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Incantation Composition
Ritual is performance and performance seduction. As evocative as speech can be of emotion, speech can provoke reaction as surely as it can evoke spirits and compel them to perform actions.
All of Creation began with a word—the Word, in fact, as recounted in various holy books—an arrangement of syllables into a rosary of sounds only God knew how to pronounce, a secret kept occulted from the ears and grasp of mortals.
As was the Creator’s name—which, when intoned, empowered its utterer to revert the Universe back to its vastness of an abyss, as it was before spoken into being, that Big Bang of which even science has been speaking. Destruction by vibrating a phrase, chanting a name—or so understanding goes, if we are to immerse our Selves in the mythic poetry of the monotheistic, Abrahamic Faiths.
Yet, magic is not a religion, but a sacred technology. Incantation is a form of song, in the most abstract sense. A stringing together of sounds which, when expounded as rhythmic, melodic verse, stirs to metamorphosis every surface and soul its reverberation caresses.
Yet, this world is not material, nor are we. Spirit costumed in flesh, we are players in a drama the creation of literary theatrics has the potential to transmute, to evolve, to form anew.
By commissioning an incantation, or in the alternative, a word or several pregnant with gestating power, what you are requesting and commanding is the reordering of your world.
You can smooth the edges of your sphere of existence so that what you encounter flows with your intended motion, not grates against your desires or assault with friction the direction of your will.
Incantation Composition
If ritual is a performance, then incantation is its song; as though waving a wand, a waving of one’s tongue manifests results, language is magic.
On offer is the composition by a poet, who happens to be a ceremonial magician, of an original charm tailored for use in ritual workings.
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Ritual is performance and performance seduction. As evocative as speech can be of emotion, speech can provoke reaction as surely as it can evoke spirits and compel them to perform actions.
All of Creation began with a word—the Word, in fact, as recounted in various holy books—an arrangement of syllables into a rosary of sounds only God knew how to pronounce, a secret kept occulted from the ears and grasp of mortals.
As was the Creator’s name—which, when intoned, empowered its utterer to revert the Universe back to its vastness of an abyss, as it was before spoken into being, that Big Bang of which even science has been speaking. Destruction by vibrating a phrase, chanting a name—or so understanding goes, if we are to immerse our Selves in the mythic poetry of the monotheistic, Abrahamic Faiths.
Yet, magic is not a religion, but a sacred technology. Incantation is a form of song, in the most abstract sense. A stringing together of sounds which, when expounded as rhythmic, melodic verse, stirs to metamorphosis every surface and soul its reverberation caresses.
Yet, this world is not material, nor are we. Spirit costumed in flesh, we are players in a drama the creation of literary theatrics has the potential to transmute, to evolve, to form anew.
By commissioning an incantation, or in the alternative, a word or several pregnant with gestating power, what you are requesting and commanding is the reordering of your world.
You can smooth the edges of your sphere of existence so that what you encounter flows with your intended motion, not grates against your desires or assault with friction the direction of your will.
Incantation Composition
If ritual is a performance, then incantation is its song; as though waving a wand, a waving of one’s tongue manifests results, language is magic.
On offer is the composition by a poet, who happens to be a ceremonial magician, of an original charm tailored for use in ritual workings.