Sacred Rituals - Blog

The Magician's Interrogation Room: Forcing Demons to Comply

Tue, 29 Sep 2026 16:33:00 +0000

A dive into the symbolic field and essence of the iron constraint box - the magician's last resort against disobedient demons. From the forces of Geburah and Binah to the historical roots in Egyptian temple curses and the inversion of the tefillin. An essential analysis of the hidden mechanisms that make spirits obey.

If you are reading this article, there is a high probability that you have seen my videos where I crafted and consecrated a constraint box during the full moon in Aries on September 26, 2026. In my previous article, which focused on the results of the evocation of the demon Sitri - the very one responsible for love magic - I explained why I concluded that this item is indeed necessary, even though I did not feel a particular need for it before. (Probably because I rarely work with Goetic demons, as I do not believe this to be the most effective path). I promised to speak about the mechanisms, the symbolic field, and the essence of the practice of using a constraint box as the primary tool for coercing disobedient spirits, and we will start with the most obvious, from the surface, and go deeper...

Firstly, I should probably explain what this is all about - the iron box is described in many grimoires of the Solomon tradition as the "last resort" against demons who refuse to appear or won't fulfill the magician's requests. The demon's sigil is put into the box along with sulfur and other foul-smelling ingredients like pepper and placed over a consecrated fire (or with burning coals right inside the box). After that, curses upon the spirit are recited to torment it until it complies with what is demanded.

So, what is the most effective way to make something or someone do what we need from them? To make it hurt until they agree. Anyone who disagrees with this thesis should just look at the world around them. Absolutely everything in human society obeys this rule. Every government has created special agencies whose sole purpose is to make things "bad" for ordinary mortals so they comply with the authorities' wishes. This is the exact blueprint for the entire grimoire practice when a demon refuses to appear or fulfill a request. "Coercion through pain" is the magician's ultimate trump card. And this is exactly the process the constraint box serves. Let us start with the materials - in all the texts where it is mentioned, it must be made specifically of iron, and this is important. It could have been made of clay, for instance, like other censers, but no, iron it is, and here is why: Iron is the material of Mars, the Qabalistic sphere of Geburah (severity, punishment, severity of force). As classical occult theory states, iron disrupts astral currents and magnetism, and practically every culture claims that spirits dislike steel. And yes, the box must be black, the color of Saturn, which is also about punishment, limitation of will, and destruction. Saturn rules over prisons. It is no coincidence that across the entire former USSR, all KGB buildings always share the exact same set of Saturnian occult markers: the foundation is always made of black granite (Saturn's stone), there are always blue spruces growing in a row nearby (Saturn's tree), and the plaque next to it is without fail made of brass (an allusion to the secret paths between the spheres of Venus and Saturn). The constraint box is a KGB interrogation room for a demon.

Now that we have sorted out the surface, let us approach a more interesting layer of meanings, which usually goes unnoticed despite being much more important for a true adept. Although the grimoire tradition did not actually emerge directly from Judaism (as Peterson rightly writes in his "Techniques of Solomonic Magic"—we cannot deny its obvious close influence. Do you remember what the Jewish tefillin looks like? A black box on the head symbolizing the submission of thoughts to God, and the leather strap of the hand tefillin on the working hand which also symbolizes the submission of actions and emotions to God. Inside the head tefillin, among other texts, is placed the commandment to remember the Exodus from Egypt. This is a very important spiritual Qabalistic concept that is not about studying the history of the Jewish people, but about spiritual practice—how to start living for God instead of the earthly (actually, I described this very primitively, but to unpack this topic I would need to write a separate article). In essence, the iron box here serves as an inversion of the tefillin; that which a righteous man puts on himself to serve God brings suffering when placed upon a demon, and simultaneously "puts him in his place" because it forces him into a plane where everything obeys God alone, and if the conjurer obeys God and demands something from the demon, then the conjurer's demand is the demand of God Himself. But did the practice of scorching a sigil and a name over fire come from the Jewish tradition? The obvious answer is no.

