Category:
Abstract
In this fully preserved ritual text from a Greco-Egyptian papyrus of the 4th or 5th century CE, the practitioner invokes Apollon (or rather a daemon of Apollon) for the purpose of divination. I here offer a translation and commentary of this set of instructions, illuminating it through the lense of Neoplatonic ritual theory (as well as my more usual philological commentary).
- In section 1, I line out some misconceptions and a more correct understanding of the relationship between Neoplatonism and ritual (problematically equated with “theurgy”).
- In section 2, I give a Neoplatonic (specifically Proclian) reading of the ritual’s general character.
- Section 3 provides a more concrete summary of the materials and steps involved in the ritual.
- Section 4 gives the actual text in translation, together with a transliteration of the Greek text for words that are to be spoken aloud by the practitioner.
- Section 5 is the commentary, still a work in progress.
1 Introduction to the issue of Neoplatonism and ritual
Many modern readers with an interest in Ancient Mediterranean ritual practices and in the philosophy of Neoplatonism are fascinated by “theurgy”, a practice which – according to the prevailing narrative – was first introduced in the Chaldaic Oracles, then elevated by the Neoplatonic philosopher Iamblichus in his monograph On the Mysteries (where it is represented as vital to the philosophical ascent), but later disappeared due to the eradication of paganism. However, while this narrative is not wrong, exactly, it contains so many omissions as to be entirely misleading.
Firstly, the theurgic art was not primarily introduced in the Chaldaic Oracles themselves, but in the prose handbooks composed by the Chaldaeans, i.e., Julian the Theurge (who also published the Oracles) and his father, likewise named Julian. These works in prose and verse, which I collectively refer to as Chaldaica, were produced sometime in the 2nd century CE, and were indeed later lost at some point after the 6th century, as there was no longer a pagan readership to continue copying them. However, a comprehensive manual of Chaldaic doctrine and practice, which had been compiled by Proclus in the 5th century, was still available in whole or in large parts to the 11th-century philosopher Michael Psellus, to whom we owe much of our knowledge (see Chaldaica & Procliana). In other words, the Chaldaica and the theurgic rites they advocated were not deliberately extirpated by Christians, but only failed to be copied and circulated due to a lack of interest. This is the fate that naturally befalls most written works in a manuscript culture, where the production of a single new copy of a lengthy text involves a significant amount of labor.
So much for the Chaldaica and the theurgic art. But crucially, the famous work of Iamblichus – which should properly be called the Response to Porphyry, not On the Mysteries, as it has nothing to do with the mysteries – is not about the Chaldaic theurgic art at all! Rather, as stated very clearly both in the introduction and throughout the text, the Response to Porphyry is a defense primarily of Egyptian priestcraft, and secondarily of priestcraft (‘the hieratic art’) or prevailing ritual practices in general. While Iamblichus also uses the Chaldaic terminology of ‘theurgy’ or ‘theurgic art’ synonymously with ‘hieratic’, and draws on the teachings of the Chaldaica, his concern in this monograph is decidedly not with specifically Chaldaic ritual practices.
Now, as it happens, several Greek- and Egyptian-language ritual manuals that answer very closely to the descriptions in the Response to Porphyry were discovered on a series of ancient papyri, excellently preserved by the dry Egyptian climate, in the 19th century. Collected and edited by Karl Preisendanz, and later translated into English as the Greek Magical Papyri under the aegis of Hans Dieter Betz, these manuals are now some of the most accessible ritual instruction texts surviving from antiquity.
Thus, while readers who understand Iamblichus to be talking about some unique esoteric practice called “theurgy” often experience the Response to Porphyry as an esoteric, deliberately allusive and elusive work, those who are familiar with the Greek Magical Papyri will instead find him making largely unambiguous references to practices that are well attested. Those who have moreover read the fragments of Proclus’ Chaldaic writings and those of Porphyry’s On the Philosophy from Oracles (which describes not Greco-Egyptian but more circumscriptly Greek rituals) can see that Iamblichus often picks out and theorizes features that are shared across these different contexts – and besides, not a few of the practices he describes are commonplace across ancient Greek literature. In other words, the Chaldaic rituals were not so unusual as is often thought, and the ritual theory of the Neoplatonists is not connected to some unique and idiosyncratic tradition of practice, but to a broad stream of ‘priestly’, ‘hieratic’ or ‘magical’ rituals (i.e., observances that went beyond ordinary and everyday devotion and involved some kind of expertise).
