This article originally appeared here
Arithmancy is a method of divination rooted in number and numerology; it was known to the Chaldeans and Greeks, and of course to the Renaissance Magicians. As with many of our modern divinatory and magical methods, Henry Cornelius Agrippa is our primary source of wisdom in its use and method.
In
his Three Books of Occult Philosophy, Agrippa gives us the occult
meaning of Number, and understanding as to its use and application in
divination and magic. The text itself is sometimes difficult to
understand for those who aren’t familiar with the style of English
written at the time. This text aims to present the art of Arithmancy in a
way that straight forward to understand.
The
method presented here will be rooted primarily in the Agrippa method,
with changes and alterations made by myself in the course of creating a
practical and working Arithmantic practice. For the pure method of
Agrippa, or reference the Chaldean method, I recommend study of those
primary texts.
There is a special power in number, in that it allows us to discover hidden connections to things that we may otherwise not have been able to work upon.
The Power of Numbers and their Use
In
Chapter III, Book II of his “Three Books of Occult Philosophy” Agrippa
expounds upon the virtue inherent in number, and it’s efficacy in both
the natural and the supernatural. He states:
“…simple
numbers signify divine things: numbers of ten; celestial: numbers of an
hundred; terrestrial: numbers of a thousand; those things that shall be
in a future age. Besides, seeing the parts of the mind are according to
an arithmetical mediocrity, by reason of the identity, or equality of
excess, coupled together: but the body, whose parts differ in their
greatness, is according to a geometrical mediocrity, compounded: but an
animal consists of both, viz. soul and body, according to that
mediocrity, which is suitable to harmony: hence it is that numbers do
work very much upon the soul, figures upon the body, and harmony upon
the whole animal.” Pg.240, Book II Chapter III, Three Books of Occult Philosophy Henry Cornelius Agrippa
It’s
important to note that “mediocrity” in the above quote referenced an
average measure, something commonplace and regular; quite different from
the modern use that alludes to something below average or of little
worth.
In
the above we have the whole of existence being signified by number, and
as we can create effect through the power of sympathy, we can make
connection with all things through the symbols and meanings inherent to
number. Agrippa also says:
“…that all
things which were first made by the nature of things in its first age,
seem to be formed by the proportion of numbers, for this was the
principal pattern in the mind of the Creator. Hence is borrowed the
number of the elements, hence the courses of times, hence the motion of
the stars, and the revolution of the heaven, and the state of all things subsist by the uniting together of numbers. Numbers therefore are endowed with great and sublime virtues.”pg.237, Book II Chapter II, Three Books of Occult Philosophy, Henry Cornelius Agrippa
From Pythagoras, who has said “Number is that by which all things consist”,
to Agrippa who has gone at length to give understanding of the value of
number, we find that our wisest minds appreciate the efficacy of number
in thought and in practical use. My intention is to communicate a
simple system of Arithmancy for Divination and Arithmatic Magic for
thaumaturgy and theurgy, so that the magic of number is put to use in
our age as it was in ages past.
Divination by Number—Arithmancy
Method
Arithmancy
is easy. In order to use Number to connect with something/someone, we
need to link Word with number; we don’t think in number, and we Name in
Word, so it is necessary to translate word into pure number, so that
Named things may be grasped and understood according to our lore. In
order to transform name into number, we begin with the Alphabet—in this
Art, we use the modern Latin alphabet as our base. The assignation of
number to letter couldn’t be simpler. They are as follows:
Number
|
1
|
2
|
3
|
4
|
5
|
6
|
7
|
8
|
9
|
Letters
|
A,J,S
|
B,K,T
|
C,L,U
|
D,M,V
|
E,N,W
|
F,O,X
|
G,P,Y
|
H,Q,Z
|
I,R
|
We
determine the numerical value of a thing by addition, and then joining.
For example, the Name “AGRIPPA” consists of the numbers 1,7,9,9,7,7,1.
Added together, we have 41. We would then join the two letters together
to give us a single number. In this case 41 is made up of 4 and 1, which
create 5 when joined together. The number for the name Agrippa is 5.
Having the number gives us a starting point for both divination and
magical work using number.
