of the mystical and religious symbol. The chief difference betrveen the mystical and the magical symbol is that the magical symbol has layers of coffespondences that are ordered rn a deliberate, even scientific fashion. Typicrly, each symbol in a magfcal alphabet or "symbol system" might be associated rvith: * A sign, image, or pictograph * A conceptual principle * A phoneme (sound) or letter * A number or magnitude t A color * A geometric form * A species of animal * A species of plant * A part of the body or one of the senses * A part of the mind or personality * A natural fotce or phenomenon * A male and/or female personification * A physical substance (such as a gem or metal) t A gesture or body posture * An activity * An odor 15 The Magician's Reflection .An object or tool * A time of day, day, month, and so on. A place * Equivalent symbols from other "systems" Each correspondence is like one band in a spectrum or a note in an octave. The different attributions of magical symbols can be considered as expressions of the spirit' of those symbols in different states of being (or at different rates of vibration). Through the symbolic, the universe is no longer isolated; everything is linked by a system of correspondences that connects all orders of being. Because of the analogical relationship between the elements within magical symbol systems, information can be more readily translated between different levels of consciousness. These levels of consciousness can be viewed as divisions of brain anatomy. The association of graphic symbols, phonemes, and sensory manifestations (visual images, sounds, smells, and so on) creates an interface that facilitates dialogue between the verbal, linear left-brain and the visual, spatial right brain. Magical symbols also function on a deeper level. When these symbols are associated with animal images and natural environments, they could be said to correspond to specific stages of our development. This imagery constitutes an analogical language representing levels of somatic information derived from our evolutionary experience. We still contain the basic circuitry of our reptilian and mammalian evolutionary forebearers. In the course of our development in the womb, we go through, in abbreviated form at least, the same successive stages of development as did our species in evolutionary development. Ontology recapitulates phylogeny. That is, all of the old stuff is still in us. This brings the animal-headed gods of the Egyptians, the shaman's animal totems, and the bizarre hybrids of mythology into the realm of modern brain research. The human brain is anatomically divided into hindbrain, midbrain, and cerebral cortex. Each of these parts controls functions that developed during successive phases of our evolution. The hindbrain (stem, pons, medulla, and cerebellum) controls the autonomic and automatic nervous system and is associated with territorial and survival functions. This part of the brain comes to us essentially unchanged from the reptiles. The midbrain (or limbic system) contains the cranial endocrine glands governing sexual development, sleep, dreams, pleasure and pain, emotion, and anxiety, and primitive visual retention. These features emerged in the early mammalian stage of development. The cerebral cortex, which controls reason, analysis, logic, calculation, language, and voluntary action, was the last to develop. Spirit may be thought of as information distinct from its medium. In the magical world-view, spirit may be translated from one embodiment to another (or from vector to vector, or incarnation to incarnation). 16 The Magician's Reflection * An object or tool * A time of d"y, d"y, month, and so on. * A place * Equivalent symbols from other "systems" Each coffespondence is like one band in a spectrum or a note in an octave. The different attributions of magical symbols can be considered as expressions of the spirit. of those symbols in different states of being (or at different rates of vibration). Through the symbolic, the universe is no longer isolated; everything is linked by a system of correspondences that connects all orders of being. Because of the analogical relationship between the elements within magical symbol systems, information can be more readily translated benveen different levels of consciousness. These levels of consciousness can be vie'uved as divisions of brain anatomy. The association of graphic symbols, phonemes, and sensory manifestations (visual images, sounds, smells, and so on) creates an interface that facilitates dialogue benveen the verbal, linear left-brain and the visual, spatial right brain. lrfagical symbols also function on a deeper level. When these symbols are associated with animal images and natural environments, they could be said to correspond to specifrc stages of our development. This imagery constitutes an analogical language representing levels of somatic information derived from our evolutionary experience. We still contain the basic circuitry of our reptilian and marunalian evolutionary forebearers. In the course of our development in the womb, we go through, in abbreviated form at least, the same successive stages of development as did our species in evolutio n ry development. C)ntology recapidates phylogeny. That is, all of the old sruff is still in us. This brings the animal-headed gods of the Egyptians, the shaman's animal totems, and the bizarre hybrids of mythology into the realm of modern brain research. The human brain is anatomically divided into hindbrain, midbrain, and cerebral cortex. Each of these parts controls functions that developed during successive phases of our evolution. The hindbrain (stem, pons, medulla, and cerebellum) controls the autonomic and automatic neffous system and is associated with territorial and survival functions. This part of the brain comes to us essentially unchanged from the reptiles. The midbrain (or limbic system) contains the cranial endocrine glands governing sexual development, sleep, dreams, pleasure and pain, emotion, and anxiety, and primitive visual retention. These features emerged in the early mafiunalian stage of development. The cerebral cortex, which controls reason, analysis, log"ic, calculation, Ianguage, and voluntary action, was the last to develop. Spirit ma)' be thought of as infcrrmation distinct from its mcdium. In the magical wodd-view, spirit may be translated from one embodiment to another (or from vcctor to vcctc)r, or incarnation to incarnation). 16 Bill Whitcomb Each of these three "brains" possesses its own subjectivity, its own form of intelligence, its own sense of time and space, its own memory, and its own motor functions. In this sense, the magical symbol is used to evoke particular qualities or states of awareness encoded during human evolution. The magical symbol enables you to access encoded information and allows the communication of that information between the two brain hemispheres and the three brain layers. This, then, is the magical dialogue, a method of communication between the inner and outer world. Achieving this dialogue, and establishing a lasting peace between the various brain components, is one of the primary goals of the magical process (and, perhaps, of human existence). When the magical dialogue is an integrated part of daily fife, magical symbolism may be applied to all that one encounters so that everything in daily life becomes a conversation between the Self and the World. In constructing a ritual, the magician attempts to make all elements harmonious, so that everything in the range of the senses has a symbolic connection with the idea behind the ritual. For example, if a traditional western magician wished to work with "elemental fire," the ritual might involve physical fire, a rod (or wand), the color red, a rapid breathing pattern, active movements (perhaps dance), exciting music, the smell of burning frankincense or tobacco, and so on. The Magical Symbol System A magical symbol system is a set of magical symbols that collectively represent all the basic states of existence (or phases of awareness) implicit in a specific world-view. Most symbol systems are either primarily hierarchical or cyclical. In hierarchical systems, there is a primary symbol with secondary symbols that represent divisions or aspects of the primary symbol. In cyclical systems, each symbol represents a