Pennsylvania Dutch Hexen Magick

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

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

1 The most basic pantacles consist of pure geometric arrangements within the circular limitations of the pantacle.

2. Graphic motif- drawn mostly from natural shapes, symbolic of different natural forces.

3. Strictly Alchemical and Hermetic symbols, often taken directly from Medieval grimiors (and why not!?!)

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

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

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

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

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

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

1.  Perfection, the desired unity

2.  Harmony and Balance of continual change

3.  Stability and the fertility of Potential

4.  Solidity and General Form

5.  Power and Force

6.  Beauty and Enlightenment

7.  Passion and Devotion

8.  Articulation and Intelligence

9.  Introspection and Intuition

10.  the Material World

11.  the Magick Light

Further, the lineal figures and Shapes associated with these values are- held to be consonant with them, so a Pentagon expresses the ideas of Power, and an octagon the concepts of articulation, generally speaking, of course.  The ideas of number are similarly expressed in a variety of mediums to expand upon the compendium of available symbols.  By further abstraction, the concepts of color and other symbolic motifs can be similarly attributed to a numerical value.

A Scale of Eleven for Hexen Symbol Construction

No. Quality Shapes & Figures Color Motifs & Symbols
1 purity point white
2 harmony line sky blue rooster, eagle
3 stability triangle grey, indigo fish
4 solidity square, cross violet, royal blue acorn, sperm shape
5 power pentagon, pentagram red, infra red oak leaf
6 beauty hexagon, hexagram,
six pointed asterisk yellow, gold six rayed circles,
solar glyphs
7 passion heptagon, heptagram green, brown hearts, pomegranates
8 intelligence octagon, octogram orange tulips, thunderbolts
9 intuition nonagon, nonagram silver, grey rainbow
10 material being decagon, decagram black squared circle
11 magick LVX enneagon, enneagram ultra violet zigzag, wavy lines

The Development of Hexen Symbols by the Modern Operator

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

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

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

Secondly; the development of purely geometric designs has an obvious line of investigation, the different lineal figures may he employed to depict the very most basic expressions and objectives.  The simplicity of these designs makes this- fine of development very attractive, the only real drawback to this course being the imprecise attributions of the lineal figures and shapes themselves.  A hexagram is a very broad Solar glyph, expressing the difference between 7 and 1 (six circumferential points and the center) and so has been employed by Qaballists for ever as the symbol of Man.  The question remains as to what its meaning might be to a Hexenmiester?  And so on for the other numerical figures.

Thirdly; new symbols and motifs may be attributed to Hex by associations that are purely localized, or part of the modern common consciousness.  The difficulty encountered by this method is again the accurate interpretation of the motifs employed.  How can one be sure that a new symbol means what the operator intends it to mean?

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

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

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

The design consists of three components, the ground, the circumference, and the lineal figure of the scalene, triangle.  Such a simple symbol should yield exactly the results that we are looking for, and there is a traditional interpretation upon which a comparison with a result can be made.  The given interpretation of this design is: ‘advancement through movement or change.  A sign to use when seeking a promotion or moving to new work or a new locality.’  I suspect that the interpretation is somewhat broader than this, but that is the context of its usual application these were relevant points of its efficaciousness.

Next, we must find a mean, of determining the accuracy of this interpretation. Therefore it becomes expedient to project into the symbol to seek out its inherent value.  This operation would best be conducted by an experienced Traveler so as to have a reasonable basis for the comparison and interpretation of anything that occurs on the journey.  The ceremony would by necessity be very simple, its focus being then actual investigation of the glyph involved.  This suggests a ritual as such-.

1.  Prepare the Hexen Symbol, and arrange the Temple in a suitable manner for the operation of an Astral Projection.

2.  Perform the necessary Banishings prerequisite to the actual operation.

3.  Invoke Hadit & ABRAHADABRA

4.  State the intention of the rite, to penetrate the glyph and to make it reveal its meaning,

5.  Project into the Symbol by the most comfortable method known to the Magus.

6.  Record & interpret the Vision that results.

We shall call this Experiment 1.