Divination
in Arithmancy is conducted in a fashion similar to Horary Astrology,
but very much simplified and more general in result. In order to
determine the general answer for a particular question, we first
determine if the number of the Question and that of the Querent are
harmonious; if the nature of both numbers when added together is the Odd
(which numbers Agrippa tells us are beloved by God in Chapter VI of
Three Books) then the answer is affirmative, positive. If the nature of
the numbers is Even (as is the number 2, given over to the Malefic
planets of Saturn and Mars by Agrippa), then the answer is negative.
These
are snapshots of a moment in time, and it must be remembered that the
link in Arithmancy is a link based on the power of number, mental and
fundamental.
If
the question is about how someone feels, use the heart numbers of the
Querent and the person asking the Question. If it is about money, use
the Social number. the Character number is useful for most other
questions.
To
delve deeper into questions, compare the character number of the
Querent with the heart and social numbers of the Quesited, if a person
is referenced. If it is not a person, then the emotional and social
ramifications of the situation may be delved into this way.
Arithmantic Trance
After a moment, subtle impressions will arise that are connected to the Question. These should be written down and examined, and will provide further insight in the way of evocative imagery (similar to the way the Tarot can stimulate understanding using the artwork upon the cards).
The Character, Heart, and Social Numbers
These
numbers are calculated from a person’s name, and give us insight into
their nature and circumstance. They are also giving us a number to use
as a link to work upon those things in the person.
We don’t stop with Arithmancy to divine general circumstance; we
continue with Arithmatic magic in order to alter that circumstance in a
positive or negative fashion according to our wishes. This is where
Arithmatic Magic excels; it allows for a strong link to be created with a
magical subject with nothing other than the name.
In
order to calculate the Character number, we use the method given above,
adding up the numbers for each letter of the complete Name of the
subject, and then joining the numbers left if there is more than one
number. The Character number is representative of the personality/waking
mind of the subject. It can give us insight into the person’s strengths and weaknesses, their natural tendencies.
In
order to calculate the Heart number, we combine the numbers of the
vowels only, joining the final number together if it is more than one
numeral as necessary. This gives insight into the desires that motivate
the person.
In
order to calculate the Social number, we combine the numbers of the
consonants only, joining the final number together if it’s more than one
numeral as necessary. This gives us insight into the public persona of
the person, and their standing among their peers and community.
We
use our charts delineating the Virtue and character inherent in each
number to pull meaning from the numbers we calculate from names.
Calculating Lucky Days
Arithmancy
can be used to calculate lucky days for a person or action; the method
for this is simple. To find a person’s lucky days, simply calculate
their Number and then match the days of a given month that are equal to
or multiples of that number; for example, if your number were 8, the
lucky days for action would be the 8th, 16th, and 24th.
Arithmantic "Astrology"
Arithmantic
Astrology is an extremely simple Astrological method that still has
much efficacy, as it requires neither software nor ephemeris. It is the
only astrological method I know of that can be conducted in the moment.
It doesn’t make astrological connection through the positions of the
Planets or Houses, but through the fundamental numeric connection that
these things have. So, it is connection through number and the
Intellectual plane upon which these values reside that this art does its
work. It is especially effective for understanding mental motivations,
determining which Planet’s virtue operates like a hidden (or sometimes
not-so-hidden) hand in a person’s mind or in a situation, and choosing
lucky days for doing important things. By no means is it anywhere near
as accurate or powerful a method as classical astrology (seriously); it
is useful in a pinch, though, and is definitely worth the small effort
required to learn.
Were
I picking a day to apply for jobs, I would first calculate my number
using my name. Then I would calculate the number of the Company, and I
would join those numbers together to pick a day that was harmonious for
all three numbers.
The
method doesn’t give the depth of understanding available in classical
Astrology, but serves perfectly fine for electing “lucky days” and the
simple analysis possible through understanding of the significance of
the Rising Sign; much of worth can be gained by calculating the Signs
through the Houses for a person, with the Rising House being the Number
for the querent's name (in this case we alter the method to allow for
the numbers 10, 11, and 12 without further reduction) which is possible
with only the Rising sign being known.
It
cannot stand against classical Astrological method, as it allows for no
means to calculate the places of the Planets or their aspects…it also
requires much less in the way of information to work and provide some
analysis, needing neither birthdate nor time. Not using this information
is, however, exactly why it barely has any business calling itself
Astrology. It is useful, and is worth learning, if only for those times
when no other information beyond the name is available.
