Goeteia -- with WEBLINKS



/goeteia/ "witchcraft, jugglery" http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dgohtei%2Fa This is from /goeteuo/ 'I bewitch, I beguile, I fascinate'. http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dgohteu%2Fw (So-called "sleight-of-hand" is accomplished by means of hypnosis achieved by silent invocation of daimones.)

The term /goeteia/ -- cf. /goet-/ "one who howls out enchantments" http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0058%3Aentry%3Dgo%2Fhs ; /goetes/ 'wailer' (/goatan/ Herm.) http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dgohth%2Fs from /goao/ 'I bewail' (/goeros/ 'mournful wailing' characterizing the song of a nightengale) http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dgoa%2Fw -- may be related to the name of /Gauanes/ [i.e., /Gawanes/], who, with his brethren (descendants of Temenos), migrated from Argos to Illuria to Mak-edonia (Herodotos 8.137 sq -- Pierre Grimal : Dictionary of Classical Mythology, s.v. "Gavanes", pp. 169b-170a). These words all reflect an etymon */j^awar/n-/ : cf. /j^awanika/ 'curtain, screen' (Hariv. 4648 S`is`. iv, 54 bhp.), and /j^awanika/ 'curtain, screen' (HParis`. ix, 45th ) -- Monier Monier-Williams : Sanskrit-English Dictionary.


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"Featured by Goetia" https://www.youtube.com/channel/UCS-eOCSwzenAb8bgYn4dbiQ/featured


"PLAYLISTS : Topic by Goetia" https://www.youtube.com/channel/UCS-eOCSwzenAb8bgYn4dbiQ/playlists


"Popular PLAYLISTS by Goetia" https://www.youtube.com/channel/UCS-eOCSwzenAb8bgYn4dbiQ/playlists?shelf_id=6880162222744828018&view=50&sort=dd


"All PLAYLISTS by Goetia" https://www.youtube.com/channel/UCS-eOCSwzenAb8bgYn4dbiQ/playlists?view=1&sort=dd


"CHANNELS : Topic by Goetia" https://www.youtube.com/channel/UCS-eOCSwzenAb8bgYn4dbiQ/channels


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KERNOS 20 (2007) "Pherekydes’ Daktyloi". http://kernos.revues.org/161#toc


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"Mystai and Magoi, Magicians and Orphics in the Derveni Papyrus". http://repository.brynmawr.edu/cgi/viewcontent.cgi?article=1030&context=classics_pubs


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Byzantine Magic. "7. A Contribution to the Study of Palaeologan Magic". http://www.doaks.org/resources/publications/doaks-online-publications/byzantine-magic/magic07.pdf


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"Self-Identification with Deity and Voces Magicae in Ancient Egyptian and Greek Magic". http://www.sonoma.edu/users/h/holmstrl/EGmagic.html with endnotes http://www.sonoma.edu/users/h/holmstrl/EGnotes.html and bibliography http://www.sonoma.edu/users/h/holmstrl/EGworkscite.html


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Hermetic Magic : The Postmodern Magical Papyrus of Abaris. https://books.google.com/books/about/Hermetic_Magic.html?id=rvGTcg-30pEC


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Strategic Sorcery Blog "Onward Christian Sorcerers!" http://www.inominandum.com/blog/onward-christian-sorcerers/ [with various weblinks]


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SIMMETRIA

"The normal purification that is usually done with lustral water here is replaced by water infernal marshes. The snakes intertwine to Canidia hair recall the image of Alecto, one of Dirae. As the child immersed in the earth up to their necks, recalls the description given by Plutarch of Chaeronea the afterlife of Suns Tespesio trip. In this description, there are the souls of those who, though immersed in the muddy chasma metaphor of bodily passions, with his head, symbol of intellect, remain outside of a χάσμα - [5] (abyss muddy). As if, with this figure, Orazio wanted to assert that, even if the soul falls prey to dark forces, its purest part remains free and able to utter the truth and see the future as having fallen in the hands of Hades, it changes and the light is converted into shadow, becomes an evil demon, joint to the legion of Lemurs terrifying. ...

Here Horace makes his belief that infants run the risk of being kidnapped by Strigi. These are the "uccellaci" underworld of origin, with the appearance of birds of prey. It was said that assail babies in cradles to steal their life force. Not knew if they came from the shadows of Hades, or if they were witches in tramutatesi raptors during their nocturnal excursions. But there was an antidote to this calamity: a spell suggested by the goddess Carna to prische people Latinas. It was said that witches compissero their transformations, intoning the magical chants of Marsi. It was the nurse of a name Proca child, conscious of the presence of Strigi, he turned to the goddess Carna, imploring her help. The goddess appeared to her and taught a powerful spell to save babies from the night demons. Using a branch of arbutus, he touched the door three times, and three times he drew magical signs in the doorway of the house. Sprayed with holy water, in which he had poured a magic potion, the entrance. Then, instead of the child, he sacrificed a pig two months, took out the entrails, and of these recited a magic chant:nocturnal birds leave hold fibers . " Heart to heart, take fibers to fibers, they give this life to a better one ." After that, scattered around the raw entrails, however, prohibiting those present to look at. The spell ended by placing a hawthorn branch to the window through which the room received the light of day. [6] ... The objects used were exclusively apotropaic function: water, strawberry tree, hawthorn. Because if it is true that traditionally purifies the water, we are not told what components were packaged discioltavi the potion inside. Probably had to be something intolerable to the nature of Strigi. As for the strawberry tree and the hawthorn, they are almost certainly plants that have to do with the myths related to Carna. Hawthorn in particular, as well as being a messenger of spring and the exit from the winter mists, it is also the gift that Janus did to his bride, which is precisely Carna. This was why the god of each start and all the doors, made ​​of hawthorn the protector access and thresholds. ...