Many testimonies of such rituals have reached our days, coming both from the ancient Egyptians themselves and from the Greek Magical Papyri. Initially, these were "state-sanctioned" cursing rituals in Egyptian temples, where a curse was a form of punishment, but eventually, in the hands of Alexandrian magicians, iron displaced the ceramic vessels of the Early Kingdom.

Finally, I secure the lid of the box with wire not because I could not come up with a proper latch, but because wire is explicitly specified in the texts. As for why wire exactly, I believe it is simultaneously an allusion to the "chains of punishment" and to that very same strap of the hand tefillin. Let me also mention the inscription I made on the lid of my box - ICINAMAT, if any practitioners decide to make their own box, do not write this, it is not taken from authentic sources, the meaning of this word was revealed to me during an evocation and I will not disclose it.

The Evocation of Sitri: Between Materials, Obstacles, and the Theater of Illusion

Wed, 02 Sep 2026 18:47:00 +0000

This is the first part of my report on the recent evocation of Sitri during the eclipse. I detailed the process of tearing the spirit's presence out by force, from the initial blockages to the heavy atmosphere in the triangle of art. I also shared a piece of our dialogue that reveals the deceptive nature of his performance.

The evocation of Sitri, which I had been preparing for so long, is finally complete. I would like to thank everyone who participated and stood by me; your involvement gave me strength in this struggle. The time has come to summarize this work, draw a proper conclusion, and understand how authentic this experience truly was, as well as how it can be useful to us in the future.

I might be starting from the end, but materials matter—the precision and thoroughness of the preparation constitute the greater part of both the result and the process itself. You have probably seen the video where I crafted a pentacle from deer skin (since Sitri belongs to the sphere of Jupiter, and the deer is an animal associated with Jupiter). Here is what this pentacle looked like after the evocation.

Why did it turn out this way? In almost all versions of the Key of Solomon or Faust's grimoire tradition, you will find methods of "scourging and punishing spirits that resist appearing." The methods vary: while the Faustian lineage most frequently involves striking the sigil with a specially prepared rod inscribed with "Death, where is thy victory? Hell, where is thy sting?", the Key of Solomon usually features the burning of the sigil over consecrated fire, sometimes inside an iron box with sulfur and other substances (as for what that box actually represents, a separate post should be written, since this topic is hardly ever uncovered anywhere).

Why am I writing about this now? Because it was one of those difficult, prolonged evocations where the spirit not only refuses to appear, but it feels as though existence itself is actively resisting the meeting. It had to be torn out by force, and it was truly long and difficult. The fact that the sigil was not merely drawn on paper but crafted on leather allowed me to gradually burn it over a candle (as I still have not made the iron box for roasting) for no less than two hours before he was finally compelled to appear (you can imagine the smell). A paper lamen would have simply burned up here, resulting in a complete fiasco.

But let us return to the beginning of this story, to the day before the evocation itself, August 27, 2026. Everything had been ready for a long time: the circle was laid out, every instrument was in its place, and all the candles, water, salt, etc., were consecrated, prepared, and positioned. The time had come for the introductory evocation, the final consecrations of the temple, and the ritual to close the sacred space against all "superfluous" forces.

And that was when the real obstacles began. I felt as though all my enthusiasm, zeal, strength, energy—or any other term that fits this list—had suddenly left me, which is quite uncharacteristic for me. I understand this sounds foolishly trivial, even childishly immature, but it was something else; I felt like a phone with only one percent of battery left. Nonetheless, I set to work, and after the basic Conjuration of the Four and the Conjuration of the Seven, I entered my working rhythm and managed to overcome this strange state.

The next day, the day of the eclipse which occurred at 6 a.m. my local time, I began my work early in the morning. By 6 a.m., I had already performed the first opening ceremony along with the Hexagram Ritual (the exact Golden Dawn practice I wrote about in the article on the Hexagram Ritual and why I need two wands for it). Following that, throughout the day, I performed several additional preparatory actions, such as the final consecrations of the signs and names of the participants, among other things.

