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Step-By-Step Ritual Process & Full Heptameron in Latin | Glitch Bottle

What is the six-step ‘Solomonic Method’? How can understanding these ritual steps help us navigate almost any grimoire? We go step-by-step and recite the entire Heptameron in Latin from memory to illustrate the method.
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► ✅Full ‘Heptameron’ text via EsotericArchives.com - https://www.esotericarchives.com/solomon/heptamer.htm

► ✅SUPPORT Joseph H. Peterson with a quick donation to EsotericArchives.com - https://www.paypal.com/webapps/shoppingcart?flowlogging_id=f9515331d50c8&mfid=1698601779045_f9515331d50c8#/checkout/openButton

► ✅David Rankine’s excellent post ‘Return of the Winds’ - https://www.davidrankine.com/post/return-of-the-winds

► ✅David Rankine’s website - https://davidrankine.com/

►📚’The Goetia of Dr. Rudd’ by Dr. Stephen Skinner and David Rankine - https://www.amazon.com/Goetia-Dr-Rudd-Sourceworks-Ceremonial/dp/0954763920

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🎵 Music by the artist Crowander (track name: “Tornado”)
-https://soundcloud.com/crowander
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00:00 Intro
4:05 Step 0 - License to Remain
7:37 Step I. Consecratio Dei
11:30 Step II. Invocatio
14:42 Step III. Evocatio
18:55 Step IV. Constrictio
23:32 Step V. Ligatio
28:16 Step VI. License to Depart
32:58 After Ritual Keys
34:50 FULL Heptameron in Latin (start)
1:01:14 Arabic Option
1:05:36 Vinculum
1:13:50 Infernal Thrones
1:20:00 Welcome & Binding
1:22:35 License

Duration:: 1h 25m
Broadcast on:: 14 Mar 2025
Audio Format:: other

(upbeat music) Salutations, glitch bottle patrons and listeners. Alexander F here, today's video is a super special one because in one take, this might be the worst or the best idea ever, we are gonna go through the, an overview of the salamonic method and everything that makes up a salamonic ritual to hopefully help you better understand the different parts of a ritual in the grimoire tradition. But also at the end of this video, I'm gonna recite the entire heptamaran grimoire or the alluchedadium necromancier with a few additions of my own from memory in Latin in one take. So if this goes horribly wrong, I'm just giving you a warning at the outset. But we wanna talk about the salamonic method and what it is, how it helps us understand the grimoire is better, some resources for you, as well as at the end of the video, seeing exactly how the salamonic method is incorporated in each step of the heptamaran ritual, which is just a fantastic planetary grimoire for planetary magic and the kings of the air. So before we get into all of that, I just wanna say my patrons, you wonderful, wonderful patrons, if you are a patron, thank you. And if you're watching this and you're not a patron, what's wrong with you? I mean, this means the video is already public, but did you know if you head over to patreon.com/glitchbottle, you can help support the podcast, help it continue to grow and fund the monthly costs that it takes to put this on, but also get exclusive perks. So I hope that you can consider that as well. Okay, let's go into the salamonic method. What the heck is this? You've probably heard it tossed about many times. Well, to me, just my own interpretation. The salamonic method is a six-step process that has been described by Dr. Steven Skinner and David Rankin in books, such as the goesh of Dr. Rudd, but it's also a six-step process that you can actually find in grimoires from hundreds of years ago and books of magic. So I'm thinking of the fourth book of a cult philosophy, for example, and these steps of a salamonic ritual are broken down because they are distinct steps of a grimoire and they walk you through everything from initial preparations and prayers all the way to that very last step of the formal ritual, which is the license to depart. So we're gonna go through all of that and just kind of a cursory overview. I know some people, you know, type out scripts for videos. I just have five slides and then we're gonna do everything else from memory. So I hope that you will enjoy this, but when it comes to the salamonic method, because it helps us understand grimoires better, just a few points. Number one, the five or six steps of the salamonic method are not found in every single grimoire and I would definitely encourage you, if you're practicing a grimoire, to definitely follow the grimoire as it's written. However, other steps will be found in those grimoires and all six of those steps can also be found in some salamonic grimoires. So again, this is a very broad overview. It is not meant to be comprehensive, but the best thing about the salamonic method to me is once you know roughly all of the six steps or so, it becomes a lot easier to pick up any grimoire and you can say to yourself, oh, I know this, this is the invocation step. Or oh, I know this, this is the consacrazio dei or the consecration, the pre-invocation step, you know? So it's just a way that provides effectively a cognitive architecture in which you're able to think about the grimoire is better. So without, with that little throat clearing and introduction, let's get into the steps of the salamonic method from beginning to end the broad strokes of a ritual. And I'd actually like to start this not with step number one, but I'd like to start it with the wonderful David Rankin and step zero, which is something that you should definitely consider. It's definitely optional, but before a ritual known as the license to remain. I absolutely love this. This is a quote from David Rankin's latest tone, the Clavis Intelligentsiarum where he says, quote, "Many people who practice grimoire magic are also practitioners of other systems of magic. As a result, they may have personal spirits and/or house spirits, which they do not wish to push out of the home when performing a banishing. Additionally, if the conjuration is outdoors and nature, the same principle applies for not being rude to the spirits whose home you may be intruding upon. If working outdoors, the license to remain is compulsory rather than optional, there's no point in risking upsetting local spirits who may then choose to interfere with your work. Additionally, if you do have an outdoor spot in mind, check it out first and develop a relationship with any spirits of the area before just turning up to do a conjuration. This may not have been the way in the past, but now we know better," end quote. So David Rankin, who I think is just doing an incredible job, pushing the boundaries of our understanding of psalamonic magic, showing fidelity to the grimoire of the past, but also modernizing it for the 21st century, it's absolutely wonderful. So step zero is the license to remain. And as David just said, it's things to consider about spirits that have nothing to do with the actual grimoire, but spirits that may be around your home, your ritual space, the forest where you're practicing, things like that. And it is, I see it as an optional procedure. But as David said, right in that quote, it's compulsory rather than optional because if you really are working in the wilderness or in a place with spirits, it's just always a very powerful sign of respect. So an example of the license to remain, and this is again from David Rankin's Clavus Intelligency Arm, where you quote, "Stand facing east, legs together, right arm raised with palm to the heavens, left arm by side with palm facing the ground." And saying quote, "To all creatures who by right or invitation do dwell here, I give you license to remain in the divine names." Dot, dot, dot. And David gives some wonderful names there. Definitely pick up your own copy of David's Clavus Intelligency Arm because you will thoroughly, thoroughly enjoy it. It's so wonderful. Also for each of these steps, I also include other things that come to mind. So for this license to remain, this could also include giving offerings of bread, honey, coins or other appropriate food or other offerings for spirits that might be in the local vicinity way before the ritual starts. I remember with a few magical colleagues in the American Midwest here and one of my colleagues, Ted, who's absolutely wonderful, had the great idea of offering fresh milk to