You need to respect them, treat them gently and care for them. Gemstones are extremely sensitive to their surroundings and can soak up negative energies from their environment or anyone handling them.
They need to be ‘decontaminated’ of unwanted negative vibrations by cleansing regularly to allow them to work to their utmost potential.
To cleanse your Crystal, simply wash it under running water for a few moments. If possible, cleanse it in a stream, a natural spring or the sea. If you haven’t easy access to the ocean or natural bodies of water, simply add salt to the cleansing water as this will add the electrical properties contained in the salt to the cleansing process.
Charging
Once cleansed you need to charge the Crystal.
Charging will keep the positive energy of the Crystal focused upon you so that it most benefits you. Avoid others touching or handling your Crystal, as it will absorb possible negative energies from them, diluting the benefits to you.
There are many ways to charge a Crystal but here are a few suggestions:
If you want to charge your crystal with the Element of Fire as with sun energy to help with confidence, vibrant health, motivation or creative projects etc. then place your Crystal on a windowsill or outdoors for a few hours in the sunshine.
For the benefits of the Element of Water as with moon energy for help with psychic abilities, increased intuition, magical workings etc. moon bathe your Crystal (either in water or not) under the light of a full moon for several hours.
If you want to charge your crystal with the Element of Earth bury your Crystal in the earth for a few hours for earth energies to help with groundedness, strength and banishing negativity.
For the benefits of the Element of Air to help with clear communication, learning and understanding hold your Crystal in the smoke of burning incense.
Attunement
After cleansing and charging your Crystal it is now time to attune it to your personal vibrations and energies.
By simply wishing or visualising the crystalline energy to be used in a particular way - it will be so! It really is that simple.
To attune your personal Crystal to your own individual needs, dreams and wishes you need to hold your Crystal in both hands. Focus on what you want to programme into your Crystal. Repeat an affirmation to yourself, such as 'I will become more confident, I will increase my psychic abilities, I will discover happiness.' With each exhalation send your desire into your Crystal. You may feel the programming is complete when you feel your Crystal tingle or becoming warm to the touch.
Once you have programmed your Crystal keep it in a safe place where others will not touch it. Try to use your Crystal at least twice daily at first. Remember the more you are able to use your Crystal the more power will be harnessed and utilised to achieve your ultimate goal. Find a quiet, private space and close your eyes. Hold you Crystal gently in your hand, take slow deep breaths and visualise your goal and silently repeat your affirmation.
http://www.alizons-psychic-secrets.com/crystals.html
Although the Tarot is the most widely used ‘book of images’ in the world for the purpose of fortune-telling, many people are oblivious to its origins. A popular belief exists that the Tarot originated in ancient Egypt, but in fact it originated in Italy in the Middle Ages. It has not yet been established with certainty, in which city, what was then called Ludus Triomphorum, or Gioco dei Trionfi, (Game of Triumph) saw the light. It was composed of two distinct groups of cards: the first consisting of allegorical images, the Trionfi, and the second group, called ‘a semi Italiani’ (Italian suits), encompassing Sticks, Swords, Cups, Coins.
Common Playing Cards
Reliable evidence indicates the common playing cards all date back to the second half of the 14th century. Since players easily indulged in blasphemous language against the saints, God and the Virgin Mary causing the indignation of preachers, authorities wished to curb gambling, with all its social and moral implications. This proves that the cards were already widespread in use in Europe by then. Among the prohibitions, are those issued in 1378 in Regensburg in Germany, and in 1388 and 1389 in Switzerland. The Tractatus de moribus et disciplina humanae conversationis (1377) of the Dominican Johannes de Rheinfelden, refers to the introduction of a ludus cartarum in Basel, specifying that he did not know when, where and by whom it had been invented, but he compared it to chess since both games had kings, queens, nobles and people.
Indian and Chinese Origins
According to some scholars, playing cards were first conceived in India, particularly Ganjfa, a card game that was widespread in virtually all courts in medieval India, and one of the favorite pastimes of nobles and kings. According to others, playing cards must be linked to an ancient chess game, Chaturanga, a forerunner of the current one. This was a game of military tactics, essentially intended for the warrior caste, but probably of priestly origin, which was first inherited by the Persians and later adopted by the Arabs.
According to other scholars the origin of playing cards is China, where the technique of making paper was first developed. In favor of the Chinese origin, three different types of card games have been mentioned: the oldest (seventh to eight century) is inspired by dice, or dominoes (derived from dice; dice were also used in ancient times for divination purposes); the other two are inspired by Chinese chess or by paper money. From China the cards would have been introduced in India and Persia and later imported to Europe by the Saracens; rather than by the Gypsies, Crusaders or Marco Polo.
Western cards would have developed from those in use in the Islamic world. A deck of playing cards of the Mamluks of Egypt, discovered in 1939 in the Topkapi Sarayi Museum in Istanbul, supports this hypothesis. This deck, almost intact, cannot be dated before the 15th century, however a fragment of a similar card, found in a private collection, seems to date to the 12th-13th century. The reconstructed deck consists of 52 cards with Sword suits, Polo clubs, Cups and Coins, number cards from one to 10, and court cards labeled as Malik (King), Naib Malik (Vice-King) and Thani Naib (second Vice-King). Islamic cards would first penetrate Italy and then Spain (the style of Italian cards is more similar to Spanish than to that of the Mamluks' cards). Since at that time the game of polo was unknown in Europe, the Italians transformed the Polo Clubs into Ceremonial Sticks, while leaving the other suits unchanged.
Ludus Triomphorum in Italy
In the first decades of 15th century the Ludus Triomphorum, later called Gioco dei Tarocchi, conquered the courts of northern Italy. In this game the Italian suit cards (10 cards numbered from one to 10 plus four figures for each Seed: King, Queen, Knight and Jack) are accompanied by 22 allegorical figures called Trionfi, of three cardinal virtues - Fortress, Justice and Temperance, - the structure of the cosmos, human conditions, destiny, temporal and spiritual power. It is important to remember that in the literature of the 15th century the term Trionfo denotes a particular kind of composition applicable to morals, love, courtiers and politicians, originating from the Triumphi poems of Francesco Petrarca (1304-1374).
In the history of art, the same term applies to the allegorical exaltations of Virtues and Death and the representations of the glorifications of saints and famous people. This was already widespread in the 14th and 15th centuries in memory of the Roman triumphs, as depicted in Petrarca’s poems. According to some scholars, however, the term Trionfi does not have such an educated explanation: it simply derives from the fact that in the game, the fifth Seed trumps, or honors all others.
Met sheet, Ferrara (c. 1500) (CC0)
On the city of origin of the Ludus Triomphorum the opinions of the specialists are discordant. Some of them favor Milano, others Bologna, others Ferrara, where the oldest mention of carte da triomphi is documented in 1442. This fact, however, would not be sufficient to favor Ferrara, observed Italian scholar Giordano Berti, according to whom the Gioco dei Trionfi was created, around 1430, perhaps at the court of Filippo Maria Visconti, and it was the product of an aristocratic culture typical of the Po Valley courts. The Trionfi were a set of allegories with an ethical and moral background, collected from encyclopedic, literary and religious works dating back to the previous century.
Christian Criteria for the Allegories
The criteria by which certain images were chosen, rather than others, can only be conjectured, also because the figures of the first decks are not numbered, so it is impossible to establish the order of value of each card. It is possible, however, to assume that the Trionfi of lower value were those relating to human conditions, followed by the allegories of Virtues, and the figure of Death, after which the soul can end up in hell or ascend to heaven by passing the Moon, Sun and Stars, until it reaches the contemplation of the divine world, waiting for the Final Judgement. Such an interpretation would be partially demonstrated by the so-called Cards (or Tarot) of Mantegna. The Tarot was thus born on the basis of an encyclopedic game that brought together, in the form of 22 allegories, the basic elements of late medieval Christian culture. The Christian character of these allegories emerges strongly from the Milanese and Ferrara Tarot of the 15th century.
Fortress Card, from the tarot cards known as Mantegna (Public Domain)
Since the rules of the Gioco dei Trionfi were more complex than those of common cards, it was possible to circumvent the strict legislation against gambling, as confirmed in a speech by the Ferrara jurist Ugo Trotti in 1456, on the legal aspects of gambling in general, noting that there is a distinction between gambling and games of intelligence.
Another Italian scholar, Andrea Vitali, recognizes Bologna as the cradle of the Tarot and believes that it was conceived around the first decade of the 15th century. Vitali noted that the figures in the cards of the Trionfi prefigured themselves as a ‘Bible of the Poor’. The people, through their playful use, illustrated a knowledge of Christian mysticism and its contents. This use then took over the didactic-moral aspect, which was lost by the beginning of the 16th century. The figures were transformed from region to region according to different popular tastes and currents of thought and it was only at the end of the 18th century that their philosophical content was rediscovered.
The new interpreters, starting from esoteric premises, introduced the season of the use of the Tarot for fortune-telling purposes. As far as the number of Trionfi is concerned, according to Vitali there were initially eight, then the number was increased to 14, 16 and finally 22, a number of deep Christian mystical significance representing the introduction to wisdom and to the divine teachings impressed in men. This increase was due to the need to structure the images according to a scale of values, that reflected the concept of the Christian Mystical Scale.
The Tarocco Bolognese is used for Tarocchini. The design of this standard pattern hasn't changed since the late 18th century and its earliest versions date to the 15th century. (Countakeshi/CC BY-SA 4.0)
From Tronfi to Tarocchi
In order to configure when it happened, one must analyze the Tarocchi Sola-Busca of the late 15th century and the so-called Tarocchi del Boiardo described in the work Five Chapters, sopra el Timore, Zelosia, Amore et uno Triompho del Mondo, composed indicatively around 1461 and published for the first time in 1523. According to Vitali, moreover, originally the Ludus Triomphorum was not the exclusive prerogative of the nobles. Furthermore, the survival of illuminated cards, and not of popular cards, does not mean that illuminated cards were the first to be used: the lack of 15th century popular Trionfi is justified by the fact that popular cards, for their workmanship and for their use, were quickly consumed, therefore once they became unusable, they were thrown away.
It is worth noting that the figures on the very few uncut sheets of Trionfi of ordinary quality are numbered and thanks to this numbering it was possible to trace the three main centers of diffusion from which all the regional variants originated, namely Milan, Ferrara, Bologna. The illuminated cards on the contrary, are not numbered and had to be used in a different way from gambling in the courts. The edifying meaning was lost with the passing of time, as shown by 16th-century works in which the name Trionfi (triumph) is replaced by Tarocchi (tarot). In the Capitolo del Gioco di Primiera by Francesco Berni (1526) one reads that tarocco means nothing but foolish, worthy to be among bakers, shoemakers and plebeians. Like the dice and common playing cards, the Trionfi also became the object of controversy by those who protested against gambling and players who blasphemed.
With regard to the illuminated decks, it was found that their classification proceeded according to the following criteria: study of the execution technique, style and content of the figures, analysis of the coats of arms that adorn certain cards; elements that allow the exact identification of the customer, the time of execution and, in some cases, the artist himself. With regard to the term Tarocchi, some believe that it is plausible that it comes from the ancient Italian word altercare (to argue), from which would have derived altarcare, which in the jargon of ancient card players means to respond with a card of greater value. Others instead refer the term to the taroccato technique, the imprint of decorations with a punch typical of the illuminated cards produced in northern Italy. Another hypothesis links the term tarocchi to the Arabic Tariqa, literally meaning ‘way’ but used in the context of ‘mystical way’ to designate the Sufic brotherhoods.
Original cards from the tarot deck of Jean Dodal, a classic Tarot of Marseilles deck (1701-1715) (Public Domain)(Public Domain
French Marseille Version
The Gioco dei Tarocchi spread rapidly thanks to the printing press, which allowed a considerable reduction in production costs. So local variants developed, with different rules of the game and different orders in the succession of the Trionfi. In the 15th century it was known in the cities of Florence, Lucca, and Naples, in the 16th century in Rome, then it arrived in Sicily and in Piedmont it would have arrived in the second half of the 15th century according to some, or in the 16th century according to others.
Outside Italy, some authors think that it arrived in France in the 15th century. It is important to note that the Marseille Tarot did not originate in Marseille despite the name: in fact, the adjective ‘Marseille’ has been in use since 1930, when the Maison Grimaud produced, on the initiative of its director Paul Marteau, a French master papermaker, a re-edition of the model until then called Tarocco Italiano. According to some historians the prototype of the Marseille Tarot is the deck produced in the mid-17th century in Paris by Jean Noblet. But Giordano Berti remarked that Jean Noblet did not invent anything new, having reworked a pre-existing deck, based in turn on the figures of the ancient Milanese Tarot. The French manufacturers imitated the Milanese model, as evidenced by the so-called Foglio Cary, dating from the late 15th century or early 16th, discovered in the Castello Sforzesco in Milan at the beginning of the last century. From the second decade of the 18th century onwards, an increasing number of master papermakers have been producing the ‘Marseillaise type’ not only in the large cities of France, but also in Switzerland, Piedmont and Lombardy.
18th-Century Cartomancy
There is no irrefutable evidence of the systematic use of the Tarot for divination purposes dating back to the 18th century. There is, however, circumstantial evidence of their use for this purpose, as well as of common playing cards; one in particular is to be taken into serious consideration with regard to the Tarot. It is an episode of the Caos del Triperuno by Teofilo Folengo (1491-1544), in which short poetic compositions are related to figures of Trionfi. Cartomancy does not appear among the divinatory techniques dealt with by various authors in the 16th century. This could only mean that the practice of cartomancy already existed but was not consolidated. It became so in the 18th century thanks to Jean-Baptiste Alliette (1724-1792), using the pseudonym Etteilla, who proposed his own version of the Tarot deck, convinced that he had reconstituted the original form of the Book of Thoth.
Egyptian Sources
Generations of esoterics believed to have found the hieroglyphics of the wisdom of the ancient Egyptians in the Trionfi - a tradition still shared by contemporary authors who ignore the Italian origin of the Tarot cards. The initiator of this tradition is considered to be Antoine Court de Gébelin (circa 1719 - 1784), who in the essay on the game of Tarot in his Monde primitif, analisé et comparé avec le monde modern wrote that the Tarot was the only remaining Egyptian book of the superb Libraries of the Egyptians. Court de Gébelin, who took the Marseillaise Tarot as a reference model, also stated that the Egyptians applied the Tarot to the Art of Divination, a custom transmitted to the playing cards, made in the image of the Tarot, and that the 22 Atous are allegorical tables applied to the whole of life and susceptible to an infinity of combinations. Later, the occultist Éliphas Lévi (pseudonym of Alphonse-Louis Constant; 1810-1875) considered the Tarot the inspirational book for all the sacred books of the ancient peoples and the most perfect instrument of divination. In Histoire de la Magie, he stated that the Tarot, used by the Gypsies, came from Egypt via Judea, and that the keys of the Tarot refer to the letters of the Hebrew alphabet. It is interesting to note that the first esoteric interpretations of the Tarot are the work of authors whose relations with French Freemasonry or some of its collateral branches, are evident.
The so-called French school included other prominent figures, including Jean-Baptiste Pitois (1811-1877), better known as Paul Christian. In Histoire de la Magie, du Monde surnaturel et de la fatalité à travers les temps et les peoples, he described a ritual that would take place, in a distant epoch, in the Sphinx of Giza, ending inside the pyramid of Cheops, where the neophyte discovered 22 Arcanes or enigmatic paintings, whose meanings were interpreted by the guardian of sacred symbols. Arcano derives from the Latin arcanus (hidden or hiding), derived from arca (ark or coffer). The adjectives Major and Minor, that commonly qualify the two distinct groups of cards that make up a Tarot deck, i.e. Major Arcana and Minor Arcana, evidently refer to the initiatory mysteries.
Gérard Encausse, better known as Papus (1865-1916), followed Lévi's example by relating the Major Arcana to the 22 letters of the Hebrew alphabet. Papus affirmed that thanks to the Tarot it is possible to understand the mysterious bonds that unite God, man and universe; these bonds are synthesized in the letters JHVH, INRI, TARO and ROTA. Oswald Wirth (1860-1943) is the author of the famous essay Le Tarot des imagiers du Moyen Age about 22 Major Arcana, which are still much appreciated today. Wirth was an admirer of Lévi, though without renouncing his impartiality, he judged the statements of Court de Gébelin and he was critical of Paul Christian, whom he considered bewitched by the alleged Egyptian origin of the Tarot. All one can concede to the supporters of this hypothesis, Wirth noted, is that the ideas that inspired the Tarot are of extreme antiquity; archaeology has not discovered the slightest trace that could represent the remains of Egyptian Tarot, nor Gnostic or Greek-Arab alchemists.
It is worth remembering that the scholar of the Kabbalah, Gershom Scholem expressed his disappointment on the alleged Kabbalistic origin of the Tarot. He observed that the works of the French and English occultists of the 19th and 20th centuries only caused confusion on the subject. He was severely critical towards Lévi, Papus and Aleister Crowley (1875-1947), but less towards Arthur Edward Waite (1857-1942) who, according to Scholem, lacked any critical sense when it came to historical and philological facts.
Crowley and Waite were members of the Hermetic Order of the Golden Dawn and it is known that one of the Order's practices was meditation on the symbolism of the Tarot, which were used for divination with the aim of developing intuitive perception. Waite and Crowley are the authors, respectively, of The Pictorial Key to the Tarot and The Book of Thoth, and the creators of two of the most popular and appreciated Tarot decks in the world, of completely different inspiration. The delicate figures of the Rider-Waite Tarot of Pre-Raphaelite taste were created by Pamela Colman Smith under the constant supervision of Waite. He stated that the Tarot embodies symbolic representations of universal ideas and that there is a secret tradition concerning the Tarot, as well as a secret doctrine locked therein. Lady Frieda Harris painted the original images of the Thoth Tarot under the guidance of Crowley, according to which the Tarot, being a book, is under the influence of Mercury, therefore its symbols are suitable above all to communicate thought.