And then, the moment arrived. At 1:20 a.m., I began the evocation. I started by opening the spirit's vessel, which was a doll—the preparation of which I hope you saw on my Instagram. I cut away the cross with which it had been sealed, and I stepped into the circle.

The sensation of a presence appeared quickly enough, but it refused to manifest into an actual "presence." It felt like trying to pull a cat from under a couch—a cat that has absolutely no desire to come out. I recited the entire set of conjurations, which took at least an hour, but it changed very little. There was a feeling of an all-encompassing, total drag on all my efforts. That was when I proceeded to the previously described roasting of the pentacle.

And that shifted the situation. While the conjurations did create a lasso, a chain leading to the spirit, the roasting process actually inflicted pain upon it; I could literally feel it. During the roasting, I took turns reading prayers and conjurations until I felt the arrival of the spirit. I cannot say that it was highly visual or that I saw him the way I see myself in a mirror; no, it was rather a total, all-consuming sense of presence, and the epicenter of that dense, heavy, pressing presence was within the triangle of art.

In describing the images I saw, I ought to explain what it actually means to SEE A SPIRIT. After all, a spirit has no physical body, physical light does not interact with it in any way, and it possesses no vocal cords, so it cannot speak. This is actually a very important topic, and I will certainly write about it in a future article, but for now, let us limit ourselves to the description of this invocation.

Initially, I saw images of something resembling a lynx or a leopard (although the Lemegeton specifies a leopard), but later, once the spirit was fully bound, the imagery shifted to theatrical curtains. It resembled the backstage of an opera, and from behind the curtains, a hand and a head appeared—more female than male. It seemed displeased at being disturbed, as if something very important and interesting was happening there backstage, and I was pulling it away and interfering. However, I later realized that both the figure and the curtains were entirely him—one large and indivisible Sitri, who is this entire theater.

Next, I will present a portion of our dialogue:

When I compel people to strip bare, I simply withdraw myself from them and reveal myself beneath myself. I push myself aside to show myself.
Why do you mock them?
I mock those who believe in my performance.

At this point, I understood what he meant by "believing in my performance." Sitri’s performance is 20-year-old girls on a yacht with 65-year-old men. Woe to the old man who believes in that girl's love; he will certainly be laughed at. But as for those men themselves, isn't it laughable for them to watch these girls "play the performance of love"?

I am, of course, hyperbolizing for clarity, but how many times have I seen a person sincerely believe in love when they are next to an ordinary prostitute acting for benefits. I have seen men like this too, playing a part because the girl's father is the minister of energy. All these situations are created from Sitri; they are his flesh and blood. In this context, he is both the stage and all the actors upon it.

But what is meant by "withdrawing myself from myself to show myself"? Stripping down usually means revealing authenticity, what lies behind the mask and backstage. But not in this case. Here, stripping does not remove the mask, and consequently, it does not form true intimacy. In Sitri's domain, stripping is merely a commodity, a means, a tool. Undressing a true lioness, you might find a gentle kitten beneath her clothes; but undressing a prostitute, you will find only a prostitute beneath hers.

This was the first part of the story. In the next one, I will try to describe everything that fell outside these boundaries: what the presence of a spirit is, how communication occurs with an entity that has no physical body yet is no less real than matter, and why I dedicated so much attention not only to establishing contact with the spirit (creating the vessel in the form of a doll) but also to building its exit paths (the ritual of burning the doll and burying the sigil with the cross).

Blood, Soil, and Steel: Crafting a Dagger for Solomonic Evocation

Sat, 22 Aug 2026 18:27:00 +0000

From historical bloody battlefields to Solomon's grimoires: the hidden power of the ritual blade.

I am writing this article right in the middle of working with the demon Sitri, about whom you might have read in a previous post. Many of you have already seen my tools in my posts and videos, including my dagger, which I made from a hardened steel strip about 10 years ago. It has served me faithfully, so why did I make another one?