spirits in the area. So anything before the ritual actually starts and before you start really dialing into the specifics of the grimoire, the license to remain, I think, covers so much. So after this step, right, you have the license to remain and you're now getting ready to prepare for the ritual. So what is this first step? Well, in the psalamonic method that David Rankin and Dr. Stephen Skinner talk about, the very first step is this. It is known as Consecrazio dei. And here's the definition as given in the Goesha of Dr. Rudd from Dr. Stephen Skinner and David Rankin, quote, "Consecrazio dei, on the day of the ceremony after a schedule of fasting, abstaining, praying, and purifying, the magician opens with prayers to God, looking in the first instance for support and protection from the highest source possible. John D. prefaced his actions with spirits with long and sometimes very tedious prayers. However, this is a necessary first line of defense. The seven penitential psalms are often recommended for use here," end quote. And again, that's from the Goesha of Dr. Rudd, an example of these kind of prayers, one of them. And there are so many in the Grumwah tradition. I took from the Arbatel, which is found on the wonderful esoteric archives.com from the great Joseph H. Peterson. I'll also put a link below to support Joseph H. Peterson's wonderful work. He is just such a fantastic treasure for the Grumwahr community. So in the Arbatel, an opening Consecrazio dei prayer, again, this is about Consecrazio dei, achieving that connection to the divine, calling down the supreme divine authority before worrying about other things like, you know, archangels and angels and sub-lunar spirits, celestial, terrestrial, this is all about the divine. So in the Arbatel, the opening prayer example is, quote, "O Lord of heaven and earth, creator and maker of all things visible and invisible, why, though unworthy, by thy assistance, call upon thee, through thy only begotten son, Jesus Christ our Lord, that thou wilt give unto me thy holy spirit, to direct me and thy truth unto all good, amen." Because I earnestly desire perfectly to know the arts of this life and such things as are necessary for us, which are so overwhelmed in darkness and polluted with infinite humane opinions that I of my own power can attain to no knowledge in them unless thou teach at me, grant me therefore, one of thy spirits who may teach me those things, which thou wouldest have me to know and learn, to thy praise and glory, and the prophet of our neighbor." End quote. So that's from the Arbatel from esotericarchives.com. But again, when it comes to Consecrazio dei, right, that initial turning towards the divine, this is an important point, Consecrazio dei as I see it, just by my own interpretation. It also includes all of the preparation. So this is a really big step because it includes all of the fasting, meditation, prayers, the making of magical implements, right? If you're consecrating a magical sword, if you are consecrating incense or other magical accoutrema, it really does happen in this Consecrazio dei step before a ritual. So this is probably one of the most involved steps because there's so many things there, right? But the final part of this step one is when you enter into the circle and you begin connecting directly to the divine, I'm thinking of Frater Ashim Chassan, another wonderfully accomplished psalamonic magician who has done a lot of work with drawing spirits into crystals in his books, gateways through stone and circle and gateways through light and shadow. And drawing spirits into crystals has a wonderful Consecrazio dei prayer as well. Okay, so step one, we've connected to the divine. Step two now moves to invocazio. This is step two of the psalamonic method. So now that we've connected to God, what the heck is invocazio? Well, again from Skinner and Rankin, quote, the word invoke comes from the Latin vocare, meaning simply to call. Deabano, that's Peter Deabano, recommends that Consecrazio is followed by invocations to the angels from the four parts of the world that rule the air the same day wherein the ceremony takes place. These are the names which would be incorporated into the circle if you are using a heptamaran style circle. The invocations then continue the invocation of the correct Shamham Frash angel, which is responsible for controlling the spirit/demon who's to be called. The relevant psalm is used for this. Only when this angel has been satisfactorily invoked, may the spirit or demon be safely evoked, end quote. And so again, let me just pause here. We'll get into an example with the heptamaran, but this step two of invokeazio, this basically the way I see it is after you've done step one, connect to the divine. Step two is you call all of the spirits that are not the actual target spirit of your ritual. So if you are, for example, using a La Megatans Goatia ritual, right? And you're calling one of the 72 infernal spirits found there. This would not be calling the infernal spirit. Instead, this step two is about calling all of the, for instance, angels of the day, angels ruling the hour, the name of the sun in the season you're in, the name of the moon in the season you're in, the name of the earth in the season you're in. David Rankin just had a wonderful blog post about winds as well and calling the winds from each of the directions around the consecrated magical circle. So this is because what you're doing is effectively front loading the ritual by not only commemorating the authority of the divine, but you're basically, this might be too overly poetic, but you're effectively filling your celestial and seasonal chalice with all of the potency and power of the spirits as a heightened authority before you called a actual target spirit. So an example of Invocazio from the Heptamaran where the operator must quote, "Enter the circle and call the angels "from the four parts of the world, "which do govern the seven planets, "the seven days of the week, the colors and metals, "whose name you shall see in their places." And with bended knees, invocating the said angels, particularly, let him say, quote, "O angels spoken of before," meaning the ones that you just named, "Be my helpers in these petitions "and help me in my affairs and petitions," end quote. So this is every single spirit, or many of the spirits actually, that are not the target spirit. So you have step one, the divine, step two, all of the spirits that can help facilitate the target spirit, but not the target spirit. And now we move to the heart of the ritual, which is step three of the Solomonic Method, which is Evocazio. So we had Invocazio, all of the spirits that are not the target spirit. And here, Evocazio, quote, "Evocation of the spirit or demon "is the centerpiece of the whole operation. "Evocation is derived from Evoco, "meaning to call out, to summon the spirits, "often in an aggressive manner, "using threats rather than cajolary. "Rituals of evocation contain words and formulae "to force the attendance of the spirit or demon." That's again from Dr. Steven Skinner and David, excuse me, actually, that's Dr. Steven Skinner techniques of Solomonic Magic. And a really quick point about this before we get into some examples, right? So this is the heart of the ritual. This is you actually calling the target spirit or the conjured spirit, if you will, right? And we're gonna go into a few examples, as Dr. Steven Skinner said, often you will see the conjurations have very strong wording, like the vinculum, you know, maximum, or the bond or chain of Solomon, right? The vinculum Salomonis, where it's very strong and you are, and we'll get into some of those examples. However, an important point that David Rankin brings up as well in his books and in his interviews is, you know, the real purpose of Avocazio is to generate magical momentum and magical tension in the ritual to facilitate the successful conjuring of a spirit. And you don't have to have, depending on the ritual and the spirit, it's all dependent on your unique ritual. But as David Rankin said, you don't need to have strong or forceful, or he hasn't used strong or forceful or very, very, very aggressive language in a bond or chain of Solomon, that you can actually generate that successful magical