The
perspective granted is not equal to that of traditional Astrology; it
connects primarily through the Mental Plane, the intellectual Plane and
through Number. Its insights are into idea and fundamental
motivation, into the shape of things and the words at the heart of
their creation. This is a simple astrological method that pairs well
with practical and intuitive magics like Hoodoo or Geomancy, as it is
useful for creating magical links and for altering the subtle
enivornment.
Testing Spirits
Practical Method of Arithmatic Magic—the Mudra
Agrippa
teaches in his Three Books of Occult Philosophy about the power of
certain movements of the fingers and hands, which the Magicians of old
used to silently signify “words unknown by sound, various with numbers,
yet of great virtue, by their fingers joined together, and sometimes
changed, and did the sacred silence worship the Gods that rule over the
world”. This is an allusion to the use of Mudra, bending and twisting
the fingers into shapes that signify numbers, that themselves are used
to invoke the power of the Planets and the fundamental virtues of the
primary numbers. Using Number we invite into our spheres
and into objects the power of the Seven themselves, containing their
virtue through sympathy and echo.
The Magical Gestures (Mudras) of Number
To make the number 1, bend the little finger of the left hand and touch the middle of the palm.
To make the number 2, bend the ring finger of the left hand so that it joins the little finger in the middle of the palm.
To make the number 3, bend the middle finger to join the other little and the ring finger in the center of the palm.
To make the number 4, the previous fingers stay upon the palm as aforementioned but for the little finger which is lifted up.
To make the number 5, lift up the ring finger as well, so that only the middle finger is touching the center of the left palm.
To make the number 6, lift up the middle finger as well, and then place the ring finger alone in the center of the palm.
To make the number 7, place only the pinky finger so that it its tip hovers over the root of the palm, with the rest being lifted up.
To make the number 8, place only the ring finger so that its tip hovers over the root of the palm, with the rest being lifted up.
To make the number 9, place only the middle finger so that its tip hovers over the root of the palm, with the rest being lifted up.
To make the number 10,
bend the index finger so that the nail touches the inside middle joint
of the thumb, with the rest of the fingers being raised.
To make the number 20, bend the middle finger and place it against the index finger, with the tip touching the thumb’s middle joint.
To make the number 30, touch the nail of the thumb to the forefinger while keeping the other fingers raised.
To make the number 40, touch the inside of the thumb to the outside of the index finger.
To make the number 50,
bend the thumb so that the tip points as close as possible toward the
center of the palm, forming what looks similar to the letter “G”.
To make the number 60, keep the thumb bent as before, and bend the index finger so that it wraps over it.
To make the number 70, keep the index finger bent as before, and place the thumb over it.
To make the number 80, keep the index finger bent as before, and toucth the middle joint of the index finger with the nail of the thumb.
To make the number 90, straighten out the thumb and place the nail of the bent index finger at its root.
To make the number 100, make the figure of ten upon the right hand.
To make the number 200, make the figure of twenty upon the right hand.
To make the number 2000, make the figure for 2 upon the right hand.
To create 1000-9000, simply create the numbers for 1-9 on the right hand.
To make the number 10,000, put the lift hand upward on the chest, the fingers all pointing up toward heaven.
To make the number 50,000, lay the thumb of the right hand pointing sideways, while on the navel.
To make the number 60,000 hold the left thigh with the right hand in a fashion similar to fifty.
To make the number 70,000, the thumb points up. The rest of the fingers are closed.
To make 80,000, the above mentioned thumb is place upon the the same downward on the thigh.
To make 90,000, hold the loins with the above hand, turning the thumb downward.
To make 1,000,000, bring the hands together with fingers interlocked, and clasp them together as if in prayer.
I've
found it useful to use the numbers of the Planetary Squares to invoke
the Planetary virtues, while using the primary numbers to induce states
of mind that are harmonious with Number. For instance, the sum of the
Saturnian square is 45; I would use the mudra for 45 to summon the
Virtue of Saturn, but would use the mudra for the number 2 to enter into
a trance that allows for communion with that number, also assigned to
Saturn. Use the primary numbers to alter personal state of mind, and the
sum of the Planetary Square to engage the macrocosmic force related to
the Planet.