To answer this question, one must first understand why a magician needs a sword at all, what its function is, and why the great Eliphas Levi (also known as Alphonse Louis Constant) states in his book that for a true adept, even a nail driven into a wooden block will serve as the most powerful sword.So, if we start from the "surface," we can recall that in most versions of the Key of Solomon, we are told to make three bladed items: one for gathering herbs, another for sacrifices, and the third is the magician's sword itself, which is used to threaten spirits. They all differ in symbols, sizes, handles, etc. It seems like the topic could be closed right there, but no. How exactly is this sword, so terrifying to spirits, actually wielded? In the absolute majority of texts, its use comes down to raising it upward and reciting incantations, which clearly does not reveal the tool's full potential.However, if we turn to 'peripheral' texts, and often to simple folk magic, we will find a massive number of its other functions, such as "pinning down" a spirit. Stephen Skinner writes about this in his book Techniques of Solomonic Magic, where he describes a Greek wedding tradition of 'binding a couple' by plunging a special knife (often inscribed with love poems) into wood or elsewhere. Obviously, this technique is very close to love magic, and I have conducted similar experiments myself.

Right there, the author notes that considering such phenomena, it is no wonder people believed knives were capable of pinning down a spirit during evocation. At the exact moment of its first appearance, the magician plunges the knife into the ground, the floor, or a special 'evocation table,' thereby keeping the spirit imprisoned until it agrees to fulfill the conjurer's will. It is precisely for this technique that I made this new dagger. Many sources state that for such purposes, a magician must find a blade that has already been 'used for its intended purpose.' This is why I chose a Mosin-Nagant rifle bayonet from the World War I and World War II eras as my base. The area where it was found saw extraordinarily bloody battles during both world wars, near the Stokhid River in Volyn, Ukraine. During the First World War, there was a horrific slaughter where hundreds of thousands of people perished. The Russian army advanced directly into machine guns, and according to eyewitnesses of those events, the waters of the Stokhid River were red with blood even far downstream. The bayonet was found in that exact area, in a swamp, a few years ago by a friend of mine and given to me as a gift. I immediately realized what it was meant to become, but everything has its time, and that time has come now. Some of you have probably seen these symbols for the dagger from the Key of Solomon:

and many have likely wondered, 'What on earth is this Hel?' I have even seen people who sincerely thought it was something about Hell. In reality, the answer is simple: this image is taken from the French version of the Key of Solomon, and in French, the 'H' is silent. It is actually the divine name El, and it makes perfect sense that it stands next to Agla - an acronym that translates to "Thou art mighty forever, O Lord."In conclusion, I will share with you a useful magical technique using a knife that might come in handy even for someone who doesn't practice. If you are having nightmares, take an ordinary kitchen knife and slide it, blade first, between the mattress and the footboard of the bed (at the foot of the bed, not near the head). Alternatively, you can take a flowerpot with soil (it's completely fine if there are flowers growing in it), plunge the knife into it, and place it next to the bed. You will be surprised by how simple and effective this trick is against nightmares and any kind of hexes or jinxes. In this article, I haven't touched upon a magician's protection methods during evocation, such as tracing a circle on the ground with a knife and driving it into the earth, and tons of other things. I hope to demonstrate these techniques in my videos over time.

The Mage’s Crown: How to Fool the Spirits

Mon, 10 Aug 2026 17:45:00 +0000

The mage is not the conqueror in a ritual; the mage is merely the battlefield. A deep dive into the true meaning of the Crown of Spirits and divine authority.

This post is about the "crown of spirits," or as it is called in other sources, the "Master’s crown."

