The Goetia of Dr Rudd

«This version is mentioned by Joseph Peterson in his excellent The Lesser Key of Solomon, but he understandably dismisses it as being the least reliable version, due to its apparent lateness (1712-13) and to its inclusion of additional material from Peter de Abano's Heptameron.» — Skinner y Rankine abren declarando contra qué juicio trabajan: Joseph Peterson menciona el Harley MS 6483 y lo descarta por tardío —1712-13— y por traer material añadido del Heptameron de Peter de Abano. Las dos razones del descarte son, para ellos, las dos virtudes del testimonio

«However although he reproduces three of the sigils from Rudd's manuscript in Appendix 4 of his work, Joseph Peterson does not discuss the immense practical significance of Harley MS 6483.» — la objeción que Skinner y Rankine oponen a Peterson: reproduce tres de los sellos del manuscrito de Rudd en su Apéndice 4, pero no discute lo que ellos llaman su inmensa importancia práctica

«In Harley MS 6483 the genius of Rudd becomes clear, for the 72 double-seals given by him for working with the 72 Goetic demons also contain the 72 corresponding Shem ha-Mephorash angels, and their associated Biblical verses from Psalms. The Shem ha-Mephorash angels are, as we will show, used to control the Goetic demons, transforming the nature of Goetic magic into a much more accessible and somewhat safer form of practice.» — la tesis que ordena el volumen entero, en boca de los editores: los 72 sellos dobles de Rudd llevan en una cara al demonio goético y en la otra al ángel del Shem ha-Mephorash que le corresponde, con su versículo de los Salmos, y esos ángeles sirven para controlar al demonio. De ahí que digan que la magia goética se vuelve más accesible y algo más segura

«Some of this material comes from Harley MS 6482, but needs to be seen together with Rudd's manuscript Harley MS 6483, to fully contextualise it.» — los editores declaran que su texto no sale de un solo códice: parte del material de los sellos viene del Harley MS 6482 y solo se entiende junto al Harley MS 6483

«That Rudd was heavily influenced by Peter de Abano's Heptameron is evident, but more importantly all the invocations of the Goetia (in every manuscript version) also draw heavily on that important work.» — Skinner y Rankine trazan la dependencia y la amplían más allá de Rudd: no solo él se apoya en el Heptameron de de Abano, sino que todas las invocaciones de la Goetia, en cualquier versión manuscrita, beben de esa obra

«We have only footnoted some of the differences in the names of the spirits between other manuscripts and Rudd's Goetia of Harley MS 6483, rather than repeating the excellent comparative work done by Joseph Peterson in the footnotes of his edition of the The Lesser Key of Solomon.» — los editores declaran el alcance de su propio aparato de variantes: solo anotan algunas diferencias onomásticas entre manuscritos, y remiten para lo demás al cotejo de Joseph Peterson

«We have also included in Appendix 1, material found in Sloane MS 3824, which is a collection of items which make up a sort of proto-Lemegeton, as this manuscript contains many of the items that later made up the Lemegeton, but in many cases in a more complete state.» — Skinner y Rankine llaman al Sloane MS 3824 una especie de proto-Lemegeton: trae muchos de los materiales que después formaron la colección, y en muchos casos en estado más completo

«There are two general invocations of infernal spirits which seem to be missing from the usually accepted texts of the Lemegeton, one of which refers to Lucifer, Beelzebub and Satan.» — hallazgo que los editores adjudican al Sloane MS 3824: dos invocaciones generales de espíritus infernales que faltan en los textos aceptados del Lemegeton, una de ellas dirigida a Lucifer, Belcebú y Satán

«A fascinating inclusion in this material is a Spirit Contract with the spirit Padiel which was meant to be used during the all-important ligatio part of the evocation.» — los editores señalan como pieza rara del Sloane MS 3824 un contrato con el espíritu Padiel, destinado a la ligatio, la parte de la evocación que ellos llaman decisiva

«One of the continuing aims of this Volume in the present series is to show how interconnected the scholarly practice of angel magic was with the magic of the grimoires, and to rescue the grimoires from the stigma of being mere sorcerer's handbooks, as A E Waite suggested, and to show that they are indeed an integral part of the traditions of ceremonial magic, and were often utilised by such acknowledged luminaries as Trithemius, Agrippa, Dee, and de Abano.» — el propósito declarado de la serie, y el pasaje que sostiene la adscripción de la ficha: Skinner y Rankine sostienen que la práctica erudita de la magia angélica y la magia de los grimorios están trabadas entre sí, niegan contra A E Waite que los grimorios sean meros manuales de hechicero y los sitúan dentro de la magia ceremonial que practicaron Tritemio, Agripa, Dee y de Abano

«This Volume contains material from four separate manuscripts. It is consequently difficult to give this Volume a simple title, so we have had to resort to a slightly misleading short» — los editores explican por qué el título del volumen engaña: trae material de cuatro manuscritos distintos y no cabe en un rótulo simple, de modo que eligieron un título corto seguido de otro largo. La frase sigue al otro lado del corte de plana

«Of the manuscripts, Harley MS 6483 which is entitled Liber Malorum Spirituum seu Goetia is transcribed in full, with the exception of its fifth section the Ars Notoria.» — los editores fijan el alcance de la transcripción: el Harley MS 6483, titulado Liber Malorum Spirituum seu Goetia, va entero salvo su quinta sección, la Ars Notoria

«This collection of grimoires comprises five books which are grouped into three categories: Goetia (the first book which deals with 72 evil spirits), Theurgia-Goetia (the second book which deals with spirits of mixed nature), Theurgia (the third, fourth and fifth books which deal with good spirits and angels).» — la partición que el volumen adjudica al Lemegeton: cinco libros en tres categorías, la Goetia con sus 72 espíritus malos, la Theurgia-Goetia con los de naturaleza mixta y la Theurgia con los buenos y los ángeles

«The first question any reader will ask is 'why do we need yet another edition of the Lemegeton, and especially of its first part the Goetia, which has been printed many times since it was first transcribed by S L MacGregor Mathers over 100 years ago?'» — los editores formulan la objeción que se hacen a sí mismos, y la datan: por qué otra edición más de la Goetia, impresa tantas veces desde que MacGregor Mathers la transcribió hace más de cien años

«There are a number of manuscripts of the Lemegeton, each with its own faults and virtues. Peterson used as his prime text Sloane MS 3825 which possibly dates from 1641.» — Skinner y Rankine consignan que cada manuscrito del Lemegeton tiene faltas y virtudes propias, y que el texto base de Peterson, el Sloane MS 3825, puede ser de 1641

«We have selected Harley MS 6483 as our prime text. Although the manuscript is dated 1712-1714 it is a transcription of a much earlier manuscript written or owned by Dr Thomas Rudd (1583-1656).» — la elección de testimonio base y la reserva con que los editores la sostienen: el Harley MS 6483 está fechado en 1712-1714, pero lo tienen por transcripción de un manuscrito muy anterior escrito o poseído por Thomas Rudd

«Given that Rudd died in 1656, and that the manuscript contains some material taken from the 1655 English edition of Peter de Abano's Heptameron we can probably date the original Rudd manuscript fairly accurately as 1655/6. Therefore this version falls 15 years after the probably date of the manuscript used by Joseph Peterson. We will refer to it simply as the original Rudd MS.» — la datación que los editores proponen para el original perdido, con su reserva declarada —probably— y su aritmética: Rudd muere en 1656 y el manuscrito toma material de la edición inglesa de 1655 del Heptameron, de donde 1655/6 y una distancia de quince años respecto del testimonio de Peterson

«This manuscript contains much additional material which no other version does. As Joseph Peterson says, 'Harley MS 6483...contains much additional material, with extracts from de Abano's Heptameron replacing [and sometimes amplifying] much of the instructions included in Book 1 [the Goetia] of the other manuscripts'.» — primera de las cinco razones que los editores dan para su edición, apoyada en la letra del propio Peterson: el Harley MS 6483 trae material adicional que ninguna otra versión tiene, con extractos del Heptameron de de Abano que reemplazan y a veces amplían las instrucciones del libro primero

«The seals in this manuscript are beautiful and more carefully drawn than in any other manuscript. Moreover they are completely unique because they show Hebrew names of the demons (albeit as surmised by Rudd), and each is drawn with its corresponding angelic seal, angel name in Hebrew, and its Latin invocational Psalm text, all of which do not appear in any other manuscript or printed version, in this form.» — tercera razón, y la que sostiene la tesis del volumen: los sellos del Harley MS 6483 son únicos porque llevan el nombre hebreo del demonio —tal como Rudd lo conjetura, aclaran— junto a su sello angélico, el nombre del ángel en hebreo y el salmo latino de invocación

«They do however have copyist errors (which we have noted), and they don't always agree with those of other manuscripts.» — el límite que los editores ponen en la misma plana a su propio elogio de los sellos: traen errores de copista, que ellos anotan, y no siempre concuerdan con los de otros manuscritos

«This version explains the preparation and protection of the magician, specifically what precise angel he should use to compel each individual demon, and the use of the Brass Vessel. These key practical details are not present in any other edition or manuscript of» — cuarta razón: el volumen declara que esta versión explica la preparación y protección del mago, qué ángel exacto ha de usar para compeler a cada demonio, y el uso del Vaso de Bronce. La frase cierra al otro lado del corte de plana, en *the Goetia*

«We wanted to trace where the Lemegeton material comes from and to demonstrate that its roots reach back at least to the thirteenth century, and the connections between angel magicians and those evoking in the grimoire tradition, which in the case of this manuscript proves to be identical.» — quinta razón, y la tesis histórica del volumen: los editores dicen querer rastrear el origen del material del Lemegeton hasta el siglo XIII y mostrar que, en este manuscrito, los magos angélicos y los evocadores de la tradición de los grimorios son los mismos

«We hope this will help heal the divisive dualism which was introduced into magic by the church, and reassert that magic, as a working definition, consists in dealing with 'spiritual creatures' of whatever hue, be they spirits, angels or demons.» — la posición declarada con que Skinner y Rankine cierran sus cinco razones: atribuyen a la iglesia el dualismo que dividió la magia y proponen como definición operativa que la magia consiste en tratar con criaturas espirituales, del color que sean

«In fact the terms 'spirit' and 'demon' have been used almost interchangeably throughout this volume. This may seem theologically sloppy, but many of the magicians and scholars who dealt with them, also used these terms interchangeably.» — los editores declaran su propio uso léxico y lo defienden anticipando la objeción: usan espíritu y demonio casi como sinónimos, conceden que suena teológicamente descuidado, y lo justifican porque así los usaban también los magos y eruditos que trataron con ellos

«We originally thought just to present the new material and explain the techniques presented, but it rapidly became clear that we would be constantly referring the reader back to the text of the Lemegeton, and so it was decided to reproduce in entirety the first four books of the Lemegeton, in fact the whole of Harley MS 6483 (except for the Ars Notoria) so that the reader would have everything needful right in front of him.» — los editores cuentan el cambio de plan del que sale la forma del libro: iban a presentar solo el material nuevo, vieron que tendrían que remitir sin parar al texto del Lemegeton, y decidieron reproducir íntegros los cuatro primeros libros, es decir todo el Harley MS 6483 salvo la Ars Notoria

«Before beginning it is worth clearing up the confusion between necromantia (which is divination by the invocation of the spirit of a dead person) and nigromantia (divination by the invocation of demons) which terms became a little confused after the Middle Ages.» — los editores separan dos términos que dicen confundidos desde el final de la Edad Media: necromantia es adivinación por invocación del espíritu de un muerto, y nigromantia adivinación por invocación de demonios

«Several modern academic works use the term 'necromancy' when in fact they are dealing with nigromancy. Here we deal only with the invocation of spiritual creatures such as spirits, angels, and demons.» — la objeción que los editores dirigen a la academia moderna: emplea necromancia donde trata de nigromancia. Ellos acotan su propio campo a la invocación de criaturas espirituales

«Throughout the course of this work the term 'spiritual creatures' will be used to apply collectively to angels, demons, spirits, elementals, fairies, or other non-human entities. As pointed out elsewhere, if the doctrine of the Fall is accepted then demons are but fallen angels.» — el término colectivo que el volumen instituye para todo el recorrido —ángeles, demonios, espíritus, elementales, hadas u otras entidades no humanas— y la razón doctrinal que le dan: aceptada la doctrina de la Caída, los demonios no son sino ángeles caídos

«We wanted to show how the system of magic in the Lemegeton was developed and actually practiced by working magicians in the seventeenth century. As well as examining the earliest texts available, we deliberately chose the most fully expanded text used by working magicians as our prime text.» — segunda razón que los editores dan para su edición: declaran querer mostrar cómo magos en activo del siglo XVII desarrollaron y practicaron el sistema del Lemegeton, y por eso eligieron a propósito el texto más expandido y no el más temprano

«Although there is a difference between demons and spirits, in the present text the 72 demons of the Goetia will sometimes be referred to as spirits, and so these terms have been used interchangeably.» — los editores repiten para el texto transcrito la licencia léxica que ya se habían dado: conceden que demonio y espíritu difieren, y aun así llaman espíritus a los 72 demonios de la Goetia

«Finally, because there are so many spirit names, which belong to a rather complicated hierarchy, we decided to import the relevant Tables from The Complete Magician's Tables, as a way of providing a tabular reference to the first four books of the Lemegeton.’ These appear in Appendix 2 and 7.» — los editores declaran de dónde sacan sus tablas de referencia: las importaron de The Complete Magician's Tables por lo enredado de la jerarquía de nombres, y van a los apéndices 2 y 7

«The Goetia as a distinct book dates back at least to the fifteenth century, but its techniques and purpose date back at least two and» — Skinner y Rankine fechan el libro y su contenido por separado: la Goetia como libro aparte se remonta al siglo XV, y sus técnicas y su propósito a dos milenios por lo menos. La frase sigue al otro lado del corte de plana, en *maybe three thousand years*