momentum or tension without having to resort to that. However, this is completely dependent on you, the grimoire you're using, and everything else. So, Avocazio, you're directly addressing the conjure to target spirit. Here's an example of forceful language, which we'll get into later in this video in Latin and the heptamaran. But I am giving the English from, again, the wonderful Joseph H. Peterson on Esoteric Archive. So, in the heptamaran, there's a long vinculum, or a bond or chain of Solomon, that you're using an excerpt is quote, and in the power of that name, ♪ Pre-me-u-maton ♪ Commanding the whole host of heaven, we curse you. And to pry view of your office, joy and place, and to bind you in the depths of the bottomless pit, there to remain until the dreadful day of the last judgment, end quote, right? Forceful, strong, it is aggressive, but it's done to facilitate the arrival of the spirit by a commemorating of the authority of the divine that the magician or the operator recommends. Here's an example, though, in an angelic system of drawing spirits into crystals, again, from Esoteric Archives, quote, "In the name of the blessed and holy Trinity, "I do desire thee, thou strong mighty angel Mikhail, "or any other angel or spirit that you name here, "that if it be the divine will of him "who is called te-t-ra-grammaton." The holy God, the Father, that thou take upon thee some shape as best becomeeth thy celestial nature, and appear to us visibly here, in this crystal, and answer our demands, and as far as we shall not transgress the bounds of the divine mercy and goodness, end quote. So, again, you can have more forceful language, less forceful language, but the point in this step three is the Avalcasio. You are actually addressing the conjured or target spirit. So, the ultimate goal here as well, and this is something that happens at every step of the psalamonic method, is to generate that magical momentum or magical tension. Okay, so we are calling the target spirit. We are, we already have in step one, the divine that we've connected to. In step two, we have connected to all of the spirits, the seasonal spirits, the celestial spirits, the spirits that are not the target spirit. And in step three, we have addressed the target spirit. What happens after that? Well, now we move on to step number four, constrictio. And constrictio from, again, David Rankin and Dr. Steven Skinner, the Goesh of Dr. Rudd, defines it as quote, "The purpose of this part of the proceedings is to make sure that the spirit is either visible in the crystal or forming outside the circle, preferably in the vicinity of the triangle or the brass vessel. It should be constricted to one or other of these locai or lochi. As is often warned in the grimwars, this is the time to challenge the spirit and to test if it is really what it claims to be, or indeed, if it is the spirit which you originally intend to evoke," end quote. And so this is just to take a quick pause here before we get into an example. This is where you must really, as you're generating this magical tension, you're paying attention to external signs of manifestation, changes in temperature, beads of light, noises. If you're working with a scrier, the scrier will definitely be able to confirm if there's a presence. So the constrictio is to say, okay, is there a presence, right? Is there actually a presence or am I getting some kind of external or internal sign that a spirit is manifesting? That's number one. And the second part of this is, okay, I am getting a presence. Is there a sign that the spirit is manifesting in or in the vicinity of that spritos locai or that area like the crystal or the floor triangle? The obsidian mirror, is it manifesting in that area? So those are all of the main things. Again, only by my interpretation from this step four. And one of the examples that I really like is from Dr. Rudd's nine keys from, again, David Rankin and Dr. Skinner on their second volume of the source works of ceremonial magic series, the keys to the gateway of magic, where the testing of the spirits or the questioning looks like this. Quote, now then, if by these directions, the expected appearance is understood and found to be celestial and of good or to be dignified elemental spirits or powers of light and so likewise of good as accordingly was invocated, moved or called forth to visible appearance, then say thus, right now we test the spirit. You address the spirit and say, quote, are you the same whom we have moved and called forth to visible appearance here before us at this time by the name and say the spirit's name? Or what else are you? And of what order amongst the blessed angels or otherwise known or called by any mortal man, if ye be of celestial or elemental verity and so of charity you cannot miss like of or deny these are sayings, end quote. So again, you're testing the spirit, making sure it really is what it says it is, but also with constrictio, right? You're just making sure that you have external signs of manifestation. One thing that I should touch on here is when it comes to external signs, it's been a common theme of a lot of guests. You do not have to have this, you know, Joseph Lesuski and evocation to full manifestation, meaning a physical appearance. I know many practitioners who again, instead of looking for an actual manifestation, like a physical manifestation, instead the arrival of the spirit and the presence of the spirit is determined by paying attention to either external signs, beads of light outside the circle, drops in temperature, et cetera, or internal sides could be either from yourself or your scrier where you might have thoughts that seem very unique that are coming almost out of nowhere. And again, this gets to a really important point that David Rankin and others talk about, which is meditation, learning to quiet your mind should be a constant habitual practice. But when you're in the ritual, because you practice that, you're able to discern much easier. What are some of the things that are your thoughts versus the things that could be external from yourself? It could be a spiritual engagement there. So again, step four is constrictio. Okay, so now that we have the divine on our side, all of the celestial spirits and seasonal spirits, the timing spirits, we have directly address the spirit in step three, step four. We have determined that there are external signs that the spirit is in or around the general vicinity of the crystal triangle or otherwise used spirits as Loki. Finally, we get to step five. There are a few more steps, but step five is very, very important as they all are, legatio, step five, the definition again from the Goesh of Dr. Rud. Legatio is the binding of the spirit with an oath to an agreement that it will perform the task demanded of it. Legatio has the secondary meaning of to harness. Ideally, the spirit should also sign quote unquote the Lieber spiritual more book of spirits left open in the triangle or mark the seal they're drawn in some other unique way and practice a verbal agreement to undertake what it has been charged with is sufficient. Another and most important part of legatio is to bind the spirit so that it will come again with less delay when called again by the operator. If this part of legatio is carried out properly, the magician's load is very much lightened the second time around end quote. So legatio, this is the actual binding of the spirit. And a very important thing that I think needs to be touched on here is yes, as David Rankin and Dr. Skinner say, ideally having an actual signature like a physical signature from a spirit on a Lieber spiritual more book of spirits that is outside of the circle could be considered ideal, but also again, having a verbal agreement or otherwise confirmatory sign that the spirit is accepting the actual binding and accepting the actual charge that you're giving to the spirit. Those are all legitimate ways to determine that. So again, you can either verbally declare or read your petition to the spirits. And again, you can, as part of your request to the spirits, you can embed language, and there are many different examples here, but you can embed language that encourages the spirit if you accept X, then an insert asking for a visual or audible sign. So for