The Book of Thoth by Aleister Crowley. (Free Use)
Tarot in the 20th Century
Among the works on the Tarot written in the 20th century, Le Tarot de Marseille by Paul Marteau (1949) and Le Tarot: Histoire, iconographie, ésotérisme by Gérard Van Rijnberk (1947) deserve to be mentioned. The first book is a study of the Tarot de Marseille, the most traditional Tarot and the richest in analogical meanings, according Marteau, who considered the Tarot as a set of figures that symbolically express the work of man in order to achieve his own evolution. The second book, accompanied by a large bibliography and numerous illustrative tables, was written, according to Van Rijnberk, to partially satisfy the different questions that the Tarot can pose, bearing in mind that the Tarot with its 22 images of polymorphous interpretation embraces the entire world of trends of the spirit.
The literary panorama of the Tarot today is very wide, in fact it is possible to easily find a large number of works of various approaches, and the number of Tarot decks on the market is considerable. Magic, Alchemy, Astrology, Kabbalah, Eastern philosophies and even Jungian psychology, have provided the basis for many interpretations, not always noteworthy, sometimes questionable, often contradictory, sometimes imprudent. Each of them, however, can find a justification if one considers that the Tarot speaks to everyone in a different way, because of everyone’s degree of understanding, consciousness and sensitivity, showing itself as a kaleidoscopic channel of access to higher and deeper levels of existence.
Alessandra Filiaci is the creator of ‘Tarosofia’, a system of study and creative use of the Tarot and author of the books I Tarocchi. Il Sentiero Degli Uomini E Degli Dei" (1999) and I Tarocchi Della Nuova Era. Percorso Spirituale, Divinazione, Applicazioni Ludiche (Tarot of the new era. Spiritual path, divination, playful applications )(2017)
https://members.ancient-origins.net/articles/tarot-cards
MAKE A RUNESET
by Russ the Runester
Why is Wood the Medium of Choice?
A tree is the most perfect of spiritual beings, with its roots buried alive in Mother Earth and its limbs alive and growing in Father Sky.
According to the Song of the Sybil, when the earth was young, Odin and his two brothers found two trees: an ash tree and an elm, faint, feeble, with no fate assigned to them. Breath they had not, nor blood, nor senses, nor language possessed, nor life-hue. Odin gave them breath. Hoenir gave them senses (shape). Blood and life-hue was given by Lothur.
We are the forbears of the trees. One does not just carve runes, one recreates this ritual. By chanting the name of the the rune, one give the rune breath, the energy of its name. By carving it, one gives the rune senses (shape). By coloring the rune red (blood is optional), one gives it life's hue.
When you carve runes you create life.
Make a Rune Set
This article was written by my dear friend, Maryam Povey Webster. I've inserted a few of my own comments in brackets.
The Materials
1. Basically, you'll need a 1" diameter fruit tree branch. Apple works well, yew and pine, too, and I've seen nice cedar, redwood and olive wood sets. It does have to be a fruit-bearing tree according to my reading and personal gnosis on the issue and harvested just before the tree comes into fruit (at the blossom stage) - you need that fruit-bearing power in the runes to lend to the overall power of the runic symbols. I have been taught by the Gods I work with that to have a "dead" branch (harvested fallen, non-fruit bearing or having already fruited) makes 'dead' runes. Others may have different feelings about this.
[Sunny's comments: Most trees are "fruit-bearing", save some species in which the male and female are separate. In that case, use wood from the female tree. If you are a city-dweller, use a purchased hardwood dowel or precut wooden buttons from a woodworking shop. Thin wooden blanks can also be found in hobby shops.]
2. You will need a knife, X-acto Blade or a burin (ice pick-like scribing tool), an ice pick or sharpened screwdriver, a 1/8" wood carving chisel or veiner, or a Dremmel tool fitted with a narrow bit. This instrument is for inscribing ("risting ") the runes onto the wood and can be consecrated (preferred) or not (acceptable). Less acceptable is a wood burning tool with a narrow gauge bit. This tends to produce undesirable results when you come to stain your runes and the resultant smoke can be difficult to deal with for those sensitive to it. Putting the wood of your runes to fire additionally puts a slightly destructive energy (the fire eating the wood and leaving behind the charring) into the runes that is not found with the clean lines of the knife blade.
[Sunny's comments: Woodburning is much easier than carving. Scrape out the char before painting. On the other hand, if you carve, you are almost guaranteed to have blood handy...]
3. Your own blood: if you're a woman in childbearing years, you have a readily available supply. If not, I suggest asking for a vial "to take home" (make up what excuse you will) the next time you donate or give blood for tests. You'd be surprised at the people who will accommodate such a request. Otherwise, get ready to prick your finger many times to stain your runes; or get a friend with a medical kit and training to take a vial. If you have access, you'll need the vial with the lavender top. This contains heparin; an anti-clotting agent. You really do need this as the blood begins to clot almost as soon as it leaves your body, rendering it unusable. I would recommend two full lavender-topped tubes be drawn; freeze as immediately as you can until you are actually ready to stain your runes. A way of fudging on the blood is to prick a finger and squeeze a drop into a tablespoon or so of red paint or stain. Some authors advocate the use of other bodily fluids; saliva, semen, urine and sweat, but blood is the most traditional of these as the "fluid of life". It is up to you which you feel best suits your purpose for the bodily fluid you do use makes the runes uniquely "yours". If another person picks up your runes, they cannot leave their psychic mark on them because your blood remains to cancel out other influences.
[Sunny's comments: red ochre powder mixed with linseed oil or red acrylic paint are both good for reddening the runes. Put a few drops of blood into the ochre mixture or paint.]
4. Other materials: sandpaper, a saw to form the rune disks or shapes, varnish, tung, linseed, olive or lemon oil to seal the runes once rist and stained. A sturdy pouch is of paramount importance to contain the finished work and can be made of leather or any heavy material.
That's basically the materials. The formation of the runes and rituals surrounding it differ from person to person. Below is a representative sample which you are invited to use as is or change to suit your particular working style.
Formation Ritual
1. Prior to the ritual, lightly pencil the runes onto the different disks, laying the symbols against the grain. Softly chant the name of each rune as you draw it. Draw all the component parts of the staves downward, to draw energies into the rune symbol. Cut two or three extra disks to cover cracked runes and missteps of your cutting tools, etc.
2. Set aside a sacred space in whatever way you feel comfortable; ideally in the workshop area of your harrow (altar). It is highly appropriate to do the Hammarsettning, or Hammer Ritual in the cardinal four directions as well as Above, Below and Center.
3. Invite into your space the Gods and Goddesses of the runes: Odin, Balder, Freya and Freyr, the Norns, etcetera. If you have a particular affinity for any one God/dess, invite that Deity also to witness and lend their energies to the proceedings. Invite also your lineal ancestors, especially those who worked magic in their own lives, your power animal allies, local land spirits or any other wights you may wish to have present. Pour a tot of milk, apple juice or wine in offering to the Gods and ask them to guide your hands and lend you their powers in the work you are to do.
4. Place your cut disks or tablets on the workbench or other safe space, with the Fehu disk in a clamp. Lay a white cloth napkin or other clean white cloth in front of your workspace to place the finished runes on.
5. Draw the sign of the hammer over the disk to sain it and placing your lips close enough to vibrate the wood, "galdor " the rune (intone the rune sound) strongly into the disk while holding a strong visualization of the one thing that means "Fehu" to you. This could be one of the traditional meanings, such as "money" or "cattle" or something that is extremely intimate and personal only to you. Whatever it is, hold the visualization strongly and begin to carve, Dremmel or burn the rune into the wood.
6. When you are finished with the first rune, take it out of the clamp, put it on the white cloth in front of your workspace and clamp the second rune in. Repeat steps 3 and 4 until you have all twenty-four Runes done. Ideally, you should try to do this all in one session. If this is impossible, do three separate workings, each encompassing one of the three Ættir (rows of eight Runes) until you are done.
7. When you have all of the Runes done, assemble them in order on the white cloth. Fix your gaze intently upon each one in turn, again galdoring intensely the vibration of each Rune into the wooden disks. When you have galdored the last rune, galdor the Ansuz-Laguz-Uruz formula "Ahhhluuu!" (meaning "It is sealed"/"So mote it be") over the rune set.
8. Ground the sacred space (and yourself), thank the Gods, and dismiss any minor wights you might have called.
Consecration Ritual
This is a ritual which takes place in two parts. In the first part, you are erecting sacred space for blooding or painting the rune staves. After a period of time waiting for them to dry, you will come into sacred space again to seal and do the final consecration of the runes.
1. Again, set aside sacred space in whatever way you feel comfortable using the Hammarsettning to sain and seal the space.
2. Invite into your space the Gods and Goddesses of the Runes, your lineal ancestors and any other wights you may wish to have present. Dedicate the space and the time to the consecration of your rune set. Lay your runes on a cloth that you don't mind getting soiled with your own blood or ink. (This cloth will later be ritually burned) Pour a tot of milk, apple juice or wine in offering to the Gods and ask them to lend you their powers of purification for the consecration to follow.
3. Wash your runes lightly in clean, consecrated water. The Icelandic spring water or Glacier water that is currently on the market is perfect for this application. The purer, the better. Don't soak them as you want them to absorb the pain or blood later in the process. Light a recel or smudging blend made of purifying herbs like oakmoss, cedar, Thor's beard (house leek), vervain, clary sage and perhaps a smidgen of amber perfume resin. (Refer to the "Nine Worts Galdor" in the Lacnunga for ritually appropriate herbs.) Dedicate the recel to the Purifying forces and pass each rune through the smoke, saying a formula like "By Oak and Sage, by Fire, Water, Air and Earth, in the name of Odin, purified be this Rune, clear be its purpose and great be its Power. Ahhhluuu! " Then intone the name of each Rune and blow the vibrations into the disk. Repeat with all twenty-four runes and return them to the cloth.
4. For a Man or Non-Menstruating Woman: Have an altar space set aside upon which is your bottled blood (several drops from pricking your finger, in a quantity of red ochre acrylic paint or red India ink is just fine as is a whole lavender-topped tube from a professionally done venipuncture), the completed Runeset and a quill, or small brush.
For Menstruating Women: If you intend to insert the Runes vaginally (the most effective way, in my experience), conduct the ritual nude, or have no underclothes on and wear a loose skirt which you are easily able to raise and lower during the ritual. Have tissues and a sanitary napkin available and sit on a folded towel to contain any spills. Have on your altar a small brush and bowl next to the Runeset. If you are able to extract any of your blood (this is most easily done with the fingers) and prefer not to insert the Runes, put the blood into the bowl and mix it with red ochre acrylic paint or red India ink. You will need enough to color the staves of all twenty-four Runes.
5. For a Man or Non-Menstruating Woman: Take up each Rune disk and paint each component part of the stave downwards, drawing the power of the energies you are raising into the rune. Chant three times "Fehu, Fehu, Fehu!" while you are painting, or as many times as it takes you to feel that the energies are present in the rune. After which you seal the energies into the Rune by again vibrating "ALU!" into the wood. You have repeated this process four times before and will repeat it once more before your set is consecrated, for a total of six times. The repetition is necessary as it gets the energies well worked into the physical structure of the wood and carved staves. Repeat with each rune until all twenty-four are stained. Take down the sacred space and wait for your Runes to dry.
For Menstruating Women: Obviously, inserting the Runes vaginally colors them all over. Women who do this must be totally comfortable with touching themselves intimately. This method is usually preferred by more serious magical workers and "galdarkonas" (literally: magic-wives) but is not necessary to consecrate your Runes for everyday use. If you prefer to paint on your own blood with a paintbrush, follow the directions above. I prefer to insert the Runes a pair at a time in order in twelve separate sessions. Sometimes you will not be able to complete this at one sitting due to the availability of your blood and the thirstiness of the wood. As you insert each pair of Runes, galdor three times the name of each Rune or as many times as it takes you to feel that the energies are present in the rune. Seal the energies into each Rune by vibrating "ALU!" into it internally. Remove the pair of Runes from your vagina and set the wet Runes on the stainable cloth to dry. Repeat in pairs until all twenty-four are stained. Take down the sacred space and wait for your Runes to dry.
6. Until your Runes are dry, keep in a dust free environment. Pets will be attracted to the blood as will ants; keep the drying Runes in an inaccessible place, under a bowl, large strainer or other cover that will not touch their surface. When the Runes are dry, erect the sacred space once more and seal the paint or blood in by rubbing the wood with a quarter cup of olive oil with ten drops of lemon oil in it. You can further this recipe by adding a teaspoon of melted beeswax and beating until incorporated. This is a basic old furniture polish recipe and works well to seal handmade wood products. Furthermore, add a few drops of the oils of the plants that are known to provoke visions such as mugwort, vervain, viper's bugloss, buckthorn, house leek, parsley root, sage and others. Add these oils to the olive oil base prior to adding the beeswax and stir (don't shake) them into the mix. I have a lovely polish made with the addition of amber perfume resin and a bit of a melted brown crayon which added a slight, lovely walnut color to the wood. Work the polish into the wood of each rune with a cloth. As you do so, mentally galdor each rune and think about its meaning as you rub. The finished runes should have no trace of polish on their surfaces but should be buffed to a satin finish.
7. After sealing, hold each Rune over your heart and vibrate the sound of each through your heart chakra and into the individual Rune. Finish with "ALU ". When you have done this with all of your runes, they are ready to use. Dedicate them to the main purpose you wish to use them for e.g.: "By Iaer and Urdh, I dedicate these Runes to acts of Healing and Divination!" or "By Odin and Freya, I dedicate these Runes to the learning of Deep Magick!". Whatever God/desses you invoke will be sealed to the Runes for their lifetime, so make sure you know what you want before you speak. Spend some time thinking about it before you dedicate the set. Go and do your first Rune reading for yourself; your Runes are now irrevocably and personally sealed to you and their energies will never run higher - you have earned the right of first usage.
Divination
Now, take your brand spanking new Runeset out for a test drive. Your first Divination should be for yourself, for your Runes will be glowing with the energies of your own Wyrd. For your first reading, concentrate on a general portrayal of your own life to present, then on the present itself, then on the future. These would ideally be done as three separate readings, completed in one sitting. Don't forget to record your experiences. One new to the runes should generally do no serious readings for other people until they have spent at least three or four years in intensive study of the runes as individual Mysteries. Study Divination from your second or third year onward. Be careful in what you tell people; the runes are not a panacea, and their message is not meant for everyone.
Galdor
Galdor (galdr) is defined as "the singing of runes and runic combinations in spell work, healing and other applications". Learning to galdor is like learning to sing. There are for the most part an infinite number of combinations of runes that can be concatenated within any given galdor. You may choose to sing one rune over and over or a combination of five, ten, fifty, several hundred in differing permutations to infinity. The numerical implications of this are somewhat interesting and form the basis for the decoding and encoding of runic structures found in nature, the sciences and pure mathematics. There are 24 runes in the Common Germanic (Elder) Futhark and any number of ways to put them together. Repeats of one or of a sequence of nine are the most frequently seen in workings of magickal significance. Work with spreading out the sound of each rune and engaging as many consonant/vowel combinations as you can. The first rune: "Fehu" can be galdored: "Feeee, Faaaa, Fuuuuu, Faaayhuuuuu!" (now you know what "fee-fi-fo-fum" really means!) Draw out the vowels as much as possible, exploring all registers and resonances in your voice. Find the place each rune fits the best in your vocal register and bodily vibrancy. Each rune might feel more correct to you being sung as a song in and of itself, complete with a beginning, middle and an end. Or you might just hold one note for each rune. Most of the runes will have slightly to vastly different tones. Explore them all. Each person will have different notes for each rune; there is no "one correct way".
Beyond Runedom
As the Master Runester Edred Thorsson says: "Reyn til Runa " - meaning to explore, study and quest until you find the Mystery. Go into the heart of Mystery (Runa ), until you can go no further. Go even further than that. Then you will no longer need a runeset...
Meditation & Exercises
1. Draw the rune you are studying on your forehead in an aromatic oil. Dragon's Blood perfume is good for this as are pine, mugwort, lemon and sage essential oils. If using essential oil, be sure to mix one drop of essential to five or six drops of carrier oil which can be any salad oil you have on hand. Feel the rune's essence soaking into your forehead and smell the scent of the oil. (If you use the same oil each time to enrune yourself, you will develop a Pavlovian attachment to it which will facilitate your entry into the 'other world' of the Runes very swiftly. I use a very light mixture of mugwort and pine in grapeseed oil.) Allow yourself to go into a very light trance, or meditative state. Note what emotional associations and images come to you. Write them down when you come out of your meditation. Compare notes over time and across the runes you study.
2. Draw the rune of your study onto the palm of your dominant hand and galdor (meaning "to chant with purpose") the rune with your lips very close to your palm. Your hand should feel the resonance of your voice. This is called "loading" the rune. (Which brings forth all sorts of associations and droll warnings against going off 'halfcocked' that we won't go into...{grin}) Transfer the "loaded" runic energy from your dominant to your non-dominant palm by beginning to slowly chant the rune. As you begin to chant, raise the loaded palm upwards into the air, gathering energy and force. When you feel you have gathered enough energy and are at the high point in your chanting (Wiccans: when the energetic "cone" has been formed) slam the loaded palm down onto the other hand and abruptly, explosively, extend the last breath of your rune chant into it. The "slam" of the palm needn't be physically forceful; you are 'slamming' the force of the rune, not your own main. Feel now the non-dominant palm. How does it feel, what emotion, color or scent can you attach to it? Try this exercise on other parts of your body, on a plant or tree (ask first!), familiar, etc. This is one of the ways of using runes in healing. Make copious notes of your impressions and compare over time.
