Mastering the Mystical Heptarchy

Figures

Tables

Dedication

Chapter 1 Introduction

Chapter 2 A Brief History

Chapter 3 Source Material

Chapter 4 The Angelic Language

Chapter 5 The Enochian Temple

Chapter 6 Heptarchial Ritual Template

Chapter 7 Opening the Temple

Chapter 8 The Preliminary Invocation

Chapter 9 The Angelic Keys

Chapter 10 Tuning the Space

Chapter 11 Heptarchial Conjurations

Chapter 12 The Charge

Chapter 13 Closing the Temple

Chapter 14 Conclusion

Appendix Conselh Ananael Heptarchial Evocation Ritual

Bibliography

Endnotes

About the Author

More Magickal Works from Pendraig Publishing

Fiction Novels from Pendraig Publishing

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Figures

Figure 1 Face of the Enochian Ring

Figure 2 True Lamen

Figure 3 Holy Table

Figure 4 Top of Sigillum Dei Aemeth

Figure 5 Bottom of Sigillum Dei Aemeth

Figure 6 Design for the Four Small Sigils

Figure 7 Holy Table with Positions of Sigillum Dei Aemethe and Ensigns

Figure 8 Ensign of Venus

Figure 9 Ensign of the Sun

Figure 10 Ensign of Mars

Figure 11 Ensign of Jupiter

Figure 12 Ensign of Mercury

Figure 13 Ensign of Saturn

Figure 14 Ensign of the Moon

Figure 15 Banishing Pentagram of Earth

Figure 16 Invoking Pentagram of Earth

Figure 17 Invoking Hexagram of Fire

Figure 18 Banishing Hexagram of Fire

Figure 19 Invoking Hexagram of Earth

Figure 20 Banishing Hexagram of Earth

Figure 21 Invoking Hexagram of Air

Figure 22 Banishing Hexagram of Air

Figure 23 Invoking Hexagram of Water

Figure 24 Banishing Hexagram of Water

Figure 25 Banishing Pentagram of Earth

Figure 26 Invoking Pentagram of Earth

Figure 27 Unicursal Hexagram with Hyperbola

Figure 28 Invoking Unicursal Hexagram of Earth

Figure 29 Unicursal Hexagram of Fire

Figure 30 Unicursal Hexagram of Air

Figure 31 Unicursal Hexagram of Water

Figure 32 Unicursal Hexagram of Earth

Figure 33 Hexagram of Saturn

Figure 34 Hexagram of the Moon

Figure 35 Planetary Hexagram

Figure 36 Hexagram of Saturn

Figure 37 Hexagram of Jupiter

Figure 38 Hexagram of Mars

Figure 39 Hexagram of Venus

Figure 40 Hexagram of Mercury

Figure 41 Hexagram of the Moon

Figure 42 Hexagram of the Sun

Figure 43 The Heptarchial Wheel

Figure 44 Talisman for Carmara and Hagonel

Figure 45 Talisman for Bobogel and Bornogo

Figure 46 Talisman for Blumaza and Bralges

Figure 47 Talisman for Babalel and Befafes

Figure 48 Talisman for Bnaspol and Blisdon

Figure 49 Talisman for Bynepor and Butmono

Figure 50 Talisman for Baligon and Bagenol

Figure 51 Talisman for Bnapsen and Brorges

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Tables

Table 1 Angelic Letter Names and Sounds

Table 2 Angelic Gematric Equivalents

Table 3 Angelic Alphabet with Attributions

Table 4 The Kings and Princes

Table 5 Planetary Hours of the Day

Table 6 Planetary Hours of the Night

Table 7 Planetary Attributions

Table 8 Powers of the Kings

Table 9 Powers of the Princes

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Dedication

For Michele Rockne, Odin Brenden,

Keith Strickland, Whitney Holiday, and Maurine Stenwick,

all of whom joined with me in the

Heptarchial workings that led to the writing of this book.

May you all accomplish the Great Work

and attain the Summum Bonum,

True Wisdom,

and Perfect Happiness!

Thanks to Joseph H. Peterson

for his wonderful Enochian artwork,

used here with his permission.

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Chapter 1

Introduction

The Heptarchia Mystica, or Mystical Heptarchy, represents a mostly neglected corner of the well-known Enochian magical system revealed to John Dee and Edward Kelley in the late sixteenth century, Dee’s only completed grimoire that details the angels attributed to the seven ancient planets. While most modern Enochian magicians are aware of its existence, it is neglected in the sense that very few magicians work with the angels of the Heptarchy and for the most part regard them as historical curiosities or some sort of warm-up to the later Enochian material that Dee and Kelley received. Because of this I and the members of my magical working group decided to embark on a thorough investigation of this portion of the Enochian magical system starting in 2006. What we found is that the Mystical Heptarchy represents a powerful and elegant system of ceremonial magick that can be used to accomplish a wide variety of practical objectives.

I draw a distinction between ceremonial and ritual magick. To most people, and even many practitioners, ritual magick and ceremonial magick are synonymous, with ceremonial magick being the more common term. However, there is an important difference in meaning between the two. In a magical and/or spiritual context, Ritual is defined as:

1. an established or prescribed procedure for a religious or other rite.

2. a system or collection of religious or other rites.

3. observance of set forms in public worship.

4. a book of rites or ceremonies.

5. a book containing the offices to be used by priests in administering the sacraments and for visitation of the sick, burial of the dead, etc.