The sums for the Planetary Squares are as follows:
Saturn: 45
Sol: 666
Luna: 3321
Mars: 325
Mercury: 2080
Jupiter: 136
Venus: 1225
To
form the mudras for each Planet, build the number one section at a
time; for Venus, first you would perform the mudra for 1000, then for
200, then 20, then 5. The final mudra is held for as long as you wish
the Virtue to be invoked. For example, if you were to invoke Venus, and
use her song to fill an area with her virue in order to distract wild
animals from attacking you, you would perform the Mudra and Song, make
your petition/statement of intent after completing the song, and would
hold the mudra for as long as you wished the effect to last. In this
Arithmatic magic, the mudra is the material basis which holds the
concentrated virtue in place; when it is released, so is the virtue, to
dissipate back into the Azoth.
The Scales of the Planets
Agrippa
in his Three Books of Occult Philosophy gives us yet more insight,
sharing with us the scales that are harmonious with the Planets, which
we might use to fill an area with their virtue and presence. In Chapter
XXVI, Agrippa notes that tone goes a far measure toward matching the
nature of the Planets; for instance, he says that "Saturn hath sad,
hoarse, heavy and slow words, and sounds, as it were pressed to the
center; but Mars rough, sharp, threatening great and wrathful words.."
In crafting the Songs of the Planets, the tone and nature of the song is
of more import than the notes used, or even the scale. It stands to
reason, though, that combining the correct tone with the correct scale
would be even more useful, and in my experience it is.
To Sol is attributed the Dorian mode, ( E F G A B C D E)
To Mars goes the Phrygian mode, (C Db Eb F G Ab Bb C)
To Jupiter the Lydian mode, (C D# E F G A# B C)
To Saturn the Mixolydian mode, (C D E F G A Bb C)
To Mercury the Hypophrygian mode, (G F E D C B A G)
To Venus the Hypolydian mode, (F E D C B A G F)
To Luna the Hypodorian mode, (E D C B A G F E)
To the Stars, the Hypomixolydian mode. (D E F G A B C D)
A
better way to understand how this works for those without much musical
training is to think of the modes as a series of rising or descending
movements in pitch, with each mode being a certain pattern of movements.
It gives each mode a mathematical and musical proportion, which is
worth studying in it's own right. Where T is a whole tone, and S is a
semi-tone, and TS is a whole tone and a half, the modes look like this:
Sol/Dorian: T-S-T-T-T-S-T
Mars/Phrygian: S-T-T-T-S-T-S
Jupiter/Lydian: TS-S-S-T-TS-S-T
Saturn/Mixolydian: T-T-S-T-T-S-T
Mercury/Hypophrygian (descending): T-T-S-T-T-S-T-T
Venus/Hypolydian (descending): S-T-T-S-T-T-T
Luna/Hypodorian (descending): T-T-S-T-T-T-S
The Fixed Stars/Hypomixolydian: T-S-T-T-T-S-T
In
order to use these proportions to create our songs for the Planets, we
need only refer to our sources for incantations (Picatrix, Three Books)
and take from either the Orphic Hymns, the Songs of Circe (which we have
from Giordano Bruno) or the incantations of the Picatrix to sing the
virtue of the Planet while making the appropriate Mudra. Another
powerful part of using the mudra in this instance is that it makes the
entire business a magical act; we may read the incantations of hymns at
any point, but we only Sing them while making their sign when we are
doing the Work.
I
prefer to use the Orphic Hymns, as given below; the Hymns are sung with
each sentence being dedicated to a Note; they are between a song and a
chant, similar to the way the famed Gregorian monks intoned their hymns.
It makes sense that the Hymns would be sung, and this is the most
straightforward and efficacious method I know of. The bold letter is the
note with which the verse following it is sung. It's the proportions
that make the Songs align with a Planet; it matters not which note you
end on, so much as that the proportion between notes in the scale has
been acknowledged. You may choose yourself whether to sing a repeated
tone at the same octave as the one already sung or at a new octave;
again, it's the proportion that is important in the pattern sung, and i
would recommend not jumping octaves, but keeping with the pattern of
steps given in the scales themselves.