«We wouldn't, as MacGregor Mathers seemed to, assert that the present text was actually written by King Solomon, but we are convinced that the magical technology behind it may date back to the time of that King.» — los editores marcan la distancia con MacGregor Mathers y ponen a la vez su propia reserva: niegan que el texto lo escribiera Salomón, y sostienen que la tecnología mágica que hay detrás puede remontarse a su tiempo

«King Solomon (who reigned 977-927 BCE) had a reputation for being a consummate magician. Many sources, Christian, Jewish and Islamic contain stories of King Solomon's God-given skills in calling and binding demons. These skills included interrogating them, imprisoning them, and finally forcing them to obey him, even to the point of doing heavy physical work like hewing stones and timber for the construction of his famous temple in Jerusalem.» — el retrato que los editores hacen del Salomón de la tradición: fuentes cristianas, judías e islámicas le adjudican la habilidad, dada por Dios, de llamar y atar demonios, interrogarlos, encarcelarlos y forzarlos a trabajo físico para el templo de Jerusalén

«Living as he did well before the advent of Christianity, and without its dualist view of the spiritual worlds, Solomon had no qualms about dealing with both angels and demons; in fact he clearly saw it as part of his duties to curb the power of the latter, thereby reducing the amount of wickedness on the loose in this world.» — la lectura con que los editores explican la falta de escrúpulo de Salomón: vivió antes del cristianismo y de su visión dualista de los mundos espirituales, de modo que trataba con ángeles y demonios por igual y veía en frenar a los segundos parte de su oficio

«Who did Solomon leave his secrets to? The four magicians usually quoted are Fortunatus, Eleazar, Macarus and Toz Grecus, who are sometimes called the quartet annulus. Of these, there are many manuscripts extant on magic reputedly written by Toz Grecus (which some writers suggest may mean 'the Greek Thoth'» — la cadena de transmisión que los editores consignan de la tradición: los cuatro magos que suelen citarse como herederos de Salomón —Fortunatus, Eleazar, Macarus y Toz Grecus, llamados a veces quartet annulus—, y la conjetura, que atribuyen a otros escritores, de que Toz Grecus valga por el Thoth griego

«The Temple of Solomon was destroyed and rebuilt several times, and each time there were manifestations and phenomena which suggest that Solomon had not only used demonic powers effectively to build it, but had bound some of these into the very structure of the Temple» — la tesis de los editores sobre el templo: las manifestaciones que acompañaron cada destrucción y reconstrucción les sugieren que Salomón no solo usó poderes demoníacos para levantarlo, sino que ató algunos a la fábrica misma del edificio

«This procedure was not part of Solomon's later religious defection to the foreign gods of his many wives, but an integral part of his use of magic in building the Temple for the Lord, so that it became truly a magical place.» — los editores separan la magia del templo de la apostasía posterior de Salomón: no es parte de su defección hacia los dioses extranjeros de sus mujeres, sino parte integral del uso de la magia para construir el templo del Señor

«The emphasis is upon unhewn; as such natural rock is still connected directly with the earth, and hence is of greater magical» — la razón que los editores dan al énfasis en la roca sin labrar de la Cúpula de la Roca: la roca natural sigue conectada directamente con la tierra. La frase cierra al otro lado del corte de plana, en *efficacy*

«A third and last attempt at rebuilding the Temple has been given very little attention. It took place under the reign of Julian, the last pagan Roman Emperor (reigned 360-363 CE) who decreed that all pagan temples should be rebuilt, including the great Temple of Solomon.» — el episodio que los editores dicen desatendido: el tercer y último intento de reconstruir el templo, bajo Juliano, el último emperador romano pagano, que decretó rehacer todos los templos paganos

«Because of the sacred nature of the site, the Rabbis decreed that all the mattocks, shovels and baskets should be made of silver and not iron, which the Romans duly did. This was in accordance with Jewish law, but there is a clear echo in this provision not only of the religious law, but also of the distaste of demons for iron. Accordingly, the Romans were required to work without any iron tools:» — el dato que los editores leen a dos luces: los rabinos mandaron que los picos, palas y canastas fueran de plata y no de hierro, y ellos oyen ahí, además de la ley judía, el disgusto de los demonios por el hierro

«Thou shalt build the altar of the Lord thy God, an altar of stones: thou shalt not lift up any iron tool upon them. Thou shalt build the altar of the Lord thy God of whole» — el precepto bíblico que el volumen imprime como respaldo de la prohibición del hierro en el altar; la cita la traen los editores, no es voz del texto goético. La frase cierra al otro lado del corte de plana, en *[unhewn] stones*

«During construction there were a number of inexplicable accidents, and mysterious balls of fire were seen in the second half of May 363 CE. Finally as if even the earth resented the intrusion, there was a substantial earthquake that caused many fatalities and destroyed much of the surrounding area, but interestingly not the Temple Mount» — los prodigios que los editores consignan de la obra de Juliano: accidentes inexplicables, bolas de fuego en la segunda mitad de mayo del 363 y un terremoto que arrasó los alrededores pero, señalan, no la plataforma. La frase cierra al otro lado del corte de plana, en *platform itself*

«The Knights Templar, founded in 1118 were given the 'stables of Solomon' on the Temple platform as their headquarters, by the then King of Jerusalem. This location is approximately where the al-Aksa Mosque stands today. The Knights were very interested in Solomon, and almost certainly excavated under the platform of the old Temple during the years they were based there.» — lo que los editores adjudican a los templarios: recibieron las caballerizas de Salomón en la plataforma del templo y, dicen, casi con certeza excavaron debajo durante los años que estuvieron allí

«We don't know what was discovered there, but it has sometimes romantically been asserted to be the Ark of the Covenant, hidden there when the temple was sacked. This 'instrument of the Lord' was inherited by Solomon and certainly appears to have had very real magical powers, being able to indiscriminately kill careless or unprepared people even at a distance. It was even dangerous to look too closely at the Ark.» — los editores consignan la conjetura romántica sobre el hallazgo templario —el Arca de la Alianza— y le adjudican al Arca poderes mágicos muy reales, capaces de matar a distancia a quien se descuidara

«And he [the Lord] smote the men of Beth-shemesh, because they looked into the ark of the Lord, even he smote of the people fifty thousand and threescore and ten men.» — el versículo que el volumen imprime como prueba de la letalidad del Arca; lo citan los editores dentro de su argumento sobre la tecnología mágica de Salomón

«This suggests that the punishment meted out was not a moral one, but something which was as objective as the result of touching a live electricity cable.» — la lectura que los editores hacen del castigo de Uzzah: no moral sino objetivo, y lo comparan con tocar un cable eléctrico vivo. Es la formulación más neta de su tesis de que la magia salomónica es técnica y no doctrina

«The preparations which enabled the priests to go near the Ark were very like the rules of purity imposed upon a karcist before he undertakes a magical operation. That is not to imply any connection between the Ark and evocation, simply to point out that the Ark is definitely another example of Solomon's use of magical technology, a technology whose effects were very real and very physical, and not at all imaginary or airy-fairy.» — los editores emparejan los preparativos sacerdotales con las reglas de pureza del karcist, y de inmediato acotan el paralelo: no implican conexión entre el Arca y la evocación, sino que ambas serían tecnología mágica de efectos físicos

«Strange phenomena were again experienced in 1536, when Sultan Suleiman the Magnificent ordered extensive restorations on the Temple Mount. He converted the church which had been built on Mount Zion by the Crusaders into the al-Aksa Mosque, which still stands today. By building this mosque, Suleiman magically linked himself with his namesake King Solomon, the son of David.» — el eslabón que los editores añaden en 1536: Solimán el Magnífico restaura el Monte del Templo y, al construir la mezquita de al-Aksa, se liga mágicamente con su homónimo Salomón

«These procedures are sometimes spoken formulae, but more often very specific physical methods, and it is these methods that have in part been lost or become scrambled by the time we reach the grimoires of the thirteenth to eighteenth centuries. So that by the time we reach the current manuscripts of the Goetia, the emphasis is upon listing the spirits rather than explaining the method, which occurs only in abbreviated note form at the end of the book.» — la tesis de degradación que los editores sostienen: los métodos físicos del Testamento se perdieron o se enredaron camino de los grimorios de los siglos XIII a XVIII, y en los manuscritos actuales de la Goetia el énfasis cae en listar espíritus y no en explicar el método

«In this text Solomon interrogates and binds no less than 60 demons. He starts with the demon Omias, who he discovers has been vampirising one of his servants. With the help of prayers and a magic ring given to him by the archangel Michael, he binds this demon. From Omias he extracts enough information and help to call and bind a whole succession of demons, one at a time.» — el resumen que los editores hacen del Testamento: Salomón interroga y ata sesenta demonios, empezando por Omias, a quien descubre vampirizando a un criado suyo, y lo ata con oraciones y un anillo mágico que le da el arcángel Miguel

«The procedure is still exactly the same today: the magician starts with a minor demon that may eventually become a 'familiar', and with his help works up to binding other and more powerful demons.» — los editores declaran la continuidad del procedimiento hasta hoy: el mago empieza por un demonio menor, que puede volverse familiar, y con su ayuda sube a atar otros más poderosos

«In fact the technique of using angels to control demons, found in the Testament, is one of the techniques that Rudd expands upon in his rendering of the Goetia.» — el eslabón con que los editores ligan el Testamento a su propia tesis: la técnica de usar ángeles para controlar demonios ya está allí, y es la que Rudd amplía en su versión de la Goetia

«Despite the overlap in method, it is a bit disappointing to only find a minimal overlap between the names of the demons in the Goetia with those in the Testament of Solomon. In fact the only obvious overlap is the demon Asmodeus (number 32 in the Goetia) and perhaps Omias/ Orias (number 59 in the Goetia).» — el límite que los propios editores ponen a su continuidad: entre los nombres de los demonios de la Goetia y los del Testamento solo ven coincidir con claridad a Asmodeo y quizá a Omias/Orias

«Unlike the late mediaeval Church view that supposed that magical powers were only granted by the Devil, Solomon was one magician who clearly derived his power and formulas directly from God and his archangels, with no hint of any commerce with the Devil.» — la objeción que los editores dirigen a la visión eclesiástica bajomedieval: contra la idea de que los poderes mágicos solo los concede el Diablo, sitúan a Salomón derivando su poder y sus fórmulas de Dios y de sus arcángeles

«On the walls which be built around Jerusalem at the same time are stone decorations in the form of the two interlaced triangles of the Star of» — los editores trazan la continuidad del sello: Solimán hizo labrar en los muros de Jerusalén los dos triángulos entrelazados de la estrella de David. El troceo imprime *be built* por *he built*, y la frase sigue al otro lado del corte de plana

«known to Muslims as Khatam Suleiman and to Jews as Khatam Shlomo (King Solomon's Seal). Their function was to protect the city. This same symbol occurs later in the Goetia as the Hexagram, a protection to be worn on the breast.» — cierre del mismo pasaje ya en la plana siguiente: el sello que los musulmanes llaman Khatam Suleiman y los judíos Khatam Shlomo protegía la ciudad, y los editores lo identifican con el Hexagrama que la Goetia manda llevar al pecho

«procedures are most specifically outlined in the third Century CE Testament of Solomon, perhaps the earliest and most archetypal grimoire.» — los editores fijan su fuente para el método salomónico y le dan rango: el Testamento de Salomón, del siglo III, al que llaman quizá el grimorio más temprano y más arquetípico

«that the words of command in most grimoires are angelic or Godnames, and that the signing away of one's soul is simply a Romantic invention which occurs with much greater frequency in gothic novels than in grimoires.» — los editores niegan el lugar común del pacto: las palabras de mando de la mayoría de los grimorios son angélicas o nombres divinos, y la venta del alma la tienen por invención romántica más frecuente en la novela gótica que en los grimorios

«Solomon practiced magic as a high art in the service of God, with the aim of taming and chaining up the chaotic forces, or alternatively of putting them to good use. Of course, as a matter of techniques, once a senior demon has been bound, then his name may be used to control lesser demons. But this in no sense implies subservience by the magician to that senior demon.» — la definición que los editores dan de la magia salomónica y su acotación inmediata: arte alto al servicio de Dios para domar y encadenar las fuerzas caóticas, y el uso del nombre de un demonio mayor para mandar a los menores no implica sujeción del mago a aquél

«God also enabled him [Solomon] to learn that skill which expels demons, which is a science useful and sanative [healthful] to men. He composed such incantations also by which distempers [illnesses] are alleviated. And he left behind him the manner of using exorcisms, by which they drive away demons, so that they never return,» — el pasaje de Flavio Josefo que el volumen imprime como testimonio extrabíblico más temprano del arte salomónico: Dios le dio a Salomón la destreza de expeler demonios, compuso encantamientos y dejó la manera de usar exorcismos. Los corchetes son del aparato del volumen

«And when Eleazar would persuade and demonstrate to the spectators that he had such a power, he set a little way off a cup or basin full of water, and commanded the demon, as he went out of the man, to overturn it, and thereby to let the spectators know that he had left the man;» — la prueba pública que Josefo adjudica a Eleazar: mandó al demonio volcar una copa o palangana de agua al salir, para que los espectadores supieran que había dejado al hombre

«It is interesting to see that the demon was required to do a specific physical act, overturning the basin of water, rather than just some impalpable act.» — lo que los editores subrayan del episodio: al demonio se le exige un acto físico determinado, volcar la palangana, y no un acto impalpable. Es su prueba de que la técnica se mide por efectos

«It is also significant that this was a bowl of water, given that water was often used in restraining demons.» — segundo detalle que los editores levantan del mismo pasaje: que el recipiente fuera de agua, sustancia que dicen usada a menudo para sujetar demonios

