[The following is the thirty-sixth of many posts–here is the first, here is the second, here is the third, here is the fourth, here is the fifth, here is the sixth, here is the seventh, here is the eighth, here is the ninth, here is the tenth, here is the eleventh, here is the twelfth, here is the thirteenth, here is the fourteenth, here is the fifteenth, here is the sixteenth, here is the seventeenth, here is the eighteenth, here is the nineteenth, here is the twentieth, here is the twenty-first, here is the twenty-second, here is the twenty-third, here is the twenty-fourth, here is the twenty-fifth, here is the twenty-sixth, here is the twenty-seventh, here is the twenty-eighth, here is the twenty-ninth, here is the thirtieth, here is the thirty-first, here is the thirty-second, here is the thirty-third, here is the thirty-fourth, and here is the thirty-fifth–about a fictitious discovery of ancient manuscripts of a religious text of narratives and magic spells. Its purpose for my readers and me is to provide a cosmology and mythography on which I am basing much, if not most, of my fiction–short stories and novels. If anyone is interested in reading this fiction, he or she can use these blog posts as references to explain the nature of the magic and universe in my fiction.]

Translator’s Introduction

Here we come to perhaps the most controversial of the spells, for on the one hand, the elders of the tribe abominated them for their wickedness, while others coveted them for their perceived ability to fulfill so many sexual desires. As with the Lyrics, these Amores‘ efficacy seems to depend on their users’ unshaking faith in the power of the Crims–Nevil, the Crim of fire (and therefore, of sexual passion) in particular. These spells are chanted, not sung, as are the Lyrics.

Apart from the supposed magical power of the original language–whose rhythms, alliteration, assonance, etc., cannot adequately be rendered in English–some other items are to be used to aid in the effectiveness of the spells, being either indispensable or at least helpful in achieving the best results. These include early forms of soap that combined animal fat with fire ashes; though the spells involved bathing while wiping the soap all over one’s body, the purpose wasn’t cleaning oneself–it was about spreading the benefits of the magic’s power all over oneself.

Anti-aging, youth-preserving spell

[Burn wood to ashes while invoking Nevil. Drip animal fat on the ashes, still invoking Nevil. Get naked and bathe with the soap made from the ashes and animal fat while repeatedly chanting the following lines.]

Nevil, keep all wrinkles off of me!
Nevil, keep my skin smooth as can be!
Nevil, keep me beautiful and desired!
Keep me young with your so holy fire!

Sexual attraction spell

[The following lines are to be repeatedly chanted with the same instructions as those of the anti-aging spell above. Be careful, upon completion of the ritual bath and incantation, to have present only the desired one to be attracted by the spell.]

Nevil, make him want me.
Nevil, draw him to me.
Make my fragrance pull him near.
May I have his eyes and ears.

Comment: this spell was generally used by women to attract men, hence the warning to ensure that only the desired men be at hand once the bath and spell were completed. Spells for men to attract–really, to seduce–women, were of a different sort, an example of which will be found soon below.

Potency spell

[Burn a fire surrounded in a mound of dirt. Wave a rock, ideally, one of a phallic shape, over the flame while repeatedly chanting the following lines.]

Nevil, have me ready for her.
Nevil, do sustain me for her.

Seduction spell

[Burn a small flame in a private room into which you would have the desired woman enter and meet you. Repeatedly chant the following lines while, on one side of the flame and her on the other, you keep eye contact with her.]

[Her name], receive me.
[Her name], yield to me.

[The following is the twenty-ninth of many posts–here is the first, here is the second, here is the third, here is the fourth, here is the fifth, here is the sixth, here is the seventh, here is the eighth, here is the ninth, here is the tenth, here is the eleventh, here is the twelfth, here is the thirteenth, here is the fourteenth, here is the fifteenth, here is the sixteenth, here is the seventeenth, here is the eighteenth, here is the nineteenth, here is the twentieth, here is the twenty-first, here is the twenty-second, here is the twenty-third, here is the twenty-fourth, here is the twenty-fifth, here is the twenty-sixth, here is the twenty-seventh, and here is the twenty-eighth–about a fictitious discovery of ancient manuscripts of a religious text of narratives and magic spells. Its purpose for my readers and me is to provide a cosmology and mythography on which I am basing much, if not most, of my fiction–short stories and novels. If anyone is interested in reading this fiction, he or she can use these blog posts as references to explain the nature of the magic and universe in my fiction.]

Translator’s Introduction

And now, after all of those mythical narratives and moral injunctions, we finally come to some spells. This book is called “The Preaching,” since it concerns itself as much with the danger of using spells for evil or selfish purposes as in the previous books; but in this book, the difference is in the wish to use magic itself to prevent the use of evil or self-serving magic.

What follows is a series of verses, each coupled with instructions on how to perform the spell. These include the materials to be used–usually the air, earth, fire, and water that correspond to the four Crims, or Weleb, Drofurb, Nevil, and Priff, to whom the magic practitioners prayed to resist the temptation to do evil with magic–as well as how to use the materials for these good purposes.

Once the materials are prepared and used properly, the verses are to be chanted repeatedly, many, many times, with increasing volume, speed, and emotional intensity. Something that cannot be rendered with justice in English is the original language’s deliberate repetitions of sounds–assonance, consonance, alliteration, and even some rhyming, as well as the pounding rhythmic cadences. In these sound repetitions was the believed power and effectiveness of the magic, for it was believed that the whole universe consisted of eternal undulations, and so through sympathetic magic, an imitation of those undulations–“the rhythms of everything”–one could influence what happens in the world.

Each magical incantation attempts to prevent the committing of each of the sins listed in Chapter One of The Laws, Book 2. So we will find verses meant to stop the use of magic in aid of fornication, cruelty to others, controlling others, starting wars, taking others’ land, gaining excessive wealth, stealing, selfishness, and treating others unfairly. The verses also have a visual presentation, as did those at the end of each chapter in Beginnings, though our rendering of them inevitably will fail to preserve that visual element perfectly.

Here is the first spell of the book; others will follow in later installments. Note the shape of the verses, which represents a symbol this ancient civilization used to represent unity in plurality.

[Collect rain in a large basin. On a windy day, set a fire with clumps of dirt surrounding it. Use some of the water to put out some of the fire. Let the wind blow out some of the fire. Any remaining fire is to be smothered in the clumps of dirt. Do all of the above while chanting the following verses, over and over, louder and louder, with more and more emotion.]

All
is
the
the Void is all

Rain
falls
into
the ocean is rain

The
many
make
the One, from which many come

Water
drowns
the
water, by fire, is made air

Commentary: This is an introductory, generalized spell meant to promote oneness in the community before dealing with the specific sins. For ‘rain,’ and ‘many,’ read the Pluries. For ‘the Void,’ ‘ocean,’ and ‘the One,’ read Cao. For ‘water,’ ‘fire,’ and ‘air,’ read Priff, Nevil, and Weleb, respectively.

As for the first, second, and fourth verses, they are meant to be read as “All is the Void; the Void is all,” “Rain falls into the ocean; the ocean is rain,” and “Water drowns the fire; water, by fire, is made air.” These four verses are all meant to represent the back-and-forth movement of everything, the undulations of the universe that unify all plurality. The remaining verses will appear in subsequent installments, as mentioned above.