A
review of Leo Holmes: LeMulgeton: Goetia and the Stellar Tradition. Fall ofMan. 2013
Amongst the many occult publications that have come to
light in recent years there is a tendency towards veiling and obscuration,
sentimental journeys of power spread across the pages, revelling in darkness
that in the end goes nowhere but back into the chaotic mass is surged from. In
this landscape Holmes’ LeMulgeton
gives a freshness and solidity that I hope we will see more of.
He states the premises of his study clearly, and
through an analytic survey of the material at his disposal and interest he
presents an analysis and application of the two cuneiform tablets known as
MUL.APIN (where the oldest fragments date to around 686 B.C. but are far older
than this). The amount of fragments we have at our disposal makes these two
tablets amongst the most complete documents we have concerning Sumerian
astronomy and astrology, which makes the entry point of this book very
interesting - and in this pitfalls can be found, the greatest being to look
back on the past with the eyes of the present and in doing this discard the
entire matrix of evolution from one form to another in favour of forcing a
particular point of view. Holmes avoids this trap with grace. He approaches his
material with the mind of an archaeologist who seeks to discover layer by layer
what we are dealing with, suggesting and commenting on his findings, but avoids
drawing final conclusions. I find this attitude to ones material to be
immensely refreshing and in doing this the book is an invitation to further
musings upon the stellar nature of goetia.
During the missive he makes synthesises and
association with the tarot, with the spirits of Lemegeton and with the stars and constellations - and he does this
in a way that widens the mystery’s landscape... and in this he reveals a most
clever text that seeks to ignite further knowledge.
There is overall much good to say about this book, but
the best thing is that the book makes you reflect and ponder; it ignites a wish
for delving deeper into the place where the blood of stars meets earth and
death. I always saw a deep connection between the stars and the dead and it
might be because of this I took an immense liking to this book. Because after
all stars are suns, and suns are souls and in order to ascend, to become a sun
and a star we must die so we can shine on... this is the airs and waters that
carry this text.
When we engage into the study of goetia,
intellectually and practically, I feel it is important to be mindful about the
considerations of Jake Stratton Kent, told in various ways in several forums
and texts, that:
“The
term goetia derives from a word indicating a person, a somewhat unique case of
the art taking its name from the artist. This person was called a ‘goes’. In
short, goetia is related first and foremost to the identity of the operator,
and secondarily to the nature of their art. The word ‘goes’ relates to terms
describing the act of lamenting at funeral rites; the mournful howling
considered as a magical voice. These magical tones can guide the deceased to
the underworld, and also raise the dead. This is the root of the long
connection of goetia with necromancy, which has come to be seen as ‘black
magic’.”
Given this criteria Holmes blazes forth as a true
goes, but as we know from classical mythology, those who find death as heroes
can be made into stars. Queens, heroes, kings, hunters, angels, animals and
pilgrims are all found replicated in the starry constellations. This is not
unique to classical mythology but is also found in the Mesopotamian star lore
and astronomy Holmes has used as his foundation, where the triad of Enlil, Anu
and Ea/Enki are considered not only as heroes but as masters of the course of
planets. What Holmes set out to do is to present the potencies of
constellations as related to kings, queens and demons and relate them to the
mystical number of Lemegeton, 72.
This number is also significant for the Shem ha-Mephorash, the ineffable name
of god, but it is also the decans of the zodiac divided into day and night, 36
doubled in ten degrees of day/night reflection. All these considerations are
drawn into his discussion from clear facts like:
“This
tradition is reflected in the Goetia, having thirty-six Goetics attributed to
daytime and thirty-six to nighttime, and suggests that Lemegeton is a star-map
which should be read circularly, not in a line.”
In order to support this stellar idea of goetia he
applies the seals of the goetic spirits to constellations, which is quite
revealing – and makes you ponder and question further.
This is a book that provides an incentive to look back
so we can walk more steadily forward. Holmes aims solely to give a track of
star blood to our search to find our way back to where we once were, and bring
this wisdom back into the present, tracing his steps with care and respect. In
this pursuit alone I would salute this book, in its way of presenting a
personal great discovery as a comment and a lantern on the track.
This book is a commentary on a field of general occult
interest. There is humility here - and also a desire to share – which I find
rare in contemporary occult writings.
Holmes gives his text to the world as a landscape, an open field, an
invitation to further fertilization. This text is 72 drops of starblood that
invites to a greater symposium of stellar goetia. I wait in anticipation for
the further unveilings of these mysteries.