«Other instructive clues in this passage include the use of the magical Ring, which was used by Solomon, and which appears also in the Goetia. Interestingly, it mentions that the root barra was enclosed in the Ring. It is possible that the purpose of placing it under the nose of the possessed, was that the root barra may have had psychoactive properties.» — la conjetura que los editores proponen sobre la raíz barra encerrada en el anillo de Eleazar: que se pusiera bajo la nariz del poseso porque tuviera propiedades psicoactivas. Lo dicen con reserva declarada, *it is possible*

«In one of the Nag Hammadi gospels written in Alexandria, Egypt, between 190 and 300 CE, there is an account of the sacking of the Temple of Solomon in Jerusalem by Titus and his Roman troops in 70 CE. In it there is a matter of fact reference to the breaking of water pots set up by Solomon to restrain the demons he had captured, and how as a result the demons were released into the world.» — el testimonio copto que los editores enlazan con el vaso de bronce: un evangelio de Nag Hammadi cuenta el saqueo del templo por Tito en el 70 y la rotura de las tinajas de agua en que Salomón tenía sujetos a los demonios, que quedaron sueltos por el mundo

«Of all the stories perhaps the most persistent is the sealing of spirits in the Brass Vessel by Solomon which was then thrown by him into the sea or a lake.» — el relato que los editores tienen por más persistente de todos los de Salomón y los jinn: el sellado de los espíritus en el Vaso de Bronce y su arrojamiento al mar o a un lago

«The drawing of what purports to be both this Brass Vessel and its all-important stopper (inscribed with the Secret Seal of Solomon) turns up in a number of later grimoires especially the Goetia, where it forms an important part of the technique.» — la continuidad material que los editores señalan: el dibujo del vaso y de su tapón, con el Sello Secreto de Salomón inscrito, reaparece en grimorios posteriores y sobre todo en la Goetia, donde forma parte de la técnica

«Even Jesus exorcised demons, and was thought by many with good reason to be a magician. No particular censure was attached to this view of Jesus, by his contemporaries, as he was obviously a wonderworker, and therefore this was expected of him.» — los editores consignan que Jesús exorcizaba demonios y que muchos lo tuvieron por mago sin censura, por obrador de maravillas

«In fact Jesus was even accused of using a specific demon's name, Beelzebub, to order and control spirits. In Matthew 12:24-27 he speaks of using this demon's name for this purpose, and asks the Pharisees, in a very matter of fact way, which name they used. The passage is a striking testament to the general knowledge of one of the accepted techniques of demon control in that period.» — la lectura que los editores hacen de Mateo 12:24-27: Jesús habla de usar el nombre de Belcebú para mandar a los espíritus y pregunta a los fariseos qué nombre usan los suyos, lo que para ellos prueba cuán sabida era la técnica

«The important thing is that the technique of using a senior demon's name to control lesser ones was accepted as a commonplace by both Jesus and the Pharisees. In the last analysis it does not matter who used the name of Beelzebub to control lesser demons, the important point is that it was seen as an acceptable procedure, used by holy men, and not a damnable one, and this procedure is definitely a part of Solomonic magic.» — lo que los editores sacan del episodio, y su acotación: no importa quién usara el nombre de Belcebú, sino que el procedimiento se tuviera por aceptable y usado por hombres santos, y lo adscriben a la magia salomónica

«Interestingly, it was the sect of the Pharisees and not the Sadducees who believed in demons, and in resurrection:» — el dato doctrinal que los editores levantan para explicar el episodio: eran los fariseos, y no los saduceos, quienes creían en demonios y en la resurrección

«Then certain of the vagabond Jews, exorcists, took upon themselves to call over [exorcise] them which had evil spirits [in them, by] the name of the Lord Jesus, saying, 'We adjure you by Jesus whom Paul [the Apostle] preacheth'.» — el pasaje de Hechos que el volumen imprime como ejemplo de que el nombre de Jesús pasó a usarse como los demás nombres de poder; los corchetes explicativos son del aparato del volumen

«And the evil spirit answered and said, 'Jesus I know, and Paul I know; but who are you?' 16. And the man in whom the evil spirit was, leaped upon them [the would-be exorcists], and overcame them, and prevailed against them, so that they fled out of that house naked and wounded.» — el desenlace del mismo episodio tal como lo imprime el volumen: el espíritu dice conocer a Jesús y a Pablo pero no a los exorcistas, y el poseso los deja huir desnudos y heridos

«Thus the names of those who demonstrably had power over demons was seen to be effective over other demons, which is why commemoration of the names of magicians of the past is often used as part of conjurations.» — la regla que los editores derivan del contraste entre Eleazar y los hijos de Esceva: los nombres de quienes mostraron poder sobre demonios se vuelven eficaces sobre otros demonios, y de ahí la conmemoración de magos del pasado dentro de las conjuraciones

«The full procedure of conjuration also included the exorcist looking up to heaven, sighing or groaning, making signs with his right hand, spitting, invoking the deity, using words of power, and calling out strings of vowels in the Greek fashion, according to one contemporary Church Father.» — el inventario de gestos que los editores adjudican al procedimiento completo de conjuración, y su fuente declarada sin nombre: mirar al cielo, suspender o gemir, hacer signos con la mano derecha, escupir, invocar a la deidad, usar palabras de poder y recitar series de vocales a la griega

«Whilst Jesus seems to have had no problem with acknowledging that he was able to converse with and control demons, his followers apparently did, and early on the Church began to harden its view of magic, and attempt to draw a theoretical distinction between one kind of miracle and another.» — la tesis de los editores sobre el endurecimiento eclesiástico: Jesús no tenía reparo en reconocer que conversaba con demonios y los controlaba, sus seguidores sí, y la iglesia empezó pronto a trazar una distinción teórica entre una clase de milagro y otra

«However the early Church Fathers had their work cut out trying to claim that Jesus' miracles were different from the miracles of any other wonderworker, such as Simon Magus for example. Either Jesus practiced the magic of Egypt and of his [Hebrew] forefathers, or other magicians had the same access to miracles as did Jesus. Either way the Church Fathers had some explaining to do to their congregations.» — el dilema que los editores plantean a los Padres: o Jesús practicó la magia de Egipto y de sus antepasados, o los demás magos tenían el mismo acceso a los milagros que él

«For those readers who think it strange that we refer to the life and acts of Jesus in a book on the Goetia, reflect that Jesus was a true 'son of David' whose magical techniques were part of the direct line of transmission from Solomon, the very first 'son of David'.» — los editores justifican la presencia de Jesús en un libro sobre la Goetia con su propia cadena de transmisión: lo sitúan como verdadero hijo de David cuyas técnicas mágicas vienen en línea directa de Salomón

«Origen (c.185-254 CE) responded to the view that Jesus and his disciples performed their miracles through demonic means, with the assertion that their resort to miracle working was of secondary importance to their 'rare piety of soul', an argument that could hardly be seen as persuasive.» — los editores resumen la respuesta de Orígenes —que el obrar milagros era secundario frente a la rara piedad del alma— y ponen su propio juicio sobre ella, que la tienen por poco persuasiva

«To remove the taint of magic, Origen even went as far as to say that the miracles of Jesus and the saints were 'superfluous'.» — el extremo que los editores adjudican a Orígenes para quitar la mancha de magia: llamar superfluos los milagros de Jesús y de los santos

«47) He put a ring that had a root of one of those sorts mentioned by Solomon to the nostrils of the demoniac [the possessed man], after which he drew out the demon through his nostrils; and when the man fell down immediately, he abjured him [the demon] to return into him [the possessed man] no more, making still [further] mention of Solomon, and reciting the incantations which he [Solomon] composed.» — el procedimiento de Eleazar tal como lo imprime el volumen citando a Josefo: un anillo con una raíz de las que Salomón menciona, puesto a las narices del poseso, y la conjura de no volver, mencionando a Salomón y recitando sus encantamientos. El volumen imprime este mismo pasaje otra vez, en la plana 97, a propósito del anillo de Salomón; se cita aquí, en su primera aparición, y los corchetes son del aparato del volumen

«It is only with the advent of the Christianity that magic begins to be seen as something derived from the Devil, rather than an art used to» — la tesis de la que cuelga toda la historia que el volumen cuenta, en boca de los editores: solo con la llegada del cristianismo empieza a verse la magia como cosa derivada del Diablo. La frase sigue al otro lado del corte de plana, en *control demons for the benefit of the magus and of mankind*

«This may have been one of the first times that 'Jesus' (or even 'Paul')» — la lectura de los editores sobre el episodio de los hijos de Esceva: puede ser de las primeras veces en que Jesús, o incluso Pablo, se usa como nombre de poder. La frase cierra en la plana siguiente, en *was used as a name of power in its own right*

«occurred in order to encourage the worship of the one true God...and were wrought by simple faith and pious trust, not by spells and incantations inspired by the sacrilegious curiosity of the art of magic - vulgarly called goetia and, more politely, theurgy.» — el pasaje de Agustín que el volumen imprime para mostrar cómo se lava la magia del milagro: los milagros de Jesús se obraron por fe simple y piadosa confianza, no por ensalmos y encantamientos de la curiosidad sacrílega del arte mágico, que Agustín llama vulgarmente goecia y, más finamente, teurgia

«Jesus obviously did need miracles to encourage converts, but to say that he worked simply by 'pious trust' is just not credible. In the same sentence Augustine gives away what he was really thinking of...goetia and theurgy.» — la objeción que los editores oponen a Agustín: dicen que atribuir los milagros a la sola piedad no es creíble, y que en la misma frase Agustín delata en qué estaba pensando

«When Simon Magus, a well-known contemporary magician, offered money to the disciples to buy the secrets of Jesus' magic, we can safely assume that he was certain that there were real magical secrets to buy.» — el argumento que los editores construyen sobre Simón el Mago: que ofreciera dinero por los secretos de la magia de Jesús les da por cierto que él estaba seguro de que había secretos mágicos reales que comprar

«The clearest example of the change from the ancient view of magic (or even Jesus' own view of magic) to the view of magic of the newly founded Christian religion is reported in the Gnostic Acts of St. Peter. This describes a magical tournament between the apostles St Peter and St Paul on one hand, and Simon Magus on the other, in front of the Emperor Nero (who reigned 54-68 CE) and all his court.» — los editores señalan cuál tienen por ejemplo más claro del cambio de visión sobre la magia: el torneo mágico entre Pedro y Pablo y Simón el Mago ante Nerón, que relatan los Hechos gnósticos de San Pedro

«Simon was quite happy to display his considerable magical powers by levitating. The saints did not attempt to demonstrate their powers at all, but simply took the easy course, and spitefully prayed against Simon, disturbing the fine balance of his magic, rather like deliberately distracting a tightrope walker, so that he fell from a height and broke his legs. With this act of malice they felt that they, and their new religion, had been fully vindicated.» — la lectura que los editores hacen del duelo: Simón levitó, los santos no mostraron poder alguno y rezaron contra él, y comparan el acto con distraer a propósito a un equilibrista

«The theme of magical contests between Christians and pagans was continued in 433 CE with Saint Patrick and his follower Saint Benin performed 'miracles' to combat the magic of the druids. This could more accurately be described as magic rather than miracles, though the Church would of course disagree!» — los editores extienden el motivo del duelo a San Patricio y San Benín contra los druidas en el 433, y dicen que aquello se describiría con más exactitud como magia que como milagros

«The subsequent magical battle sees Saint Patrick banish the snow and darkness summoned by the druids. His companion Saint Benin undergoes the final combat, where he is unharmed by the flames of a burning tent, where the druids are burned to ash. Another magical duel saw Saint Patrick repeat the actions of Saint Peter by causing a levitating druid to fall and kill himself, without demonstrating any power of his own to levitate.» — el desenlace del duelo irlandés según los editores, y el paralelo que trazan con Pedro: Patricio hace caer y matarse a un druida que levitaba, sin mostrar él mismo poder de levitar

«Throughout the next millennium there were many instances of magicians working with angels, and using the holy names of God, to bind demons to achieve their ends, but the Church was determined to set its face against the very techniques that its founder had probably used to attract the first converts.» — la tesis de los editores sobre el milenio siguiente: hubo muchos magos trabajando con ángeles y con los nombres santos de Dios para atar demonios, y la iglesia se puso en contra de las mismas técnicas que, dicen, probablemente usó su fundador

«It was Hincmar of Theims (c.806-882 CE) who declared that magic, without exception, is accomplished through a diabolical agency. It was his type of thinking which resulted in the prosecution of magic being transferred from the secular to the religious courts. Previously in the secular courts magic was only prosecuted if it led to death, or seriously affected some highborn person, but in the religious courts magic was increasingly construed as a crime in itself.» — el eslabón jurídico que los editores adjudican a Hincmar: declaró que toda magia se obra por agencia diabólica, y de ese modo de pensar hacen salir el traslado del enjuiciamiento de la magia de los tribunales seculares a los religiosos. El troceo imprime *Theims* por Reims

«The key to this shift was the increasing identification of magic and witchcraft with heresy (a crime against God). One canon which is often quoted by twentieth century writers about witchcraft is the ninth century Canon Episcopi, which was incorporated by Gratian (fl. 1140) into his decretals. Gratian hinted that much of the events of the witches' sabbat might in fact have been more imaginary than real, and proposed simple expulsion from the parish as a penalty for any witch who confessed to attending the sabbat, rather than execution. But there was no doubt in his mind, or those of his successors, that such imaginings were caused by 'sporting demons'.» — los editores fijan en la identificación de magia y brujería con herejía la clave del giro, y consignan lo que Graciano hace con el Canon Episcopi: insinúa que el sabbat pudo ser más imaginario que real y propone la expulsión de la parroquia en lugar de la ejecución, sin dudar de que lo imaginado lo causaran demonios juguetones

«Up to 1258 the categories of sorcery and heresy were kept well apart, and Pope Alexander IV actually issued a canon forbidding inquisitors from getting involved in sorcery investigations, unless manifest heresy was also involved.» — el dato con que los editores fechan la separación: hasta 1258 hechicería y herejía se mantuvieron aparte, y Alejandro IV prohibió a los inquisidores meterse en causas de hechicería salvo que hubiera herejía manifiesta