Here is what Mathers writes about it in his version of the Key of Solomon: — "Furthermore, the Master of the Art should have a crown of virgin paper, upon which these four names must be written: — JEHOVA, in the front; ADONAI, behind; EL, on the right; and GIBOR, on the left. These names must be written with the ink and pen of the Art, which we will discuss in the appropriate chapter. The disciples must also have a crown of virgin paper, upon which these divine symbols must be marked in red." I don’t know why Mathers decided to leave "Jehova," because it is simply an incorrect translation of the name of God — יהוה, which you can see on the ceiling of almost every Orthodox or Catholic church (it's not even about the translation, but the pronunciation; this name has no pronunciation, anyone who knows Hebrew will understand; anyway, I can make a separate post about the names of God if at least someone writes that they are interested). In some manuscript variants, these names are replaced with: Agla, Aglai, Aglatha, Aglaoth, or similar variations, which changes the very logic, because these are all acronyms of entire concepts or phrases from the Tanakh, aka the Old Testament. The image shows a compilation of these moments from various manuscripts, which I took from Peterson's esotericarchives. Also, in his book "Techniques of Solomonic Magic," he writes that practically all versions of the grimoires describe the crown as a maximally simple and primitive paper ring or a paper hat "like for a party." Although he is one hundred percent right, I decided to take a different path. Well, how did I decide — it was passed down to me by the ruling spirit of the zodiac sign Cancer. Passed down with clear instructions, and I rarely argue in such matters. So that's what I did — a wreath of many herbs, children, and flesh of the spirits of the fields (I love fields very much; even when I was choosing a house, I was won over by the fact that wheat and corn fields were nearby).

The inner part is made of paper, just as the grimoires say. Also, I decided to make the crown look more like an actual crown by adding four crosses facing the four cardinal directions. But why is this crown needed in the first place, and why did I make it exactly now, even though I received the instructions to make it back in the spring? Because it is an integral part of the evocation of the demon Sitri (whom I already talked about in my last post), which I am going to perform during the eclipse on August 28, 2026. And here is why — not only Peterson but many other authors agree on one thing: the mage's ritual, his tools, clothing, and everything else were conceived by ancient mages as a way to trick the spirits. It was a way to mimic the majesty of God to make them believe that standing before them is a living god who commands them, leaving them no choice but to obey. All the signs of divine power on the mage's tools served this exact purpose. And they are right, it really is a working method. Even Agrippa, in his De Occulta Philosophia, explains that most natural spirits "are unable to distinguish truth from falsehood" and are generally quite primitive in themselves.But this absolutely does not apply to high-ranking demons like Sitri or higher. They understand much better what and who is standing before them. In this case, the game moves to a whole new level. There is a huge difference between someone who truly seeks attachment to God, His will, and His power (which is the foundation of absolutely all religions) and performs the ritual not just from themselves but serves merely as a conduit of divine forces, and a common "astral fraud" behind whose paper hat stands only his primitive human mind and the weak soul of a seeker of easy fixes. It is not the Mage who must conquer Sitri, but God through him who must do it. The mage is not the conqueror; the mage here is merely the battlefield. This is not my crown; this is the crown of the One who is the King of all existence. Existence as such. Nothing is unless He makes it exist. Although this isn't even His crown, it is just its image, and I am "borrowing" it to cover my own insignificance. Remember those lines from gangster movies when the main character is disarmed, a gun is held to his head, and they ask: "Who do you work for?" This is the typical behavior of demons. And if, in such a confrontation, it turns out that the mage works only for himself — he will be crushed. Abbot Louis Constant, aka Eliphas Levi, talked about this a lot in his books, which I value very highly and advise everyone on the magical path to read. To sum it up — the crown and the pentacle are the "mage's police badge," and he must remain a mage even without it.

Sitri, the Demon of Love’s Agony: Who is He and Why Does He Fear the Image of the Mother of God?

Thu, 30 Jul 2026 15:51:00 +0000

Today, I will tell you about Sitri - the twelfth spirit among the 72 demons of the Ars Goetia. Here is what Johann Weyer wrote about him in his work Pseudomonarchia Daemonum:

"Sitri, otherwise called Bitru, is a great Prince, and appeareth abroad with the face of a leopard, and he hath wings as a gryphon. When he taketh humane shape, he is exceeding beautiful. He inflameth a man with the love of a woman, and stirreth up a woman to the love of a man. Being commanded, he willingly discovereth the secrets of women, mocking them and flouting them, that they may make themselves naked. Sixty legions of spirits obey him."

I have already mentioned this spirit when describing my first experiments with him in my book, Love Magic in Different Traditions and Cultures. However, today that past experience seems far too superficial and primitive to me. That is precisely why I am writing this post, as I prepare for a new, larger-scale evocation of this undoubtedly powerful and dangerous adversary.