example, again, without giving away too much since it involves other people, having been involved in some rituals as well, a few of the operators and magical colleagues would, for instance, place coins, very set at the edge around a ritual space. And if you accept this, push the coins, right? Or having a bell, very sensitive, but away from wind, set up. If you accept this, ring the bell, right? So there are many ways that you can actually have a confirmatory sign, again, without an actual physical signature. So what's an example of Legazio or binding of the spirit? Well, let's go to the heptamaran. We'll be there a lot in the last part of this video. But in the heptamaran, you actually welcome the spirits near the end of the ritual, and you bind them, saying, "Welcome spirits, or most noble kings, "because I have called you through him, "to whom every needoth bow both of things in heaven "and things in earth and things under the earth, "and whose hands are all the kingdoms of kings, "neither is there any that can contradict his majesty. "Wherefore I bind you, that you remain affable "and visible before this circle, so long and so constant, "neither shall you depart without my license, "until you have truly and without any fallacy, "performed my will." End quote, again from the lovely Joseph H. Peterson on esotericarchives.com. So this is where you structure your charge in a way that is clear. It gives a time frame of what you desire. It gives safety so that the spirit doesn't harm you and others. Dr. Joseph Lesuski has a very good template as well in his book, I believe from 2004, Ceremonial Magic and the Power of Evocation. But again, so many magicians and grimars have different ways to structure this legatio, the binding, but also your request. And so here, again, you bind the spirit and you officially read your petition and you charge the spirit in a certain timeframe to accomplish X. Okay, so this leads us to the final step because at this point, we have Consecrazio Day. We've connected to the divine. In Vocalzio, we have connected to all of the spirits that are outside of the target spirit. Evocalzio, we've addressed the target spirit. Constrictio, we have confirmed that the spirit is arriving or has arrived in or around the spirit. Just locai, legatio, step five, and we have bound the spirit and issued the charge. Now comes a step which I think some people might be really tempted to skip, but 100%. You should never skip. And that is step six, the lechancia or the license to depart. Again, Rankin and Skinner quote, "Once there are no further questions or instructions, "the time arrives for the spirit's dismissal. "It is interesting that this is expressed as a license "that is a permission to depart rather than a banishing. "Modern magical practice is so overly keen "on the lesser banishing ritual of the pentagram "as promulgated by the golden dawn, "Alastair Crowley and Regardi, "and indeed in techniques of high magic, "which is a previous book by Dr. Steven Skinner, "our thinking has however moved on from there. "Having conjured, threatened and bound the spirit successfully, "it is downright rude to then banish it. "If you want to develop a relationship "in which the spirit will come willingly next time, "the appropriate tool to use is the license to depart." End quote, so that's from the Goesh of Dr. Rudd. And before we get to an example of this, again, this is a license. So you are not banishing, forcing a spirit. You are allowing it to go back to its location. And the spirit will, in many cases, want to go back to its location because the spirit has either totally willing or not been conjured before the vicinity of a consecrated magical circle or whatever your ritual space is. So what does a license to depart look like? Let's go back to esotericarchives.com to the first book of the Le Megaton, The Goeshia, and the license to depart from The Goeshia. I really like how this is worded quote. "Oh, thou's spirit end." Because an end meaning insert the name of the spirit. "Because thou hast very diligently answered my demands "and was ready and willing to come at my first call, "I do hear license thee to depart "unto thy proper place without doing any injury "or danger to any man or beast. "Depart, I say, and be ever ready to come at my call, "being duly exercised and conjured "by ye sacred rites of magic. "I charge thee to withdraw peaceably and quietly, "and the peace of God be ever continued between me "and thee, amen." So again, the license to depart so important and a really key thing is, and this is something that's been discussed on the show a lot with many, many practicing magicians. Once you make successful first contact with the spirit for the very first time, one of the questions that you can ask the spirit is, what better days or hours are there to call you? Do you have a different seal than what's listed in the grimoire? And how can I call you more easily and in a more, I guess, smooth manner? These things are key because it means that the next time you do this ritual, sure. And I know magicians who, as a sign of respect to the sacred rites of magic, you can have the entire full ritual again, all of the magical accoutrement, all of the ritual implements, all of the nomina magica. But if you have those mutually agreed upon terms, there is a felicity to that. And just this beauty that I think makes things more efficient and the spirit could arrive quicker. So these are just some things that I think I try and keep in mind as well, but you license the spirit. So you've done it. You have licensed the spirit. The spirit is, again, you want to wait. I sometimes say the license to depart multiple times. Another thing that you can do here is after licensing, staying in the circle for a little bit until you're comfortable that the spirit has departed. You can recite a holy scripture. You can recite your own poetics. If you have poetry or certain thanks to the divine and to the spirits for the ritual. So all of those things happen in the license to depart. So those are the six steps of the psalamonic method. But just like we opened this with a step zero with David Rankin, I'd really like to close this about after the ritual, again from David Rankin. So after that license to depart after the ritual, a David Rankin says, "All should then, in silence, "to avoid cross-contamination of perceptions, "record any impressions and feelings they had, "phenomena they experienced during the right. "If the conjure and others feel satisfied, "the intelligence has left and there are no other presences. "The magic circle may be opened and all depart. "If anyone present feels at all, "uneasy or uncertain at this point, "perform a banishing before opening the circle. "As all the participants are likely to be hungry "and may be tired or hyped, "they should now eat and drink to help return themselves "to a more normal state," end quote. So I absolutely love that David Rankin brings up such a good point. And again, I think the supplies, whether you're with other people, other colleagues, or whether you are doing the solo, you know, just record your impressions with free sheets of paper you have in the circle, and then you can go after that and you can put them in your own magical journal or Lieber's Spiritum, anything else. Same thing with a sign, you know, if you're working with a scrier and there is a sign that the scrier is communicating to you or if you are working solo and you also get a sign, either again, an internal vision or something outside the circle, using free sheets of paper. It's just such a great idea. David Rankin talks about that too. So again, those things are definitely important and take your time, you know, definitely not rushing, just enjoying that power of the ritual and the sacred rites of magic, which is just so excellent. Okay, so now that we have seen the entire Solomonic method, you know, steps one through six and also what is before the ritual and what to do after the ritual, let's see how this works in action. I will be using the Heptamaran page from esotericarchives.com, the wonderful Joseph H. Peterson. So if you want to follow along, you can. I would always encourage if you can memorization, it's very important. So I'm gonna recite the entire thing in ecclesiastical Latin from memory, but I'm going to