«Finally in the fourteenth and fifteenth centuries, the thin line between sorcery and heresy was wiped out. It was Pope Innocent VIII's Bull, Summis Desiderantes (issued 5th December 1484) that finally declared witchcraft and the practice of magic a heresy, and therefore subject to the full weight of the Inquisition.» — el momento que los editores señalan como fin de esa separación: la bula Summis Desiderantes de Inocencio VIII, del 5 de diciembre de 1484, que declara herejía la brujería y la práctica de la magia

«In the darkest days of the Inquisition, magicians and witches were forced to 'confess' not only to heresy, but that they had made pacts selling their soul to the dark side, a concept that probably would not have even remotely occurred to Solomon or to any of the magicians of pagan antiquity. If it had occurred to them, they would have though it totally laughable that any man would make himself beholden to a demon, rather than simply binding it.» — la objeción que los editores oponen al pacto diabólico: es un concepto que, dicen, ni siquiera se le habría ocurrido a Salomón ni a los magos de la antigüedad pagana, y que les habría parecido risible frente a la idea de simplemente atar al demonio

«His grimoire, the Heptameron, is very significant as it is the source of the main conjurations, and some of the techniques of the Goetia.» — los editores fijan la deuda central de la Goetia: el Heptameron de Peter de Abano es la fuente de sus conjuraciones principales y de algunas de sus técnicas

«The usual reason for dismissing de Abano as its author is that "it is not like his other works". This of course is not a sufficient argument to discredit his attribution as author, and we will therefore continue to refer to this work as de Abano's Heptameron until a stronger candidate is proposed.» — la decisión de atribución que los editores toman a la vista: la razón usual para descartar a de Abano —que la obra no se parece a las demás suyas— no les basta, y seguirán llamando suyo al Heptameron mientras no haya mejor candidato

«De Abano's interest in magic is precisely what he was tried for by the Inquisition, twice, and therefore it seems quite a likely book topic for him to have penned, but one that probably circulated for a long time in manuscript only, before finally being finally printed in 1485.» — el argumento con que los editores sostienen la atribución: de Abano fue juzgado dos veces por la Inquisición justo por su interés en la magia, de modo que el tema les parece probable en su pluma, aunque el libro circulara mucho tiempo solo manuscrito. El troceo repite *finally*

«Trithemius in his Antipalus Maleficiorum (1508), refers to the Clavicula as the 'key made by Abano'. This is highly significant as the use of the word 'key' or 'Clavicule' echoes the name of the Lemegeton, the Clavicula Salomonis.» — el eco onomástico que los editores levantan: Tritemio llama a la Clavicula la llave hecha por Abano, y ellos oyen en esa palabra el nombre mismo del Lemegeton. La guarda anticosido saltó por el año entre paréntesis y el tramo se releyó entero en el crudo antes de silenciarla

«The Heptameron is the source of the invocations in the first book of the Lemegeton, the Goetia, not to mention other key bits, especially the circle in the present version of the Goetia.» — los editores concretan la deuda: del Heptameron salen las invocaciones del libro primero del Lemegeton y, señalan, el círculo de la versión de la Goetia que este volumen imprime

«The reason why this book is mentioned here is that the Goetia draws its invocations, with very little changed, directly from the Heptameron. So this important part of the Goetia dates from before 1310. The Heptameron is the direct parent of the Goetia's conjurations, and in the case of the manuscript of the Goetia presented in this volume, it is also the parent of the form of its Circle.» — la consecuencia cronológica que los editores sacan de esa deuda: como la Goetia toma sus invocaciones casi sin cambio del Heptameron, esa parte suya data de antes de 1310

«An eighteenth century manuscript owned by Ebenezer Sibley and later by Frederick Hockley (both of whom we will look at in more detail later) contains a transcript of a Goetic evocation which claims to have been performed for the benefit of King Edward IV. If this was true, then the Goetia was significant enough to have been of interest to royalty in this period.» — el testimonio que los editores usan para llevar la Goetia a la corte: un manuscrito de Sibley y luego de Hockley trae una evocación goética que dice haberse hecho en beneficio de Eduardo IV

«Edward TV's motto was modus et ordo, or 'method and order'. Interestingly, modus et ratio, or 'method and reason' appears in the incipit of another manuscript on magic which was owned by King Henry VII (reigned 1485-1509) and read with considerable interest by Queen Elizabeth I (reigned 1558-1603) with the help of Dr John Dee.» — la serie de lemas que los editores emparejan: modus et ordo de Eduardo IV y modus et ratio en el incipit de otro manuscrito mágico de Enrique VII, leído con interés por Isabel I con ayuda de John Dee. El troceo imprime *Edward TV* por Edward IV

«This major grimoire, supposedly written in 1427, originally translated by MacGregor Mathers from an incomplete French manuscript, has now been retranslated by George Dehn and Steven Guth from a much fuller German source. It lists out a hierarchy of spirits, of which one of the four Kings, Belial, also appears in the Goetia, and some of the eight Dukes or Sub-princes also correspond with the list in the Goetia, including Astaroth, Asmodai and Paimon.» — lo que los editores consignan del Libro de Abramelin: la traducción de Mathers desde un manuscrito francés incompleto, la retraducción de George Dehn y Steven Guth desde un original alemán más lleno, y los nombres que comparte con la Goetia

«This volume is only found as a parchment inserted in a bound collection of manuscripts in the library of Trinity College, Cambridge. This fifteenth century French grimoire lists 47 spirits or demons. They are listed below, and where there is the same or a similar demon included in the Goetia we have added its Goetia number in square brackets.» — los editores describen el testimonio único del Livre des Esperitz —un pergamino insertado en una colección encuadernada de Trinity College, Cambridge— y declaran su propio método de cotejo: añaden entre corchetes el número goético del demonio equivalente

«3. Satan Four Princes of the four cardinal directions:» — muestra razonada del catálogo del Livre des Esperitz, que el troceo reparte a razón de una o dos entradas por plana: tras los tres demonios gobernantes —Lucifer, Bezlebuth y Satan— la lista abre el rango de los cuatro príncipes de los puntos cardinales

«6. Aymoymon, king South [Amaymon] ?. Egin North [Egyn] The Rest of the Hierarchy: 7. Veal/Beal, King» — los cuatro príncipes cardinales tal como el volumen los imprime, con el número goético entre corchetes que los editores añaden: Aymoymon al sur, identificado con Amaymon, y Egin al norte, con Egyn. El troceo imprime un signo de interrogación donde iría el número 7 de la lista francesa

«13. Gemen/Gemer,King[10] 33. Vaal [Vual]» — muestra de cómo el escaneo entrevera las dos columnas de la plana del catálogo: la entrada 13 de una columna cae entre la 32 y la 33 de la otra, y la concordancia goética de Vaal con el número 47 va entre corchetes de los editores. El marcador de plana se repite a media línea en el límite de chunk, de modo que la cita arranca después de él

«The spirits total more than 30 matches in all. If you go beyond the name, and take the trouble to also match them up by their attributes and functions, as some of the names are deformed and unrecognizable, then most of the 47 demons in Livre des Esperitz can be found in the Goetia. For example, Gemer = Buer, Machin = Bathin, Bugan = Haagenti, and so on.» — el cotejo que los editores declaran entre el Livre des Esperitz y la Goetia: más de treinta coincidencias de nombre, y casi los cuarenta y siete si se cotejan también atributos y funciones, porque algunos nombres están deformados. Dan como ejemplos Gemer = Buer, Machin = Bathin y Bugan = Haagenti

«But 12 demons of the Livre des Esperitz do not appear at all in the Goetia or Pseudomonarchia Dsemonum, and 31 demons of the Pseudomonarchia are not mentioned in the Livre des Esperitz, so the fit is not exact.» — el límite que los propios editores ponen a ese cotejo: doce demonios del Livre des Esperitz no aparecen ni en la Goetia ni en la Pseudomonarchia, y treinta y uno de la Pseudomonarchia faltan en el Livre, de modo que el encaje no es exacto

«Therefore this manuscript is clearly a predecessor of the Goetia. It may be that the 72 spirit list originally comes from French sources, and that might be a fruitful direction for future research. This clearly shows that the list of demons of the Goetia dates back at least to the fifteenth century and probably a lot earlier.» — la conclusión que los editores sacan, con su reserva declarada: el manuscrito francés es predecesor de la Goetia, la lista de los setenta y dos podría venir de fuentes francesas —y eso lo dejan como línea de investigación futura—, y la nómina de demonios data al menos del siglo XV

«Another fifteenth century grimoire, but one with less spirit name overlap, is manuscript CLM 849. Of the many spirits named in its conjurations, the more senior demons also occur later in the Goetia:» — el segundo testimonio cuatrocentista que los editores cotejan, el CLM 849, con menos solapamiento de nombres pero con sus demonios mayores presentes después en la Goetia

«As you can see from this and the previous manuscript sources, the orthography and spelling of these names, in a period before there were any dictionaries and handwriting was often hard to decipher, fluctuates enormously. Hence the exercise of trying to convert the names back into Hebrew or Greek, or to assign numeric values to them, is fairly pointless.» — la consecuencia metodológica que los editores sacan de la fluctuación ortográfica de los nombres antes de que hubiera diccionarios: tienen por bastante inútil el ejercicio de devolverlos al hebreo o al griego, o de asignarles valores numéricos

«There are a few names where their Hebrew antecedents are very clear, like Belial or Astaroth, but for the most part Rudd's assignment of Hebrew forms is unfortunately mostly guesswork.» — la objeción que los editores dirigen al propio Rudd, cuyo texto editan: salvo unos pocos nombres de antecedente hebreo claro, como Belial o Astaroth, tienen su asignación de formas hebreas por conjetura

«The Abbot Johannes Trithemius is a key person in the history of the Lemegeton, as we can say with certainty that all five parts of that book existed in 1500 and all five were known to Trithemius, and in his library at Sponheim, indeed he probably wrote two of them.» — la tesis de transmisión que los editores sostienen sobre Tritemio: dicen poder afirmar con certeza que las cinco partes del Lemegeton existían en 1500, que las cinco le eran conocidas y estaban en su biblioteca de Sponheim, y que probablemente escribió dos

«The key volume mentioned by Trithemius in his Antipalus (1508) is a work called Composition of the Names and Characters of the Evil Spirits. Although this book or manuscript has since been lost, it is fairly clear from the Latin title (Liber Malorum Spirituum...) that this is most likely to have been the source not only of the names, but also of the seals of the 72 Evil Spirits to be found in the Goetia. Unlike all the other manuscripts of the Goetia, Dr Rudd's copy is actually entitled Liber Malorum Spirituum. So the first part, the Goetia, with its elaborate list of spirits and including its seals, already existed before 1508 in Trithemius' library.» — el eslabón que los editores construyen sobre un libro perdido: el Composition of the Names and Characters of the Evil Spirits que Tritemio menciona, cuyo título latino Liber Malorum Spirituum es también el que lleva la copia de Rudd, y solo ella entre todos los manuscritos de la Goetia. La guarda anticosido saltó por el año entre paréntesis y el tramo se releyó entero en el crudo antes de silenciarla

«Trithemius himself is the source of the demon names in the second (Theurgia-Goetia) and third (Ars Paulina Part 1) parts of the Lemegeton, which can be traced directly to his Steganographia.» — los editores adjudican a la Steganographia de Tritemio los nombres de demonios de las partes segunda y tercera del Lemegeton

«In fact the essence of the cryptography in the Steganographia is that the spirit names are derived by using a semi-cryptographic process. This is precisely the same in Agrippa, where tables are used to derive spirit names. The same tables that are used to encrypt also produced the spirit names.» — la razón que los editores dan para no separar las dos cosas: en la Steganographia los nombres de espíritus se derivan por un proceso semicriptográfico, y las mismas tablas que cifran producen los nombres, como en Agripa

«Instead of trying to pointlessly separate the cryptography from the sorcery, as many commentators have attempted, we should instead recognise that the cryptography was an integral part of the sorcery.» — la tesis que los editores oponen a los comentaristas: la criptografía era parte integral de la hechicería, no un disfraz de ella

«The huge tables drawn up by Dr John Dee, in imitation of Trithemius and Agrippa, were designed to be used to derive powerful and evocable spirit names. Using these tables to write letters to spies or potentates was less important, compared to this main use, even for Dee.» — lo que los editores sostienen sobre las tablas de Dee: se hicieron a imitación de Tritemio y de Agripa para derivar nombres de espíritus evocables, y el uso diplomático o de espionaje era secundario frente a ése, incluso para él

«The second part of the Lemegeton, the Theurgia-Goetia is simply Book 1 of Trithemius' Steganographia recast in a more practical form with sigils. The third part of the Lemegeton, the Ars Paulina (Book 1) comes directly from Book 2 of the Steganographia.» — la genealogía pieza por pieza que los editores trazan: la Theurgia-Goetia es el libro 1 de la Steganographia refundido en forma práctica con sigilos, y la Ars Paulina viene directamente del libro 2

«The fourth part of the Lemegeton, the Art Almadel, uses a skrying method outlined by Trithemius, who obviously knew it well. The Almadel attributed to Solomon was also in his library. The technique involving wax tablet angel magic was something that Dr John Dee would also use almost 100 years later.» — lo que los editores adjudican a la cuarta parte: usa un método de escrutinio que Tritemio conocía bien, y la técnica de magia angélica con tablilla de cera la usaría Dee casi cien años después

«Finally the fifth part, the Ars Notoria is known in many different manuscripts, most of them missing the key illustrations or notae, with some dating from as early as 1300. At least one copy, probably more, was in Trithemius' extensive library.» — lo que los editores consignan de la quinta parte: la Ars Notoria corre en muchos manuscritos, casi todos sin sus notae, algunos tan tempranos como 1300, y al menos una copia estaba en la biblioteca de Tritemio