The design consists of three components, the ground, the circumference, and the lineal figure of the scalene, triangle.  Such a simple symbol should yield exactly the results that we are looking for, and there is a traditional interpretation upon which a comparison with a result can be made.  The given interpretation of this design is: ‘advancement through movement or change.  A sign to use when seeking a promotion or moving to new work or a new locality.’  I suspect that the interpretation is somewhat broader than this, but that is the context of its usual application these were relevant points of its efficaciousness.

Next, we must find a mean, of determining the accuracy of this interpretation. Therefore it becomes expedient to project into the symbol to seek out its inherent value.  This operation would best be conducted by an experienced Traveler so as to have a reasonable basis for the comparison and interpretation of anything that occurs on the journey.  The ceremony would by necessity be very simple, its focus being then actual investigation of the glyph involved.  This suggests a ritual as such-.

1.  Prepare the Hexen Symbol, and arrange the Temple in a suitable manner for the operation of an Astral Projection.

2.  Perform the necessary Banishings prerequisite to the actual operation.

3.  Invoke Hadit & ABRAHADABRA

4.  State the intention of the rite, to penetrate the glyph and to make it reveal its meaning,

5.  Project into the Symbol by the most comfortable method known to the Magus.

6.  Record & interpret the Vision that results.

We shall call this Experiment 1.


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


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

So; as a result, Master AΔ has manufactured these three symbols, The Whirling Star, Pomegranates and the Rooster Hexes.  The temple is arranged as for the Neophyte, the Perfumes are Incense of Nuit, The Ceremonial aspect is simply:

1.  The Lesser Banishing Ritual of the Pentagram

2.  The Eleven-fold invocation of ABRAHADABRA

3.  Invocation to Hadit (as God of Knowledge & Delight & Bright Glory).

4.  Statement of Intention to Project into Hex

5.  Formulate Astral Body & Project it into Symbol

6.  Orison to Adonai

7.  Record & Interpret Vision.

Prior to the operation of these experiments, the Master AΔ determined to avoid contemplation of the Symbols, except in so far as ,was required to color them appropriately (this was done according to his scant understanding of the rules of conduct for such an undertaking by the school of Hex, but he persevered and perhaps succeeded?). [cf. the ritual and the attributions of the colors employed are appended to these notes- D. G. M. Jr.]

Experiment 1: The Whirling Star


In the first experiment the symbol that was investigated was “The Whirling Star”.  The traditional interpretation of this Hex is that it promotes good fortune in new beginnings (“Advancement through movement or change.  A sign to use when seeking a promotion or moving to new work or a new locality”).  Certain qualities are implied, firstly in the title of the glyph, and secondly in the meaning that has come to us with it.  The quality first movement is indicated by the concept of whirling [from a M.E root meaning to turn around].  The association with newness is underscored in the interpretation.  The star is, descriptive of the shape, but symbolically so, as an equally descriptive alternative might have been employed.  ‘Star’ implies light focused to a point, as a fixed beacon, or perhaps a point of generation of light.  Either way it implies Unity or the quality of Oneness.  Thus the motive force is of an originating nature.  The application is recommended for bringing about successful new arrangements in life.  It is an agent of harmonious Change (vide 2: of Disks of the Book Tarot).  The design itself, in as close to a traditional arrangement as I have been able to re-construct, implies certain qualities pertaining to this symbol also. The white ground, for the purity of newness, is circumscribed by a black circle, symbolic of the material limits of the individual universe, to contain the energy of six yellow scalene triangles.  These figures, all identical, represent a balanced progress made from a wide and stable basis (the symbolic. implication of this particular class of triangle as opposed to isosceles or equilateral- vide: The Magick Weapons, Ch. 8) The direction of the movement is towards conscious clarity, imaged by the number of shapes being six, the number of Sol, their dynamic shape pointing deosil and their color. (vide: the appended notes to the ceremony). This sums up as a symbol of beneficial material change, through new efforts or directions in life.  The colors are of a class that is almost universal in its legibility and the Solar glyph of six triangles is pretty straightforward.