pause at some of the steps to show what's an addition, what I use as an addition versus some thoughts that I have for each of the steps. So in the Heptamaran, again, very, very broad overview, but we'll be going through the entire text. One of the first things you do is donning the robe. So you would have a consecrated robe at this time, previously consecrated and you would say. (speaking in foreign language) (singing in foreign language) And then one of the things that you would do here is asperge the circle. So this would be if you have an aspergium, or even using your fingers with holy water or a specific aspergium, my very high-tech pen here will be the aspergium, but you basically, I use the Roman Catholic right in the Latin Mass, you would dip and sprinkle around the circle aspergisme domine hissopo et mundabor (speaking in foreign language) Aspergisme domine hissopo et mundabor (speaking in foreign language) Now, I should say at this point, different grimwars are a little bit different. One of the things that I do as well upon entering the circle is, I take my consecrated sword at the time. I do have a sword up there, but I am not going to pull for it because it will absolutely fall in my head. However, tracing the circumference of the circle with a consecrated iron blade is a very strong element of defense. Again, this depends on your ritual, drawing spirits into crystals. You take a consecrated wooden wand and you trace the circumference of the circle. But here, I remember thinking, what could I use in the heptamaran when you trace the circle, the circumference of the circle? And speaking of Dr. Stephen Skinner and David Rankin, the Clavis inferny. The Clavis inferny has a wonderful picture of a ceremonial circle. And inside, there was Latin script. And I use this Latin script where in English, rough translation is, you basically say I consecrate myself by the virtue of these names that I am speaking. But what I do in the heptamaran is I take the consecrated iron blade and as I'm tracing the circle, I in tone or sing or chant or vibrate the four names that are found in the innermost part of the heptamaran circle. And so again, when I speak these names, it's out of respect. I do not usually speak the names, but I will just to give an illustration because the names are very sacred. You should avoid swearing if you can. You should absolutely make sure that you are doing things as respectfully as possible. So you would say and vibrate the four names as you trace the circumference of the circle you would recite. (singing in foreign language) And then you would say (singing in foreign language) You can do this up to four times. I do that, you can do it once, I do it for each name. And then now the circle has been asperged. The circle has been sealed, right? So you and your colleagues are in the magical circle. You're not leaving until the ritual is done. And so now, again, following the heptamaran, there is a blessing of the fire and an exorcism of the fire and a blessing of the incense. So again, you would get your incense. Here's just some North African incense that I have. There are many different ways to do this. David Rain can give some great visualization. Like as you bless, you visualize a column of white light or white light turning into gold as it hits your heart and then pushing that out. But again, just keeping it bare bones here. Once the circle is sealed, the blessing of the incense. You would place your hand over the incense or you would hold it in your hand. And in the heptamaran, you say (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) And so this blesses the perfumes, right? And again, when you cast those perfumes into the fire or the coals, and when you light the coals and the candles, again, there are different ways to do this, there is an exorcism of the fire. So when you light a candle, or when you are taking a piece of coal for the incense and putting it over the candle, you would exercise the fire. If you're listening to this, it's probably better for you. I have a 100% beeswax candle that I'm holding up right now that is shaped like a corn cob because I live in the American Midwest. And there's a lot of farmers everywhere. So I believe that is why at the local farmer's market, I got that. Anyway, so when you bless our exercise, the fire, now that we bless the perfumes, you would say (speaking in foreign language) (speaking in foreign language) That was the exorcism. Then you bless it. (speaking in foreign language) (speaking in foreign language) All right, so this is the exorcism of the fire. And then once you have the coals that are lit and you put the incense in, your sensor, and I have a clay sensor here, this is a change from the main heptamaran, just like consecrating the circle with the clavis and fernie language. This is my own use. But the wonderful Joseph H. Peterson talks about in one of the manuscripts in the illucidarium necromancy, a VRL 1115, there is a specific, after you light the incense and the incense starts to, you know, move around the room, you offer it to God. And so this is, again, on the heptamaran website, but it's from VRL 1115 and you offer the incense that's lighting right now, saying (speaking in foreign language) you offer the incense to the divine. And there's also, you can also offer this incense to some of the non-target spirits as well, angels, seasonal angels and spirits as well at this point. So at this point, we now have all the preparation done. And this is where, this is all under step one of the salamonic method that we talked about, Consecrazio dei. And so part of Consecrazio dei is a prayer directly to God, asking the divine. And so for this, this is also a slight change. In the illucidarium necromancy, a manuscript, VRL 1115, which Joseph H. Peterson has in his wonderful book, the elucidation of necromancy, there is a prayer to God that is said in the four parts of the circle. This prayer is usually found later on in the heptamaran that you'd see on Joe's website, but actually the person who was the scribe or the author of VRL 1115 moved this prayer up to this part of the ritual. So in this part of the ritual, you would actually take your sword, again, my pen is the sword here, and without taking it out and unsheathing the sword, kudos to Ted, one of my magical colleagues who had the great idea that, you know, because we're being respectful here, the sword should stay and achieve, but you would hold it and make the sign of the cross. And this is what I know colloquially as the amorule prayer. So this is the consacrazio day prayer that you would say asking for the blessing of God, you would say to the four, this would be said in all four parts of the circle. (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) So you would say this prayer to the north, south, east and west. (singing in foreign language) And then here now, we have established our connection, right? We have established it to the divine. Step one, (speaking in foreign language) Now we move down to step two. It's time for all of the other spirits that are not target spirits, right? I should say here 'cause you might be wondering, okay, who are we actually, what is the target spirit here? Well, I'm recording this on a Sunday, so that's why I'm intentionally picking not a Sunday spirit. So in the Heptamaran, we're going to be conjuring or in this example, not actually conjuring, thank goodness. The Heptamaran king of the air of Wednesday, which is Mediat or Modiat Rex at Ministiri Suquinos and Salales. Suquinos and Salales are the two ministers. And so that's who we're gonna be targeting. So for this step two though, we just established our connection with the divine. Now we go into the angels. So here we're gonna do three things, actually four. We're gonna call the angel of the day and the ministers. And then we're gonna call the angels of the north, south, east and west for Wednesday. And then we're going to call and name in the Heptamaran circle. The name's written in the second band of the circle. So the angel of the day and the hour and the sun and the moon and the earth and the season. And then we're going to read or recite, in our case, the conjuration of the day for Wednesday, where we specifically call upon Raphael, who is the angel of Wednesday. Although earlier