3. This is a couples exercise. Get together with another classmate for this one. Both stand facing one another. The "Sender" holds his or her hands out at waist-height, palms facing downward. The "Receiver" holds his/her hands underneath the Sender's hands, palms facing upwards with about a three to four inch airspace between them. The Sender then 'loads' a particular rune into his/her hands by visualizing, feeling the rune internally, perhaps with chanting (which can be silent and mental) until the rune's energy has peaked and then without touching, 'slams' the runic energy down into the Receiver's hands. The Sender then backs off and grounds by touching the floor if s/he needs to. Receivers should remain stationary until the last impression, sight, sound, smell, color, vision etc. is received and noted. Then, switch places and the previous Sender now receives. Do this with all runes you study. Note the different energy signatures the runes give off when channeled through different people. Switch partners if you are able.
4. Draw one rune from your bag (or by placing your finger on a rune chart in random fashion) to begin each day. Read a small snippet from one of the recommended books and spend five minutes in meditation on your rune for the day. Often, your rune will be amazingly predictive of the day's situations. Do the same with the last few moments of your evening.
5. As many runesters have done, bake and eat your own rune bread, cookies or cakes. Any sort of small baked cake or cookie will do; enrune them by risting (writing) one rune per cake with clear, red icing or food coloring. Ingest one cake per day for twenty-four days in sacred space using loading of the cake and galdor before ingesting it, noting any and all effects. I like to do this exercise along with #4 above, before heading out the door.
6. Work on your practice of galdor, or singing the runes with intent. Work from Fehu to Othala and galdor a rune circle around yourself daily. This is an excellent form of protection and self-defense and will fool the wiliest of elf-shot archers among other things. I credit daily runagaldor with bettering my good health.
7. Choose an English language word that derives from your daily rune choice. An example is "Ride" from Raidho, "The" from Thurisaz, "Any" or "All" from Ansuz etc. Meditate on how you relate to that word in your own life. If using "Day" from Dagaz then how do you relate to your day-night cycle? Are you a 'day' person? How do you use your day? What do daylight, daybreak and day's end hold for you? Use your notes of all of these associations to make your own word/rune association charts to replace those found in the works of others.
8. Keep a journal of your efforts, without fail. Even if it's a few shakily penned lines upon awakening, note down every thought, dream, sound, scent or emotion that relates to your study. Immerse yourself in a sea of runes.
Wassail!
© 1995-2003 Maryam Povey Webster, "Lyfjaheim Runic Study/Intensive". Visit Maryam's website http://www.wyrdweavers.org/ where the original of this article is posted.
For another description, visit http://www.eskimo.com/~valkyrie/, an outstanding site on runes and Àsatrù, by Susan Granquist and Mike Mohilo. Mike demonstrates how to use a Dremmel tool to create an intricately carved rune set. Start with the runes section and stay to explore the rest of this truly beautiful website.
Rune casting Aspects
When should one give a "reversed" meaning to a rune during a divination? If drawing runes one by one from the rune bag, those that upside-down are typically given a "reversed" meaning. However, there are those who feel that the direction of the rune is not relevant and makes no difference in a reading.
If one is literally casting the rune lots onto the ground or onto a layout cloth or board, the lay of the rune becomes much more significant. Edred Thorsson discusses rune casting aspects in Rune caster's Handbook, At the Well of Wyrd. I use only the first method, but if you are an experienced runester, you may find the other methods useful. This is pretty high-end stuff.
The three horizontal runes represent your past, present, and future. It is usually best to turn over the center rune (1) first. This is the rune of the present and will show your problem as it is now. It can also show your state of mind. A negative rune in this position that does not seem to be in synch with the question can often show that you (or your querant) are of a very troubled and agitated state of mind.
The rune in position to left of the center (2) signifies the past and will tell you what was in the past that caused you to be in your current position.
Next read the rune laying above the center (3). This indicates the help that you can expect to receive in the problem at hand. If there is a negative rune here, it can indicate an unwillingness to accept the advice given by the runes or another person, or it can indicate delays or slight problems that may impede the speedy resolution of the matter in question.
The rune below center (4) indicates what aspects of the problem must be accepted and cannot be changed. Positive runes here show a lack of troublesome influences and oppositions, while negative runes show the obstacles to your success.
The rune to the right of center (5) is the result rune. This rune indicates the final outcome, given the other factors in the rune cast.
This rune cast indicates recent future happenings, usually within three months.
Seven rune layout gives a bit more detail with more information on how to deal with your problem and on what lead you to your present dilemma in the first place. It usually speaks of events three months into the future and into the past.
If you wish to use this layout but want information on happenings more current than three months, be certain to concentrate on your time frame as well when you are concentrating on your question.
The questions you can answer with this layout can be much broader in scope than with some other rune casts. Instead of asking "yes" or "no" or "what about my relationship?", you can ask questions like "How will my job progress if I take this new business course?" or "If I started seeing other people, how would my current lover accept it?" Through questions like these, you can certainly get enough information to solve all but the most complex problems.
Select seven runes and lay them out in a row of 6 with the final one below the row and centered as shown.
In this reading, you will have to be interpreting two runes at a time. The first two runes are the problem.
Runes 3 and 4 are read next. These show the factors in the past which have led up to the situations at present.
Runes 5 and 6 are the two most important runes in this rune cast. They represent the advice the runes are giving you, and extra special care must be taken to interpret their meanings as they relate to one another. They can indicate a need to wait and not act or a need to act immediately. They also may indicate a total shift of emphasis to new realms totally unrelated to the problem in question.
The final position, rune 7, is the result position. Keep in mind that a positive rune in this place (or a negative one, for that matter) will only be truly positive (or negative) if the preceding runes indicate such an outcome.
This is a challenging rune cast and certainly worth the time it takes to master it.
Futhark Layout
Fehu: Money matters. Psychic energies.
Uruz: Physical health. Vital energies.
Thurisaz: What opposed you (perhaps physical).
Ansuz: Sources of inspiration and intellectual expression.
Raidho: Travels or outer.
Kenaz: Creativity. Erotic relationships.
Gebo: What will be given to you.
Wunjo: Relationships, friends. What will give you happiness.
Hagalaz: Area of possible crisis leading to transformation.
Nauthiz: What resists you (psychically). Source of discontent.
Isa: What is constraining you.
Jera: Where rewards can be expected. Relationship with the natural environment.
Eihwaz: Hidden influences, state of whole being. Relationship with the numinous environment.
Perthro: How you will find joy.
Algiz: Thing that needs attention. Way to the gods.
Sowilo: What will guide you.
Tiwaz: Cognitive state. Legal matters. Ideals.
Berkano: What provides growth and beauty.
Ehwaz: With what or whom you should work. Erotic relations.
Mannaz: Overall psychic state. Attitude toward death.
Laguz: State of emotional Balance. What will test you.
Ingwaz: What you should contemplate.
Dagaz: Area of unexpected synchronicity.
Othala: Greater family matters. National or community issues.
Airts and the Eight-Fold Wheel
The Airt (Ætt) of Freya is primarily related to practical and mundane matters. One selects the runes unseen and places them in the area next to the runes already there. These meanings are very simple and on the most basic level serve as the background for a strait forward reading, in which questions of a practical nature can be answered.
Fehu - Financial strength and prosperity of the present and near future.
Uruz - Health matters.
Thurisaz - Conflicts and complexities of an aggressive nature; psychological problems.
Ansuz - Communications and transmissions; points things back to sources in the past.
Raidho - What is right or not right; what move to make; decisions; returns.
Kenaz - Opening up of new ways; opportunities; information.
Gebo - All matters of an exchanging nature; contracts; personal relationships.
Wunjo - Gain; accomplishments; that which is wished for.
The second airt, of Hagalaz, principally corresponds to emotional matters and the psychological conditions present within the individual.
Hagalaz - The uncontrolled forces in the unconscious, which are usually of a disruptive nature and which usually originate in the past.
Nauthiz - Restrictive forces in the unconscious; fears, anxieties; feelings of guilt.
Isa - Blocks; stultified conditions; grievances; anything that the individual is not prepared to let go of; the formation of the personality; conditioning.
Jera - Hopes and expectations; turning points; gradual changes; results of earlier actions.
Eihwaz - The driving forces in the unconscious; motivation; sense of purpose.
Perthro - The deepest creative part of the unconscious; the hidden realm of higher material that is waiting to come to fruition and birth; hidden talents; occult or psychic abilities.
Algiz - The strong protective side in the unconscious; the influence which will protect you; religious aspirations.
Sowilo - Position of the higher self in relations to the unconscious; the direction in which you will be guided by the higher self; the ability to establish contact between the higher self and the unconscious.
The third airt transcends the two others, in that it largely relates to relationships with other people, and also to the sexual side of life. Whereas the first ætt is largely concerned with the outer world, and the second mainly deals with the inner world, the third ætt synthesized both the inner and outer world, and most of the runes in this ætt contain a dual meaning involving both aspects.
Tiwaz - Creative energies in the martial sense; where your strengths lie; where to direct your energies in taking initiatives; honor and justice, leadership and authority.
Berkano - Fertility; birth' rebirth; growth; maternity; family life; feminine mysteries.
Ehwaz - Adaptability; relationships with others; joint efforts; cooperation; sexuality.
Mannaz - People at large; attitude toward others; other people's attitudes towards you; legal matters, friends and enemies; intellect.
Laguz - Emotions; stability; imagination; psychic matters; affections.
Ingwaz - Integration; gestation; expectations; progeny.
Dagaz - Transmission; opposites; position between light and darkness; initiation; balance between the worlds outside time and space; cosmic consciousness; change from one thing into its opposite; new beginnings.
Othala - Home life; country; spiritual heritage; experience; foundation; fundamental values; establishing.
Worldstead Layout
The pattern of the Norse Ættir of the
Heavens (which points out North, South, East and West, and the quadrants between) is combined with the other most obvious division of "space", that of the nine worlds of Yggdrasil, to form the Worldstead design used to divide the casting cloth into fields of meaning. In reality, this figure represents the "collapsing" of multidimensional space into a two-dimensional model as do many sacred symbols of all kinds. The fields are names for the nine worlds of Yggdrasil and derive their meanings from these concepts. (The actual cloth should not have the names of the worlds on it.)
The lots falling within the inner circles made up of Midhgardr-Àsgardhr-Hel-Ljóssálfheimr-Svartálfheimr (which in the three-dimensional model make up the vertical column) give a reading of the subjective or psychological state of, or influences on, the person. Those of Ljóssálfheimr and Svartálfheimr are more "personal". while those of Àsgardhr and Hel are more "transpersonal". The lots coming down in the outer fields of Niflheimr-Muspellsheimr-Vanaheimr-Jötunheimr (which together with Midhgardhr form the horizontal plane in the Yggdrasil model) clarify the state of the objective universe and how it affects the person in question. Note carefully the special synthesizing function of Midhgardhr; the center; where all potentialities are (or can be) manifested.
The runes are cast blindly upon the cloth and are read as they lie on the cloth in their steads of meaning. According to personal custom, lots which land face down may be read as murk-staves, or they may be removed from the cloth and set aside. "Inverted" runes cannot be read as such operations of this kind. Those that fall off the cloth altogether should be disregarded. (Note, however, what these lots are; they may be significant by their absence!)
Once a final configuration has been established, a complex picture may appear. This kind of casting is sometimes so complex that it cannot be fully interpreted in one sitting (especially by beginning rune casters). Therefore, be sure and draw out a record of the casting. Often the direction a lot is facing; it may seem to be "pointing to" another lot gives subtle clues which reveal nuances in the lot's interpretation. For this reason, a sketched record is preferred. The true significance of the casting may not be realized until sometime later when you are contemplating the working record. Continued next page.
The pattern resulting from a casting upon the airts can be read in several ways. You may start from what is now manifesting itself in Midhgardhr and work out to the more remotely influential realms, e.g., from Midhgardhr to Ljóssálfheimr and Svartálfheimr, and from this pairing to Àsgardhr and Hel, and from there to the outermost realms of Vanaheimr. Or you might reverse this process working from Niflheimr and Muspellsheimr back to Midhgardhr. Ultimately, no linear progression is really inherent in this pattern it is rather an ultra-dimensional model. Therefore, intuition may be each runester's best guide.
Niflheim: Nordhr (North). That which resists you. Passive or restrictive influences from the outside. Things tending toward dormancy. The deepest part of the shadow in the unconscious. Nifelhel of Niflheim means literally "fog world". Fog is an intangible, insidious state between water and air. All the rejects of the conscious get deposited here. It is the place from which conflicts originate.
Jotunheim: Austr (East). That which confuses you. That which may be left to chance. Forces pressing for change. Realm of crisis. Disruptive, raw masculine forces of the unconscious; the destructive male urge; the chaotic part of the self.
Åsgard: Landnordhr (Northeast). Higher influences. Nature of relationships with the divinities. The veiled branches of the question. Matters of honor, positive (active) influence from past states of existence ("incarnations:)--ørlög. Individuality. Highest plane. Higher self. Spirituality.
Vanaheim: Vestr (West). Promotes growth. Erotic relationships. Persons of the opposite sex. Balancing influences. Forces of continuity, structure, and well-being. Feeling (Water).
Ljóssálfheim: Utnordhr (Northwest). Mental influences. Family matters. Messages of Huginn directions in which you should plan. What will help you. Paths to help you realize influences from Àsgardhr. (Air). Plants, elves, tree spirits and birds are ruled over by Freyr, Lord of the Vanir.
Midgard: Center. The way people come together to manifest themselves in life. The outcome in life. Ego consciousness. The Personality, Ego Consciousness or Lower self.
Hel: Utsudhr (Southwest). Hidden or suppressed instinctual desires. Nature of automatic functions or behaviors. The hidden route of the question. Negative (passive, restrictive) influence from pasts states of existence&emdash;ørlög. Destructive part of the Feminine, hidden fourth aspect of the moon; the devouring part of the mother; the half-alive half-dead daughter of Loki, half black, half white.
Svartálfheim: Landsudhr (Southeast). Creative emotional influences. Money matters. Messages from Muninn things you should reflect on. Paths to realize influence from Hel. Sensation (Earth). The Dark Elves are smiths, like Volund, working with minerals, taking base materials from the earth and transmuting them into higher materials.
Muspellsheim: Sudhr (South). State of vial energies, that which vitalizes you. Active influences from outside. Things tending toward activity.
http://sunnyway.com/runes/layouts.html
Runic Alphabet
Origin
Little is known about the origins of the Runic alphabet, which is traditionally known as futharkafter the first six letters. In Old Norse the word rune means 'letter', 'text' or 'inscription'. The word also means 'mystery' or 'secret' in Old Germanic languages and runes had a important role in ritual and magic.
Here are some theories about the origins of runes:
The alphabet was probably created independently rather than evolving from another alphabet.
Runic writing was probably first used in southern Europe and was carried north by Germanic tribes.
The Runic alphabet is thought to have been modelled on the Latin and/or Etruscan alphabet.
The earliest known Runic inscriptions date from the 1st century AD, but the vast majority of Runic inscriptions date from the 11th century. Runic inscriptions have been found throughout Europe from the Balkans to Germany, Scandinavia and the British Isles.
Notable features
The direction of writing in early Runic inscriptions is variable. Later they settled down into a left to right pattern
Word divisions were not generally recognized in Runic writing, although one or more dots were occasionally used for this function.
Types of runic inscriptions include:
'Hrolf was here' type inscriptions on cliff walls, large rocks and buildings gravestone inscriptions, often with who carved the runes and who was buried, and also who made sure the stone was raised. (Later grave slabs or stone coffins were sometimes inscribed with Christian texts carved in runes) religious/magic inscriptions: prayers and curses, formulas on charms, etc.
inscriptions related to trade and politics:
There are many examples of trade communication: stock orders and descriptions, excuses for not having paid on time, trade name tags for bags or cases of produce, etc.
The trade inscriptions are often carved on wooden rune sticks.
Political inscriptions are to do with matters of the law, historical figures state that they were somewhere hiding from the enemy, secret messages to do with the fighting of wars, etc.
personal letters: love letters, greetings between friends, proposals, etc. rude messages, similar to modern graffiti
Art and craft-signatures: Goldsmiths, blacksmiths, wood carvers, church builders, etc., often put their name on what they made. Objects also sometimes had names carved onto them – either the name of the object itself, or the name of the person who owned it.
http://www.omniglot.com/writing/runic.htm
Scrying
People have been Scrying for many years, from the time of the ancients to the modern day. When clear vision is sought a variety of mediums have been used for their reflective purposes. By using or attuning to an external source or object, one can enhance the stillness and peace needed to start the visions rolling. However, to pursue such a practice while in a state of turmoil would induce a very chaotic and random effect, with little real continuity. This train of vision would then need much deciphering and ordering to make sense of any information gained.
All of creation that can be beheld by the eye and all that cannot is born of the element of consciousness. Each individual from a single grain of sand to the gods themselves are but facets of the one whole divine consciousness with an eternal inner-connection, separated only by their own definition of the self.
If then we are to seek vision over a part of our life, or if asked to help another, we have only to find this connection within ourselves. The essential truth is that all things are within us, all potential and possibilities are ours to be tapped. If we are to search for the highest truth possible, then one should reach for the highest point of consciousness available. Pure Love. This is not the sentimental state of the Earth Mind but the Bliss State of the open spirit. True potential lies in the giving and receiving of Pure Love energy. We now arrive at the first stage of successful scrying, the setting of sacred space.
For myself, when I seek to set a sacred space, I use the four elements or characteristics of the Medicine Wheel. I feel that this is the most perfect way possible, as within the wheel is much understanding and wisdom, as without lies much yet to be discovered. The other great advantage is the connection to the spirit through the natural world and order of God's creation. So, my work has led me to use the natural elements in my practice.
I won't go into great detail about the Medicine Wheel as that would be a task within itself, but in order to be able to set a Sacred Space one must observe these key elements:
Definition
Intention
Purpose
By Definition one defines the boundaries. This is simply who you are in your active space. A sacred circle should be held in pure and clean thoughts recognizing the sacredness of all creation. By holding oneself in the energy of pure love, we are protected from the outside harmful and mischievous energies. Let the Pure Love rays flow from your heart. In our Intention we determine within ourselves why we are on such an undertaking and then to what Purpose or end result this is all for.