Our own investigations are more difficult to dissect. This Vision seems to be in three distinct parts, and in the first the world of this particular plane is made apparent to the traveler.  In this case, the general imagery of rustic cultivation places us on a plane that corresponds most basically to Earth; the corn in the fields is certainly of an Airy or Mercurial leaning, but essentially of Earth.  Whilst the Solar influence in the Vision probably stems directly from the color chosen for the motif, the general quality of Air is also imparted, the strong admixture of these two strongly implying the sixth Sephirah, Tiphareth (which also has certain qualities that may be attributed to Spirit).  Experience in these journeys made me almost immediately certain of the correspondence upon entering the plane.

This tells us quite a lot about the Aethyr that we have traveled to.  I am put in mind of a similar investigation that was made by Frater AOMΔ 7°=4Δ whilst looking into several of the squares from the tables of Enoch several years ago.  Two occasions upon which squares from the Airy angle of the Earth Tablet yielded correspondent results are cited from that record:  (From the Vision of the Square of ZNRI from the Air angle of the Tablet of Earth- 15/02/98, 1:45 am)- “I am inside a dark cave, more of a deep crack in the Earth, outside the blue sky radiates a bright yellow light.” And again;  (From the Vision of the Square of RMNO from the Air Angle of the Watchtower of the Earth 28/02/98, 1:45 am)- “The landscape is very bright, warm and sunny, though Sol is not visible.  The sky is bright blue and vet it exudes a bright yellow light, the synthesis of these being the bright green grasses. The air is of a warm spring day, the aroma of new growth and fertility is intense.”

Also, the corn that grows in the field is a certain symbol of Earth, as can be seen from the Visions of the 20th  Path of Sepher Yetzirah: (The Sword and the Serpent, Ch 13)- “Initially, the vision appears to me as a picture of rolling pastures, wherein abundant crops of wheat and corn are growing in orderly furrows.  I call upon the holy name of the Path, Elohim Tzaboath, and the Gods of Battle open the gate to the Aethyr and I penetrate its portal easily.  I have entered the vision to find myself standing upon a rustic dirt road that wends its way between two abundant fields, wherein are growing grains of various sorts, all of their golden tops, heavily laden with the fruit of their season, swaying in the waves of a gentle breeze.”…

This harvest is bound for the Table of the Lord of this realm- The Hermit of the Tarot, Mercury disguised in an Earthly costume, Adonai as the Holy Guardian Angel. And later in the same vision, speaking to a serf that I have met there-
“These fields are the Fields of Life, Master, and I tend these crops for my Lord, the Hermit who dwells upon yon mountain,” and he gesticulates towards the horizon where a jagged peak can just be seen,

“I grow at my Lord’s whim what he will, so that he may choose the ripest and finest fruits of his bounteous harvest for his feast table.” And, as if to confirm the Earthly correspondence of the landscape:-

“All around me the fields stretch off to the distant horizons, presenting me with visions of rolling fields of ripe grains, showing all of the colors of the harvest, ripening grains showing their glorious oranges, reds, yellow, and ochres, evenly carpeting the rolling fields for as far as I can see.  Above me, the sky is the purest clear blue, becoming deeper in its hues as I look further into its extremities.  The Sun of this cloudless firmament beats down upon the rich fields all around me in a beautiful golden light from the mid heaven, “

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

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

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

Next we might turn our attention to the flowers themselves.  At first sight these appear as “daisies”, but upon closer inspection they reveal their form to be that of the Whirling Star through which we have entered this Plane.  This repetition of the motif implies that the force manifests itself identically in myriad forms each of which then takes on its individual form.  The fact that these flowers are mature, whilst the field of corn in which they grow is unripe implies that the force reaches it- maximum efficacy as material forms are just beginning to develop. In short, it is a seminal driving force behind material existence.  This again puts me in mind of a similar Vision undertaken by Frater AOMΔ: (From the Vision of the Aire of TEX from the Calls of the Keys of Enoch; performed 31/01/98, 12:00 am).