So, who is Sitri in reality? What constitutes his true essence, and what connects him with the other demons of the Goetic hierarchy?

To start with, just like any other demon, Sitri brings no positive outcomes in the grand scheme of things. Sitri's "love" is pure sex for the sake of sex. If a couple wants to get married, have kids, and live a long, happy life together, there is very little room for him there. That territory usually belongs to those who rule over the mindset of: "So what if there's no love? Love will come later, the main thing is to have kids and get a mortgage." But I will talk about them another time; let's get back to Sitri.

This is exactly where he first crashes hard into the Christian concept of the Mother of God. For him, She embodies the principle of "an effect without a cause" (since we are talking about the Immaculate Conception, where there is no sin). Sitri himself exists exclusively in the paradigm of "a cause without an effect" - when the sin is committed, but there is absolutely no constructive meaning or fruit born from it.

Fun fact: think about old American movies - how are prostitutes usually dressed there? Leopard print shows up in their wardrobe way too often, and that is not just a random coincidence with the Goetic demon's appearance. He literally runs this trade. Prostitution is the textbook definition of "sex without constructive effects" (after all, you definitely can't call STDs a constructive outcome).

What does a person under Sitri's influence actually feel?

But that was just scratching the surface. What does a person possessed by this spirit actually feel? How can his power be used in love magic services? And most importantly - how do you control Sitri so you don't end up as his slave?

"I will do whatever you want" - is the shortest and most accurate description of his influence. Deep down in a person's soul, a subtle bait-and-switch happens: true love gets replaced by a pathological urge to please the partner. At first glance, wanting to make someone "happy" and loving them seem like almost the same thing. But it’s an illusion. Have you ever heard of cases where a guy buys a woman a car, even though he knows damn well she doesn't really love him, and might even use it to drive over to her lover's place? What drives a person to make such "wise moves"? Sitri does.

His power messes with your head so badly that the victim doesn't even realize there are no genuine feelings left. A person becomes so obsessed with pleasing their object of affection that they completely stop listening to themselves. I remember Zemfira’s cult song “Khochesh?” (Do You Want To?) If we will check the year it came out, and remember what the singer was going through in her personal life back then, and with whom - that can be a textbook case of Sitri’s influence.

The Key to Control: The Icon of the Mother of God

However, even in this case, the best antidote to Sitri is the Icon of the Mother of God. While the demon fixes a person on the mindset of "I will do whatever the conjurer wants," the Mother of God declares: "I will do only what God wants."

Right here lies the key to taming Sitri. To avoid falling under his spell - or the influence of most other demons - a person must constantly seek God's will. Questions like "What does God want from me?" and "What should I be doing for God?" serve as the most reliable shield against falling into the slavery of demonic passions or the manipulation of others.

That is exactly why on the back of Sitri's lamen, I engraved the symbols and the cross of the Mother of God, rather than just the sigil of the Shem Ha-Mephorash angel who opposes this demon.

Why do I need two wands?