By keeping ourselves in our Sacred Space in this way we are protected from all harmful rays. The great majority of which are one's own negativity returning again. Love is both the key and the way.
The actual practice of Scrying is most simple. By following the guidelines laid down above you will find yourself a little more than halfway there. The next step is to make the bridge of consciousness or to hold one's attunement to the task in hand.
As I mentioned earlier, I use the Four elements though such implements as a mirror or crystal could be used.
For the first step in the actual practice, take yourself into a meditation and find within yourself the pure spirit. At this time, it pays to be clear about your intention or the direction of your practice, so that the energies have continuity in their flow. From this place then attune to the medium you are using - be it Fire, Water or any other such entity. Allow the energy of your chosen proxy to fill your essence; this combined with the focus of your intention may fill you with the vision you require.
Remember the connection that you require is with the energy of your subject rather than the physical manifestation. The common mistake is to look for the visions in the fire or water itself rather than within.
When absorbing an energy within your own being, such as that of fire or water, it is important that it is consecrated first. Either by blessing the water or dedicating the fire to its purpose.
Hopefully these guidelines will be enough to start many on their way, as with most practices the only limitation lies within yourself.
We have used sand as a medium, with great success. The client holds a focus on their issue and makes a mark upon the sand; the reading is then given from this impression.
There has been success for people who use the smoke from incense, while myths and tales tell us of the whispers on the wind. Allow your imagination to take you to new and fertile lands.
Scrying with a Crystal Ball or Palm Stone
Globes of clear and smoky quartz crystal, beryl or emerald, amethyst, citrine, fused quartz, white or honey calcite, obsidian, selenite, Jaspar, jade, and other precious and semi-precious stones are gazed at in order to gain information. The crystal ball or sphere may be clear, or it may be colored; it may have fractures, rainbows, and inclusions; it may be rutilated, patterned, or plain in color. Clear glass or Lucite balls are also sold as gazing balls.
A palm stone is a rounded stone that is naturally somewhat flat and fits into the palm of the reader's hand. The average size is roughly one to two inches by two to three inches and about half an inch thick. Palm stones may be made of any of the gems or minerals that crystal balls are made of, but by far the most popular materials for palm stones are black obsidian and glowing white selenite.
Often psychic readers who scry in crystal balls have studied traditional knowledge about the various precious and semi-precious gemstones and their spiritual or occult qualities. Given this knowledge, they may employ quartz or calcite gazing ball for distance viewing and for sending out blessings, a small amethyst crystal ball to sense if someone is using drugs or alcohol, a beryl for distance vision, or a black obsidian crystal ball for night-viewing or determining if a curse has been placed on a client. Thus, a single practitioner may have several different crystal balls to be used depending on the nature of the querant's question.
Crystal balls come in a range of sizes, from those as small as a marble to the convenient and aptly named "palm ball" of about two inches in diameter, and on through those that are six, eight, or even 10 inches in diameter. The larger stone spheres are generally displayed on ornate stands, usually of carved wood or brass,
Prior to beginning a psychic reading, the crystal ball may be cleansed with smoke, water, or an herbal blend designed to "open up" the crystal and get it ready to work. The reader may also make "passes" over the viewing area to magnetize the crystal and set it to working. Most stands are simple tripod holders, but some workers place their crystal balls on rotating stands and start their visions coming by giving the ball a slow, stately spin.
Once the opening ritual is complete, the reader softly gazes into the depths of the ball, searching in a calm fashion, or simply allowing the information to arrive. Traditionally, crystal ball readers will see shifting points or ribbons of light or even small images within the ball, often animated, like little movies. They describe these to the client as the reading proceeds. Divinatory readings by crystal ball often resonate with clients who are audio-visual in orientation and are fairly intuitive themselves.
When the reading concludes, the crystal gazer may make a hand-pass over the ball to de-magnetize it or put it "back to sleep." Some scryers cover their crystal balls with a cloth when not in use, but most simply set the ball out of their direct line of sight.
Crystal gazing with a crystal ball is a famous form of divination, but although many readers possess and display crystal balls for their beauty and symbolism, the ability to be a proficient crystal gazer is a surprisingly uncommon gift.
Scrying With Crystal Points
Quartz crystal points are used by some psychic readers to gain information and tell fortunes. Before working with crystal points, the reader may give them a ritual suffumigation or a spiritual cleansing in special washes and waters or in purifying perfumes or colognes.
During the act of scrying, the psychic may hold the crystal point in his or her hands, typically with the point up if the stone has a single termination. The reader may sing or speak over the crystal to "wake it up." Some diviners create a grid of stones and crystals, which they place in a physical location or on the client's body in order to read the place or the person for hidden information. When laying out such an array, the reader will usually employ at least one crystal point, as these stones function like information transmitters for many psychics.
Clear and smoky quartz points are favored scrying tools for many psychics who work with crystals. In some cultures, clear crystal points that have a single pointed end or termination are used by men, whereas those with two pointed ends or a double termination are used by women.
Psychic readers who use crystal balls to gather images may also keep a few crystal points on their workspace to assist them in acquiring information more clearly. Images, symbols, numbers, and occasionally words can appear within the crystals to those gifted for this type of scrying.
Hoodoo root doctors who have been influenced by New Age teachings may use crystal points in healing work. If the client is present, the worker may place the crystal point on the part of the body that is of concern. both to gather psychic information about the disease or illness and to facilitate the healing process.
Mirror Scrying
The most common form of mirror scrying involves gazing into a mirror which has been blackened on the silvering side of the glass, producing a very deep, dark, almost borderless effect. Some mirrors used for this purpose are slightly bowl-shaped.
The reader positions the mirror so that no light is directly reflected by it, and simply gazes into the darkened glass. Information gained via this method is generally clairvoyant; that is, images are seen. Such mirrors may be used to call and speak with the spirits of individuals, much in the same way that photographs can be used.
Some prepare their mirrors by first setting them in moonlight, or by washing them with salt water, or by washing them with specific herbal infusions such as calendula prior to use.
Small rooms or closets may be painted black, with blackened mirrors hung on the walls; these have been used to experience visual spiritual phenomena.
Smoke Divination
Smoke can be used to divine images and gain information. There are several different methods, and each one has its adherents in the root working and hoodoo community, as well as in other traditions of folk magic and spiritual practice.
Some scryers like to build a small fire in which to "read" the smoke. This is usually done usually out of doors and most often at night, when the smoke will be seen by the light of the flames and embers. The fire is kept fed and the resulting smoke gazed into until the information sought is obtained.
Some psychics who use the open fire method of smoke reading use specific types of wood for their practice, such as oak or pine, according to their traditions. Some smoke scryers who work out of doors may throw a few psychic vision herbs or incense resins onto the flames, once the fire is going well in order to sharpen their sense of focus and clarity.
Another method of smoke reading employs incense resin or loose powder incense as the source of the smoke to be scryed. This may be done indoors, with the incense burned in a brazier, pot, or thurible.
Some herbs are particularly well known to stimulate psychic visions and visionary dreams; these may be burned alone or, as if the more common practice, they may be added to hoodoo incense powders such as Psychic Vision, Spirit Guide, or Indian Spirit Guide, and natural resins such as Dragon's Blood and Copal Negro, or Myrrh, to make a special incense for scrying.
Whichever method is employed by the reader, the psychic visions seen in incense smoke are continually shifting and moving, and to a gifted scryer they may appear almost as scenes in a movie or frames from a storyboard that explains the past, connects to the far-away present, or reveals the secrets of the future.
It is not uncommon for a hoodoo visionary seer to slip into a light trance while reading patterns in smoke, so some readers who work this way have a helper at their side to take notes on what the psychic says, in order to have a complete record of the transient visions, which may otherwise be forgotten when the reader returns from the trance.
Pyromancy or Fire Reading
Pyromancy, also called Fire Gazing or Fire Divination, is an ancient method of foretelling the future in which the reader stares intently into flames or burning coals in order to catch a glimpse of things to come. Gazing into the flames or into the winking and glimmering embers allows the pyromantic scryer to gain otherwise unobtainable information for clients concerning people, places, and future trends of interest or concern. Specific woods may be used to lay the pyromantic fire, and specific dried herbs may be added to the blaze, to help the reader to perceive.
Water Scrying
Scrying into bowls of pure water is a very old method of divination and vision seeking. Some people prefer to use clear crystal bowls; some prefer white bowls, and some prefer dark. It is important that the bowl be very clean prior to filling with water; a rinse with ammonia after cleaning is appropriate. The bowl is filled with pure water, and then is positioned so that light is not directly reflected onto the surface. The querant then gazes into the water until he or she sees, or otherwise senses, the desired information or contact.
Similarly, natural bodies of water like lakes, tidal pools, ponds, and some moving water can be gazed into. Sit calmly at the water's edge, and gaze into the water. This requires a passively expectant, patient mindset.
Finally, wells can be used for scrying. One method involves leaning over backwards as you bend your head into the well, looking down at the water below. It is said that you will see your future. This method is often employed to see one's future spouse.
Ink Scrying
A shallow bowl completely filled with black ink can be used to scry after the manner of using a black mirror, an obsidian palm stones, or an obsidian crystal ball.
Alternatively, ink may be carefully floated onto the surface of a bowl of water, drop by drop, until patterns are formed, and the resulting images interpreted. The color of the bowl should contrast with the color of the ink, so that the patterns are clearly visible. Most bowls used for this purpose are white or a polished metal. Using substances like ink along with water to divine is also known as hydromancy or lecanomancy.
Oil Scrying
In this traditional form of scrying, oil is carefully poured or dropped onto the surface of water in a bowl or a cup. The resulting patterns are interpreted. This is a highly intuitive form of reading. Using oil on water to divine is a form of hydromancy or lecanomancy.
Molten Metal Scrying
Metals that have low melting point, such as lead or tin, may be used for scrying. This method is particularly popular among people of northern European descent. The metal may be melted in an iron spoon or crucible and then poured into water or onto fresh snow, and the patterns read. Using molten metal for divination is called molybdomancy.
http://www.readersandrootworkers.org/wiki/Category:Scrying,_Visiona...
I Ching -- The Book of Changes
This is an ancient divination text and the oldest of the Chinese classics. The I Ching was originally a divination manual in the Western Zhou period, but over the course of the Warring States period and early imperial period was transformed into a cosmological text with a series of philosophical commentaries known as the "Ten Wings" After becoming part of the Five Classics in the 2nd century BC, the I Ching was the subject of scholarly commentary and the basis for divination practice for centuries across the Far East, and eventually took on an influential role in Western understanding of Eastern thought.
The I Ching uses a type of divination called cleromancy, which produces apparently random numbers. Six random numbers are turned into a hexagram, which can then be looked up in the I Ching book, arranged in an order known as the King Wen sequence. The interpretation of the readings found in the I Ching is the matter of centuries of debate, and many commentators have used the book symbolically, often to provide guidance for moral decision-making as informed by Confucianism. The hexagrams themselves have often acquired cosmological significance and paralleled with many other traditional names for the processes of change such as yin and yang and Wu Xing.
The I Ching is an influential text that is read throughout the world. Several sovereign states have employed I Ching hexagrams in their flags, and the text has provided inspiration to the worlds of religion, psychoanalysis, business, literature, and art.
The text of the I Ching has its origins in a Western Zhou divination text called the Changes of Zhou or Zhou yi. The Zhou yi, which may be grounded in even older Shang dynasty analysis of oracle bones, contains references to events as early as the 11th century BC. Based on a comparison of the language of the Zhou yi with dated bronze inscriptions, Edward Shaughnessy has concluded that the text was assembled in approximately its current form in the early decades of the reign of King Xuan of Zhou, i.e., the last quarter of the 9th century BC. Recently discovered bamboo and wooden slips show that the Zhou yi was used throughout all levels of Chinese society in its current form by 300 BC, but still contained small variations as late as the Warring States period. It is possible that other divination systems existed at this time; the Rites of Zhou name two other such systems, the Lianshan and the Guizang.
Structure
The basic unit of the Zhou yi is the hexagram, a figure composed of six stacked horizontal lines. Each line is either broken or unbroken. The received text of the Zhou yi contains all 64 possible hexagrams, along with the hexagram's name, a short hexagram statement, and six-line statements. The statements were used to determine the results of divination, but the reasons for having two different methods of reading the hexagram are not known, and it is not known why hexagram statements would be read over line statements or vice versa. The book opens with the first hexagram statement, yuán hēng lì zhēn. These four words, translated by James Legge as "originating and penetrating, advantageous and firm," are often repeated in the hexagram statements and were already considered an important part of I Ching interpretation in the 6th century BC.
The names of the hexagrams are usually words that appear in their respective line statements, but in five cases (2, 9, 26, 61, and 63) an unrelated character of unclear purpose. The hexagram names could have been chosen arbitrarily from the line statements, but it is also possible that the line statements were derived from the hexagram names. The line statements, which make up most of the book, are exceedingly cryptic. Each line begins with a word indicating the line number, "base, 2, 3, 4, 5, top", and either the number 6 for a broken line, or the number 9 for a whole line. Hexagrams 1 and 2 have an extra line statement, named yong. Following the line number, the line statements may fall into the categories of oracle, indication, prognostic or observation; each statement usually has two or three of these elements, and sometimes one or none. Some line statements also contain poetry or references to historical events
Usage
Archaeological evidence shows that Zhou dynasty divination was grounded in cleromancy, the production of seemingly random numbers to determine divine intent. The Zhou yi provided a guide to cleromancy that used the stalks of the yarrow plant, but it is not known how the yarrow stalks became numbers, or how specific lines were chosen from the line readings. In the hexagram's, broken lines were used as shorthand for the numbers 6 and 8, and solid lines were shorthand for values of 7 and 9. The Great Commentary contains a late classic description of a process where various numerological operations are performed on a bundle of 50 stalks, leaving remainders of 6 to 9. Like the Zhou yi itself, yarrow stalk divination dates to the Western Zhou period.
The Zuo zhuan and Guoyu contain the oldest descriptions of divination using the Zhou yi. The two histories, considered generally reliable today, describe more than twenty successful divinations conducted by professional soothsayers for royal families between 671 BC and 487 BC. The method of divination is not explained, and none of the stories employ predetermined commentaries, patterns, or interpretations. Only the hexagrams and line statements are used. By the 300s BC, the authority of the Zhou yi was also cited for rhetorical purposes, without relation to any stated divination. The Zuo zhuan does not contain records of private individuals, but Qin dynasty records found at Shuihudi show that the hexagrams were privately consulted to answer questions such as business, health, children, and determining lucky days.
In the Zuo zhuan stories, individual lines of hexagrams are denoted by using the genitive particle zhi, followed by the name of another hexagram where that specific line had another form. In later years, the word zhi was interpreted as a verb meaning "moving to", an apparent indication that hexagrams could be transformed into other hexagrams. However, there are no instances of "changeable lines" in the Zuo Zhuan. In all 12 out of 12-line divinations quoted, the original hexagrams are used to produce the oracle.
Ten Wings
Part of the canonization of the Zhou yi bound it to a set of ten commentaries called the Ten Wings. The Ten Wings are of a much later provenance than the Zhou yi, and are the production of a different society. The Zhou yi was written in Early Old Chinese, while the Ten Wings were written in a predecessor to Middle Chinese. The specific origins of the Ten Wings are still a complete mystery to academics. Regardless of their historical relation to the text, the philosophical depth of the Ten Wings made the I Ching a perfect fit to Han period Confucian scholarship. The inclusion of the Ten Wings reflects a widespread recognition in ancient China, found in the Zuo zhuan and other pre-Han texts, that the I Ching was a rich moral and symbolic document useful for more than professional divination.
Arguably the most important of the Ten Wings is the Great Commentary (Dazhuan) or Xi ci, which dates to roughly 300 BC. The Great Commentary describes the I Ching as a microcosm of the universe and a symbolic description of the processes of change. By partaking in the spiritual experience of the I Ching, the Great Commentary states, the individual can understand the deeper patterns of the universe. Among other subjects, it explains how the eight trigrams proceeded from the eternal oneness of the universe through three bifurcations. The other Wings provide different perspectives on essentially the same viewpoint, giving ancient, cosmic authority to the I Ching. For example, the Wen yan provides a moral interpretation that parallels the first two hexagrams, with Heaven and Earth. Throughout the Ten Wings, there are passages that seem to purposefully increase the ambiguity of the base text, pointing to a recognition of multiple layers of symbolism.
The Great Commentary associate's knowledge of the I Ching with the ability to "delight in Heaven and understand fate;" the sage who reads it will see cosmological patterns and not despair in mere material difficulties. The Japanese word for "metaphysics", keijijōgaku (pinyin: xíng ér shàng xué) is derived from a statement found in the Great Commentary that "what is above form [xíng ér shàng] is called Dao; what is under form is called a tool". The word has also been borrowed into Korean and re-borrowed back into Chinese.
The Ten Wings were traditionally attributed to Confucius, possibly based on a misreading of the Records of the Grand Historian. While there is little evidence for this, the association of the I Ching with Confucius gave weight to the text and was taken as an article of faith throughout the Han and Tang dynasties. The I Ching was not included in the burning of the Confucian classics, and textual evidence strongly suggests that Confucius did not consider the Zhou yi a "classic". An ancient commentary on the Zhou yi found at Mawangdui portrays Confucius as endorsing it as a source of wisdom first and an imperfect divination text second.
Hexagrams
In the canonical I Ching, the hexagrams are arranged in an order dubbed the King Wen sequence after King Wen of Zhou, who founded the Zhou dynasty and supposedly reformed the method of interpretation. The sequence generally pair hexagrams with their upside-down equivalents, although in eight cases hexagrams are paired with their inversion.[46] Another order, found at Mawangdui in 1973, arranges the hexagrams into eight groups sharing the same upper trigram. But the oldest known manuscript, found in 1987 and now held by the Shanghai Library, was almost certainly arranged in the King Wen sequence, and it has even been proposed that a pottery paddle from the Western Zhou period contains four hexagrams in the King Wen sequence. Whichever of these arrangements is older, it is not evident that the order of the hexagrams was of interest to the original authors of the Zhou yi. The assignment of numbers, binary or decimal, to specific hexagrams is a modern invention.