The ceremony It aims to force the man who left her to return to her, using precisely the art magic. The woman has with him a helper, maybe one of his slave who in the course of the ceremony serves as assistant. She orders her to bring water and prepare the altar, is surrounded by a Bendala and, when switched on the flames , they are laid of green leaves and fragrant herbs. These are further scattered grains of incense.After which the sorceress from the beginning of a sort of sing-song, by which celebrates the power of his "Carmina." This is a chant, sandwiched by the magical repetition of certain verses, with which it is appealing all the time, the strength of its songs. "Ducite ab urbe domum mea carmina, ducite Daphnim ." [7] So take a figurine made ​​of wax and wrap it into three strands of three different colors, three times, leads her around the altar. Order then to Amarilli to tie three knots each of the three wires " Necte tribus NODIS Ternos, Amarilly, colores" [8]  After that arises between the altar flames the wax doll along with a clay figurine. It spreads throughout the spelled, salt and other grains of incense.Then revives the fire with bitumen and puts on bay leaves, then fixed his eyes on the two figurines and order: " As this clay hardens and this wax melts in one fire so Dafni for our love ......) ...

Ovid describes Circe who sings three magical songs while hurls his accusation against Pico. Twice the enchantress turns toward the rising sun, twice it turns toward the setting sun. Then three times, three magical songs and chants, three times, touching with his wand the victim Pico. [11]

How important has the number three in the magic is known to all Three are the visible face of the moon, there are three bodies with which depicts Hecate and Hades, Lord of the Underworld, it is the lord of the third realm. " Necte tribus NODIS   Ternos , Amarilly, colores ." [12] In these verses should be noted the reitarazione of the number three, accompanied by the alliteration in the sound of the words, which develops with the rhythmic rirproporsi the sibilant "S".The central point of the whole scene, it seems to be the altar on which the fire burns. Because this is the place of transformation in which the two figures, one of the other wax clay, are destroyed and renewed the fulfillment of enchantment. 

Very well-known and most feared were the Tabellae de Fixiones , lead sheets rolled up and pierced by a nail. It was engraved on the inside of a formula esecratoria against one or more individuals.These foils, were buried in cemeteries, beside the grave of someone who died young and violently.Often the name of 'hexed, was added matronymic. ...

Rather bizarre to us appears the first, in which the curse was also launched against the animals, probably because they are repeatedly winning horses in the circus races. In this, we find the accuracy own the most archaic religious rituals " from this hour, on this day, from this moment ," the appeal together with an unknown entity " whoever you are " , reminiscent of the well-known formula of " alio quo fas appointments eg appoint " , used in the invocation to an unknown god.Very enigmatic it is the final part, which refers to a " Him" that made ​​the entity to which it is addressed, god of the sea and air. The latter does not say the name, or perhaps this is contained in the final three words that many interpret as a reference to the God of the Jews. Probably not, presumably this secret name, is hidden right in the sound of phonemes with which rhythmically, we turned to the deity whose name must remain hidden. In fact in the magical tradition, know the secret name of someone or something, is to seize and possess it." {Composed mainly of vowels, these "final three words" would constitute a melismatic expression, to be intoned.}

[1] Festo-190, in Baistrocchi - Arcana Urbis [2] Cod. Theod, IX, XVII-7 [3] Ammianus -XIX [ 4]   Nat Hist XXVIII [5] Plutarco- De Genio Socratis- 591- D) [6] Ovid -Fasti -VI - 140- 160 [7] from the Lead city ​​to the house, you lead Dafni [8] League with three nodes, or Amaryllis, each of these colors [9]the songs can drag down from the sky the moon. With songs, Circe transformed the companions of Ulysses, singing you burst the cold snake in the meadows [10] Enchantment and Magic - Pg 436 Mondadori - Milan - 1934 [11] Ovid -Metamorfosi -XIV - 380/385 [ 12] Ovid -Metamorfosi- XIV -320 -385 [13] Latin Inscriptions (ILS II I ,, 3001 = CIL XI. 2, 4639) in Georg Luck [Arcana Mundi] [14]Arcana Mundi - oc

http://www.simmetria.org/simmetrianew/contenuti/articoli/46-mitologia-ed-etnologia/462-incantesimi-e-magia-nel-lazio-antico-e-roma-di-dlanzetta.html


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