On this page, I intend to demonstrate the applicability of Neoplatonic theory to at least some rituals of the Greek Magical Papyri (PGM) and, on the flipside, the fitness of PGM rituals for incorporation into Neoplatonic practice, using the example of an Apolloniac invocation (PGM 1.262–347). Although this precise text was likely not known to any Neoplatonic theorist, and is certainly not influenced by Neoplatonism, the ancient Neoplatonic philosophers – especially Porphyry, Iamblichus and Proclus – are excellent guides to its interpretation, and illuminate many of the obscurities of the ritual text.
2 The character of the present ritual
In the terminology used by Proclus, the ritual at hand, this Apolloniac Invocation, is theagogic. Theagogy is the practice of drawing (agōgḗ) a god (theós) to the practitioner; in modern parlance, we might speak of a ‘summoning’ of Apollon. More precisely, we are looking at a ritual of autoptic theagogy, because the practitioner themself (autós) is the one who has the vision (ópsis) of the god:
“For if someone sees the divine as it is by nature, with the intellective, luminous (augoeidés) and aethereal (aithriōdés) part of the soul, and they are both summoner (klḗtōr) and beholder (theatḗs), they are called an autopt (‘who-sees-by-themself’).”
Proclus on Theagogy, fragment 3b
However, as Neoplatonic theory holds, the gods themselves are, albeit omnipresent in one way, in another sense remote from the human sphere. So, even an erudite and pious priest who is well able to work a theagogic invocation may not be able to attain a vision of the god himself, but only of a more proximate one among the Greater Beings of the god’s “chain” or “series” – that is, an angel, daemon or hero of the respective deity, and who answers to the same name. As Proclus says, “there is a Diian multitude, as well as a Heraean and a Kronian,” – and likewise for the other gods – “which is referred to by the same name as the gods”. The “coördinate angelic, daemonic and heroic multitude carries the name (epōnymía) of its monad”, that is, of the god from whom these beings spring and whom they follow (On the Timaeus, vol. 3, p. 166).
(The relationship between a god and their series is perhaps expressed most beautifully in the first of Proclus’ Hymns. There, we also learn that for the late Neoplatonists, Apollon himself, although a god, belongs to the series of the Sun, explaining the often indiscriminate use of both names for one god, not only in the Greek Magical Papyri, but also throughout Greco-Roman literature.)
So, when our invocation shifts between asking Apollon to come and asking him to send a daemon, this may seem incoherent on its face, but from a Neoplatonic perspective, it is precisely what we should expect, even want in such a text. The practitioner addresses the god insofar as he is present in an Apolloniac daemon, and the daemon insofar as he participates in his monad, the fontal god Apollon.
More specifically, our rites invokes a mantic (mantikós) or divinatory daemon, since “the mantic and Apolloniac participates in the Apolloniac character (idiótēs)” (Proclus, On the Timaeus, vol. 1, p. 157), but while “the powers are in the god unitarily and transcendently, they are in the companions (opadoí) of the god, the Greater Kinds than us, by participation and separation. Thus, there are great populations of healing (iatrikoí) angels, daemons and heroes suspended from Apollon, and others who are mantic, musical (mousikoí) or of archership (toxikoí), to whom the unitary powers of the god have been allotted in a differentiated and separated manner.” In this sense, “there are different Apollons both in the Earth and in other places” (Proclus, On the Cratylus 174).
The purpose elaborate divinatory rites such as this was manifold. Not only would the Apolloniac daemon answer queries, but also teach expertise in divination or other “magical craft” (cf. the knowledge of astrological herbal lore revealed by Asclepius to Pseudo-Thessalus), and potentially grant oracles in hexameter verses – such as the Chaldaic Oracles. As such, they filled a niche for more elevated divination not reached by folk methods or lot oracles, and which there were few great oracular sanctuaries left to address in late antiquity.