Directions on How to Use the Ouija Board
From the "Museum of Talking Boards"
http://www.museumoftalkingboards.com/directio.html
"Place the board upon the knees of two persons, lady and gentleman preferred, with the small table upon the board. Place the fingers lightly but firmly, without pressure, upon the table so as to allow it to move easily and freely. In from one to five minutes the tablet will commence to move, at first slowly, then faster, and will be then able to talk or answer questions, which it will do rapidly by touching the printed words or the letters necessary to form words and sentences with the foreleg or pointer.
2nd - Care should be taken that one person only should ask questions at a time, so as to avoid confusion, and the questions should be put plainly and accurately.
3rd - To obtain the best results it is important that the persons present should concentrate their minds upon the matter in question and avoid other topics. Have no one at the table who will not sit seriously and respectfully. If you use it in a frivolous spirit, asking ridiculous questions, laughing over it, you naturally get undeveloped influences around you.
4th - The Ouija is a great mystery, and we do not claim to give exact directions for its management, neither do we claim that at all times and under all circumstances it will work equally well. But we do claim and guarantee that with reasonable patience and judgment it will more than satisfy your greatest expectation."
5th - In putting the table together wet the tops of the legs and drive them firmly into the table. Care should be taken that they are firm and tight. 6th - The board should be kept smooth and free from dust and moisture, as all depends upon the ease with which the feet of the table can glide over the surface of the board. Rubbing with a dry silk handkerchief just before use is advised.
WM. FULD
INVENTOR AND MANUFACTURER
GAMES - PARLOR POOL TABLES - COLLAPSIBLE KITES
THE MYSTIFYING "ORACLE" TALKING BOARD, Etc
Factory and Show Rooms, 1226-1228-1306 N. Central Avenue
BALTIMORE, MD., U.S.A.
These were the instructions printed on the back of the Ouija Board in 1902 by William Fuld. They must have worked pretty well because they've been copied and recycled by countless talking board manufacturers ever since. The idea is a simple one: you and a friend touch the planchette and it mysteriously moves from letter to letter to spell out messages from unknown entities. The planchette appears to have a mind of its own, or is the board? Some say it's the spirits, others say it's the user's own subconscious movements. The Ouija board is controversial and not the least apologetic about it. But the number one argument with the Ouija board isn't why or how it works, it's that many times it doesn't work at all, especially if one tries it without a partner. Fortunately, with a little information and practice almost anyone can use a talking board, and that includes the majority of you who have tried before and failed.
It's important to mention that the success of your séance—that's what we call a Ouija session, depends entirely upon your attitude and how seriously you approach the matter. This is as true today as it was when William Fuld cautioned against "asking ridiculous questions and laughing over it," and it bears repeating. Decide first what you would like the Ouija board to do for you. Ouija boards have an interesting way of reflecting the mental attitudes of the users by responding accordingly. If you want it to act wacky, or have it scare your pants off, the Ouija will not disappoint. If, however, you are looking for a meaningful experience, the Ouija board can offer that also. It's completely up to you.
Gaining any new skill requires practice and patience. This is as true for talking boards as it is for bicycling or juggling. We are amazed at the people who try the Ouija for all of about three minutes then loudly proclaim, "it doesn't work!" Imagine if you tried to drive a car that way. If at first you don't succeed, give it a rest then go back and try it again. Expect it to take a little while.
Make sure that your surroundings are conducive to a good Ouija session. There should be no distractions or interruptions of any kind. Turn off the television and radio. Get away from the screaming kids, friends, whatever. Good places to use Ouija boards are bedrooms, closets, cozy attics, empty fields under the stars, cemeteries, lonely wind-swept beaches, just about any place where it is private and quiet.
Opening and closing rituals are neither essential nor necessarily traditional but they might enhance your Ouija experience, particularly if you enjoy ceremony. Regardless of what you may have heard, there is no "one true way" to ritualize. Your "own true way" is best. Recite poems, speak power words, intone spirit invocations, or sing songs that are meaningful to you. Surround yourself with candles if you're so inclined. Above all, "personalize" your session. If you want to cover your board with amulets to protect yourself from the "unfriendlies," go ahead and do it. There are no rules to the contrary. Do whatever get you in the mood. No mind-altering chemicals, though! Wear something comfortable yet special to the occasion.
Sit with the board balanced securely on your lap or on the table before you. Make sure you have adequate back support so that you don't topple over at an inopportune moment. Place your fingertips (index and middle) lightly on the planchette. Take a quiet moment to empty your mind of unnecessary thoughts. Relax your body and mind. This is more about revelation than concentration. No need to get all knotted up inside. Spirits don't bite . . . much.
Ask the Ouija: "Is anyone there?" or ask an intelligent question out loud. This is more important than it seems. You can't expect whatever entity you are addressing to respond if you don't ask properly. As obvious as this is, you would be surprised at the number of people who sit with the Ouija and just stare at the board. Asking questions of the board is what it's all about. Not asking and expecting an answer is like standing at a neighbor's door and not knocking. Not much happens and you get chilly waiting.
With your fingers in the proper position, give the planchette a few moments to work by itself. If nothing happens or it acts "asleep," very lightly slide it around the board in a circular motion. Now here comes the tricky part, so listen up, especially if you plan on working without a partner. As you are circling the Ouija, try to distance yourself mentally from the movement on the board. In other words, try to be a spectator as the planchette moves through the letters. You're supposed to be watching things happen—not making them happen. That "other something" is supposed to kick in right about now and you don't want to be consciously forcing the planchette. It's a conscious-unconscious state that you are trying to achieve and it's going to take a little practice. It's like rubbing your belly and patting your head—you have to learn to do it without thinking, otherwise you'll get all mixed up. And don't over analyze this technique. This isn't some arcane mumbo-jumbo we're talking about here. It's a simple mental skill that's very easy to learn. You probably do it already when you drive your car or peel a potato. You don't think consciously about the details as you're performing every little movement.
Once you've distanced yourself properly, you're going to get the "feeling" that the planchette "wants" to stop at certain letters. This "feeling" isn't a bolt from the blue; rather it's a subtle, intuitive thought that "this is the right place to stop." Let this happen and be sure to remember the letters. Beginner sessions sometimes move very slowly. If you think you may have difficulty remembering, it's perfectly OK to take notes using a pencil and paper. You may wish to do this anyway. The Ouija board doesn't always use perfect language and may return abbreviated words and phrases and even misspellings. Nonsensical expressions and sentence fragments may have meant when you think about them and view your notepad later. After you've gained some expertise, your planchette will fly around the board and you will have no trouble understanding the messages. Remember that we said to glide the planchette "gently." You can't be ham-fisted about this. Use just two fingertips (index and middle) of each hand. If the planchette repeatedly cycles to the pictures on the board or returns complete gibberish, traditionally this would mean that the board is not cooperating, "try again later." It also may mean that you are simply not in the right frame of mind or are trying too hard. "Try again later," is what you want to do.
It's important to mention that the "mysterious nature" of the Ouija board isn't always mysterious or even very obvious to some of us. Beginners are sometimes perplexed when the message indicator sits there like a stone and refuses to glide merrily to and fro around the board. Sometimes the planchette needs a little help and this makes sense when you think about it. If the planchette was so terrific at moving by itself then it wouldn't need you or anybody else touching it. If you subscribe to the spiritualist theory, the spirit presumably needs a "vessel" with hands to move the planchette and eyes to see the letters. If you're an ideomotor theory believer and think you're moving it subconsciously by yourself, the same thing applies. That subconscious of yours might need a little conscious help. Otherwise, it may stay un-conscious for quite a long time. So, it's completely acceptable to give the planchette a little push. If things don't happen pretty quickly, go ahead and circle the board with it. A figure eight is fine. Eights are considered unlucky after "Wild Bill" Hickok's death hand of aces and eights. Somehow this superstition has found its way into Ouija lore. Don't worry about it unless you're a gunfighter and are using your Ouija board in Deadwood, South Dakota.
With practice, the planchette will spell out coherent messages. When we say, "practice," we mean practice as in "do it over and over." If you give up after twenty minutes, you're not going to have much success with the Ouija, or with anything else for that matter. Try it for thirty minutes a day for two weeks. If it still doesn't work, then maybe talking boards are not for you. Good luck and happy Séance.
Tales from the Talking Board
What makes the Ouija so different and controversial is that it has a certain notoriety. Without this reputation it would be just another board game like Monopoly or Chinese Checkers. Speaking of games, someone once made the observation that Ouija was really Scrabble with attitude and this may be true on more than one level. But maybe it's more accurate to say that the Ouija is not a game nor has it ever been one despite early marketing strategies to sell it as a novelty. Although it's tempting to think that early perceptions of the board were different than those of today that is hardly the case. The Ouija hasn't changed and more importantly, people haven't either. The Wonderful Talking Board has always been controversial and like it or not, it is destined to stay that way.
The Museum of Talking Boards would not be complete without a few interesting Ouija narratives. These are entertainment pieces taken from a variety of sources and we do not necessarily expect you to take them as gospel. Notice how they reveal more about the people involved with the Ouija than the actual board itself. The Ouija board, while usually expected by popular culture to reflect the darker side of life, can also act to inspire and direct, as you will see. That said, we present the following accounts, some old, some new, all thought provoking and worthy of further investigation.
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"CRAZED THROUGH "OUIJA" said the Boston Daily Globe the evening of November 21, 1891. In what might have been the earliest reported case of a mishap using a Ouija board, the Globe reported that Mrs. Eugenie Carpenter, "a fine-looking woman" and only 28 years of age, was found wandering almost naked in the streets. Her reason was gone and at intervals she cried out "Ouija said so and I knew it was true." Further investigation revealed that she was married quite young and that her husband had deserted her. For the previous year she had been receiving the attentions of a young man employed as a brakeman on the Consolidated Railroad but that they had quarreled over a trifling thing and separated. Upon hearing of the marvelous powers of the Ouija board, she bought one and asked whether her husband would ever return to her. The board answered "No." She then asked if her lover would ever return, and the pointer spelled out: "He has ceased to love you. He will never return." At this point she became deathly pale but after a time regained her composure. It was a couple of mornings later that a neighbor went out to find her wandering up and down the street muttering to herself, "Ouija said so and I knew it was so."
Follow up articles to this story warned about the evil "Ouija Witch Board" and wrote, "Insanity threatens Those Who Consult—Fortune Through Her. Catholic clergymen are waging a war upon Ouija boards as dangerous to the young."
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The Bradbury Building looms bizarrely on the corner of Third and Broadway in the city of Los Angeles. It is an architectural marvel and Hollywood filmmakers adore it, filming within its walls such Film Noir classics as DOA, Blade Runner, and Seven. There is something about this building—something weird—something foreboding. Legend has it that George Wyman consulted his dead brother using a Ouija board before building it for Louis Bradbury in 1893. An apprentice architect, Wyman had little real experience and lacked confidence in his own abilities. His brother didn't, apparently, and spelled out this message during a Ouija session: "Take Bradbury Building. It will make you famous." He did, and it did.
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Mrs. John Howard Curran stunned the literary world during a twenty-four-year period (1913-1937) when she channeled an entity named Patience Worth through the Ouija board and produced six novels, two thousand items of blank verse, and hundreds of pages of poetry. She wrote so much that she had her own magazine devoted to her, named appropriately enough, Patience Worth's Magazine. But when push came to shove, Pearl Curran denied that the Ouija board was responsible for her prolific output. Many of her admirers refused to believe this and argued that Pearl had buckled under the pressures and criticisms from outsiders.
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Author and adventurer Stewart Edward White and his wife Betty experienced a spiritual revelation while using a Ouija board for the first time at a party. Together they continued their exploration and Betty subsequently reached an altered cognitive state in which she claimed to communicate with entities named the "Invisibles." Through these communications, Betty relayed the entities' religious doctrines and special techniques to teach humans super-consciousness and higher awareness. Stewart wrote three books recording these experiences: The Betty Book, Across the Unknown, and The Unobstructed Universe. The books attracted many followers, inspiring him to write several more. Betty continued to speak to Stewart even after her death, through friend and psychic Ruth Finley.
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Emily G. Hutchings, a friend of Pearl Curran, contacted the spirit of Mark Twain through her own Ouija board and wrote a novel ostensibly by him named Jap Heron. The literary community universally condemned the book as an invention and a poorly written one at that. Perhaps, as one disappointed reporter remarked, "Mark Twain left more than his body when he passed over to the other side."
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The Wuachope children, Robert (9) and Virginia (13), wrote an Oz book under direction of a Ouija board. The year was 1920 and L. Frank Baum, the series original creator, was dead less than a year. Could this book have been his final literary effort from beyond the grave? Most Oz lovers doubt it. They agree that Invisible Inzi of Oz is not the best of the Oz books and that is putting it charitably. Some think that it may well be the worst.
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English author Sax Rohmer, famous for his Fu Manchu novels and membership in such occult organizations as the Golden Dawn, credited the Ouija board with jumpstarting his writing career. He asked the board about how he could best make a living and the board replied: "C-H-I-N-A-M-A-N". This was enough to inspire a long and profitable career and it brought him fame, riches, and the freedom to travel the world. Had he consulted the board further, it might have warned him to stay away from the casinos. He lost most of his fortune in Monte Carlo.
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The sleepy town of El Cerrito, California made the national news on March 7, 1920, with the headlines, WHOLE TOWN "OUIJA MAD". Horrified police arrested seven people "driven insane" after using a Ouija board. One girl, only fifteen and found naked explained it was because she could "communicate better with the spirits." In the following days, the madness spread to others in the town including one police officer who ripped off his clothes and ran hysterically into a local bank. Officials quickly held a town hall meeting and decided to bring in mental health professionals to examine the entire population of 1200. To prevent any future outbreak of "ouijamania," they made the rational decision to ban Ouija boards from the city limits.
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The courts convicted Dorothea Turley and her daughter Mattie of murder, in a celebrated legal case during the 1930's, after Mattie killed her father with a shotgun. Fifteen-year-old Mattie described on the witness stand how the Ouija, used by her mother, directed her to commit the homicide. The judge and jury determined the murder had more to do with a life insurance policy and the mother's secret lover than the Ouija board, and sentenced Dorothea to prison and Mattie to reform school. The higher courts overturned Dorothea's sentence just three years after her imprisonment and set her free. Mattie stayed in reform school until the age of twenty-one.
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The "Most Dysfunctional Marital Relationship" award went to the Hurds of Kansas City in 1935 after Herbert killed Nellie with four shots to the back. Seventy-seven-year-old Herbert told police that Nellie received messages from the Ouija board claiming that he was in a relationship with a neighbor woman and that he had given her fifteen thousand dollars. After a Ouija séance, Nellie would eye Herbert suspiciously and say loudly, 'Well, I've caught you in another lie!" Over a period of weeks, Nellie tortured her husband by wiring him to the bedposts and whipping him with a knotted rope. She burned him with a red-hot poker, stabbed a knife into his shins and forced a confession by holding a revolver to his head. Herbert got possession of the gun after Nellie carelessly left it on a bedside table. Seizing his chance, he sent Nellie to the Spirit World for good. Neighbors testified that the Hurds had been in a tumultuous relationship for years. The court ruled the slaying as justifiable homicide and that was the end of that.
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A Cottage City, Maryland boy began displaying unusual symptoms after his family experimented with a Ouija board. Odd manifestations occurred in his presence: the shaking of his bed and the sudden movement of room furnishings from their usual positions. The Washington Post first reported the incident on August 10th, 1949. Several articles followed, each more sensational than the last. They told of the boy's tribulations, the failure of medical science to treat his maladies, and his cure by a Catholic priest. Except for a 1951 Fate Magazine follow up, the whole matter might have been a forgotten curiosity. It was not to be. In 1971, William Peter Blatty's heavily altered novel about the incident hit the bookstands. It quickly became a best seller and a movie blockbuster followed. Its name? The Exorcist.
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Married poets Ted Hughes and Sylvia Plath were almost as famous for their turbulent personal lives as for their poetry. Despite Ted's failure to commit and Sylvia's chronic depression, they complemented each other in ways that only such artists can. They regularly held séances with a Ouija board and it provided poetic inspiration as well as the more mundane results of weekly football matches. To the question, "Shall we be famous?" the Ouija answered for Sylvia: "Fame will come. Fame especially for you. Fame cannot be avoided, and when it comes, you will have paid for it with your happiness, your husband and your life." The Ouija was eerily correct on all counts. After the couple separated, Sylvia committed suicide. She won the Pulitzer Prize for poetry posthumously.
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Bill Wilson, co-founder of Alcoholics Anonymous, wrote his book Twelve Steps and Twelve Traditions (1953) while communicating with a 15th Century monk through a Ouija board. This apparently caused consternation among some of his AA members. Perhaps it stemmed from the rumors that Wilson and his wife had a specially designed "spook room" in their house where they invited visitors to participate in group seances. Consternation or not, today's AA members number in the millions internationally.
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While writing one day, poet Jane Roberts experienced a paranormal revelation when she "felt her consciousness leave her body." Flooded with new ideas, she and her husband experimented with a Ouija board and contacted an "energy essence personality entity" named Seth. The results were several popular books by Roberts, and a few dictated by the entity Seth himself. Roberts is directly responsible for starting the "channeling" craze in 1972 with her book, Seth Speaks. The writings of Roberts and Seth are still popular among New Agers and there are many websites devoted to their works.
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James Merrill, writer and poet, composed his epic The Changing Light of Sandover after long sessions on a homemade Ouija board with his friend David Jackson. Did his inspiration really come from the spirits, as some claim, or was the Ouija his personal instrument for creative expression?