“The Aire, is filled with whorls of energy, spirals resolving themselves into swastikas, spinning furiously, creating sparks in great waves, showing the Aire with their flashes of glory and illuminating it to its very depths.”… and also;

“Your breath has the force of the whirling fylfot, and this is its secret force….”; whereupon a swastika is seen to smash into the obsidian cube [at the center of the Vision] with great force, at once merging with it and smashing it to atoms, which momentarily take on the form of the, spinning swastikas before swirling in an effort to re-coalesce and then dispersing themselves like, dust throughout the Aethyr.”

Note that the central character of this vision wore a ring set with a seal that very much resembled a fylfot cross.  Note also that the vision ends with the comprehension that the obsidian cube is that of the black cross of this system that bears the supreme name– of Godhead, and that this cube is formed out of the swastikas after they have discharged themselves into the Aire.

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

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

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

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

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

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

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

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

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

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

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

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

The multiplicity of the imagery of the flowers and the shields implies that the effect of this symbol is broad and nonspecific but that it also requires purity for it to be able to act effectively. The spinning motif is constant, throughout the vision, which gives rise to the thought that the Hexenmeisters may have trodden this path before us, to have the clarity to name the Hex as appropriately as they did.

Finally we begin to see some of the fruits of the operation of the Hex.  It is a symbol of the potential for nourishment. It feeds the daily needs in an effort to attain to the state of ripeness in some synthetic form under a different symbol.  For this Hex it is enough to begin the operation, setting it in motion to allow the development to evolve according to its own nature.  There is no way to taste this fruit as a ripened product as it is of the nature of things that are fresh one minute and stale the next.  It represents the energy that is needed to generate action, but without any manifest activity being yet possible.

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


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Thank you so much for this info! I am descended from these peoples, in fact there is a statue erected to an ancestor somewhere in the New England states. There is even a story that a family member was told to climb the tree outside the window and stay there till the parents came back from chopping wood, in case the Indians showed up...





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Patchwork Merchant Mercenaries had its humble beginnings as an idea of a few artisans and craftsmen who enjoy performing with live steel fighting. As well as a patchwork quilt tent canvas. Most had prior military experience hence the name.


Patchwork Merchant Mercenaries.


Vendertainers that brought many things to a show and are know for helping out where ever they can.

As well as being a place where the older hand made items could be found made by them and enjoyed by all.

We expanded over the years to become well known at what we do. Now we represent over 100 artisans and craftsman that are well known in their venues and some just starting out. Some of their works have been premiered in TV, stage and movies on a regular basis.

Specializing in Medieval, Goth , Stage Film, BDFSM and Practitioner.

Patchwork Merchant Mercenaries a Dept of, Ask For IT was started by artists and former military veterans, and sword fighters, representing over 100 artisans, one who made his living traveling from fair to festival vending medieval wares. The majority of his customers are re-enactors, SCAdians and the like, looking to build their kit with period clothing, feast gear, adornments, etc.

Likewise, it is typical for these history-lovers to peruse the tent (aka mobile store front) and, upon finding something that pleases the eye, ask "Is this period?"

A deceitful query!! This is not a yes or no question. One must have a damn good understanding of European history (at least) from the fall of Rome to the mid-1600's to properly answer. Taking into account, also, the culture in which the querent is dressed is vitally important. You see, though it may be well within medieval period, it would be strange to see a Viking wearing a Caftan...or is it?

After a festival's time of answering weighty questions such as these, I'd sleep like a log! Only a mad man could possibly remember the place and time for each piece of kitchen ware, weaponry, cloth, and chain within a span of 1,000 years!! Surely there must be an easier way, a place where he could post all this knowledge...

Traveling Within The World is meant to be such a place. A place for all of these artists to keep in touch and directly interact with their fellow geeks and re-enactment hobbyists, their clientele.

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