As the emperor Julian wrote, “the spirit (pnêuma) which is imparted to humanity only rarely from the gods comes, and only to a few, it is not easy for every man to participate in it, nor at every time. Hence, the prophetic spirit has also ceased among the Hebrews, and has not been preserved into this time among the Egyptians. It appears that even the self-generated oracular shrines” – probably referring to places such as Delphi and Claros where it was thought that features of the local landscape facilitated the giving of oracles – “have fallen silent, yielding to the course of time. Yet in his life for humanity, our lord and father Zeus had forethought lest we be entirely deprived of communion with the gods, and granted us a form of inquiry through the sacred arts (hieraì tekhnaí), through which we may receive help sufficient to our needs” (Julian, Against the Galilaeans, fr. 197 ed. Neumann).
3 Summary of the ritual
Since the ancient instructions are not presented in the most clearly organized fashion, it is apposite to summarize or paraphrase them briefly. (Some points may be interpreted in multiple ways, so also consult the commentary.)
Firstly, there are a number of objects that need to be procured or prepared: an oil lamp (not painted red, with a linen wick inscribed with certain words, and rose or spikenard oil) to serve as something like a cult statue or object of worship; a wolf’s head which the lamp may be placed on; and a small altar of unbaked clay to worship on; besides, a chair (“throne and couch”) covered with linen cloth, presumably for the god to take his seat on when he appears (as in Pseudo-Thessalus).
There are also some substances that will be presented as an offering. Firstly, certain incenses to be burned on the altar. Secondly, certain liquids for to be libated (poured as an offering), which, although this goes unstated, requires a number of vessels, including a dish to receive the libations, or else appropriate terrain to pour them on the ground. Thirdly, certain sacrifical cakes, presumably to be placed on some kind of dish and/or offering table (or perhaps also burned).
Further, the practitioner themself is to wear “prophetic dress” (see commentary on section 5), and carry a sprig of laurel (with seven leaves, each inscribed with a “protective character”) serving as a protective object (‘phylactery’) in the right hand, and a staff of ebony in the left.
In addition, they are supposed to abstain from all unclean things. Of foods, only fish is specified, but it goes without saying that ordinary ritual purity is also required (see Proclus on Purity), minimally involving physical cleanness and clean clothes. Abstention from sex is also required. These are typical requirements for entering temples or serving as priest.
All this being provided, the ritual itself appears fairly straightforward: the lamp is lit (and placed on the wolf’s head?); the incense, drink and cake offerings are made; the invocation (in Greek verse) is pronounced; “and immediately, the god enters”.
After the divinatory “inquiry” which follows, the god is “released” by switching the staff and sprig in your hands; extinguishing the lamp; making another incense offering with the same ingredients; and saying the final few lines of Greek verse.
4 Translation
(t) Apolloniac Invocation.
(1) Take a sprig of laurel that has seven leaves, and hold it in your right hand while calling the celestial gods and chthonic daemons. Have written on the sprig of laurel these 7 protective characters.
(2) The characters are the following:
The first character on the first leaf, the second in turn on the second, until the seven leaves and the seven characters are aligned.
(3) But take care not to lose a leaf and hurt yourself; for this is the greatest phylactery for the body, by which all are made subject, even sea and rocks are frightened, and daemons avoid the divine force of the characters, which you will have. For it is the greatest phylactery for the operation, so that you will not not be scared.
(4) And this is the operation:
Take a lamp not painted red, and fit it with a cloth of linen (as wick), and rose oil or spikenard oil.
(5) And dress yourself in prophetic dress, and hold a staff of ebony in your left hand and the phylactery in your right, i.e., the sprig of laurel.
(6) And have the head of a wolf at hand, so that you may place the lamp on the head of the wolf.
(7) And set up an altar of unbaked clay next to the head and the lamp, so that you may sacrifice (epithýō) to the god – and immediately, the god enters.
(8) The burnt-offering (epíthyma) is: a wolf’s eye, storax, cinnamon, bdellium, and any fragrant herbs held in regard.