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Iris Maloney won 1.4 million dollars in the California lottery after picking the winning numbers through her Ouija board. "Hank isn't laughing at me anymore," chortled Iris, referring to her husband who had counseled her to throw the "damn thing" away. Waving a facsimile of the check in one hand and her Ouija board in the other, Iris posed for the obligatory photo session before a small group of photographers. "I don't know if I will continue to use the Ouija," Iris commented. "I'll probably hang it next to my needlepoint collection in our new home." Hank was still in the hospital recovering from the heart attack he suffered after hearing the news of his wife's success and was unavailable for comment.
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At least two rock bands credit the Ouija board for their original sounding names. The band Cheap Trick visited a psychic's house and asked the board what they were having for dinner. The Ouija, perhaps a little hard of hearing or woozy from the smoke in the room, mistakenly thought the question was, "WHO is coming to dinner?" It spelled out, "C-H-E-A-P-T-R-I-C-K". A more famous tale is that of group Alice Cooper who allegedly conjured the spirit of a 17th century witch with the same name during a Ouija session. So impressed were they that they decided the name would be perfect for the band. All, that is, except for one stubborn hold out who thought the idea stupid. There are so many variations of these name legends that it is impossible to ascertain their truthfulness. Even the band members are confused on the matter.
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Six United States Army soldiers went AWOL when a Ouija board warned them of a coming global cataclysm. Broken taillights on their Volkswagen van gave them away and police arrested them. The six, all with top security clearance, were headed west to live "like a survivalist group." An FBI investigation uncovered their Ouija board manifesto complete with accurate prophesies of the Gulf War and the earthquake in Iran. New York City's destruction by a gas leak and the second coming of Christ have yet to occur. The Army was understanding of the situation and gave the men honorable discharges but reduced them in rank and docked them a half month's pay. The group's leader currently tours and gives lectures on "self-sustaining" lifestyles.
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Ten Airdrie, Alberta teenagers ran afoul of malevolent forces after a question-and-answer session with the Ouija board. Several became disoriented and struck the walls and at "something in the air." Someone called an ambulance, and one girl went to a local hospital for a psychiatric evaluation. Theories about the incident ranged from "A lot of kids just got scared," to a case of "suspicious spiritual activity." Worried parents summoned a local Minister to perform a spiritual cleansing on the girl and the house where the incident occurred; everything has been back to normal since then. There is no word on the fate of the Ouija board.
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Concerned English villagers held a Ouija séance to see if the board could provide any information about three local murders. Bludgeoned as they walked to school, were a mother, her daughter, and the family dog. A second daughter survived the attack but with serious injuries. Investigators counted the number of blows to the victims as sixteen. The Ouija board suggested that the police re-examine an area where they found a bag of clothes from the victims, and indeed, a hammer was lying there in plain sight. Villagers were understandably upset at the police for missing so vital a clue. Embarrassed officials later issued a report stating they could not link the hammer to the killings and denied the Ouija board figured in the discovery. The search continues for the real murder weapon.
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An English court of appeals ordered a retrial after the discovery that jurors used a Ouija board while sequestered in a hotel room. The Ouija board told them to "vote guilty tomorrow," and they did, convicting the defendant of the murders of two people. Adding new meaning to "consulting the spirits," the jurors admitted to drinking excessively also and they were properly remorseful about it all. Although a majority rule is necessary for conviction, and only four people had used the Ouija board, their Lordships decided that they could not dismiss the entire matter as "merely a drunken game." The defendant was found guilty at his Ouija-free retrial.
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Inmates in a California county jail spooked themselves into near hysteria after using a Ouija board fashioned from a Scrabble set. The prisoners, all hardened Latino gang members from southern California, believed that they were possessed by the devil and caused such a ruckus that officials had to call in a priest to perform an exorcism. An amazed official for the Santa Clara County jail system remarked on the ingenuity of the inmates: "On the back of a Scrabble board, they created the moon and the sun and the letters—all the components of a Ouija board," he said. The prisoners vowed never to dabble in such things again.
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Three Columbian teenagers suffered blackouts and behavioral problems after using an online Ouija board in 2009. Classes were suspended at school when one began terrifying others with fears of infection by speaking weirdly in a man's voice. All medical tests were negative on the girls and doctors placed them under psychiatric review. The head of the school was somewhat skeptical commenting, "We cannot rush to say things that are not. We will review the medical examination of each child and discuss the cases independently. We want to find a solution to the situation because there should be no alarm where it should not be." It was one parent's opinion that the girls did not have enough experience with computers to play the Ouija online. There is no mention of which website they visited.
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A Minco, Oklahoma grandmother knifed her son-in-law to death after a session with the Ouija board. Carol Sue Elvaker, 53, then packed her daughter and her two grandchildren into the car and drove toward Tulsa on Interstate 44. Along the way, she slammed into a road sign attempting to kill them all. Despite two broken ankles, she managed to vault a freeway median barrier, rip off her clothes, and run naked into the forest. Police arrested her and charged her with first-degree murder. She was found not guilty by reason of insanity.
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The June 23, 2014, headlines read "Three American friends hospitalized after becoming 'possessed' following a Ouija board game in Mexican village" and a video of a girl, restrained on a stretcher growling and convulsing reminiscent of The Exorcist's Regan MacNeil quickly went viral. Subsequent investigation revealed what had really happened. The Mexican teens were encouraged by their adult guardian to take the psychedelic drug Brugmansia to "help contact" the spirit world before a Ouija session. Brugmansia causes a person to fall into a psychotic state and is deadly in large doses. Nevertheless, the guardian insisted: "She was possessed by a spirit who wanted to harm her."
http://www.museumoftalkingboards.com/stories.html
OUIJASTITIONS
Posted by Quasizoid
Don't drop that mirror or you'll have bad luck for seven years.
Never let a black cat cross your path.
Throw salt over your shoulder to ward off bad luck.
We have all heard these admonitions before. Somehow, it's comforting to know that you might be able to ward off misfortune with a pinch of salt or a knock-on wood. This is especially true when dealing with the unknown or something particularly scary. So, it isn't surprising that the Ouija board has its own set of rules and warnings; you may even know some yourself. But are they true? Do you really need to worry about these things, or are they just superstitions garnered from Ouija folklore? Well, we're not going to let you off easy with a simple answer, especially since the Ouija has a reputation to maintain. Instead, just for your amusement, we are going to treat you to just about every Ouija caveat we know. There is no need to thank us. Consider it a little reward for staying with us this long. Oh, and you may wish to read them over before your next session with the Wonderful Talking Board.
- Never play alone!
- Never let the spirits count down through the numbers or go through the alphabet as they can get out of the board this way.
- If the planchette goes to the four corners of the board it means that you have contacted an evil spirit.
- If the planchette falls from a Ouija board, a spirit will get loose.
- If the planchette repeatedly makes a figure eight, it means that an evil spirit is in control of the board.
- If you should get an evil spirit, quickly turn the planchette upside down and use it that way.
- The board must be "closed" properly or evil spirits will remain behind to haunt the operator.
- Never use the Ouija when you are ill or in a weakened condition since this may make you vulnerable to possession.
- The spirit of the Ouija board creates "wins" for the user, causing him to become more and more dependent on the board. Addiction follows. This is called "progressive entrapment."
- Evil spirits contacted through the Ouija board will try to win your confidence with false flattery and lies.
- Always be respectful and never upset the spirits.
- Never use the Ouija in a graveyard or place where a terrible death has occurred or you will bring forth malevolent entities.
- Witchboards are so named because witches use them to summon demons.
- The very first Ouija boards were made from the wood of coffins. A coffin nail in the center of the planchette window served as the pointer.
- Sometimes an evil spirit can permanently "inhabit" a board. When this happens, no other spirits will be able to use it.
- When using a glass as a message indicator, you must always cleanse it first by holding it over a burning candle.
- Ouija boards that are disposed of improperly, come back to haunt the owner.
- A Ouija Board will scream if you try to burn it. People who hear the scream have less than thirty-six hours to live. There is only one proper way to dispose of it: break the board into seven pieces, sprinkle it with Holy Water then bury it.
- If you must use a Ouija board, make your own. Arrange the letters and numbers, into a circle so whatever is trapped within that circle can't escape.
- If you place a pure silver coin on the board, no evil spirits will be able to come through.
- NEVER leave the planchette on the board if you aren't using it.
- Lecherous spirits from the Ouija board will sometimes ask young women to do rather . . . ah, odd things. Ignore them and always remember that your Ouija partner (i.e. boyfriend) has nothing to do with this.
Three things never to ask a Ouija board:
- Never ask about God.
- Never ask when you are going to die.
- Never ask where the gold is buried.
Here is a cautionary tale that has been around for a long, long time. The point is (obviously) to warn a potential Ouija user that spirits are a deceitful lot. One gets the idea that they may not be too smart either.
We were having a Ouija session one evening and we contacted a friendly spirit who told us all about himself when he had a body. We asked him several questions about his life and family, to which he cheerfully responded. Next, we asked him when he died and he said, "1948." He also mentioned that he liked talking to us and that he felt safe with the living. We then asked him the year of his birth. To this question he replied, "1955." We looked at each other, confused, and asked, "You mean you died BEFORE you were born?" The message indicator circled the board wildly for a moment then spelled out,
"O - O - P - S"
—then stopped and refused to move, effectively ending our session for the night.
https://www.museumoftalkingboards.com/ouistit.html
by Quasizoid
Can't find the old Ouija board that you really want? Don't really like any of the current boards? Maybe you should make one of your own. Homemade boards work as well as the "real" ones, sometimes better, because of that personal creative touch when you do it yourself. There are countless ways to make a talking board. Here are the ways a few experts we know do it:
Illustrator Kipling West paints her wonderful Halloween Witchboards on canvas. See some examples of her unusual style at the Boards of Kipling West site, if you haven't already.
Funk artist Shelley Martin buys old maps and serving trays at antique shows then carefully hand letters them to make sensational looking talking boards. They are fast becoming sought after collectors' items.
Trevor Kane uses twenty-six Tarot cards with letters stenciled on the backs. He lays them out in two semicircles, then using an item borrowed from a sitter as a planchette, channels messages from the great beyond. As an added bonus, Trev flips the cards over and does a tarot reading. Two for the price of one! Step right up!
Jasmine (that's Goth Princess Jasmine, thank you so very much!) uses colored broad tipped markers and her calligraphy skills to create images like the one at the top of the page. She draws her talking boards on cardboard, wood planks, walls, sidewalks, buildings and just about anything else when the passion strikes. So far she hasn't been arrested, so she must be doing something right.
As you can see, you are limited only by your imagination and creative skills. If your tastes are more traditional, you are going to want to make your talking board out of wood. This isn't as difficult as it seems and can be a great weekend art project. Choose a wood with an attractive grain like birch, oak or mahogany. A good board size is fifteen by twenty inches and at least a quarter of an inch thick to resist warping. Sand, stain and letter your board then coat it with clear lacquer, enamel or polyurethane. If your lettering skills aren't the greatest, take your design ideas to a sign painter and have it done professionally. If you plan to make more than one board, you might want to experiment with silk screens. Who knows, you may become the next William Fuld. Feel free to adorn your board with images of suns, moons, stars, swamis, or whatever tickles your fancy. There are no rules that you need to follow.
Make your planchette (message indicator) out of wood, clear plastic or any other lightweight material. Some like to follow the time-honored tradition of using a wine glass, small tea cup, lucky coin or antique brooch. Felt pads on the bottom of your message indicator will help it to glide smoothly across the surface of the board.
Maintain your board by cleaning and polishing it with a dry cloth. A little light furniture wax used sparingly on wood boards will make them really slick. Don't use wax on cardboard or paper boards.
We're ready for a seance with this circular card arrangement, the funereal black candle, inverted wineglass, and an authentic porcelain spirit hand from 1905. The spirit hand, seemingly unaided by the medium, would signal the presence of a spirit by rapping mysteriously on the table. It could operate in well lighted conditions unlike spirit trumpets and other instruments that required almost total darkness.
Ask the Glass
You may know it as Ask the Glass, Spirit of the Glass, the Moving Wineglass, or by a number of other titles, but no matter what the name, this improvised Ouija board is essentially the same. A ring of alphabet cards surrounds a makeshift planchette, usually an upside-down wineglass. Two cards marked YES, and NO are at opposite points of the circle. The sitters lightly touch the base of the wineglass, ask a question and then wait patiently for the glass to slide to the different letters, spelling out the answer. Some find that rituals like purifying the wineglass by momentarily holding it over the flame of the candle or reciting an invocation enhances the seance experience. This is an old, old way to make a Ouija board. The earliest mention we found was in a "do it yourself" article printed in a spiritualist magazine dated 1911 but we are certain that it is even older than that. You may want to cut out some cardboard squares, letter them and try it out for yourself.
https://www.museumoftalkingboards.com/make.html
Divination by James Herbert
Divination is the art or practice of foretelling the future using different methods that the diviner may decide. The art of Divination has been practiced by all countries, cultures and religions around the world for thousands of years.
It was studies over two thousand years ago in China by the study of cracked eggs for Divination. Some of the most popular forms of divination include tarot cards, runes, astrology and dowsing. But in the past, there were times in history when divination was considered a crime and in fact still is in many countries today.
How accurate the divination will depend upon the reader.
Augur
During the time of ancient Rome there were priests that were called, Augur. The Augur was tasked with the divination of the flight of birds. It was believed at the time that the flight of birds gave an indication on the will of the Gods. The divination was undertaken by studying the breed of birds, direction of flight, noises they made and other signals.
Chronomancy
This type of divination involves the determination of what will be a lucky day or an unlucky day. It also involves the determination of lucky times. For example, what will be the luckiest time on a certain day to do something or what might be the bad luck times on certain days.
Pyromancy
One of the very earliest forms of divination that involves the divination of fire. There are several types of Pyromancy including Alomancy: This involves throwing salt into a fire for divination.
Botanomancy: A form of divination that involves the burning of plants.
Daphnomancy: Divination from burning laurel leaves.
Osteomancy: Divination by heating bones over a fire to produce cracks.
Sideromancy: A form of divination by burning straw with an iron.
Abacomancy is an early form of divination by scrying the patterns of dust. If the symbols appear more than once in the sand, it may give an indication of the time and date of the happening.
Aeromancy is the divination of atmospheric conditions. The first recorded use of the word Aeromancy dates back to 1753. Aeromancy includes the divination of clouds, wind currents, comets, thunder, lightning and shooting stars.
Agalmatomancy is the divination of ancient statues and was popular during the time of ancient Greece.
Alomancy is the divination from the patterns formed by salt thrown into the air. The diviner must observe the patterns as they fall to the ground. Alphitomancy is a type of divination to establish a person's innocence or guilt. The suspected people are given barley cake or bread and those that get sick are the guilty.
Apantomancy is a form of divination based on certain objects or animals that cross your path by chance. The superstition regarding black cats comes from Apantomancy.
Molybdomancy is a system of divination that uses melted metal. Melted lead or tin is dropped into a container of water. The divinator interprets the shapes to make his predictions. Molybdomancy is similar to Ceroscopy which uses wax.
Lampadomancy is a form of divination involving divinating the flame of a lamp. It was good fortune if the flame had a single point. However, two points is a sign of bad luck. A flame that bent may indicate illness and sparks indicated news. Sudden extinction of a flame was considered a very bad omen.
Shell Scrying is a modern method of scrying and is becoming more popular. Most people are familiar with the sound of when a shell is placed over the ear. It sort of sounds like the ocean. But in fact, it is the sounds of blood flowing through the vessels in your ear. If, however, you listen to this sound you will eventually be able to pick up fragments of conversation. At first you may be able to only make out a few words, but in time you will come to understand whole segments of conversations. The subject of this talk will be usually meaningless, but if you can mentally break into this communication, you may find the voices may choose to respond. Just exactly what is happening here I'm not sure, but for those of you who have seen the movie "The Phantom Menace" it may give you a clue.
Pendulum Dowsing
When a pendulum is used as a divination tool to answer questions, it is considered a form of dowsing. Another form of dowsing uses a divining rod to search for water, metals or minerals underground. As far back as 4,000 years ago it is believed that Egyptian pharaohs, the Greeks and the Chinese practiced dowsing. There is also evidence that the Oracle of Delphi answered questions posed by the military and royalty using a pendulum. However, when the French discovered the Tassili caves in North Africa in 1949, they found ancient wall paintings depicting the technique of dowsing and carbon dated those murals to be as old as 8,000 years. References to rod dowsing are also found in the Bible. Another form or offshoot of dowsing is radiesthesia. It uses specially calibrated instruments to detect and locate the natural radiation waves and vibrations that are emitted from the earth, elements, objects and people as energies and auras. Some believe that this knowledge of energy fields can be useful in healing and in finding the cause and location of diseases in individuals.
Pendulum dowsing is still practiced today and is used by professional healers and energy workers. However, anyone can study and learn the pendulum techniques. With time and practice, working with your pendulum actually enhances your own intuition and psychic abilities.
A pendulum can be purchased or be made by using a weighted object that hangs from a chain or string, for example, a piece of jewelry, a ring, crystal, or charm that may have either belonged to you or someone close to you. The pendulum itself does not possess powers or magic. It merely acts as a radio receiver of the reader’s innermost consciousness and intuition to access information that cannot be known from the physical realm. It connects with an individual’s inner wisdom, guides, angels and masters to the divine for answers.
If you are beginning to work with pendulum dowsing, it is a good idea to choose an appropriate pendulum for yourself. When purchasing one, if you like how, it looks and how it feels in your hands, it is probably the one for you. As stated previously, you may also craft your own pendulum.
Learning how to handle your pendulum properly takes time and patience. One way to hold it during a reading is to place your elbow on the table (if you are right-handed use that one, and vice-versa). Hold the chain or string and attached pendulum with your thumb, index and middle fingers. Make sure that the pendulum is steady and still before you ask any question. This will ensure that the pendulum is cleared of any remaining energies from a previous question.