sources in my own personal experience and working has been to use Mikhail, the Raphaelian, Mikhailian dichotomy and similarities has been spoken of before by several other practicing magicians. And that will conclude our main part of step two, all of the non-target spirit spirits. So let's get started. So here we just finished our prayer to God in the north, south, east and west. Now step two in Vocalcio. We named the angel of the day and the ministers. So you would say, if this was Raphael on a Wednesday, you would say, oh, Raphael, et ministiri, miel, et serafiel, in Vocalvos. And then you would say the name in the Heptamaran or the small conjuration. Oh, angeles supradicti. Estote adiutore, resme, petitsione. Et an adiutore y amiki, en mais arable, se petitsione, bus. And then you, this is a petition. So you have to insert your own petition here, saying, oh, Raphael. And again, you can write your own, you can have your own, but just off the cuff here, oh, Raphael, and your ministers, miel and serafiel, holy angels of the day of Wednesday, lend unto us the full weight and power of your mercurial office. Give us the operator, the colleagues, and suffuse the whole ritual space with all things necessary for the proper calling, manifesting, and constraining of this aerial king and ministers we are about to call. We ask this in thy name, and in the name of the Most High. (humming) Amen. And then here, you call the angels of the north, south, east, and west. You will see these in the Heptamaran near the end of the ritual listed below. But here, we just did the archangels of Wednesday. Now we move down a step. And we call the angels of the north, south, east, and west. So starting in the east of for Wednesday. And you can find these names below. (speaking in foreign language) And then turning to the south, (speaking in foreign language) (speaking in foreign language) And then to the north (speaking in foreign language) And then here I use another, this is a change, another prayer. After this, from VSG334, one of the illucidarium necromancier manuscripts that Joseph H. Peterson has in his book. So you say, after you name the angels of the north, south, east, and west, (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) That you, holy angels of the north, south, east, and west of this mercurial day, lend unto us the full weight and power of your office for the successful calling, manifesting, and constraining of this aerial king and ministers we are about to call. We ask this in the name of your God in ours, the holy and supreme highest and true light, amen. Now that last part was my petition, but you can ask for the angels of the north, south, east, and west to facilitate everything. I promise I won't be stopping so much. It's just that the heptamaran, as I see it, when I recite it, it's divided into thirds. And a lot of the things that change in the ritual happen in the first third of the ritual, where we are now. The second third of the ritual is what's known as the vinculum, which is that strong, aggressive language that we'll get into. And the final third is the infernal thrones, where you use infernal thrones and also the welcoming and binding of the spirit. So we're still in the first third of the ritual. And so now that we've done this with the angels of the north, south, east, and west, we now recite the entire middle band of the heptamaran circle. Again, sticking with Wednesday during the month of autumn, I'm picking a time which it is absolutely not right now to avoid any unnecessary magical tension. We would recite this. And this is similar to what a previous video I did on celestial timing. But you would say, if this was the first hour of the day, which is the name of the first hour of sunrise, of the day is yane, y-a-y-n, you would say, by this holy hour of yane, under the very angel of the hour that is raffa-yane, by the sigil of the angel of the hour of raffa-yane, the glitters before you in this circle and in this seal, in the heaven of raffa-yane, in vocal voice, by this holy angel of the day raffa-yane, and his ministers, Miel and Sarafia, Lin vocal voice, by this holy autumnal season of our dara'el, under the auspices of the autumnal angels, Tarquam and Gu'al Baral, under the head of the sign of autumn that is told, as the earth turns, it's autumnal frame, as Rabia Nira, the sun bursts, it's autumnal rays, as abra-genie and the moon soothes her autumnal beams, as my heart has seen yes in vocal voice, and then you read or recite the ovo-somnes prayer in the Heptamran after calling all these names. Ovo-somnes saduro-adquaid-contestor, percedem, Adonai, ezprangyos otheos, iskeros, athenatos, Para-cleitos, alphatomeget, prak-triya, secretenomina, agla-on-tetrogramaton. Quad-ho-di-de-de-de-a-tus-adem-plare-quad-cupio, that you, oh wonderful and powerful spirits of the day and of the hour and of the season and the sun and the moon and the earth, I congregate you. I call you that you may be present and lend the full weight and power of all of your offices upon this operator, colleagues, in ritual space, all that is necessary give us for the successful calling, manifesting and constraining of this aerial king and ministers we are about to call. We ask this in the name of the Most High Amen. And then here, after the ovo-somnes, you are now ready to, again, in the VRL1115, you kneel to the east. You can also kneel in the direction of the direction that the spirit is supposed to manifest. But here's where you recite the very famous, a lot of magicians use this just one off, the conjuration of the day. There are seven of these. They have interesting verbal things, so I'll try and get this all at once. But for Wednesday with Raphael, you would kneel and you would be facing east, kneeling, holding the parchment or metal seal of Raphael or the Archangel of Wednesday in your hand. And as you do that, you would kneel and you would recite this. (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (singing in foreign language) (singing in foreign language) (speaking in foreign language) (singing in foreign language) (singing in foreign language) (speaking in foreign language) (singing in foreign language) (speaking in foreign language) (singing in foreign language) (singing in foreign language) That you Raphael and your wonderful ministers, Mille and Sarafio, hear the names of the holy and most high God, hear our prayers, petitions and requests and lend to us all that is necessary from thy wonderful and resplendencies of thy mercurial office for the necessary calling, manifesting and constraining of this aerial king and ministers we are about to call. We ask this in the name of our Lord, amen. So there's the conjuration of the day. Sometimes an extra line sneaks in there in Latin and so I actually went back and re-recited that. So that's the conjuration of the day. Here you would stand and face the direction of the aerial king and Mediatrimodiat Rex being a mercurial spirit and the Heptamaran would be southwest, I believe. I'm trying to do all of this without looking at all at anything. So you would stand and face the appropriate direction and here is a very interesting thing. And this is the last part that really changes before, like the rest of the ritual will go super quick. Is when you are standing, VRL1115 has a wonderful little phrase. It says, I'm gonna paraphrase, but it's like, and then calling the aerial king with a courageous heart, call the spirits whose names are written in the outer band of the circle. So here would be Mediatrimodiat Rex. This is a departure, what I'm about to do, but what I do is I not only call Mediatvalmodiat Rex and the ministers, Suquinos and Salales, I also in Latin say, and all other spirits, winds, demons, all others that serve under Mediat and the ministers, that anyone who hears this, that they may come. And I took this language from Liber Uranatus, the sworn book of Enorius. So when I'm calling, I am now calling the spirits, I'm not using aggressive language, but I am using divine names. And when I call them, I would say, Oh Mediatvalmodiat Rex, et ministiri, Suquinos et Salales, et omnisaleo spiritus anemas demones et ventos quivobes serviento baideont et subduntur. Obosones, venite. Venite would take anticharculum, venite and pache, right? A peer before the circle appear in