(9) And pour a libation of wine, honey, milk and rain water.
(10) And make 7 flat cakes and 7 round cakes.
(11) These all you will make near the lamp, having put on the garb and abstaining from all unclean things, all eating of fish, and all sex, so that you may draw (ágō) the god into greatest inclination towards you.
(12) And these are the names,
Which you will write on the linen cloth, and you place it as a wick into the lamp not painted red:
(13) ΑΒΕΡΑΜΕΝΘWΟΥΛΕΡΘΕΞ ΑΝΑΞ ΕΘΡΕΝΛΥΟW ΘΝΕΜΑ ΡΑΙΒΑΙ · ΑΕΜΙΝΝΑΕ ΒΑΡWΘΕΡ ΡΕΘWΒΑΒ ΕΑΝΙΜΕΑ (aberamenthōoulerthex anax ethrenlyoō thnema raibai; aeminnae barōther rethōbab eanimea)
(14) When you have completed all the aforesaid, call (kálei) using the incantation (epaoidḗ):
(15) “King Apollon, come together with Paean (Paiēōn)!
Give an oracle to me about what I ask, o lord.
Master, leave Mount Parnassus and Delphic Pytho
When my sacred mouth pronounces ineffable things,
First angel of the god, the great Zeus, o Iāhō,
And you, who keep the celestial cosmos, Michāēl,
And you I call, Gabriēl, first angel, come from Olympus,
Abrasax, who were delighted by the dawn, may you come propitious,
Who oversee the setting from the rising, Adōnai!
Every power fears you, father of the cosmos, Pakerbēth.”
Ánax Apóllōn, elthè sỳn Paiḗoni,
Khrēmátisón moi, perì hôn axiô, kýrie.
Déspota, lī́pe Parnássion hóros¹ kaì Delphída Pȳthṑ
Hēmetérōn hierôn stomátōn áphthenkta laloúntōn,
Áŋgele prôte theoû, Zēnòs megáloio, Iāhô,
Kaì sè tòn ouránion kósmon katékhonta, Mikhāḗl,
Kaì sè kalô, Gabriḕl prōtáŋgele; deûr’ ap’ Olýmpou,
Ābrāsā́x,² antolíēᵢs kekharēménos, hī́laos élthois,
Hòs dýsin antolíēthen episkopiázeis, Adōnaí.
Pâsa phýsis troméei se, páter kósmoio Pakerbēth.
1: Irregularly pronounced hṓros.
2: Or Abrāsā́x.
(16) “I adjure the head of the god, which is Olympus,
I adjure the seal of the god, which is sight,
I adjure the right hand which you held over the cosmos,
I adjure the mixing bowl of the god that contains wealth,
I adjure the eternal god, and the Eternity (Aiṓn) of all things,
I adjure self-born Nature, mightiest Adōnaios,
I adjure the setting and rising Elōaios–
I adjure these holy and divine names,
That they may send me the divine spirit and fulfil
What I have in my mind and heart.”
Horkízō kephalḗn te theoû, hóper estìn Ólympos,
Horkízō sphragída theoû, hóper estìn hórasiw,
Horkízō khéra dexiterḗn, hḕn kósmōᵢ epéskhes,
Horkízō krētêra theoû ploûton katékhonta,
Horkízō theòn aiṓnion, Aiôná te pántōn,
Horkízō Phýsin autophyê, krátiston Adōnaîon,
Horkízō dýnonta kaì antéllonta Elōaîon,
Horkízō tà hágia kaì theîa onómata taûta,
Hópōs àn pempsōsí moi tò theîon pneûma kaì telésēᵢ,
Hà ékhō katà phréna kaì katà thymón.
(17) “Hear me, blessed one, I call you, the ruler of heaven
And earth, and of chaos and Hades, where dwell
The daemons (‘ghosts’) of people who once beheld the light.
Send this daemon to my sacred incantations,
Who moves at night at the commands, under your necessitation,
From whose tent this is, and let him tell me
All I wish in my thoughts, giving the entire truth–
Mild, gracious, intending nothing hostile to me.