Keep in mind that any information sought after with this type of reading must only be done with good and pure intentions. It will not work effectively if it is used for ill-gotten gains.
Most importantly, precede your reading with a prayerful statement of your good intentions. For example, you might say, “It is my intention that this reading will be given in the best interests of all who are connected with this reading and that the answers are truthful.”
Because your pendulum is sensitive to all outside energies, it is important to cleanse it — preferably before each use. This is done by placing it under cold running tap water, soaking it in sea salt or just mentally sending it a message to clear itself. You will also need to clear your own mind of clutter and unwanted thoughts so that you will be opened to receive new information.
Also understand that pendulums swing in horizontal straight lines, vertical straight lines or circular (clockwise and counterclockwise) motions. The way the pendulum sways while hanging in the reader’s hand determines the answer.
Generally, the pendulum is asked questions in a direct “yes” and “no” format. However, sometimes pendulum readers use a chart, which displays more answers than just yes and no. If the pendulum swings over a specific position located on the chart, then that is the true answer. For example, the chart may include answers such as “Yes,” “No,” “Rephrase,” “Maybe,” “Unknown,” or “Try Again.” Some charts may even have more detailed answers. The charts are either drawn out as a full or a half circle. The charts are also customizable. An alphabet chart will spell out words or phrases; a number chart may be used to determine numbers that relate to the question; and a relationship chart is used to answer questions about a particular relationship.
To interpret the answers coming from your pendulum after you pose it a question, you will have to decipher the meaning of the directions it moves. As you begin, ask your pendulum to show you what a “yes” and “no” answer will look like. For example, say, “Show me a ‘yes’ answer.” After a time, the pendulum will respond by moving in a certain direction, say for example, in a horizontal one. Say, “Thank you” and then ask it to “Please show me a ‘no’ answer.” It will respond by moving in a certain direction, say for example, in a vertical direction. Once the response movements have been established, you can move forward with asking direct “yes” or “no” questions.
At first, it might be wise to test the accuracy of your pendulum’s answers. Ask it something you already know to be true, for example, “Is my name Donnie?” If the pendulum moves in the direction of the way, you understood the “yes” answer to be, then you can continue on asking some questions that you do not already know the answer to. If it answers incorrectly, you may need to repeat the process of honing in on your understanding of the “yes” and “no” movements.
An example of an incorrect way to pose a question would be: “Will my sister be buying a blue or red car? That answer will elicit a choice, instead of a direct yes or no. Instead ask: “Will my sister be buying a red car?” or “Will my sister buy the car she test-drove today?”
If this has sparked your interest in pendulum dowsing, there is an abundance of information available on the subject that will help you become more proficient at readings. There are those who remain skeptical of this technique and many of them believe that the pendulum or rods are moved by the reader and not by spirits or divine intervention. In spite of the skeptics claims, learning about and using the pendulum or the rods is becoming more popular today than ever.
Pendulums for Divination
This is a great way to get answers you need without having to go a Psychic or having to use the Ouija Board which takes 2 people to work well. Yes, with the Pendulum, you will be able to do it all by yourself. Plus, you can take one with you anywhere at any time of the day and get the answers you need. Pendulums work by tapping into your Higher Self or “I Am Presence” as it is also known. Dowsing has been around for many Centuries. Yes... used for Divination purposes to foretell the Future and long ago it was used to divine guilt in trials. Thank God they don't use that system anymore.
Now there are other forms of Dowsing such as using Metal "L" shaped Rods or a Forked "Y" shaped branch. These methods were used for finding water or gems. It is also used to find Spirit Energies in a house and for that I have used the Metal "L" shaped Rods. We are not going to get into that right now. We are going to focus on Pendulums and their use for getting answers.
A Pendulum does not have to be purchased. Times are heard right now and if you don't have the money, you can make one with just a ring at the end of a string. You don't even have to have the fancy Pendulum Board. You can just use your hand as I do many times. I do use a nice Black Onyx Pendulum. However, I use my hand underneath it instead of an Answer Board. But I am in the process of making a nice wooden Answer Board.
This is all very simple. As you know... I try to put things in the simplest terms for people to understand. So many Books use big fancy words and a bunch of mumbo jumbo bullshit Philosophy crap that means nothing to most people. So let get started....
Here's how it works. Take your Pendulum by the string or chain (whatever it is attached to) and you will hold it still and ask it a question. If it swings or rotates one way that is yes. If it swings or rotates the other way… it's no. That's the simple version of this.
Now I’ll break it down a little better for you. You now want to know which way is yes and which way is no…. right?
Here's what you do. Hold the Pendulum in your dominant hand. Put your other hand as I do a few inches below the Pendulum. Keep it still and say…. “Show which is yes”. Then wait to see how it swings. It may swing back and forth as mine does, or it may swing in a circular motion in one direction. Which are shown below. Whichever it does… that will be “yes”. Then ask, “Show which is no”. However, it swings… that will be “no”. There… now you. Whatever you do… don't try to make it swing. Let it work itself.
Now…. You can get fancy and buy a Pendulum Kit that has everything you need…. the Pendulum, the Answer Board and probably a book explaining the same thing I am telling you. Or you can buy a fancy Pendulum made out Crystal or Hematite or Black Onyx or many other different type stones, gems or metals like me.... anything you desire. Then you can make you own Answer Board. It can be drawn on a piece of paper or painted on a nice piece of wood or even carved into the wood. Like shown below. Using this type of set up will work only with the Pendulum swinging in a back-and-forth motion. But that is ok, your Higher Self knows this and will use the proper motion.
http://www.spellsandmagic.com/Pendulums_and_Dowsing.html
Palmistry in Detail
Judging by the number of hands painted in prehistoric caves it would seem that palmistry held a interest for humans since the stone age. Archaeological discoveries have discovered hands made of stone, wood and ivory by ancient civilizations. The emperor of China used his thumbprint when sealing documents in 3000 bc. Information on the laws and practice of hand reading have been found in Vedic scripts, the bible and early semitic writings. Aristotle (384-322 bc) discovered a treatise on palmistry on an alter to the god Hermes. The Greek physicians Hippocrates and Galen (ad 130-200) were both knowledgeable about the use of palmistry as a clinical aid. Julius Caesar (102-44bc) judged his men by palmistry. Notable people such as Paracelsus (1493-1541) and Fludd (1574-1637) brought respectability to palmistry through their writings. Later Dr Carl Carus, physician to the king of saxony in the 19th century matched palms to personality. Advances in genetics, psychology and forensics have propelled palmistry into the modern age. In 1901 Scotland yard adopted the technique of fingerprinting in criminal investigation and identification.
Medical researchers studying skin patterns (dermatoglyphics), have discovered a correspondence between genetic abnormalities and unusual markings in the hand. Research has confirmed a link between specific fingerprint patterns and heart disease. These days palmistry is well accepted throughout the world. Professional palmists can be found reading palms in every country in the world. Pick up almost any copy of a women's magazine and there is some information on palmistry. There are thousands of books written on the subject and there are palmistry clubs the world across.
Colour of the Skin in Palmistry
The health of a person is often indicated by the colour of their hands. Dead white hands often indicate a lack of circulation. Pink hands are usually a sign of good health in palmistry. Red hands may indicate high blood pressure. Bluish hands indicate a sluggish condition of the circulation of the blood supply. The normal colour of the palm should be rosy and pinkish.
One of the common questions people ask me about palmistry is what the difference between is reading the right hand to the left hand. Palmists will mostly examine your most active had which is usually the one you write with. It's this hand that shows your current and future trends. The passive hand in palmistry tends to show your childhood.
Palmistry does not take away free will. It is usually found that people who like to work outdoors have spatula fingertips. People with these spatula fingertips like to be constantly on the move. Over the years of studying palmistry, I have also come to notice that these same people often are good inventors as well. It should also be noted that if they have an earth shaped hand, they will like the countryside and often make good farmers or at least gardeners. These people like stability and become stressed in times of change. A full set of square fingertips in palmistry shows us the orderly methodical type of person. Found often in accountants. Everything must be in its proper place with the highest degree of accuracy. The fingers tend to sit close together, and the tips are smooth.
Do you have a loop of seriousness on your palm? This loop sits between your ring finger and the middle finger. On women it usually indicates they are nurses or teachers. On men it can show business skills and success in life. A long middle finger will support this further. These people believe in getting ahead and I'm often pleased to find this loop on people's hands in my study of palmistry. But what about the index finger in palmistry. Well, if a person has a strong index finger that thrusts out on its own it shows a person who likes to lead and make decisions. These people go well as managers. They are good at controlling large amounts of staff. But if the person has a short index finger it will show the palmist that the person likes to work alone and often become self employed as a writer or an artist. Palmistry shows us much about the work directions people will take in life.
People with arch fingerprints usually have jobs that re detailed special skills. But whorl fingerprints show us some artistic skills in palmistry. Small handed people do things on a big level, people with big hands do things involving fine detail. But remember it is relevant to your overall body size. People with air hands are good communicators, are popular and often work in the area of media.
But in the study of palmistry what happens when we see people with a missing fate line. These people have a somewhat unique nature about them. Often, they will change jobs several times in their life. Their life is never settled, and they shift around a lot. But how can palmistry help the employer find the right employee. Well, the simplest way is to look the fingers. If they lie close together it shows a hard-working stable employee. But if there are wide gaps between the fingers it may show an employee that will cause problems.
Fingernails in Palmistry
Square: Easy going nature and an even temperament.
Broad: A strong character with an explosive temper.
Fan Shape: Nails adopt this shape when the person has been suffering from long term stress.
Almond: Gentle, kind people who are often daydreamers.
Narrow: These people are cold and selfish.
Vertical Ridges: May indicate rheumatic problems.
Horizon Ridges: Dietary deficiencies.
Dished: Chemical imbalance.
Wrap Around: May indicate respiratory problems.
Over Large Moons: May indicate an overactive thyroid problem.
Red Nails: Indicate people who are impatient.
Pale Nails: May indicate an iron deficiency.
Hair on the Hands in Palmistry
On most hands you will find little or no hair. Hair is most common on the back of men's hands. Usually the more hair, the more the physical strength. Colour of the hair is important. A profusely hairy hand is often found on men with a high sex drive. They also tend to overeat, and often in times of crisis will revert to their animal instincts. When the hair on the back of the hand is sparse, fine and thin, it indicates people with lack of vigor. They often tend to suffer from nervous problems. Although on the good side, people with less hair are more diplomatic.
Markings On the Line of Success in Palmistry
Islands on the Line of Success indicate serious problems such as a major loss of money. Dots on the Line of Success indicate loss of name. Cutting bars on the Line of Success cause setbacks in your career.
Heart Line
It can be said the Heart Line is not just a way telling what will happen but also a way of finding out why things happen. But do not use the heart line to time certain events as is not reliable. Imagine two heart lines extending from the edge of the hand below the little finger to between the first and second fingers. The first line is a deep curve while the second heart line is straighter. The curved line is active in romantic matters while the straight line is passive. The curved heart line is aggressive in love, the straight is receptive. The curved heart line is demonstrative while the straight line thinks about it. Interestingly the curved line is much more common on male hands while the straight line is more common on female hands. A heart line that becomes a steep curve below the index and middle finger indicates someone who has a strong sexual desire. If the heart line ends up under the index finger it indicates someone who is choosy about their partner........
Headline
Although the headline shows how a person thinks it does not show how intelligent you are. An average headline ends somewhere under the ring finger. A short headline indicates a person whose thinking is simple and straight to the point. A long headline indicates a person who thinks things through very carefully. A straight headline indicates clear concentrated thinking. A curved headline belongs to a person who likes to play with new ideas. Sloping headlines belong to creative people. Horizontal headlines belong to people who look at the practical side of the matter. Chained headlines belong to highly strung people. A fork in the headline shows the ability to see more than one point of view. A floating headline is indicative of someone with a carefree attitude. A headline that starts under the index finger indicates a brilliant mind.
Lifeline
The lifeline does not indicate how old you will live. What the line reveals is the quality of your life. It is an index of how much vitality, strength and energy you have. A lifeline running close to the thumb indicates a person of low vitality, sometimes found in the hands of people who suffer chronic fatigue syndrome. A lifeline that runs a wide curve shows a person with lots of vitality, get up and go. If the headline is stronger than the lifeline it shows a person who is more mentally than physically active. A chained lifeline indicates a delicate health. Little lines rising indicate an active personality. Outward swinging lines indicate a love of travel. Most of the small lines on the lifeline refer to particular events at certain times of your life. A branch leading to the Jupiter mount is a sign of academic achievement. A branch that leads to the Saturn mount indicates a successful property transaction. A branch towards the Appollo mount indicates monetary gain. A branch towards the Mercury mount indicates business success.
Fate Line
Strong fate lines belong to people who settle into a pattern of life early. Weak fate lines tend to belong to people who are unsettled and tend to change jobs a lot. Fate lines starting at the very bottom of the palm indicate people who settle into their life path early. When the fate line ends at the headline it indicates a person who seems to lose their way somewhere between 30 to 40 years old. You will find that most fate lines end at the heart line. However, if the fate line runs all the way almost to the middle finger these people tend to be active right up into old age. A fate line that is tied to the heart line indicates a restricted childhood. Two fate lines are found on people who pursue two careers at the same time. The absence of a fate line indicates a person who lacks stability. It is also found on the hands of alcoholics and drug addicts.
Fire Hand
The fire hand has a long palm and short fingers. People with this shaped hand tend to be active, outgoing and often extroverts. They are excitable and emotional. They like to be in charge and control other people. There is always a large number of strong lines on the hands and usually whorl fingerprints. Fire handed people tend to have a lot of injuries and accidents.
Earth Hand
People with an earth hand have square palms with short fingers. There are usually few lines and often arches on the fingertips. People with this hand don't like change. They tend to be slow in nature and have a strong affinity to nature and the bush. They are emotionally stable and make the best workers. Interesting is the fact that you often find successful artists and photographers with earth hands. Most people with trade jobs such as a carpenter have earth hands. People with an Earth hand usually like outdoor jobs and prefer job security.
Air Hand
In palmistry the air hand has a square palm with long fingers. The lines tend to be thin, and the prints are usually loops. They are good at talking and writing. They are cheerful and happy people who often end up working in the communication industry. They need constant intellectual stimulation and have a low boredom threshold. They often like flying and travel. They may have written a book or often think about it.
Water Hand
Water hand people have a palm that is rectangular with long fingers. The hand tends to have a large number of fine lines. The prints are also usually loops. Many people with this hand make good poets and musicians. They also go well in the fashion and beauty industry. They love to go sailing or boating. For people with this hand emotions are more important than reason.
Middle Finger
If the middle finger is long, it indicates a person who treats life very seriously. They believe strongly in getting ahead. People with short middle fingers are careless and generally prefer not to work Most people tend to have a middle-sized middle finger, meaning they are somewhere in between.
Ring Finger
If the ring finger is long the person will have a creative nature. They will go well in the field of art or fashion design. Sometimes this long ring finger is associated with people who have a gambling problem. Short ring fingers are extremely rare.
Little Finger
People with long little fingers have a high I.Q. They make good writers and speakers and have a strong sex drive. A short little finger reveals emotional immaturity. If the little finger is low set, it indicates the person as a child had a problem with one of their parents. In some cases, it indicates they were a victim of child abuse. If the little finger sticks out from the hand it may indicate the person is involved in a relationship, they do not want to be in.
Simian Line
The simian line runs across the hand replacing the heart and headline. It is a sign of inner tension. It may be destructive or creative or even both. It's interesting to note that people who tend to be religious fanatics tend to have a simian line. Medicine has also found that simian lines may also be associated with certain types of heart defects. People with a simian line never really find peace. They spend their entire lives searching for an answer they never really find. To the person with the simian line there is only right or wrong and nothing in between. People with this line work twice as hard, study twice as hard and fight twice as hard.
Fingertip Shapes
Square: People who have these fingertips tend to be careful and methodical thinkers. These people take a rational view of life. However, on the downside they tend to lack creativity.
Pointed: These people have a sensitive and fragile personality. These fingertips are associated with artists, writers, poets and daydreamers.
Conic: These people have a flexible disposition and make good negotiators. Emotional security is important for peace of mind.
Spatula: These are action people who tend to be dynamic thinkers. They are usually inventors, explorers and pioneers in new industries.
Fingerprints
Whorls: A person whose fingerprints are mainly whorls will be an individualistic, not just one of the crowds. These people are often very talented and are good at keeping secrets.
Arch: A person with mostly arch fingerprints will be the suspicious type, never believing anything until it is proven. These people go well in trade work and are good, hard workers.
Loops: Everyone gets on well with a person whose fingerprints are mainly loops. They have good communication skills and all-round capability.
Tented Arch: These people become deeply involved in everything that they do.
Composite Print: This is a rare print.
People with this have trouble making up their mind and are difficult to deal with.
Measuring age timeline in palmistry
Apollo Line
The Apollo line is sometimes known as the line of sun. The line is not present in every hand but when it is it is a sign of happiness and achievement. The apollo line is also associated with a creative talent. The apollo line may commence from different points in the palm. Success tends to come to those whose apollo line starts high in the palm. If the apollo line is patchy it indicates that success will be patchy. In hands where there is no apollo line it tends to show that the person feels that happiness is out of reach. When there is multiple apollo lines it may indicate a person has many talents but is master of none. If the apollo line springs from the fate line it shows the point in life that the persons talents where recognized. Winning a substantial amount of money is indicated by a star on an apollo line. An island on the apollo line indicates a period where there is a loss of self-esteem.
Medical Stigmata in Palmistry
There is a pattern often found on the hands of medical people which is called the medical stigmata. It is a small patch of vertical lines beneath the little finger. People with this marking are drawn to medical or social work. It is very common on the hands of nurses yet less common on the hands of doctors. This is interesting because it shows that some doctors choose their career path for money and prestige whereas it tends to show that nurses are more emotionally involved in this choose of career. A hand with the medical stigmata and many fine lines will turn towards social work. People who work in the natural therapies area also have this mark. An unusual marking called the St Andrew cross is found on the hands of people who have saved the life of another.