«You can see that all the separate parts of the Lemegeton already existed in 1500 and were most certainly all present in Trithemius' library. So Trithemius or his pupils look like the most likely persons to have brought them all together in one volume as the Lemegeton.» — la conclusión con que los editores cierran su argumento sobre Tritemio: él o sus discípulos son los candidatos más probables a haber reunido las cinco partes en un solo volumen

«Likewise Agrippa does not mention the Theurgia-Goetia because he of course knew it as Book 1 of Trithemius' Steganographia.» — mismo argumento para la segunda parte: los editores sostienen que Agripa no la nombra porque la conocía como libro 1 de la Steganographia de Tritemio

«Although Agrippa covers a large part of the whole field of Western magic in his classic Three Books of Occult Philosophy (written in 1509 but not published till 1533), it isn't until the publication of his short Of Magical Ceremonies in the rather misleadingly titled Fourth Book of Occult Philosophy, that he goes into more detail about the generation of spirit names, and the procedures needed to make the books of the Lemegeton function.» — los editores fechan y jerarquizan las dos obras de Agripa: los Tres libros de filosofía oculta se escribieron en 1509 y no se imprimieron hasta 1533, y es el breve De ceremoniis magicis del Cuarto libro el que entra en la generación de nombres de espíritus y en los procedimientos que hacen funcionar al Lemegeton. La guarda anticosido saltó por los años entre paréntesis y el tramo se releyó entero en el crudo antes de silenciarla

«Of Magical Ceremonies is bound in The Fourth Book of Occult Philosophy, the same volume that, not coincidently, contains the Heptameron.» — el dato material que los editores subrayan como no casual: el De ceremoniis magicis va encuadernado en el mismo volumen que el Heptameron

«Johann Weyer (1515-1588) or Weir, or to give him his Latinised name, loannis Wieri or Wierus, was a young student of Agrippa.» — los editores presentan al eslabón siguiente de su cadena maestro-discípulo, con las tres formas de su nombre tal como el volumen las imprime. La guarda anticosido saltó por las fechas entre paréntesis y el tramo se releyó entero en el crudo antes de silenciarla

«His Praestigiis Daemonum (first published in 1563) was partially a rebuttal of the hideously cruel witch hunter's handbook, Malleus Maleficarum or 'Hammer of the Witches'. His book includes many interesting items including biographical details of his teacher, Agrippa, and in turn Agrippa's teacher in magic the Abbott Trithemius and that archetypal magician, the original Dr. Faust (later immortalised by Goethe and Marlow).» — lo que los editores consignan del De praestigiis daemonum: en parte réplica al Malleus Maleficarum, y con datos biográficos de Agripa, de Tritemio y del Doctor Fausto original. El troceo imprime *Marlow* por Marlowe. La guarda anticosido saltó por el año entre paréntesis y el tramo se releyó entero en el crudo antes de silenciarla

«Sigmund Freud thought that Weir's Praestigiis Daemonum was one of the ten most significant books of all time. We don't know if that betrays a hidden interest in the demonic by Freud, or the fact that Weir could conceivably be credited with adopting, for the first time, a psychological approach to the hysteria surrounding both the practice and the persecution of witchcraft.» — el dato de recepción que los editores traen, con su propia reserva declarada: Freud tenía el De praestigiis por uno de los diez libros más significativos de todos los tiempos, y ellos dudan entre un interés oculto por lo demoníaco y el mérito de haber adoptado un enfoque psicológico. El escaneo imprime este pasaje a una palabra por renglón

«For our purposes the most significant part of this text is its Appendix. This Appendix was not published with the first edition and in fact did not appear in print until the 1583 edition of Praestigiis Daemonum.» — el dato editorial que los editores fijan: el apéndice que les interesa no salió con la primera edición y no se imprimió hasta la de 1583

«It consists of a catalogue of demons which Weir called the Pseudomonarchia Daemonum, which might be translated as 'the False Monarchy of Demons'. This catalogue of 69 demons is almost identical with the list of 72 demons to be found in the Goetia.» — los editores describen la Pseudomonarchia Daemonum —que traducen como la falsa monarquía de los demonios— y declaran su relación con la Goetia: sesenta y nueve demonios casi idénticos a los setenta y dos

«What was Weir's source for this catalogue? We think it is quite likely to have been Trithemius' Liber Malorum Spirituum.» — los editores proponen, con reserva declarada, la fuente del catálogo de Weyer: el Liber Malorum Spirituum de Tritemio

«Weir however referred to his source manuscript as Liber Offtciorum Spirituum, seu Liber dictus Empto[rium] Salomonis, de principibus & regibus deemoniorum (or 'Book of the Offices of Spirits, or the Book of Sayings received from Solomon concerning the Princes and Kings of the demons').» — el título con que el propio Weyer nombra su manuscrito fuente, y la traducción que los editores le dan; el troceo imprime *Offtciorum* por Officiorum y *deemoniorum* por daemoniorum

«Benoit Grévin suggests that Liber dictus Empto. Salomonis could be a deformed version of Liber Emphoras Salomonis, a title which would indicate a Solomonic grimoire dealing with the Shem Ha-Mephorash, the name of God which generates the 72 angel names.» — la conjetura que los editores recogen de Benoit Grévin: que el título deformado esconda un Liber Emphoras Salomonis, grimorio salomónico sobre el Shem Ha-Mephorash, el nombre de Dios del que salen los setenta y dos nombres angélicos

«If this is so then this indicates that the association of the 72 demons with the 72 angels of the Shem Ha-Mephorash indeed goes back a long way, and Rudd's restitution or continuation of the association of the two is well founded. This is a most important point, but at this point can only be considered speculative.» — los editores sacan de esa conjetura el apoyo más antiguo para la tesis del volumen —que el emparejamiento de los setenta y dos demonios con los setenta y dos ángeles viene de lejos y que Rudd lo restituye o lo continúa— y en la misma plana ponen el límite: lo llaman especulativo

«The spelling of the demon names in the Pseudomonarchia Daemonum varies slightly from those in the Goetia, but is often phonetically similar. This similarity suggests that the author of the Goetia and Weir probably drew on a common source, rather than copying one from the other.» — el argumento de filiación que los editores construyen sobre la ortografía: las grafías varían pero suenan parecido, lo que les sugiere una fuente común al autor de la Goetia y a Weyer antes que copia de uno a otro

«Weir's catalogue does not include the 72 important and elaborate seals found in the Goetia. Another difference is that whilst Weir only gives a simple conjuration, the Goetia gives a more elaborate set of conjurations, which as we have mentioned, derives from the Heptameron of Peter de Abano.» — las dos diferencias que los editores fijan entre Weyer y la Goetia: el catálogo de Weyer no trae los setenta y dos sellos, y su conjuración es simple frente al juego elaborado que la Goetia toma del Heptameron

«The most striking difference between Weir and the Goetia however is the order of the spirits. The fact that the last three are missing strongly suggests a transcriptional error, rather than a conscious decision. Weir omits Vassago [3], Seere [70], Dantalion [71] and Andromalius [72], but includes Pruflas/Bufas giving a total of 69 demons.» — la diferencia que los editores llaman más llamativa y la lectura que hacen de ella: el orden de los espíritus, y la falta de los tres últimos les sugiere error de transcripción antes que decisión consciente. Nombran los cuatro que Weyer omite y el que añade

«This pseudo-monarchical hierarchy of demons comes with titles which include Rex (King), Dux (Duke), Princeps (Prince), Praeses (President), Marchio (Marques), Comes (Count or Earl), and just one 'miles'» — la nómina de títulos de la jerarquía pseudomonárquica tal como el volumen la imprime, con un solo miles. La frase cierra al otro lado del corte de plana, en *(usually translated 'soldier' or 'Knight')*

«It is possible that 'miles' was part of the description rather than a title in its own right, as we will see when we consider Furcas.» — la reserva con que los editores tratan ese título único: puede que miles fuera parte de la descripción y no un rango propio, y remiten a Furcas para resolverlo

«Scot was the author of The Discoverie of Witchcraft. The book was written to diminish the fear of, and belief in the supernatural powers of witches. Scot believed that the prosecution of those accused of witchcraft was irrational and un-Christian, and held the Inquisition and the Roman Catholic Church responsible.» — lo que los editores consignan del propósito de Reginald Scot: el libro se escribió para disminuir el miedo y la creencia en los poderes sobrenaturales de las brujas, y él tenía por irracional y anticristiana la persecución, con la Inquisición y la iglesia romana por responsables

«In the first year of his reign (after Scot's death) James I passed an Act which made any conjuration of an evil spirit "a crime punishable by death as a felon, the culprit losing all benefit of clergy and sanctuary". And so James I reversed the more humane and tolerant atmosphere which had grown under Elizabeth I, and been fostered by Scot.» — la medida legal con que los editores cierran el episodio: el Acta del primer año de Jacobo I hizo de toda conjuración de espíritu maligno crimen castigado con muerte, sin beneficio de clero ni de asilo, y con ello se revirtió el clima más tolerante de Isabel I

«Scot was very well read, and was aware of the individual grimoires which went to make up the Lemegeton. In Book xv, chapter xxxi of his Discoverie of Witchcraft he writes:» — los editores adjudican a Scot conocimiento de los grimorios sueltos que después formaron el Lemegeton, y localizan el pasaje en el libro XV, capítulo XXXI

«these conjurors carrie about at this daie, bookes intituled under the names of Adam, Abel, Tobie, & Enoch...Abraham, Aaron and Salomon [Clavicula Salomonis].. .Zacharie, Paule [Ars Paulina], Honorius, Cyprian [probably Clavis Infemi], Jerome, Jeremie, Albert [Albertus Magnus], and Thomas: also of the angels, Riziel, Razael, and Raphael...Ars Almadell, ars Notoria, ars Bulaphiae, ars Arthephi, ars Pomena, ars Revelationis, &c.» — la nómina de libros que Scot adjudica a los conjuradores de su tiempo, tal como el volumen la imprime con las identificaciones entre corchetes de los editores; entre ellos la Clavicula Salomonis, la Ars Paulina, la Ars Almadel y la Ars Notoria

«Hereunto belongeth the art of Almadel, the art of Paule, the art of Revelations, and the art Notarie (sic).» — segunda lista de Scot, del capítulo XLII del mismo libro XV; el *sic* es del aparato del volumen

«This is quite a collection of grimoires, and includes three of the five books of the Lemegeton. Additional grimoire material was added to the edition of 1584 and augmented in the third edition of 1665, which is ironic as Scot had originally set out to debunk such beliefs, rather than to propagate them.» — la ironía que los editores señalan en la recepción de Scot: material grimórico adicional se sumó en la edición de 1584 y se amplió en la tercera, de 1665, cuando él se había propuesto desacreditar esas creencias

«The Steganographia is an intriguing blend of magic and cryptography. We don't think it is a question of deciding if it is one or the other, because» — la posición que los editores toman en la disputa sobre la Steganographia: la llaman mezcla intrigante de magia y criptografía y niegan que haya que decidirse por una de las dos. La frase cierra en la plana siguiente, en *it is most decidedly both*

«Agrippa was Trithemius' star pupil and would have had easy access to his library. Agrippa mentions by name four out of the five books of» — los editores sitúan a Agripa como discípulo estrella de Tritemio con acceso fácil a su biblioteca, y le adjudican mención de cuatro de los cinco libros del Lemegeton. La frase sigue al otro lado del corte de plana

«Sadly the only modern English edition of Weir's monumental work omits this» — el juicio de los editores sobre la edición inglesa moderna de Weyer: omite el apéndice. La frase sigue en la plana siguiente, donde lo explican por los intereses médicos y psicológicos del editor

«However fortunately a translation was published separately by Reginald Scot and is also reprinted in Peterson.» — los editores señalan por dónde sí circula ese apéndice: una traducción que publicó aparte Reginald Scot, reimpresa también en Peterson

«James produced his own book, Daemonologie in 1597, which was designed to refute Scot and instead encouraged the prosecution of and burning of suspected witches.» — la réplica que los editores adjudican a Jacobo I: su Daemonologie de 1597, hecha para responder a Scot y para alentar en cambio el enjuiciamiento y la quema de sospechosas de brujería

«James I who later ordered Scot's Discoverie of Witchcraft burned.» — cierre del episodio de Scot en boca de los editores; el marcador de plana se repite a media frase en el límite de chunk, de modo que la cita arranca después de *He found himself in direct opposition to the views of King*

«The second chapter of Book xv, is the actual English translation of Weir's Pseudomonarchia Daemonum, effectively the text which parallels the list of spirits in the Goetia, with but a few minor differences. Scot appears to have taken the English translation from the work of a certain Master T. R.» — los editores identifican de dónde viene el texto inglés de la Pseudomonarchia que trae Scot: de la obra de un tal Master T. R., y no del impreso latino

«This was the work of one T.R. written in faire letters of red & blacke upon parchment, and made by him, Ann[o] 1570, to the maintenance of his living, the edifieng [szc] of the poore, and the glorie of gods holie name: as he himself saith.» — la nota que cierra la versión inglesa de la Pseudomonarchia en Scot, tal como el volumen la imprime: obra de un T.R. en letras rojas y negras sobre pergamino, hecha en 1570 para su sustento, la edificación de los pobres y la gloria del nombre de Dios. El *[szc]* es del troceo, por *[sic]*

«This is a delightful justification for the translation of this grimoire; although the manuscript is not very clear how the poor will be edified by it. John Cokars assisted Master T. R. with his task.» — el comentario de los editores sobre esa justificación, y el dato que añaden: no ven claro cómo edificaría a los pobres el grimorio, y nombran a John Cokars como ayudante de Master T. R.