Sat, 04 Jul 2026 17:11:00 +0000

Why are two rods needed in the ritual of the invoking hexagram? We all know that the process of drawing the hexagram in the air has two stages; it is not uninterrupted. And the name of the God (Ararita) is chanted twice: once for the ascending triangle and once for the descending one. Over the years of practice, I’ve come to the conclusion (or, more precisely, the spirits directly told me this—I wouldn’t have figured it out on my own, since I’m a person without much imagination) that two wands are needed, each serving a different function. The green-and-blue wand is made according to a recipe very similar to the one given by Eliphas Lévi (Abbot Louis Constant) in his book "Doctrine and Ritual". It is a copper tube with a copper core running down the center, and the entire interior is filled with consecrated wax. The wand is divided in half into blue and green sections marked with the letters J and B. The letter J signifies the ascending flow, from earth to heaven, from death to eternity, the pillar of Jachin, the solar principle, expansion, will, fire, and the positive pole. Therefore, at the top of the blue side is a light-colored stone, and the letter itself is gold. On the other side, the rod is painted green with a silver letter B. This represents the descending flow, from God to earth, from the spiritual to the material, from eternity to mortality—the pillar of Boaz, the lunar principle, contraction, materialization, fate, water, and the negative pole. Therefore, the stone at the top of this side is black. And they are connected in the middle by the image of a hexagram. As E. Lévi writes, knowledge of these two fundamental currents in the macrocosm is the foundation of all magic. The realization of the famous magical and alchemical formula “Solve et Coagula,”—which generations of masters have tried to uncover (and about which I previously posted on Instagram)—is impossible without mastering these energy flows. So, this wand also underwent two stages of consecration. In a sense, this was its polarization. That is why it is kept in its case with silver and gold pads at both ends. Inside these pads are herbs, paper with spells written on it, and other items. As you’ve already understood, to draw the ascending triangle of the hexagram, I hold it in my left hand with the blue side facing up, gripping it by the green end. In this way, I “capture” the ascending current and channel it while drawing the triangle with another wand in my right hand. I’ve come across countless pieces of advice suggesting that one should perform such actions using their astral energy (because this isn’t just waving a sigil or hexagram—it’s the process of “writing by energy in space”). Well, don’t do it that way. It’s exhausting and ineffective. The method I’m describing allows you to manifest symbols in space not through meager human strength, but through the forces of the macrocosm, which the magician simply channels in the right direction. As for the white wand—its recipe is entirely different. It is made from the trunk of a young oak tree, and a piece of bark from the oldest oak tree I found in my region—a piece of the 800-year-old “oak of glory”—is glued to its handle. Its purpose is to act as a condenser of power, though that’s a very simplistic way of putting it. As one spirit said - after I met him and gilded the top of the staff: “Whatever is written with this staff below will also be written with it above.” As I practiced, the wand changed; new elements appeared and disappeared, it turned white, and the spirits symbols were added to it. Here are their names and functions: Tasta (the spirit of attraction), Kashka (the spirit of expulsion), Evarashka (the spirit of transitional states, the spirit of catastrophes and changes), Siontaka (the spirit-guide of light), Solon (the spirit-clothing, which gives form). There is also a guardian spirit of this instrument, whose name is written on the material in which it is stored, but I will not reveal it.

About love spells and sin

Wed, 24 Jun 2026 11:01:00 +0000

The most interesting and most significant part of magical practice is, without a doubt, Love. It is a fundamental human need—to love and to be loved. We spend our whole lives searching for this. And there is a mystery here. After all, how does the average person imagine a love spell? Something that will force another person to love me. But the need to force someone is only possible when a person has a choice. And this is where the arguments arise—that it’s a sin, a violation of another’s freedom, and so on. Here, I’ll let you in on a secret. We don’t choose whether to love or not; we simply fall in love—it’s not our choice. Where have you ever seen a person say, “I’ve decided to love him or her!” That’s it—I just sit here and love. It simply happens to us, and if the feeling is mutual, it’s happiness; if not, it’s sorrow. In love, we are all victims of circumstances, victims of the mechanisms by which attraction and repulsion are formed—not only in people but in nature itself. True magic is not just about changing the reality of existence; it’s also about a deep understanding of the occult laws that govern how humans and the universe function. By understanding and knowing these laws and mechanisms, and by using them to influence a person or a situation, you can change it. One can evoke desire, admiration, or love for a specific person, or feelings of disgust and irritation toward a rival. And there is neither a violation of free will nor sin here. For free will has nothing to do with it; here we are dealing with subconscious emotional reactions. Such thoughts (that this is a sin, that it is wrong, that God is against it, etc.) are imposed on us by our inner demons, the evil principle that triumphs through our suffering. This principle has, since time immemorial, robbed us of our right to influence the world and enslaved us to blind mechanisms and blind fate, making nature the master of humankind. But humanity’s purpose is to become the master of its own life, to overcome circumstances, and to fulfill its desires in defiance of the forces of chaos.