The Hymn to the Sun
E With matchless sight illumines all the sky. Native, unwearied in diffusing light, And to all eyes the object of delight:
F Lord of the Seasons, beaming ight from far, Sonorous, dancing in thy four-yok'd car.
G With thy right hand the source of morning light, and with they left the father of the night.
A Agile and vig'rous, venerable Sun, Fiery and bright around the heavn's you run,
B Foe to the wicked, but the good man's guide, O'er all his steps propituous you preside.
C With various sounding golden lyre 'tis thine to fill the world with harmony divine.
D Father of ages, guide of prosp'rous deeds, The worlds commander, borne by lucid steeds.
E Immortal Jove, Flute-playing, bearing light, Source of existence, pure fiery bright;
F Bearer of fruit, almighty lord of years, agile and warm, whome ev'ry power revers.
G Bright eye, that round the world incessant flies, Doom'd with fair fulgid rays to set and rise;
A Dispensing justice, lover of the stream, the worlds great master, and o'er all surpreme.
B Faithful defender, and the eye of the right, of steeds the ruler , and of life the light;
C With sounding whip four fiery steeds you guide, when in the glittering car of day you ride,
D Propitious on these mystic labours shine, and bless thy supplicants with life divine.
The Hymn to the Moon (the notes are descending, as they are for Mercury and Venus)
E Hear, Goddess queen, diffusing silver light, Bull horn'd and wand'ring thro' the gloom of Night.
D With stars surrounded, and with circuit wide, Night's torch extending, through the heav'ns you ride:
C Female and male, with silv'ry rays you shine, and now full orb'd, now tending to decline.
B Mother of ages, fruit-producing Moon, whose amber orb makes Night's reflected noon;
A Lover of horses, splendid queen of night, all-seeing pow'r, bedeck'd with starry light,
G Lover of vigilance, the foe of strife, in peace rejoicing, and a prudent life.
F Fair lamp of Night, its ornament and friend, Who give'st to Nature's works their destin'd end.
E Queen of the stars, all-wise Diana, hail! Deck'd with a graceful robe and ample veil.
D Come, blessed Goddess, prudent, starry, bright, come, moony-lamp, with chaste and splendid light,
C Shine on these sacred rites with prosp'rous rays, and pleas'd accept thy supplicants' mystic praise.
The Hymn to Mars
C Magnanimous, uncounquer'd, boistrous Mars, in darts rejoicing and bloody wars
Db Fierce and untam'd, whose mighty pow'r can make, the strongest walls from their foundations shake.
Eb Mortal destroying King, defil'd with gore, Pleas'd with war's dreadful, tumultuous roar;
F Thee, human blood, and swords, and spears delight, and the dire ruin of mad savage fight.
G Stay, furious contests, and avenging strife, whose works with woe, embitter human life;
Ab To lovely Venus, and to Bacchus yield, to Ceres give weapons of the field;
Bb Encourage peace, to gentle works inclin'd, and give abundance with benignant mind.
The Hymn to Mercury
G Hermes, draw near, and to my pray'r incline, Angel of Jove, and Maia's son divine;
F Prefect of contest, ruler of mankind, with heart almighty, and a prudent mind.
E Celestial messenger of various skill, whose pow'rful arts could watchful Argus kill.
D With winged feet 'tis thine thro' air to course, O friend of man, and prophet of discourse;
C Great life-supporter, to rejoice is thine, In arts gymnastic, and in fraud divine.
B With pow'r endu'd all language to explain, of care the loos'ner, and the source of gain.
A Whose hand contains of blameless peace the rod, Corucian, blessed, profitable God.
G Of various speech, whose aid in works we find, and in necessities to mortals kind.
F Dire weapon of the tongue, which men revere, Be present, Hermes, and thy supplicant hear;
E Assist my works, conlude my life with peace, Give graceful speech, and memory's increase.
The Hymn to Jupiter
C O Jove, much honoured, Jove supremely great, to thee our holy rites we consecrate,
D# Our pray'rs and expiations, king divine, For all things to produce with ease thro' mind is thine.
E Hence mother Earth, and mountains swelling high, proceed from thee, the deep and all within the sky.
F Saturnian king, descending from above, magnanimous, commanding, sceptered Jove;
G All-parent, principle and end of all, whose pow'r almighty shakes this earthly ball;
A# Ev'n Nature trembles at thy mighty nod, Loud-sounding, arm'd with light'ning, thund'ring God.