6. a prescribed or established rite, ceremony, proceeding, or service: the ritual of the dead.

Ceremony, on the other hand, is defined somewhat differently in the same context:

2. a formal religious or sacred observance; a solemn rite: a marriage ceremony 1.

Essentially, the difference between the two is that a ritual consists of the necessary instructions for performing a ceremony, whereas a ceremony refers to a specific performance of a given ritual. As I see it, this implies that ceremonial magicians perform pre-existing magical rituals, while ritual magicians write, develop, and test their own magical forms. This distinction is analogous to that found in my own professional field of software development. The ceremonial magician can be thought of as an end-user who runs applications, whereas the ritual magician is akin to a programmer who writes them.

Ceremonial magicians generally work from grimoires, adhering as closely as possible to the ritual as specified in the text. Two recent books 2 have suggested that this ceremonial approach is superior to more eclectic modern ritual methods because the grimoires of the Medieval period that date before about 1350 represent a living tradition of magical practice and in effect represent a lost art that can only be restored by practicing from the original source materials. Whether or not this is true the aspiring ceremonial magician faces with a significant problem — many of these texts are incomplete at best and after being copied from master to student for centuries have accumulated numerous errors. In some cases modern scholars have been able to reconstruct a likely version of the original text, but in other cases this task has simply proved to be too difficult.

What ceremonial magicians really need is a set of lab notes, or if you will, the source code for the old grimoires themselves. While we must jump forward two hundred and twenty-some years from the 1350 cutoff in order to find Dee and Kelley’s Enochian system, it is quite literally the only example we have of a complex magical system where the original transcripts of the spiritual operations that led to its creation are still available. This leads to a lot of controversy among practitioners and scholars, but the material is also a goldmine for magicians everywhere — the original building blocks of the system are laid out for study in their original context. This system is also by most accounts particularly effective, and in fact enjoys a fearsome reputation among even those magicians who practice the modern form of the system that was modified and elaborated upon by the Hermetic Order of the Golden Dawn and later by Aleister Crowley.

The Heptarchia Mystica represents the only portion of the Enochian system that was ever assembled into something resembling a workable grimoire. Despite this, many magicians contend that the spirits of the Heptarchia are inaccessible or difficult to conjure. I have found that this is true to some extent when working with the Heptarchia Mystica as written, since Dee assembled it for his own use and included few details regarding his opening and closing procedures which he presumably knew by heart. Furthermore, incorporating certain portions of Dee’s later and more widely-used Enochian material seems to enhance the effectiveness of Heptarchial rituals, as do certain ceremonial forms drawn from modern magical practices. These have been included, as the purpose of this book is to present the most effective possible system of Heptarchial magick.

Scott Michael Stenwick

Minneapolis, MN

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Chapter 2

A Brief History

Most of the material in this chapter can be found in other books covering the history of Enochian magick in greater detail. As this book is a practical manual, this section is merely an outline of this unique magical system’s rich history and background.

John Dee and Edward Kelley

Dr. John Dee, England’s most famous Renaissance magician compiled the spirit diaries. They cover a period from 1581 to 1588 and detail his magical operations in which he attempted to enter into communication with the divine. The vast majority of these magical operations were undertaken with the help of Edward Kelley, a scryer who was able to see and hear the spiritual beings conjured by Dee into a shewstone, or crystal. Apparently Dee was one of the first magicians to make use of this technique, and it has permeated our popular culture — even in children’s stories, magicians and fortune-tellers use crystal balls to see into the spirit world. Over the course of seven years, various Angels appeared to Dee and Kelly and began teaching them a new system of magick that is today referred to as Enochian, after the biblical patriarch Enoch who walked with God following the flood of Noah and was privy to the secrets of the divine world. In his diaries, Dee makes mention of his desire to communicate with God in the same manner in order to obtain the secrets of the natural world, and notes that the shewstone was given to him by the same archangel Uriel who is said to have instructed the Biblical Enoch. At one time a stone believed to be the original shewstone was kept with the Dee collection at the British museum, but it was recently stolen and has not been seen since.

Some sources have described Kelley in a rather unfavorable light, painting him as a charlatan who essentially conned the pious and gullible Dee into believing that he could communicate with spirits. As far as I can tell, the argument that Kelley made the whole thing up is not very tenable. The system appears to be far too comprehensive and consistent for such a thing to be possible without some sort of mystery grimoire from which he could have read back memorized sections over time. Various modern occultists have advanced or advocated this theory from time to time, but it can be easily debunked by the fact that no such grimoire or anything similar to it has ever been found to exist. Despite incorporating some elements that appear to have been common to several Renaissance grimoires, the Enochian system is original enough in its structure and use of symbols that it appears to be a unique creation. It is clear that Kelley was instrumental in some way to the creation of the system — from looking at the fragments that have survived of Dee’s work with Barnabus Saul, the scryer who worked with Dee prior to Kelley, it is clear that it was not until Kelley’s arrival that Dee’s magical operations produced anything especially profound. Furthermore, after Kelley’s departure in 1588, no records of any significant magical operations performed by Dee have surfaced, although Dee did continue his diaries working with other scryers and a few later fragments of fairly pointless spirit communications survive.

From the historical record, it is clear that both Dee and Kelley share the credit for the success of the magical operations that produced the Enochian system, and as far as I can tell, most modern skeptics are unable to come up with anything more plausible than