And may you not be angered at my sacred incantations,
But guard my whole body, so that it may come into the light intact,
For you yourself arranged for humanity to learn these things
I call your name, equal in value with the Fates.”
Klŷthi, mákar, klḗᵢzō se, tòn ouranoû¹ hēgemonêa
Kaì gaíēs, kháeós te kaì Ā́ïdos, éntha némontai
Daímones anthrṓpōn, hoi prìn pháos eisoróōntes.
Pémpson daímona toûton emaîs hieraîs epaoidaîs
Nyktòs helaunómenon prostágmasin sês hyp’ anáŋkēs,
Hoûper apò skḗnous estì² tóde, kaì phrasátō moi,
Hóssa thélō gnṓmēᵢsin, alētheíēn kataléxas,
Prēýn, meilíkhion mēd’ antía moi phronéonta.
Mēdè sỳ mēnī́sēᵢs ep’ emaîs hieraîs epaoidaîs,
Allà phýlaxon hápan démas ártion es pháos eltheîn;
Taûta gàr autòs étaxas en anthrṓpoisi daênai.
Klḗᵢzō d’ oúnoma sòn Moírais autaîs isárithmon.
1: Pronounce ūranŭ.
2: Irregularly pronounced estī.
(18) “Akhaïphō Thōthō aïē ïaēïa aïē aïē Iahō Thōthō phiakha.”
ΑΧΑΪΦWΘWΘWΑΪΗΪΑΗΪΑΑΪΗΑΪΗΙΑWΘWΘWΦΙΑΧΑ
(19) And when he enters, ask him about what you wish, about divination, about hexameter verse, about the sending of dreams, about questioning in a dream, about dream interpretation, about laying low, about all things which belong to magical craft.
(20) Cover a throne and a couch with linen (cloths), but remain standing as you sacrifice with the aforesaid burnt-sacrifice.
(21) And after the inquiry, when you wish to release the god himself, shift the aforesaid staff of ebony, which you are holding in your left hand, into your right, and shift the sprig of laurel, which you are holding in your right hand, into your left; and extinguish the burning lamp; and use the same burnt-sacrifice while saying:
(22) “Be propitious to me, forefather, primordial, self-begotten one!
I adjure the fire which first appeared in the abyss,
I adjure your power, the greatest of all,
I adjure you who sail(?) even into Hades,
That you may return to your own ship and not
Harm me, but be auspicious through all time.”
[…]
ἵλαθί μοι, προπάτωρ, προγενέστερε, αὐτογένεθλε·
ὁρκίζω τὸ πῦρ τὸ φανὲν πρῶτον ἐν ἀβύσσῳ,
ὁρκίζω τὴν σὴν δύναμιν, τὴν πᾶσι μεγίστην,
ὁρκίζω τὸν φθείροντα μέχρις Ἄϊδος εἴσω,
ἵνα ἀπέλθῃς εἰς τὰ ἴδια πρυμνήσια καὶ μή
με βλάψῃς, ἀλλ‘ εὐμενὴς γενοῦ διὰ παντός.
5 Commentary
<on the title>
Apolloniac: ‘pertaining to Apollon’. The adjective Apollōniakós, instead of Apollṓnios (‘Apollonian’), came into use in the Roman period, and like other divine adjectives in –ikos or –iakos, it was especially favored by the Neoplatonists.
Invocation: gr. epíklēsis. The same word is also used for formal cultic bynames, but here refers to the powerful words that draw the deity. As Iamblichus explains, “invocations do not rouse inspirations of thought or corporeal affects in the (human) receiver (dekhoménos); rather, they are unknowable and ineffable, and are spoken in a manner comprehensible only to the god whom they summon” (Iamblichus, Response to Porphyry 3.24). […]
<on chapter 1>
sprig of laurel: sprigs of laurel were used in various (Greek) rituals, and especially sacred to Apollon. See commentary on chapter 3.
seven leaves: the number seven was sacred to Apollon, in part because the seventh day of the lunar month (see Lunaries) was regarded as his birthday in myth and ritual. As Proclus writes, “(Hesiod) hymns the seventh as the birthday of Apollon, and for that reason, the Athenians celebrate it as Apolloniac, carrying laurel, covering a basket, and hymning the god” (Scholia on Works and Days 769).