«This means that 14 years before the Pseudomonarchia Daemonum was actually printed, a certain 'T. R.' made a manuscript translation of it, and it is that manuscript copy (which may no longer to be extant), which Scot used for his English translation, bypassing the printed Latin Pseudomonarchia Daemonum altogether.» — la consecuencia filológica que los editores sacan: catorce años antes de imprimirse la Pseudomonarchia, T. R. hizo una traducción manuscrita, y de ella —no del impreso latino— tomó Scot su texto inglés

«The initials T.R. are highly suggestive of 'Thomas Rudd'. As the manuscript dates thirteen years before Dr Thomas Rudd's birth it cannot have been him, but it is tempting to fantasise that this might have been translated by his father, who may have borne the same given name (a common practice in those days), and the same interest and expertise in magic, but this is only conjecture.» — la conjetura que los editores plantean y acotan en la misma plana: las iniciales sugieren Thomas Rudd, pero el manuscrito es de trece años antes de su nacimiento, de modo que solo cabe fantasear con el padre homónimo, y lo llaman conjetura

«If it were true however, it further demonstrates the very close knitted personal transmission of these magical techniques from teacher to pupil, or father to son.» — lo que los editores dicen que seguiría de esa conjetura: la transmisión personal y estrecha de estas técnicas mágicas de maestro a discípulo o de padre a hijo

«Blaise de Vigenère was a French diplomat, cryptographer and magician. The Vigenere cipher is named after him, although it was incorrectly attributed to him in the nineteenth century.» — la presentación de Vigenère en el volumen, con su corrección de atribución incluida: el cifrado que lleva su nombre se le adjudicó por error en el siglo XIX

«Vigenère was also intrigued by the 72-letter name of God, and the 72 angel names derived from it. Vigenère laid out the seals and associations of the 72 Shem ha-Mephorash angels in a manuscript still to be found in the Bibliothèque de l’Arsenal (now part of the Bibliothèque Nationale) in Paris. Rudd used these seals as an integral part of the system in his Goetia.» — el eslabón decisivo que los editores colocan entre Vigenère y Rudd: Vigenère dispuso los sellos y correspondencias de los setenta y dos ángeles del Shem ha-Mephorash en un manuscrito de la Bibliothèque de l'Arsenal, y Rudd usó esos sellos como parte integral del sistema de su Goetia

«Mathers also used this manuscript when preparing papers which were given out to selected members of the Golden Dawn. It would be interesting to find Vigenere's source for these angelic seals.» — lo que los editores añaden sobre el mismo manuscrito —que Mathers lo usó para papeles repartidos a miembros escogidos de la Golden Dawn— y la deuda que declaran: no saben de dónde sacó Vigenère esos sellos angélicos

«It is amazing how often the worlds of magic and cryptography go hand in hand. Trithemius was probably one of the earliest, if not the first cryptographer, Blaise Vigenère was a well known cryptographer and Dr John Dee of course was also very much into cryptography, as an extension of his intelligence gathering activities for Queen Elizabeth I, as well as a need to keep some of his diaries secret.» — la regularidad que los editores señalan en su cadena: Tritemio de los primeros criptógrafos, Vigenère criptógrafo conocido y Dee metido en criptografía por el espionaje para Isabel I y por el secreto de sus diarios

«Dee's interest in angel magic dates from 1563, if not before. In that year, on the 16th February, Dee wrote to William Cecil that he had obtained a copy of Trithemius' Steganographia 'for which a Thowsand Crownes have be[e]n off[e]red, and yet could not be obteyned.» — la fecha y la prueba documental con que los editores datan el interés de Dee por la magia angélica: la carta a William Cecil del 16 de febrero de 1563 en que dice haber conseguido una copia de la Steganographia por la que se habían ofrecido mil coronas sin lograrla

«Cecil's interest might not have extended beyond cryptography, but Dee was obviously more excited, as this very rare manuscript gave him one of the keys to angel magic. This manuscript, in due course turns up as a part of two books of the Lemegeton.» — la lectura que los editores hacen del episodio: a Cecil quizá solo le interesara la criptografía, mientras que para Dee el manuscrito era una de las llaves de la magia angélica, y ese mismo manuscrito reaparece dentro de dos libros del Lemegeton

«According to the annotation of a previous owner or of a librarian, it contains: "fo. 1 Longobardus fo. 29 Extract out of Cornelius Agrippa's Occult Philosophy fo. 53 The Second Part of the Art of King Solomon fo. 75 Circuli, Figurae Variae et Sigilia in re Magica fo. 94 An Experiment to Call out Spirits that are Keepers of Treasure Trove fo. 123 Trithemius Redivivus fo. 133 The Magick and Magical Elements of the 7 dayes of the week» — el índice del Sloane MS 3824 tal como lo imprime el volumen desde la anotación de un propietario anterior o de un bibliotecario, con sus siete ítems y sus folios

«It is not possible to date the whole volume as it is a collection of different manuscript items, but we can date some of the constituent items.» — la reserva que los editores ponen a la datación del Sloane MS 3824: es colección de piezas distintas y no admite una sola fecha, aunque algunas piezas sí se fechen

«Here the scribe is being coy (or trying to protect himself) as these initials refer to 'Lucifer, Beelzebub and Satan', the ruling demons that have been left out of the manuscripts of the Goetia.» — la lectura que los editores hacen de las iniciales L:B:S: del Longobardus: el escriba se resguarda, y las letras nombran a Lucifer, Belcebú y Satán, los demonios gobernantes que faltan en los manuscritos de la Goetia

«So here is the connecting link between the older grimoires like the Livre des Esperitz and the mid seventeenth century manuscripts of the Goetia. The three ruling demons were probably cut out because of the dangers of listing them explicitly, even in the seventeenth century, and in practice the magician would never directly need to call them, but only need to use» — el eslabón que los editores dicen haber encontrado entre el Livre des Esperitz y los manuscritos seiscentistas de la Goetia, con la razón que proponen para el recorte: el peligro de listar a los tres demonios gobernantes, y que en la práctica el mago solo necesitaría sus nombres para constreñir a los menores. La frase cierra al otro lado del corte de plana

«This item is in the handwriting of Elias Ashmole (1617-1692) and these pages can definitely be dated to 1649 or slightly later.» — la identificación de mano y la datación que los editores dan al primer ítem del Sloane MS 3824: letra de Elias Ashmole, de 1649 o poco después

«Amongst the spells in this section is a spell to catch a thief, and the example given is someone who robbed John Rudd of Bedford in Kent, England. This is almost certainly a relative of Thomas Rudd, thus making a link between Rudd and the manuscript's copyist Elias Ashmole.» — el hallazgo con que los editores atan a Rudd con Ashmole: un hechizo para atrapar a un ladrón cuyo ejemplo nombra a quien robó a John Rudd de Bedford, en Kent, a quien tienen por pariente de Thomas Rudd

«Ashmole is obviously copying from Rudd's work, as he uses the notes "noted by pages & capital Letters, where they were inserted by Dr: R:[Rudd].» — la prueba de dependencia que los editores leen en las propias notas de Ashmole, que remiten a lo insertado por el Dr. R.

«On that same page Ashmole confirms that the English translation of Agrippa's Three Books of Occult Philosophy was in fact made by Dr John French, rather than James Freake, who has recently been credited with it.» — el dato de atribución que los editores levantan de Ashmole y consignan contra la adjudicación corriente: la traducción inglesa de los Tres libros de Agripa sería de John French y no de James Freake

«The Second part of the Art of King Solomon is in fact a version of the Theurgia-Goetia. This suggests that prior to the date of this manuscript this book may have been called The Art of King Solomon rather than Theurgia-Goetia. The spelling of the four Emperors in this manuscript is much closer to the Steganographia than to other manuscripts of the Lemegeton.» — lo que los editores adjudican al tercer ítem: es una versión de la Theurgia-Goetia, lo que les sugiere que antes se llamara The Art of King Solomon, y su grafía de los cuatro Emperadores está más cerca de la Steganographia que de los demás manuscritos

«Trithemius Redivivus. This item is important as it comprises a section from the Steganographia, in a form which is half way between Trithemius and their final form in the Lemegeton. Conjurations, which are present in Trithemius, but missing from all versions of the Lemegeton, are here included. We have added these conjurations back into the present text for the benefit of the reader, and they are clearly marked as such.» — lo que los editores adjudican al sexto ítem y la intervención editorial que declaran: es una sección de la Steganographia a medio camino de su forma final en el Lemegeton, con conjuraciones que faltan en todas las versiones del Lemegeton, y ellos las reponen en el texto marcándolas

«This suggests that the Rudd MS may have been partly based on this manuscript.» — la conclusión que los editores sacan de ese argumento, con reserva declarada: el Rudd MS podría basarse en parte en el Sloane MS 3824

«This period, which extended from the execution of King Charles I in January 1649 to the restoration of the monarchy and crowning of King Charles II in April 1661, saw a lot of activity in England relating to the Goetia.» — los editores acotan el Interregno como periodo de actividad inglesa en torno a la Goetia, de la ejecución de Carlos I en enero de 1649 a la coronación de Carlos II en abril de 1661

«The highly significant thing about the existence of this item in Sloane MS 3824 is that Rudd's Goetia contains the de Abano material with its simple circle, whilst the other manuscripts of the Goetia do not, but instead have a more complex» — el argumento con que los editores explican el círculo simple de la Goetia de Rudd: el Sloane MS 3824 trae el material de de Abano con su círculo simple, que los demás manuscritos de la Goetia no traen. La frase cierra en la plana siguiente, en *form of the magical Circle*

«However Sloane MS 3824 is a significant step in the development of the Lemegeton and appears to» — la posición que los editores asignan al Sloane MS 3824 en su cadena: paso significativo en el desarrollo del Lemegeton. La frase sigue al otro lado del corte de plana, donde lo llaman eslabón entre el Rudd MS y las fuentes antiguas

«be the link between the Rudd MS and the more ancient sources like Abano and Trithemius. The word Lemegeton does not occur in this manuscript, nor does it in the Rudd MS.» — continuación del mismo pasaje, ya en la plana siguiente: los editores cierran con un dato onomástico, que la palabra Lemegeton no aparece ni en el Sloane MS 3824 ni en el manuscrito de Rudd

«1649: Ashmole copies the first section of the proto-Lemegeton Sloane MS 3824; 1651: first English edition of Agrippa's Three Books of Occult Philosophy published; 1651: expanded second edition of Reginald Scot's Discovery of Witchcraft published, containing the English text of Weir's Pseudomonarchia Daemonum; 1651: Captain Thomas Rudd republishes Dee's Mathematical Preface to Euclid; 1655: the first English edition of Peter de Abano's Heptameron published in 1655: the first English edition of Agrippa's Fourth Book of Occult Philosophy; 1655/56: the original Rudd MS of the Goetia probably written;» — la cronología con que los editores concentran el Interregno, del copiado del proto-Lemegeton por Ashmole en 1649 a la redacción probable del Rudd MS original en 1655/56, pasando por las primeras ediciones inglesas de Agripa, de Scot ampliado y del Heptameron. El troceo imprime el renglón de 1655 cortado, en *published in*

«It would seem highly likely that many if not all the English manuscripts of the Lemegeton were penned during or circa this period of occult ferment.» — la conclusión que los editores sacan de esa cronología, con reserva declarada: muchos si no todos los manuscritos ingleses del Lemegeton se habrían escrito en ese periodo de fermento

«Another grimoire with a connection to the Goetia is the Clavis Infemi, or 'Key to Hell' which is by Cyprianus or pseudo-Cyprian. This book is sometimes referred to as the Black Book, and was supposed to be the sorcery textbook of the 'Black School of Wittenburg' a school of sorcery. The Clavis Infemi contains many of the words of power to be found in the Goetia invocations.» — los editores suman a su genealogía el Clavis Infemi de Cipriano o pseudo-Cipriano, llamado también el Libro Negro y tenido por manual de la Escuela Negra de Wittenburg, del que dicen que trae muchas de las palabras de poder de las invocaciones goéticas. El troceo imprime *Infemi* por Inferni

«This manuscript is strangely dated as MCCCCCCLLXVH, which is either a corruption of 1667 or possibly 1717. It is written and painted on parchment, but the form of the Latin contractions suggests a source of the early sixteenth century.» — el problema de datación que los editores exponen sin resolver: la fecha del manuscrito es una cifra corrupta que leen como 1667 o quizá 1717, mientras la forma de las contracciones latinas les sugiere una fuente de principios del siglo XVI

«One of its fascinations is that its detailed and beautiful colour illustrations show the four Demon Kings of the Quarters in animal guise, Maymon (as a black bird - King of the South), Egyn (or Ariton, as a bear - King of the North), Urieus (a red-crowned and winged serpent - as King of the East) and Paymon (as a black cat with horns, long whiskers and a tail - as King of the West).» — el cuadro de los cuatro Reyes Demonio de los Cuartos en figura animal que los editores levantan del Clavis Infemi: Maymon pájaro negro al sur, Egyn u Ariton oso al norte, Urieus serpiente roja coronada y alada al este, y Paymon gato negro con cuernos al oeste

«These are of course the standard names of the Demon Princes or Kings of the Quarters, but with the very interesting and startling exception that the King of the East is called Urieus, like the royal Egyptian serpent, rather than the more pedestrian Oriens (which was probably simply a corruption of the Latin for 'East').» — el detalle que los editores subrayan de esa nómina: el Rey del Este se llama allí Urieus, como la serpiente real egipcia, y no Oriens, que tienen por simple corrupción del latín para oriente

«By the mid eighteenth century a lot of magical material was being copied by hand and passed on. From roughly 1750 to 1850 some of these manuscripts were copied and recopied many times; in fact the period could well be described as an 'Age of Grimoire Copying'.» — el periodo que los editores nombran para explicar la multiplicación de testimonios: de 1750 a 1850, una edad de copia de grimorios

«Sibley was a key person in the transmission of magical material, and he probably introduced Francis Barrett to magic.» — el papel que los editores adjudican a Ebenezer Sibley en su cadena, con reserva declarada: probablemente él introdujo a Francis Barrett en la magia