peace. And then here, I use a fourfold system, again, another departure. But what I do is, in a hierarchical command, I say, okay, Mediatvalmodiat Rex, right? Or Modiat Rex, depending on the spelling. I'm gonna call you in this order by the names of God, by the angels, by the name of one of the powerful infernal princes, in this case, Beelzebub, and then by the king that you adhere to, Mediat. So in Latin, that would be all Mediatvalmodiat Rex, venite, venite, perheksu a nomina santa. (singing in foreign language) You can insert other names here, and then go to angels. Venite, venite, conurro vos, a vocal vos. Per nomin oremangelorum. (singing in foreign language) Venite, venite, percaput et caronam (singing in foreign language) (singing in foreign language) And there are four kings here. (singing in foreign language) These are found in the summasachra magice, and all of the aerial kings of the heptamaran are found under those four. So you have done the very quick hierarchical command structure here. This is a big departure, what I do next, but it's because I speak and study Arabic. Is these aerial kings are actually genetic in nature, right? These are actual like from the Jin tradition in Islamic ruhania, or magical practice. So I use and recite the Quran, the opening surah of the Quran, and then I also in Arabic, ask the spirits to manifest, using Arabic names of God, and the angel rafael, or isra feel, is the more technical term. There's a lot of discussion on these being obviously two different angels, but I use that as well in Arabic. So in Arabic, I would say, as I call the spirits, I'd start with the opening of the surah al-fatihah, or the opening surah of the Quran. (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) And then after this, I would in Arabic, do the exact same thing we did in Latin, so I would say, (singing in foreign language) (singing in foreign language) Answer before the circle. (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) You know, hurry, hurry, right now, right now, at this time, come quickly, come quickly, right? Make haste in Arabic. And so at this point, we have called the spirits in Arabic, we have called the spirits in Latin, and now the rest of the ritual, I promise, we'll go much more linear and much more speed and dexterity. So at this point, you know, really quick, before we get into that, I really hope, I can't really check my camera right now or my audio, I hope I remember to hit record on all of this, otherwise, it's been a really great hour. So we have called the spirits of, we are at the salamonic method, so konsakraziode, in Vocalcio, right? We've done a little bit of a mini hierarchical command structure with the angels, both in Arabic and in Latin, and the kings and the names of God. Now we can move on to actually formally addressing the spirit. So before in Arabic and in Latin, we did a little bit calling the spirit a Vocalcio, right? Calling the spirit step three of the salamonic method. This would now be, in the heptamaran, just following the ritual, the aggressive language, the vinculum, the vinculum salomonas, which isn't with the heptamaran, starting there, the vinculum can be found hundreds of years before the heptamaran. Now this language, again, as David Rankin has pointed out, for him and other magicians, right? Don't find it necessary, right? Because this can be very aggressive language, very strong language. Other magicians, I know, use it. And so either method can work. It totally depends on you. So we now move on to the vinculum salomonas in the heptamaran, the strongest part of a Vocalcio, or an evocation of the spirit. (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (speaking in foreign language) (singing in foreign language) (singing in foreign language) "Contestor, et preheich nomena, et prehalei nomena domini nostri dei om nippotentes vivi et verivosqui, vestra coulpe dei chei lo y acti fuistes ousqui et en fernum lokum exorchez amos, o t vivi liter im peramos, per aom quidixet et factomest, qui omnes o bei deon kreature, et pre el tromendum deum yuditum dei, et peramare om nipposen chertum vitrayum, qualdest anti-conspectum de vinimayestatis, gradi en zapotenciale." "Et per cuator de vinna anamalia, entes cedem de vinimayestatis, gradiencia et oculos antietretro habencia." "Et peringiamantia estronum chertkun stantum, et prasantos angelos chelorum, et prehei om quaiic leesi adei nomenator, et prasummam sabianci am om nippotentes dei." "Vivi liter exorchez amos, o tnobei secanti chertculum apareatis, ad fecendem nostra anvolentatem en om nippos, prout prech wearid nobis, prasedem poldakie." "Et perhach nomen prehei mei oomaton, quad n mose nomenavit, a den kavernes sabissifwerent prophundati, vell abzorti datan, hora, et abiron, et en vertut aesti oos nomenis prehei mei oomaton." "Et oot ache, le me litzi oomba lente, mali dicimos vos, pre vamos vosomni oficio lo kot gaudio vestro, oos qua improphundem abziesi, et oos qua dolitem om diam udici." "Vos ponimos, et relagamos en ignematernamaten stagnum, y esa zolforis, nissi statem apareatis y quorum nobis, anticherculum, ad fecendem, volentatem nostra amen om nippos, venite perheik nomina, adonai, it sabeos, adonai, anora, venite, venite imperat vobis, adonai, shadai, rexregun." "Potentissimos, tremundissimos, curious veer es nulla, saterfu jere, poltas creatura, vobis, pertina, chissimis, futuris, nissi obedi ere, teset apareatis, anticherculum, a fabe, le subito." "Tandem ruina filabile es misarabile esque, et inges imprepetum in extinguebile es vos manat." "Venite ergo en nomina, adonai, it sabeos, adonai, anora, venite, venite, quidordatis, festenate imperat vobis." "Tandem ruina filabile esque, nissi obedi ere, poltas creatura, pertina, nissi obedi ere, poltas creatura, pertina, nissi obedi ere, poltas creatura, nissi obedi ere, poltas creatura, pertina, nissi obedi ere, poltas creatura, pertina, ho, ho, vah, vah, vah, vah." I am going to get a quick drink here that ends the venculum. It is the longest part of the ritual. I should note I'm speeding along a little bit here because I can feel my voice going, but also I do not like to linger on the divine names because they must always be treated with respect and vibrated. So I'm either like speaking them or whispering them quickly, but I wanted to speak them. I thought about this. I wanted to speak them before we, you know, just so you have an idea or a flavor for how a ritual could go. But you will find your own voice, your own poetics will be totally different from the way I do it or any other magician or practitioner or researcher recites those names. So the venculum is done. Now we move on to the rest of the ritual. I'd say there's only about, you know, two or three more sections. And this part of the ritual, you get a drink. Mmm. Oh, oh, that water feels good. So this ritual after the venculum is you then, in the traditional heptamaran, you would move on to the prayer to God in four parts of the circle, the beryllinensis conjuration, which is the infernal thrones, and then the, what I call the eche, or the pentacle presentation. In this case, if you remember, VRL1115 moves the prayer to God in the four parts of the circle to the beginning of the ritual. So we've already done that. And so now after the venculum, we're going to move on to the beryllinensis conjuration, the conjuration of the infernal thrones. And here, okay, so we're moving on to the beryllinensis. I am doing an edit here because my camera apparently stops your recording after one hour and 20 minutes exactly. So here we go, jumping literally right back in. So with the beryllinensis ritual, you are calling by the four infernal thrones, and you're gesturing to the pentacle of Solomon. You're not uncovering the pentacle yet because it's still in linen or in silk, but you're gesturing, saying, I'm calling you spirits by the four thrones, and I'm going to be calling you by the pentacle. So you would say, "Perpentakulum Solomonis avocati, dent meeki responseum verum." Berlanensis, boldakiensis, palmakie, et apologes, say this. Perrege espotesta tesquimangyanimas, akprinchipes, prepotentes, genio liakide. Ministeri Tartare, say this prima kiprincheps, say this apologe, non no cohorte, ego, voice and vocal. And in volcano, voice, coniuro, akwais supernemayastates, monitos