B Source of abundance, purifying king, O various form'd, from which all natures spring;
C Propitious hear my pray'r, give blameless health, with peace divine, and necessary wealth.
The Hymn to Venus
F Heav'nly, illustrious, laughter-loving quenn, sea-born, night loving, of an awful mien,
E Crafty, from whom necessity first came, producing, nightly, all-connecting dame;
D Tis thine the world with harmony to join, For all things spring from thee, O pow'r divine.
C The triple Fates are rul'd by thy decree, and all productions yield alike to thee,
B Whate'er the the heav'ns, encircling all contain, Earth fruit producing, and the stormy main,
A Thy sway confesses, and obeys thy nod, awful attendant of the brumal God:
G Goddess of marriage, charming to the sight, Mother of loves, whom banquetings delight;
F Source of persuasion, secret, fav'ring queen, Illustrious born, apparent and unseen:
E Spousal, lupercal, and to men inclined, Prolific, most-desir'd, life-giving, kind;
D Great sceptre-bearer of the Gods, tis thine, Mortals in necessary bands to join;
C And ev'ry tribe of savage monsters dire, in magic-chains to bind, through mad desire.
B Come, Cyprus-born, and to my pray'r incline, Whether exalted in the heav'ns you shine,
A Or pleas'd in Syria's temple to preside, Or o'er th' Egyptian plains thy car to guide,
G Fashion'd of gold, and near its sacred flood, Fertile and fam'd to fix thy blest abode,
F Or if rejoicing in the azure shores, near where the sea with foaming billows roars,
E The circling choirs of mortals, thy delight, or beauteous nymphs, with eyes cerulean bright,
D Pleas'd by the dusty banks renown'd of old, to drive thy rapid, two-yok'd car of gold;
C Or if in Cyprus with thy mother fair, where married females praise thee ev'ry year,
B And beateous virgins in the chorus join, Adonis pure to sing and thee divine;
A Come, all attractive to my pray'r inclin'd, for thee I call with holy, reverent mind.
The Hymn to Saturn
C Etherial Father, mighty Titan, hear, great fire of Gods and men, whom all revere;
D Endu'd with various council, pure and strong, to whom perfection and decrease belong.
E Consum'd by thee all forms that hourly die, by thee restor'd, their former place supply;
F The world immense in everlasting chains, strong and ineffable thy pow'r contains;
G Father of vast eternity, divine, O mighty Saturn, various speech is thine;
A Blossom of Earth and of the starry skies, Husband of Rhea, and Prometheus wife.
Bb Obstetric Nature, venerable root, from which the various forms of being shoot;
C No parts peculiar can they pow'r enclose, diffus'd thro' all, from which the world arose,
D O, best of beings, of a subtle mind, propitious hear to holy pray'rs inclin'd;
E The sacred rites benevolent attend, and grant a blameless life, a blessed end.
This
method is very, very simple, but it preserves the proportions in the
numeric patterns and works well. Using either an instrument, or an app
for a smartphone, the arithmancer can play the tone for the line and
then incant it, doing so for each line until the incantation is
complete. Eventually it will be memorized, of course, and then more
lovely. The way the notes are sung should be tuned by the nature of the
planet; intone Saturn as a melancholy dirge, Venus in a sensuous manner,
etc.
If
desired, the arithmancer could certainly sing multiple lines of the
hymn at one tone in order to end on the Tonic; I personally enjoy the
small bit of variety changing tones each line allows us. I think it is
important to avoid making over-complicated songs here; these are holy
hymns, magical devices that create audible proportion, and not melodic
pop fair.
We
are also given modes to work the elements and humors with--the Phrygian
to Choler and Fire, the Lydian to blood and Air, the Dorian to Water
and Plegm, the Mixolydian to melancholy and Earth. I use Eliphas Levi's
hymns to the Elements to build songs for working with them. They can be
used to alter mood, to adjust the humours of the body. There are many
applications.
With
just this much, we can create powerful incantatory song, in combination
with mudra and arithmatic technique to divine connection through number
and invoke the Virtues of the heavens into our spheres and
environments.
Use the above patterns to create tonal chants for the Elements on your own.