«From the two brief entries in the Dictionary of National Biography, it can be seen that Ebenezer Sibley was primarily an astrologer who published a number of works on that subject. But he was also interested in alchemy and deeply into angelic and grimoire magic. He transcribed a number of grimoires, including The Key of Solomon and the Goetia.» — el retrato de Sibley que los editores arman desde el Dictionary of National Biography: astrólogo ante todo, interesado además en la alquimia y metido a fondo en magia angélica y grimórica, y transcriptor de grimorios entre ellos la Clave de Salomón y la Goetia

«Barrett of course was author of the Magus, a book on ceremonial and angel magic which was very influential and much sought after over the next 200 years, although most of its material was copied directly from Agrippa.» — el juicio que los editores hacen del Magus de Barrett: muy influyente y muy buscado durante doscientos años, y con casi todo su material copiado directamente de Agripa

«Ebenezer Sibley signs himself as 'M.D. F.R.H.S.' Sibley was a surgeon and medical doctor who took his MD at King's College, Aberdeen in 1792. The remaining initials, F.R.H.S. are not 'Fellow of the Royal Humane Society', as has been suggested by one commentator, but Fellow of the short-lived Harmoniac Philosophical Society in Paris.» — la enmienda que los editores oponen a otro comentarista sobre las siglas de Sibley: no Fellow of the Royal Humane Society, sino de la efímera Harmoniac Philosophical Society de París

«In fact it was in this volume that the engraving showing Edward Kelly (and Paul Waring) raising spirits in a churchyard first appeared. Some later writers mistakenly captioned this engraving as Kelly and Dee raising spirits of the dead, something that Dee is most unlikely to have undertaken.» — el dato iconográfico que los editores enmiendan: el grabado de Edward Kelly y Paul Waring levantando espíritus en un camposanto apareció en el libro de Sibley, y no muestra a Kelly y a Dee levantando muertos como lo rotularon escritores posteriores

«When Sibley died in 1799 he left his precious collection of manuscripts to his ungrateful nephew, who within a month had sold them all to Denley, the same Covent Garden bookseller who bought up the sheets of Barrett's Magus.» — el eslabón que los editores trazan tras la muerte de Sibley: el sobrino vendió la colección en un mes al librero Denley, el mismo que compró los pliegos del Magus de Barrett

«Denley employed the young Frederick Hockley to act as his scribe and proceeded to have each manuscript copied a number of times.» — el mecanismo de multiplicación que los editores documentan: Denley empleó al joven Frederick Hockley como escriba y mandó copiar cada manuscrito varias veces

«The Complete Book of Magic Science is I presume from its title one of my particular babes, for at Denley's suggestion I made up the MS from other sources & made him several copies one after another.» — la carta de Hockley a Major F G Irwin que los editores citan como prueba de ese mecanismo: llama babes a sus copias y cuenta que compuso el manuscrito de otras fuentes por sugerencia de Denley y le hizo varias copias seguidas

«This is not to denigrate the content, which was copied faithfully enough by Hockley, but to show how it is that so many manuscripts survived. Amongst these manuscripts copied by Hockley was Sibley's copy of the Lemegeton.» — la acotación con que los editores cierran el episodio: no denigran el contenido, que Hockley copió con bastante fidelidad, sino que explican cómo sobrevivieron tantos manuscritos, entre ellos la copia del Lemegeton de Sibley

«In the nineteenth century Frederick Hockley tried many practical experiments in skrying and evocation, filling many volumes with the results. One experiment which he published deals with an interesting combination of evocation and skrying. It demonstrates that a glass vessel made to the right size may be just as useful as a crystal for skrying. There is an additional element in this experiment, which is definitely not to be recommended, and that is the addition to the fluid condenser of his own blood.» — lo que los editores consignan de los experimentos de Hockley y el único juicio que se permiten sobre ellos: un vaso de vidrio del tamaño adecuado sirve tanto como un cristal para escrutar, y la adición de su propia sangre al condensador fluídico la llaman no recomendable

«In 1843 Henry Dawson Lea copied the first two books of the Lemegeton (including the Goetia) from Frederick Hockley's copy of the original manuscript of Ebenezer Sibley. This copy of the Goetia which has been hitherto ignored, finally found its resting place as Welcome MS 3203.» — la filiación que los editores dan al Welcome MS 3203: Henry Dawson Lea copió en 1843 los dos primeros libros del Lemegeton de la copia de Hockley del manuscrito original de Sibley

«Although this is rather late in the transmission of the text, we have included footnotes noting all major textual differences between it and our main text.» — la decisión editorial que los editores declaran sobre ese testimonio tardío: anotan al pie todas las diferencias textuales mayores respecto de su texto base

«In this context our present volume and Joseph Peterson's edition may be seen as complimentary, between them providing as complete a picture as we currently have of the origins and later development of the Lemegeton.» — la posición que los editores asignan a su propio libro frente al de Peterson: complementarios, y entre los dos el cuadro más completo que hoy hay del origen y del desarrollo posterior del Lemegeton

«The interesting thing about Welcome MS 3203 is that it leaves out 18 demons (from Leriac/Leraje to Foras inclusive) suggesting that some manuscript pages were missed from the Sibley/Hockley manuscript.» — el defecto que los editores diagnostican en el Welcome MS 3203: faltan dieciocho demonios, de Leriac a Foras, y lo leen como planas perdidas del manuscrito de Sibley y Hockley

«One of the copyists ignored these 18, failed to number one at all (Beleth), and subsequently renumbered the rest of the demons, numbering the last one as 53 instead of the 54 which were present out of 72.» — el efecto en cadena que los editores describen: un copista ignoró los dieciocho, dejó a Beleth sin número y renumeró el resto, terminando en 53 donde había 54 de setenta y dos

«The fact that exactly 18 demons are missing suggests that maybe three groups of 6 are missing. If this is so then the original manuscript (wherever that is) might have been paginated with 6 demons per page, or twelve pages in all, suggesting a division of the demons into the 12 signs of the Zodiac. If there was such an arrangement, it might have meant that the copyist omitted exactly three pages, the demons for Gemini, Cancer and Leo.» — la conjetura que los editores construyen sobre ese hueco, con su reserva declarada: dieciocho son tres grupos de seis, lo que sugeriría un original a seis demonios por plana, doce planas, y una partición de los setenta y dos por los signos del zodiaco

«Also Welcome MS 3203 only contains the first two parts of the Lemegeton, though reference is made to the supposed fifth part, the 'Ars Nota' (sic), suggesting that originally all five parts existed in the original that this copy descends from. Although it is a defective copy, it is useful because it is bound with the 72 angels which are a key part of the system omitted from many other manuscripts. This also helps to demonstrate that Rudd was not alone in connecting the 72 angels directly with the 72 demons.» — el argumento que los editores sacan de un manuscrito defectuoso: va encuadernado con los setenta y dos ángeles, parte clave del sistema que muchos manuscritos omiten, y eso les muestra que Rudd no fue el único en ligar los setenta y dos ángeles con los setenta y dos demonios

«The manuscript also contains a transcript of a Goetic "Experiment of me J.W. with the Spirits Birto, Agares, Baalphares & Vassago as hath often been proved at the Instant request of Edward the Fourth King of England» — el experimento goético que el Welcome MS 3203 adjudica a un J.W. con los espíritus Birto, Agares, Baalphares y Vassago, hecho a instancia de Eduardo IV. La frase cierra al otro lado del corte, con el reinado entre paréntesis

«Assuming for a moment that this is true, and that the original manuscript recorded a real event, then some of the spirits of the Goetia were being conjured in the fifteenth century, for the pleasure of the then reigning monarch.» — la reserva con que los editores tratan ese testimonio y lo que seguiría de él: si fuera real, algunos espíritus de la Goetia se estaban conjurando en el siglo XV para gusto del monarca reinante

«S L MacGregor Mathers was the scholar-magician and Golden Dawn cofounder, who translated and published a number of important grimoires including The Key of Solomon and the Book of Abramelin the Mage. He drew attention to the importance of the Lemegeton towards the end of the nineteenth century.» — la presentación de Mathers en el volumen: mago erudito y cofundador de la Golden Dawn, traductor de la Clave de Salomón y del Libro de Abramelin, que llamó la atención sobre el Lemegeton a fines del siglo XIX

«As far as we know he only transcribed the Goetia, the first book of the Lemegeton, as his notes tail off at the end of the Goetia with just a few diagrams (for example the Spirit Compass Rose) derived from the next book of the Lemegeton.» — el límite que los editores ponen al trabajo de Mathers, con reserva declarada: hasta donde saben solo transcribió la Goetia, y sus notas se apagan al final con unos pocos diagramas del libro siguiente

«When Aleister Crowley was refused advancement by the London lodge of the Golden Dawn, he went to see Mathers in person in Paris. Wisely or not, Mathers appointed him as his representative, and presumably authorised him to enter the lodge premises in London.» — el episodio con que los editores enlazan a Mathers con Crowley, y el juicio que dejan en el aire: Mathers lo nombró su representante, sabiamente o no, y presumiblemente lo autorizó a entrar en el local de Londres

«In April 1900, during his 'raid' on the Golden Dawn's headquarters in Blythe Road, Hammersmith, West London, Crowley 'acquired' various papers including the manuscript of the Goetia, as transcribed by Mathers.» — lo que los editores adjudican a Crowley en el asalto de abril de 1900 a la sede de Blythe Road: se hizo de varios papeles, entre ellos el manuscrito de la Goetia transcrito por Mathers. Las comillas de *raid* y de *acquired* son del volumen

«In fact Mathers' work on the manuscript was incomplete, as it incorporated a small part of the next book of the Lemegeton, and some quite unrelated Punic and Carthaginian symbols, which were not part of the Goetia at all, but just some of Mathers' research doodlings.» — lo que los editores dicen del estado del trabajo de Mathers: incompleto, con una parte del libro siguiente y con símbolos púnicos y cartagineses que no eran de la Goetia sino garabatos de investigación

«It would have been kinder to the reader if he had made it clear where these various extraneous elements included in 'his' edition of the Goetia actually came from.» — la segunda objeción, sobre la procedencia: los editores dicen que habría sido más amable con el lector dejar claro de dónde venían los elementos ajenos de su edición

«A table of demon names entitled 'After the Hebrew of Dr. Rudd'. This consisted of the Hebrew orthography for the 72 demon names taken from each of the seals in the present manuscript.» — el primero de los añadidos que los editores inventarían en la edición de Crowley, y el que liga esa edición con este volumen: la tabla rotulada según el hebreo del Dr. Rudd sale de los sellos del manuscrito aquí transcrito

«Various 'Punic' or Carthaginian symbols which have little if anything to do with the Goetia. They were printed out of order and mixed with genuine sigils. These were Mathers' very speculative notes on the origin of the Seal of Solomon and are numbered as illustrations 162-174 in Crowley's edition. In addition his illustrations 175-184 come from the first few pages of the Theurgia-Goetia, without any note to that effect, or even any corresponding text.» — segundo añadido inventariado: símbolos púnicos impresos fuera de orden y mezclados con sigilos genuinos, que los editores adjudican a notas muy especulativas de Mathers sobre el origen del Sello de Salomón, más láminas tomadas de la Theurgia-Goetia sin advertirlo

«A nasty Greek curse directed against Mathers. It seems particularly childish of Crowley to print a curse against the very man who did the actual work of transcribing the Goetia, unless Crowley feared Mathers' revenge for his own wholesale appropriation of Mathers' copyright» — tercer añadido inventariado, con el juicio que los editores hacen de él: llaman pueril imprimir una maldición contra el hombre que hizo el trabajo de transcribir la Goetia, y apuntan como única explicación el temor de Crowley a la venganza de Mathers por la apropiación de su trabajo

«The square is only partial and defectively drawn, but has nothing to do with the Goetia.» — cuarto añadido inventariado: el cuadrado del Libro de Abramelin, parcial y mal dibujado, que los editores dicen sin relación con la Goetia

«1656: Dr Thomas Rudd dies and passes on his manuscripts; 1657: Robert Turner publishes the first English edition of Ars Notoria; 1659: Meric Casaubon publishes Dee's True and Faithful Relation;» — cierre de la cronología del Interregno: la muerte de Rudd en 1656 y el traspaso de sus manuscritos, la Ars Notoria de Robert Turner en 1657 y la True and Faithful Relation de Casaubon en 1659. La serie sigue en la plana siguiente con la Pseudomonarchia latina de 1660 y el hallazgo de los cuatro manuscritos de Dee en 1662

«Crowley would have done a much greater service to the text if he had» — la objeción que los editores dirigen a Crowley; el marcador de plana se repite a media frase en el límite de chunk y la frase sigue en *checked it against the manuscript and conscientiously completed Mathers' editing*

«checked it against the manuscript and conscientiously completed Mathers' editing, but instead he just arranged to print it, adding various extraneous items.» — continuación del mismo reproche, ya del otro lado del corte: en lugar de cotejar contra el manuscrito y completar la edición de Mathers, Crowley se limitó a mandarlo imprimir añadiendo material ajeno

«This is interesting, as it suggests that Crowley either wanted to void all the magic made available in the Goetia, or to protect himself from an anticipated magical attack by Mathers. In fact the truth is a little more prosaic, for in the more complete German version of Abramelin, the square is simply designed to help the operator find rare astronomical books, although that is something that Crowley could not have known at the time.» — la lectura que los editores ofrecen del cuadrado de Abramelin en la edición de Crowley, y el desenlace prosaico que le dan: en la versión alemana más completa el cuadrado sirve para hallar libros astronómicos raros, cosa que Crowley no podía saber

«A pompous Preface with Rosicrucian overtones which concludes with 'given forth from our Mountain of A[biegnus] this day of C[orpus] C[hristi] 1903 A. D.' which gives a spurious Rosicrucian imprimatur for Crowley's appropriation of Mathers' work. To imply that a work of evocation is a Rosicrucian official publication is even more confusing. This Preface was written by Crowley, and contributes nothing to our understanding of the Goetia.» — quinto añadido inventariado y el juicio de los editores: el prefacio con fecha rosacruz da, dicen, un imprimátur espurio a la apropiación del trabajo de Mathers