More philosophically, the number seven is associated with Apollon, because the Sun is the ruler of the seven planets, and hence, Apollon has a seven-stringed lyre: “mystically, Hermes gave the lyre to Apollon, i.e., Reason (lógos) gave the harmony of the universe to the Sun” (John Lydus, On the Months 4.51).
hold it in your right: so also in an oracle recorded by Porphyry (Eusebius, Preparation for the Gospel 5.9).
while calling the celestial gods and chthonic daemons: gr. ouránioi theoí and khthónioi daímones, meaning the gods of heaven and the lesser deities or ghosts of the underworld. Apparently, the text is here advocating the use of the laurel for protection in all kinds of invocations, not just those of Apollon.
protective characters: see commentary on the chapter 3.
<on chapter 2>
characters: see commentary on the chapter 3.
<on chapter 3>
phylactery: gr. phylaktikón, later also phylaktḗrion. An object of protection (gr. phylakḗ). These are often used in theagogic rituals, mostly (as here) to keep away harmful daemons.
The ritual use of the laurel for protection is also noted by Proclus (On the Hieratic Art), and its ability to repel daemons is traced to its fiery nature and connection to Apollon/the Sun: “They have supposed that (a fiery divine) power also belongs to the Sun, and they call the power Apollon from the rays’ pulsation (aktinōn palsis). […] And they assign the laurel to him, partly because this plant is full of fire, and on this account, is hateful to (harmful) daemons; partly because it seems to speak when it burns, representing the prophesying of the god” (Porphyry, On Cult Statues).
even sea and rocks are frightened: this is more rhetoric than of practical or philosophical relevance.
daemons: either what we call ghosts or frightful, harmful beings of a non-human nature; Neoplatonists were worried about both. […]
the divine force of the characters: divine force (gr. theîa enérgeia), more or less equivalent to divine power (theîa dýnamis), is also seen as the means whereby, e.g., powerful stones or herbs bring about their marvellous effects. In Neoplatonism, kharaktḗres (symbols which are neither recognizable images nor writing) are regarded as likenesses or traces of ineffable divine beings, which is why they escape human understanding. Others in antiquity explained such symbols as working by natural means, calling them physiká (cf. Augustine, On Christian Learning 20), but for the Neoplatonists, they take effect by participating in realities beyond nature.
operation: gr. prā́xis, also translatable as ‘work, practice’, a more generic term for what we might call a ‘ritual’ or a ‘spell’ (depending on our interpretative framework). The Chaldaic term is teletḗ, which I tend to translate as ‘rite’.
so that you will not be scared: i.e., not experience terrifying visions and voices of harmful daemons. There was also a worry on the part of ritualists that deceptive daemons would appear in the guise of the god and mislead them through false responses. […]
<on chapter 4>
Take a lamp: the lamp is the center of attention in the ritual, as far as material objects go, and takes the place that might otherwise be filled by a cult statue. It drifts from attention once the invocation begins, but note that, in another ritual text, the practitioner is advised to face the lamp, and after certain actions (including closing and opening the eyes at set moments), the light of the lamp is replaced by the vision of a radiant god (PGM IV.930–1114). It stands to reason that in the present ritual too the lamp is somehow connected to the appearance of the divine presence.
not painted red: in Egypt, the color red was associated with the harmful god Typhon (eg. Set).
cloth of linen: I know of no particular reason for the choice of this material, but it is also used in other ritual texts (e.g., the oracles of Porphyry in Eusebius, Preparation for the Gospel 5.9).
rose oil or spikenard oil: also mentioned as alternatives in a ritual involving another god (PGM VII.230). They have nothing to do with Apollon in particular, but pleasant smells are .