Heart Problems
When we look at people hands, they can show the experienced palmist a lot, including problems to do with the heart. Short nails are often found among people with a history of heart problems. Arch fingerprints are also associated with people who have heart problems and high blood pressure. The simian line is also associated with people who may have heart problems. If the heart line also has pronounced chaining it may indicate heart problems. A complete breaking up and fragmenting at the end of the heart line often occurs in people before a heart attack. When you see people with clubbed fingertips this is another sign.
Teachers Square in Palmistry
This little square which sits just under the index finger is a common sign found among people who work in the teaching profession. It doesn't always mean that the person is a schoolteacher. It is in fact found also in people who teach anything, whether it be paid or voluntary.
Mercury Line in Palmistry
If the mercury line begins on the mount of Luna or branches from the lifeline it is a sign of a good business head. People with this marking usually have their own business and are successful. People whose mercury line starts on the Venus mount and crosses through the lifeline usually work in the caring business. In the past some people believed having a mercury line indicated poor health, but this has since proven to be wrong. It is more an indicator of personal health. For example, tiredness may make the line stronger while relaxation may make the line disappear altogether.
Minor Lines in Palmistry
Mars Line: The mars line runs inside the lifeline. The mars line indicates extra vitality and a sort of second protection.
Via Lascivia: The via lascivia is a horizontal line across the mount of luna. In the past it was thought to represent promiscuous behaviour. These days it is linked to people who have a sensitivity to allergies.
The Thumb in Palmistry:
Will show a person's drive and how they apply that. The more ordinary the thumb the more ordinary the person. There are two sections, the top which shows willpower and the bottom which shows just how much you will push to get what you want. Large thumbs show a strong personality. Small thumbs show the person is gentler. Long, broad thumbs belong to people who push hard and succeed. Long, narrow thumbs belong to people who want to succeed but don't have the driving force. Small, broad thumbs belong to people who lack determination. Thumbs that have an exceptionally wide top belong to aggressive people. If the other applies and the top is very narrow it indicates a sign of weakness. A thick top joint shows a person who is blunt. The tapered tip shows a subtle way of doing things. A thumb that holds itself close to the side of the hand shows a stingy person. A thumb that sticks out indicates a carefree personality.
Palm Mounts in Palmistry
To see if a mount is overlarge, well developed or lean you need to compare it to the other mounts in the hand.
Mount of Jupiter: Located at the base of the index finger it represents yourself worth. If you are confident the mount will be well rounded. If it covers a wide area, it shows you are generous. If it is high, it suggests bossiness.
Mount of Saturn: Is found under the middle finger. A large mount indicates a gloomy attitude.
Mars Positive: Is tucked into the crease of the thumb. Well-developed it represents courage and a fighting spirit. If it is flat, it indicates a cruel streak.
Mount of Venus: Found at the base of the thumb. Underdeveloped shows poor health.
Palmistry Loops
Loop of Humor: This is found between the Apollo and mercury fingers. Indicates a dry sense of humor.
Loop of Vocation: This is found between the Saturn and Apollo fingers. Reveals a strong dedication to work.
Rajah Loop: An extremely rare marking found between the Saturn and Jupiter fingers. It indicates that there was royal blood in your family history.
Loop of Courage: Found in the thumb joint in indicates a person of great courage.
Loop of Music: This loop sweeps in from the thumb edge onto the mount of Venus. People who have this are natural musicians.
Loop of Inspiration: Rising from the wrist up the centre of the palm it is often associated with poets.
Loop of Nature: This loop lies across the mount of Luna. People with this loop have a strong connection to animals and nature.
Loop of Water: Flows down towards the Luna mount. Indicates a strong affinity to water.
Good Luck in Your Hands
The star is the most important indication of luck to be found in your hands. But only when it is found on the upper mounts of Jupiter, Mercury or Apollo, at any point along the Apollo line or at the top of the Fate line. If a star is found on the Jupiter mount it indicates good fortune, marry into money and reach a position of importance in life. A star on the Apollo mount indicates the person has talents which will bring the owner fame and fortune. It is often found on the hand of successful actors. A star attached to the Apollo line indicates a major win of money.
Travel in Your Hands
People with an earth hand tend to return to the same travel destinations each time rather than explore new places. People with air hands love travel and tend to pursue careers in the travel industry. Fire hand people are adventures and like to explore new places. Water hand people like to travel to mystical and spiritual places. Islands or stars on the travel lines which can be found on the edge of the Luna mount are indications of problems. Islands tend to indicate the holiday was not as enjoyable as planned. Stars on the travel line indicate great danger.
Retirement Lines in Palmistry
People with earth hands find retirement very difficult and usually prefer to work until the end. Air hand people on retirement like to get themselves involved in activities such as study and groups. On retirement people with fire hands tend to join clubs and community projects. People who have a water hand enjoy retirement and are happy to lay around reading, watching television and other such interests.
Joints and Knuckles in Palmistry
They tell a lot about a person. Smooth knuckles are found on hands of people are very meticulous about their appearance and there home. People with uneven knuckles tend to have a more balanced and calm approach to life. People with smooth fingers are very receptive to information and their environment. Information is processed intuitively. When just only the bottom joints are pronounced the individual conducts their life in an orderly way. People with both top and bottom pronounced joints are referred to as philosophical thinkers. They tend to analyze information and think before they act.
Finger Settings in Palmistry
Personality traits such as strength of character may be found from the way the fingers are set into the palm. People with evenly set fingers are rare but when found indicate confidence. These people always go on to be successful in life. An uneven setting indicates a person with a lack of self-confidence, especially if the little finger is very low set. A person with an arched setting will have a well-balanced personality.
Texture Of Skin in Palmistry
The skin texture on the hand shows the persons natural refinements. If the texture is soft and delicate it will indicate a refined and sensitive person. Transparent skin is found on saintly type people. Thin skin is found on the hands of overly sensitive people. Often those with thick skin are stubborn and insensitive. Course skin is found on the hands of earthy people. People with a satin, smooth type skin are very artistic and often have a love of nature.
Flexibility Of the Hand
The degree of flexibility in your hand indicates your emotional and mental health. In short, a flexible hand, a flexible mind, a stiff hand, a stiff mind. Emotionally, those people with limber hands adjust well to their environment. Stiff hands indicate those who have a rigid outlook on life. A flexible hand that can bend backwards in a graceful arch indicates a mind that can respond quickly. These people can act, think and feel all at once. A moderate flexible hand is the most common. People with this type of hand tend to be balanced and in control of themselves. An extremely flexible hand indicates a person who is easily led by others. A firm type of hand indicates a strong type of person. These people are conservative with their money and feelings.
Hand Size in Palmistry
The size of the hand can be important in in helping to judge the character and personality. People with small hands have a strong desire to achieve. They usually set long range goals in their life. They sometimes have a big ego and have trouble relaxing. People with medium hands are well balanced and have good judgement. They have common sense and are practical. People with large hands have many capability`s. They can have many goals, all at the same time. They are friendly and very sociable.
Markings On Mount of Apollo in Palmistry
A Star om the mount of Apollo in palmistry is a very good sign that indicates wealth and prestige. A triangle on the Mount of Apollo indicates good luck. A cross is not a good sign and may indicate the failure of dreams. A circle is very rare and indicates fame.
Markings On the Mount of Mercury
A star on the Mount of Mercury indicates a successful professional career. A cross under the Mount will protect your job or business against any bad luck. A cross on the mount indicates diplomacy. A square on the Mount of Mercury indicates someone who would be a good teacher. A triangle shows someone who gets on well with other people. A grill is not a good sign and indicates nervous problems.
Markings On Mount of Venus
A cross on the Mount of Venus in palmistry indicates the person will find true love in their life. A triangle on the Mount of Venus shows a person who will marry for money. A star at the base of the Mount of Venus indicates trouble in finding true love in life. A grill on the Mount of Venus is a sign of sensuality. A island on the Mount of Venus indicates a loss of opportunities. Small circles on the Mount will indicate adultery. A square will act as protection in love.
Markings On the Plain of Mars
Many fine lines on the Plain of Mars shows a person with a sudden temper. A double trident indicates a person gifted in the arts. A cross shows a person who tends to argue a lot.
Markings On the Lower Mount of Mars
A cross on the Lower Mount of Mars protects against a risk of sudden death. A grille indicates someone with an argumentive nature. A triangle will indicate fame will come from a brave deed. A star shows someone who will achieve their goals through their own hard work.
Markings On Mount of Moon
A star on the Mount of the Moon in palmistry shows someone who has a very vivid imagination. A circle on the Mount indicates a warning against travel on water. A cross indicates someone who tends to have exaggerated views in life. A square will give you protection against danger in travel. A grille is a bad sign and may indicate illness.
Markings On Mount of Pluto
A triangle on the mount of Pluto adds to your powers in the occult. A grille indicates strong psychic powers. A line of intuition indicates a true psychic.
Markings On the Mount of Neptune
A circle, star, or triangle on the Mount of Neptune indicates great artistic and musical talent. However, a cross or grille is not a good sign. It indicates someone who may have problems with drugs or alcohol.
Markings On the Worry Line
An island on the Worry Line shows a tragic love affair that ends in shame. A fork at the end of the Worry Line and crosses the Heart Line indicates a marriage breakdown. A Worry Line from a star on a mound of Venus shows quarrels with relatives.
Defective Lines
The Uneven Line is a defective line that can be seen on any line. The Uneven Line can be deep, then become thin and continue that way the length of the line. The broad and shallow line indicates a person that is uncertain with very poor self-control. The Capillary Lines are finely traced lines that run together eventually uniting into one line. When a Mount has a capillary line, it will mean the power of the mount is lessened. Wavy lines indicate a person who lacks decision making ability. These people are followers, not leaders. The Tassle is a group of lines extending from the end of a line. The Tassle is always a defect and will mark the end of the usefulness of a line. Broken Lines are seen often and are indicative of a defective condition. The kind of break indicates the outcome of the defect. The Chained Line is always a very serious defect and hard to repair.
Markings In the Quadrangle Area
When a clear psychic cross in the Quadrangle is not touching any line, this person will be a very gifted psychic. If there are defective signs this will cause restlessness in the person. A Star in the Quadrangle is a good sign and indicates outstanding success.
Markings In Great Triangle
A Cross in the Triangle indicates a argumentative person. A Star indicates great success. A Grille in the triangle indicates hidden enemies. A Circle in the Triangle indicates problems with the opposite sex.
Markings In the Ring of Saturn
When there is a Ring of Saturn and the Fate Line has a dot, cross or star it indicates this person's career may be ruined through lack of concentration. If a person has a Ring of Saturn with a headline that slopes low on the Mount of Moon which is large and grilled it will show this person will have a great imagination. If the Ring of Saturn is composed of two lines that form a cross on the Mount of Saturn it is not a good sign as it may indicate this person has a suicidal tendency.
Markings On the Line of Intuition
An island in the Line of Intuition will bring poor success. An island at the beginning of the Line of Intuition may show someone who sleepwalks. If the Line of Intuition ends in a star this person will have great success in life. If the Line of Intuition merges into the Fate Line this person will have career success.
The Psychic Hand
A Cross Mystique that lies in the center of the Quadrangle between Head and Heart lines indicates strong psychic sense. The Crescent of Intuition is found on those with good E.S.P. A large number of crosses on the hand indicates good psychic ability. A Triangle on the Mount of Saturn shows psychic ability. The psychic hand often has a palm with many fine spidery lines. The Mount of the Moon that is strongly developed toward the wrist is a sign of good psychic ability.
Markings On the Lines of Influence
A Star at the end of the Line of Influence shows the end of that influence. If the Line of Influence crosses the Life or Headline and a red dot is formed a major illness or accident is formed. A Worry Line that starts from a Star on the end of a Line of Influence and cuts past the Lifeline indicates a death of a relative at that time in the Lifeline.
Mars Line
If the Mars Line cuts across the Line of Success which has a dot or cross at the end of the line, the reputation of this person will be destroyed. If the Line of Mars ends on the Mount of the Moon with a cross, dot, or star this person may die of alcohol or drug abuse. If the Line of Mars ends on the Mount of the Moon with a star, dot or cross, and the Headline ends in a star, this person will have a mental breakdown at the time the star appears on the Headline.
Markings On the Bracelet Lines
A star in the middle of the top Bracelet will forecast a legacy. A cross in the same position indicates problems early on in adult life. A Bracelet line that is chained indicates a life of struggle. A Bracelet line with lots of islands shows a person who worries about life.
Signs Of Widowhood
A black Dot on the Marriage Line shows widowhood. A break in the Marriage Line may indicate the sudden death of a partner. When the marriage line ends with a Star on the Mount of Mercury it shows death of partner. When a Marriage line is cut at its termination by another line it shows the death of a partner.
Marks On Lines Of Marriage
An island on the Marriage Line will show an unhappy marriage. When the Marriage Line ends in a Star it indicates the marriage will end in an explosive situation. If there are branches on the underside of the Marriage Line, it shows a marriage of heartbreak. If there are branches that uplift from the Marriage Line, it will show a very happy marriage.
How to make a Palm Print in Palmistry:
First assemble the equipment you need which is black water-soluble printing ink, rubber roller, quality paper, a rubber pad and a marble slab. On the marble slab put an inch of black ink. Spread the black ink with the rubber roller in an area enough to cover a hand. First place the hand on the ink and spread on the palm over as much area as possible to get a good palmistry print. Use the rubber roller to cover the balance of the hand. Place piece paper on rubber pad and gently press keeping hand and fingers perfectly still. Gently press the hand and fingers to paper. Lift hand carefully off pad. Ease paper off hand. A perfect palmistry prints.
Divination explained
By Quasizoid:Divination (from Latin divinare "to foresee, to be inspired by a god", related to divinus, divine) is the attempt to gain insight into a question or situation by way of a standardized process or ritual. Diviners ascertain their interpretations of how a querent should proceed by reading signs, events, or omens, or through alleged contact with a supernatural agency. Divination can be seen as a systematic method with which to organize what appear to be disjointed, random facets of existence such that they provide insight into a problem at hand. If a distinction is to be made between divination and fortune-telling, divination has a formal or ritual and often social character, usually in a religious context, while fortune-telling is a more everyday practice for personal purposes. Particular divination methods vary by culture and religion.
Divination is often dismissed by skeptics, including the scientific community, as being mere superstition: in the 2nd century, Lucian devoted a witty essay to the career of a charlatan, Alexander the false prophet, trained by "one of those who advertise enchantments, miraculous incantations, charms for your love-affairs, visitations for your enemies, disclosures of buried treasure, and successions to estates", though most Romans believed in dreams and charms. It is considered a sin in most Christian denominations and Judaism.
Categories
Psychologist Julian Jaynes categorized divination according to the following four types:
1) Omens and omen texts. "The most primitive, clumsy, but enduring method...is the simple recording of sequences of unusual or important events." (1976:236) Chinese history offers scrupulously documented occurrences of strange births, the tracking of natural phenomena, and other data. Chinese governmental planning relied on this method of forecasting for long-range strategy. It is not unreasonable to assume that modern scientific inquiry began with this kind of divination; Joseph Needham's work considered this very idea.
2) Sortilege (cleromancy). This consists of the casting of lots, or sortes, whether with sticks, stones, bones, beans, coins, or some other item. Modern playing cards and board games developed from this type of divination.
3) Augury. Divination that ranks a set of given possibilities. It can be qualitative (such as shapes, proximities, etc.): for example, dowsing (a form of rhabdomancy) developed from this type of divination. The Romans in classical times used Etruscan methods of augury such as hepatoscopy (actually a form of extispicy). Haruspices examined the livers of sacrificed animals. Note that augury is normally considered to specifically refer to divination by studying the flight patterns of birds.
4) Spontaneous. An unconstrained form of divination, free from any particular medium, and actually a generalization of all types of divination. The answer comes from whatever object the diviner happens to see or hear. Some religions use a form of bibliomancy: they ask a question, riffle the pages of their holy book, and take as their answer the first passage their eyes light upon. Other forms of spontaneous divination include reading auras and New Age methods of Feng Shui such as "intuitive" and Fuzion.
Divination in Ancient Greece
Both oracles and seers in ancient Greece practiced divination. Oracles were the conduits for the gods on earth; their prophecies were understood to be the will of the gods verbatim. Because of the high demand for oracle consultations and the oracles’ limited work schedule, they were not the main source of divination for the ancient Greeks. That role fell to the seers (manteis in Greek).
Seers were not in direct contact with the gods; instead, they were interpreters of signs provided by the gods. Seers used many methods to explicate the will of the gods including extispicy, bird signs, etc. They were more numerous than the oracles and did not keep a limited schedule, thus they were highly valued by all Greeks, not just those with the capacity to travel to Delphi or other such distant sites.
The disadvantage to seers was that only direct yes or no questions could be answered. Oracles could answer more generalized questions, and seers often had to perform several sacrifices in order to get the most consistent answer. For example, if a general wanted to know if the omens were proper for him to advance on the enemy, he would ask his seer both that question and if it were better for him to remain on the defensive. If the seer gave consistent answers, the advice was considered valid.
At battle generals would frequently ask seers at both the campground (a process called the hiera) and at the battlefield (called the sphagia). The hiera entailed the seer slaughtering a sheep and examining its liver for answers regarding a more generic question; the sphagia involved killing a young female goat by slitting its throat and noting the animal’s last movements and blood flow. The battlefield sacrifice only occurred when two armies prepared for battle against each other. Neither force would advance until the seer revealed appropriate omens.
Because the seers had such power over influential individuals in ancient Greece, many were skeptical of the accuracy and honesty of the seers. Of course, the degree to which seers were honest depends entirely on the individual seers. Despite the doubt surrounding individual seers, the craft as a whole was well regarded and trusted by the Greeks.
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