vertutte. Potenterimpero, perayum quidixet et factomest, quiomnes obedi und createuré. Ettper, hock nomen in a faabile, tetragrammaton. You would even be alone. In coolest plasma, tomones, seculum, quaaudito, elamenta, corunt. Eir con cotito, mar e retrograda, turingus, xting wheat, retera, trammet. Un esque exergetos, chellestium, terrestrimet, infernorum, tramontour banturet corunt. Quatin es cheeto, et sinemora, et omniocassione, remota, ab universes, mundi, partibus, veneatus, et rats, una beliter, de omnibus, qua con contero, govero, respondeatus, vos. Et veneatus, pet chifice, visibile, zeta faabile. Nunk, et sinemora, manifistante, is quite cool, pimos. Quañora, tiper, nominate, herni, vivi, et very day. Hili orin. Et mandata, nostra, perfecentes, persistante, semperusque, et fiendemet, intencione, ne meem, visibile, zenobile, zenobile, zenobile, zenobile. Nobile, sintelli, gibile, et sinemora, omniambaguitate. Amen. So here you conjure again by the four thrones. You are conjuring by the infernal powers. This is hierarchical command structure that you're executing here. After this, you then move on to the part where you will commemorate your own authority via God and also the pentacle. Everywhere in the ritual, you uncover the pentacle, take off the silk, take off the linen, and you're going to tell the spirits eche, like look at the pentacle and the exorcist. So it goes like this. Fuj, I think, iniquitas, vestra, ver tote, vexile, y dei. Eche penta colum salomones. Quadante, vestra, maduxi, presención. Eche, persona, mexorchizatoris. May, deo exorchizme. Qui est optima adeo munitus entrepidus providus. Qui veribus potens. Vos exorchizando, invoca, vite, voca. Venite ergo, comfestenazione, in ver tote, nomeno mestorum. Ay aje rea, Ay aje rea, Ay aje rea, Ay aje rea, Ay aje rea, Ay aje rea, Ay aje rea, Ay aje rea. Nade vera ates venir, per nomina, et erna dei, viviet, very. Y loi artimarabur. Et per haque, presención penta colum. Quad super vos potenteremperat. Et per ver tote, en chalestium, spiritum, dominaorum, vestra. Et per personam, exorchizatoris, con niorati. Festenati, venire, a tobe dire, presheptori, vestra, quivocotor, economas. Economas, economas. And here, and I say it multiple times, you would whistle to the four parts of the earth. You could also whistle with your mouth. You could whistle with an actual whistle, like in the sworn book of Enorius. This is about sound to the four parts of the earth, the salamonic bell, a trumpet. In Latin, this is known as exchitacho, or exchitacho, which is about the rousing of the spirits via sound. So you would whistle to the four parts of the earth. And then when you do that, the text, I believe, again, just trying to do this from memory, it says you'll see kind of motions or swirlings around the circle. Almost like the spirits are being aroused, but they need a little bit more encouragement to manifest. So in the ritual, what would happen is you would say, quid tardatis, quid moramine, quid fachetes, preparate, vos, a tobe dite, a preceptore, vestro, ennominee, dominee, bathat, valvajat, super abracruen, superruen, zabeor, super abarare, right? Very powerful conjuration and short. And the spirits here would appear almost, I think it says in their proper forms, which I take it to mean as a form that would be difficult to engage with, might be very frightening. So then when they do this, again, every ritual is going to be different, right? But in the classic Eptamaran, when they do this, you need to then show them the pentacle and say, "Behold your conclusion if you refuse to be obedient." So you're saying appear in a pieceable form. So you show them the pentacle, hold it and say, etche pentakolum salomonus. Or you say etche conclusion em vestram no litte fieri en obedientes, right? Behold your conclusion if you refuse to be obedient. So etche conclusion em vestram no litte fieri en obedientes. And at this point, they will appear in their proper or their pieceable forms and say, you know, command us, you know, they're now officially docile, if you will, in front of the floor triangle or in front of the circle or in the crystal, right? And here's a very important thing. Now is the very last part of the ritual where you bind. Listen for that Latin word when you say, "I bind you," constringo vos. But here, at the welcoming and binding, if you have incense and I'm holding up my sensor, this is a great time to put in more incense, renew the suffumigations and welcome the spirit. So doing that, I would say to the spirits, I would say, "Bene, a bene, a bene, a bene, a bene, a vene, a litte spiritus, valor rei gessen obli siemi." Qui a vos vocavi per idlem quión ne genuflecti tortelestium terestremet en fernorum, qui esen manu omniarengia reggum sunt, nekest qui sue contrerios es ese posse tmaestati. Quatin es constringo vos su diganti chirculum en haktriangulo visibiles a phabiles. Permanetes tambio tamb qui constantes nek sine le cenci a meir reggi datis. Don nek mein sine phalacha a lee cuette veridice perphagatis volentatem, per potenci a ilios vertutem quimare posse with permanom soon, quempre tereir e non-potes, that leejay ilios potenci non-potrence tfines sous. Dei chilichet al ti simereggi est domini quicunte creavit, amen. Here you welcome the spirits, you bind them, and here's the very personal time with you and the spirits, you and the spirits, via the scrier. Interrogate, be respectful, but ask, are you who you say you are? Swear by the mercy of God that you are spirit ex. What hours do you prefer that are not in the grimoire? Do you have any other seals, sigils? Do you have anything else that can help better facilitate a call? It's that back and forth. This is one of the key things, and when you have a spare paper in the circle, as David Rankin says, it's lovely because you're able to write down things that you can put into your Lieber spirit to them a little bit later. When you do this, you get all the information you can, and now comes the sixth and final part of the Solomonic Method, which is to dismiss the spirits, to license them to depart. And I do this with the Heptamaran, the Latin I love, and it also has a little bit of a hint to the Latin Mass. When you say ite, in the Latin Mass, you would say, you know, the priest would say ite misa est, you know, the Mass is complete. So there's a little hint there, I think, with this, but you would say, to dismiss the spirits and the license to depart. [SINGING] [SINGING] [SINGING] [SINGING IN SPANISH] [SINGING IN SPANISH] [SINGING IN SPANISH] [SINGING IN SPANISH] [SINGING IN SPANISH] [SINGING IN SPANISH] [SINGING IN SPANISH] [SINGING IN SPANISH] [SINGING IN SPANISH] Let there be peace between us and you. And may you go back to your local vestra, go back to your location. But ready to become when you are called. This is a very powerful thing. It seems like a throwaway line, right? But no, it's basically, it's hinting. But it's saying, based on the mutually agreed upon terms and the request, the next time I call you, may it be easier, right? May you come with the mutually agreed upon terms. And now that we have a connection, may you arrive even faster, right? As David Rankin says, stay in the circle, jot down any impressions, pray, recite scripture, recite poetry. For me, I also, in addition to scripture and poetry, I also just thank the divine. I mean, really, this is an amazing thing. The holy art of magic and science. And we as magicians or researchers, or even scholars, people who don't practice, anything around this, it's such a beautiful, holy art and science. And so to even be able to do this is like the highest blessing ever, you know? And it's just amazing that our ancestors have these techniques that have been passed on to us. You know, it's just an incredible thing. So I thank the divine. And that concludes the ritual. I hope that helped seeing the heptamaran and kind of how the psalamonic method fits in. But again, if you have any other questions, check out the Patreon. If you're listening to this and not a patron yet, head on over. You get exclusive perks and a horrible amount of nerdiness at patreon.com/glitchbottle. As always, a huge thanks to my patrons. This is Alexander F reminding you to invoke often, uncork the uncommon, and keep the light. (upbeat music) (upbeat music) (upbeat music)