<on chapter 5>
dress yourself in prophetic dress:
hold a staff of ebony in your left hand:
the phylactery in your right, i.e., the sprig of laurel:
<on chapter 6>
the head of a wolf at hand:
so that you may place the lamp on the head of the wolf:
<on chapter 7>
an altar of unbaked clay:
so that you may sacrifice (epithýō) to the god:
immediately, the god enters:
<on chapter 8>
burnt-offering (epíthyma):
a wolf’s eye:
storax, cinnamon, bdellium, and any fragrant herbs held in regard:
<on chapter 9>
pour a libation of wine, honey, milk and rain water:
<on chapter 10>
make 7 flat cakes and 7 round cakes:
<on chapter 11>
These all you will make near the lamp, having put on the garb and abstaining from all unclean things, all eating of fish, and all sex, so that you may draw (ágō) the god into greatest desire inclination towards you.
<on chapter 12>
And these are the names, which you will write on the linen cloth, and you place it as a wick into the lamp not painted red.
<on chapter 13>
ΑΒΕΡΑΜΕΝΘWΟΥΛΕΡΘΕΞ ΑΝΑΞ ΕΘΡΕΝΛΥΟW ΘΝΕΜΑ ΡΑΙΒΑΙ · ΑΕΜΙΝΝΑΕ ΒΑΡWΘΕΡ ΡΕΘWΒΑΒ ΕΑΝΙΜΕΑ (aberamenthōoulerthex anax ethrenlyoō thnema raibai; aeminnae barōther rethōbab eanimea)
<on chapter 14>
When you have completed all the aforesaid, call (kálei) using the incantation (epaoidḗ):
<on chapter 15>
King Apollon:
come together with Paean (Paiēōn):
Give an oracle to me about what I ask, o lord.
Master, leave Mount Parnassus and Delphic Pytho
When my sacred mouth pronounces ineffable things:
First angel of the god, the great Zeus, o Iāhō:
And you, who keep the celestial cosmos, Michāēl:
And you I call, Gabriēl, first angel, come from Olympus:
Abrasax, who were delighted by the dawn:
Who oversee the setting from the rising, Adōnai:
Every power fears you, father of the cosmos, Pakerbēth
<on chapter 16>
I adjure:
the head of the god, which is Olympus
the seal of the god, which is sight:
the right hand which you held over the cosmos:
the mixing bowl of the god that contains wealth:
the eternal god, and the Eternity (Aiṓn) of all things:
self-born Nature, mightiest Adōnaios:
the setting and rising Elōaios:
I adjure these holy and divine names:
That they may send me the divine spirit:
<on chapter 17>
Hear me, blessed one, I call you:
the ruler of heaven and earth, and of chaos and Hades:
the daemons (‘ghosts’) of people who once beheld the light.
Send this daemon to my sacred incantations:
Who moves at night at the commands, under your necessitation,
From whose tent this is, and let him tell me
All I wish in my thoughts, giving the entire truth–
Mild, gracious, intending nothing hostile to me.
And may you not be angered at my sacred incantations,
But guard my whole body, so that it may come into the light intact,
For you yourself arranged for humanity to learn these things
I call your name, equal in value with the Fates.”
<on chapter 18>
“Akhaïphō Thōthō aïē ïaēïa aïē aïē Iahō Thōthō phiakha.”
ΑΧΑΪΦWΘWΘWΑΪΗΪΑΗΪΑΑΪΗΑΪΗΙΑWΘWΘWΦΙΑΧΑ
<on chapter 19>
And when he enters, ask him about what you wish, about divination, about hexameter verse, about the sending of dreams, about questioning in a dream, about dream interpretation, about layling low, about all things which belong to magical craft.
<on chapter 20>
Cover a throne and a couch with linen (cloths), but remain standing as you sacrifice with the aforesaid burnt-sacrifice.
<on chapter 21>
when you wish to release the god himself:
shift the aforesaid staff of ebony … into your right, and shift the sprig of laurel … into your left:
extinguish the burning lamp:
use the same burnt-sacrifice:
<on chapter 22>
Be propitious to me, forefather, primordial, self-begotten one!
I adjure the fire which first appeared in the abyss,
I adjure your power, the greatest of all,
I adjure you who sail(?) even into Hades,
That you may return to your own ship and not
Harm me, but be auspicious through all time.”
SARTRIX 