«Whilst this is a valuable and effective invocation, it does not occur in any manuscript of the Goetia. It is from a completely different tradition, of GraecoEgyptian origin, and so has no place in this edition.» — lo que los editores dicen de la Preliminary Invocation o Bornless One: la tienen por valiosa y eficaz, y a la vez ajena a todo manuscrito de la Goetia, de origen grecoegipcio y fuera de lugar en esta edición

«This invocation (it was in fact an exorcism) is drawn from Charles Wycliffe Goodwin's (1817-1878) paper for the Cambridge Antiquarian Society, 1853, called Fragment of a GraecoEgyptian Work upon Magic. It was a favourite of Golden Dawn members especially Crowley, but it has nothing to do with the Goetia, being separated from it by at least 1500 years and a wide cultural gap.» — la procedencia que los editores fijan para esa invocación —el trabajo de Charles Wycliffe Goodwin para la Cambridge Antiquarian Society en 1853— y la distancia que le miden respecto de la Goetia: mil quinientos años y un ancho hueco cultural

«This contains many of his tongue-in-cheek statements about evocation, including the ludicrous suggestion that, following Aldous Huxley, "the spirits of the Goetia are portions of the human brain» — la afirmación de Crowley que los editores levantan para objetarla: siguiendo a Aldous Huxley, que los espíritus de la Goetia son porciones del cerebro humano

«What makes this even more alarming is that Crowley undoubtedly knew the difference between the brain and the mind. He goes on to say that "Ceremonial Magic fines down, then, to a series of minute, though of course empirical, physiological experiments.» — la objeción que los editores oponen a esa lectura, y la segunda frase de Crowley que traen: que él sabía sin duda la diferencia entre cerebro y mente, y que redujo la magia ceremonial a una serie de experimentos fisiológicos menudos

«The essay is hopefully a piece of over-rationalisation, and a product of its period, rather than what Crowley really thought. Instead of improving on Mathers' work, Crowley's tongue in cheek exposition of ceremonial magic has confused many generations of sincere students ever since, who in adhering to this very materialistic explanation of the phenomena of evocation have missed out on its true essence.» — el juicio con que los editores cierran su reproche a Crowley: esperan que el ensayo sea sobrerracionalización de época y no lo que pensaba, y le adjudican haber confundido a generaciones de estudiantes que, atenidos a esa explicación materialista, se perdieron la esencia de la evocación

«This does in fact occur in one manuscript of the Goetia, Sloane MS 2731, but is in another hand. As originally printed by Crowley (and in all subsequent printed editions) it is nonsense.» — el diagnóstico que los editores hacen de la Explanation of Certain Names: está en el Sloane MS 2731 pero en otra mano, y tal como Crowley la imprimió y como se ha reimpreso después, no dice nada

«This is because the text was transcribed by Mathers across the page when in fact it was originally written as two separate columns down the page. See Appendix 9, the 'Ars Nova': An Explanation of Certain Names used in the Figures of the Goetia, where we have transcribed it in the original order.» — la causa que los editores adjudican a ese sinsentido y la enmienda que declaran: Mathers transcribió a lo ancho de la plana un texto escrito en dos columnas, y ellos lo restituyen en el Apéndice 9 en el orden original

«If it is read in this order it makes perfect sense, and will be seen to be a set of summary notes, listing Godnames, archangel and angel names, plus a prayer for each of the Sephiroth of the Tree of Life. It also lists the words used on the diagrams of the Circle, Triangle, Hexagram, and Pentagram.» — lo que los editores dicen que el texto resulta ser leído en columnas: notas de resumen con nombres divinos, arcangélicos y angélicos y una oración por cada sefirá del Árbol de la Vida, más las palabras de los diagramas del Círculo, el Triángulo, el Hexagrama y el Pentagrama

«A Compass Rose with the names of 31 spirits on it (see Figure 10). This does not belong to the Goetia at all, but is in fact an illustration which belongs to the next book, the Theurgia-Goetia. It was included in Mathers' notebook where he had begun his transcription of the next book of the Theurgia-Goetia, before breaking off without completing it, and should therefore have been edited out by Crowley. As it stands it is completely misleading, as none of the spirit names on the compass rose diagram coincide with any of those in the Goetia, something that has also confused generations of students ever since.» — otro añadido inventariado: la rosa de los vientos con treinta y un espíritus, que los editores adjudican a la Theurgia-Goetia y no a la Goetia, y cuyo efecto describen —ninguno de esos nombres coincide con los de la Goetia

«This is pseudo black letter 'translation' into Enochian of the original Goetia invocations. This translation into Enochian was presumably just an intellectual exercise rather than anything to be used ritually, unless like Trithemius, Crowley was experimenting with converting plain English into a more cryptic form before addressing the spirits.» — lo que los editores dicen de la versión enoquiana de las invocaciones que Crowley imprime: la tienen por ejercicio intelectual antes que por texto ritual, salvo que estuviera probando, como Tritemio, a cifrar el inglés antes de dirigirse a los espíritus

«Crowley chose to introduce that translation exercise with a pompous self-congratulatory passage written in execrable faux early English, claiming for himself exalted Rosicrucian membership, 'Yse Conjuratiouns...rendered into ye Magicall or Angelike (sic) Language by our Illustrious and ever-Glorious Frater, ye Wise Perdurabo [Crowley], that Myghtye Chiefe of ye Rosy-Cross Fratemitye, now sepulchred in ye Vault of ye Collegium S.S.» — el pasaje con que Crowley presenta ese ejercicio, tal como el volumen lo imprime, y el juicio de los editores: lo llaman pomposo y autocomplaciente, en inglés arcaizante execrable, y reclamando para sí pertenencia rosacruz

«Earlier in the same book Crowley ironically quotes A E Waite as saying 'all persons who proclaim themselves to be Rosicrucians are simply members of pseudo-fraternities.' Just so.» — la ironía que los editores señalan en el propio libro de Crowley: cita a Waite diciendo que quien se proclama rosacruz es miembro de una pseudofraternidad, y ellos rematan con un *Just so*

«Indeed Waite himself also published a version of the Goetia before Crowley in 1898. Waite was one of the most prolific occult writers of this period. His collections of grimoire material tended to synthesise the procedures of many of the grimoires, drawing variously on the Key of Solomon, the Grimorium Verum, the Fourth Book of Occult Philosophy, and the derivative Black Pullet, or Poulet Noir, rather than simply publishing complete grimoires.» — lo que los editores consignan del método de Waite, que publicó su versión de la Goetia en 1898: sintetizaba procedimientos de varios grimorios —la Clave de Salomón, el Grimorium Verum, el Cuarto libro, el Poulet Noir— en lugar de publicar grimorios completos

«Other editions of the Goetia are listed in Joseph Peterson's introduction, where he outlines their respective virtues and defects. They include the disgraceful rip off of the Mathers/Crowley edition by de Lawrence.» — los editores remiten el censo de ediciones a la introducción de Peterson y añaden su propio juicio sobre una de ellas, la de de Lawrence, que llaman saqueo vergonzoso de la de Mathers y Crowley

«In 1957 Sayed Idries Shah brought out his Secret Lore of Magic, which for three decades was perhaps the best source of grimoire material. In France, Pierre Belfond also produced editions of many of the main grimoires, but not of the Goetia.» — lo que los editores consignan de la recepción del material grimórico a mediados del siglo XX: el Secret Lore of Magic de Idries Shah fue durante tres décadas la mejor fuente, y en Francia Pierre Belfond editó varios grimorios principales pero no la Goetia

«Bill Breeze, under the style of Hymenaeus Beta, published yet another edition of the Goetia in 1995, based on Crowley's edition with additional material on the Preliminary Invocation. The last part of his introduction is useful as it helps put recent work into perspective.» — lo que los editores consignan de la edición de Hymenaeus Beta, basada en la de Crowley y con material añadido sobre la Preliminary Invocation, y el uso que le encuentran a la última parte de su introducción

«His edition is adorned with a mix of a few rather ugly and phallic drawings by Crowley, plus amusing engravings of Goetic demons taken from Colin de Plancy's Dictionnaire Infernal.» — el juicio que los editores hacen del aparato gráfico de esa edición: dibujos de Crowley que llaman feos y fálicos, y grabados de demonios goéticos tomados del Dictionnaire Infernal de Colin de Plancy

«Carter produced the first of many Necronomicon grimoire hoaxes, and he originally introduced the Goetia to Carroll Runyon. As a result of experimenting with it, Runyon developed very specific and relevant views on the techniques therein. His take on the Goetia has been to: a) utilise the 72 Shem ha-Mephorash angels to control the 72 demons, an approach derived from the Rudd manuscript here transcribed.» — el eslabón que los editores trazan hasta la práctica contemporánea: Lin Carter introdujo la Goetia a Carroll Runyon, y la primera de las claves de Runyon —usar los setenta y dos ángeles del Shem para controlar a los setenta y dos demonios— la derivan del manuscrito de Rudd que este volumen transcribe

«array the demons in a straightforward circular format, divided according to the 12 Zodiacal signs, rather than arranging them in the rather forced Golden Dawn decanal arrangement.» — segunda clave de Runyon según los editores, con el juicio que dejan caer sobre la alternativa: disponer a los demonios en círculo por los doce signos del zodiaco en lugar del arreglo decanal de la Golden Dawn, que llaman forzado

«re-introduce skrying into the procedures of Goetic magic. Instead of the traditional Crystal or Glass Receptacle he uses a candle flanked mirror.» — tercera clave de Runyon: reintroducir el escrutinio en la magia goética, con un espejo flanqueado de velas en lugar del cristal o receptáculo de vidrio tradicional

«relate the Goetic demons to the pre-Solomonic Baal-Astarte mythos. As a result of the last change he also swapped the demons Astaroth and Stolas, in an effort to have Astaroth facing directly opposite his ancient Canaanite consort Bael/Baal.» — quinta clave de Runyon y su consecuencia práctica: ligar a los demonios goéticos con el mito prasalomónico de Baal y Astarté, y de ahí el intercambio de Astaroth y Stolas para enfrentarla a su consorte cananeo

«The first three of these interpretations coincide with the views of the present authors, and with established practice. The use of adversarial angels to control the demons dates back beyond Blaise Vigenere in the mid-sixteenth century, to the third century CE Testament of Solomon.» — los editores declaran su propia posición frente a Runyon y datan su punto de acuerdo: el uso de ángeles adversarios para controlar demonios se remonta más allá de Vigenère, hasta el Testamento de Salomón del siglo III

«The attribution of the demons in order (six at a time) round a circle corresponding with the 12 Zodiacal signs (beginning with Aries), is definitely in harmony with the Goetia, following the similar Compass Rose layout in the Theurgia-Goetia.» — el segundo punto de acuerdo y su apoyo interno: la atribución de los demonios de seis en seis por los doce signos desde Aries les parece en armonía con la Goetia, por la rosa de los vientos de la Theurgia-Goetia

«However the skryer's crystal or glass receptacle would always have been on the Table of Practice within the Circle, not outside the Circle as in Carroll Runyon's modus operandi. The Table of Practice was engraved or painted with similar holy signs to the Circle, and it was considered as safe a place to conjure the image of the spirit as the Triangle external to the Circle. In fact many conjurations often specified both loci as acceptable places for the spirit to manifest.» — el punto en que los editores objetan a Runyon: el cristal iba siempre sobre la Mesa de Práctica dentro del Círculo y no fuera, y la Mesa, grabada con los mismos signos santos, se tenía por lugar tan seguro como el Triángulo externo; muchas conjuraciones, dicen, admiten los dos sitios

«This procedure, and indeed the correct use of a Table of Practice (as used by Dr John Dee), has been lost sight of in the last century.» — el diagnóstico de pérdida con que los editores cierran esa objeción: el uso correcto de la Mesa de Práctica, la de Dee, se perdió de vista en el siglo pasado

«In this context 'over' means 'across' not 'above', just as the word 'coast' in that period meant the 'edge' of the circle. The instruction is that the Triangle needs to be on the side from which the spirit is expected to come. It is no use calling in the wrong direction, or in having your back to the spirit/demon when it arrives.» — la enmienda filológica con que los editores responden a Runyon: en ese contexto *over* vale por a lo ancho y no por encima, y *coast* valía entonces por el borde del círculo, de modo que la instrucción es orientar el Triángulo hacia donde se espera al espíritu

«In the same chapter, Carroll Runyon suggests that Peter Smart's drawing of the Brass Vessel (Figure 5) is the back of a Magic Mirror. This is a misconception which has arisen because of its superficial similarity to the back of an old fashioned music stand. This idea can be dispelled by a close inspection of the Hebrew wording on its surface and the seal on its top.» — la segunda objeción que los editores dirigen a Runyon: que el dibujo del Vaso de Bronce sea el reverso de un espejo mágico lo tienen por error nacido del parecido con un atril de música antiguo, y lo resuelven por la inscripción hebrea y el sello del remate

«The interpretation of several of the demon's names in the light of Canaanite mythology may well be correct, as many of the spirit names are derived from Hebrew or Aramaic. But it is a bold step to suggest that this applies to the rest of the 72 demons.» — la concesión y el límite que los editores dan a la lectura cananea de Runyon: puede valer para varios nombres, derivados del hebreo o del arameo, y extenderla a los setenta y dos les parece un paso audaz

«Carroll Runyon's book on the Goetia is a breath of fresh air and a significant advance in our rediscovery of practical grimoire technique.» — el juicio global que los editores hacen del libro de Runyon pese a sus objeciones: lo llaman aire fresco y avance significativo en la recuperación de la técnica grimórica práctica

«It was not till the publication of the excellent edition of the Lemegeton by Joseph Peterson in 2001 that Crowley's partial and defective edition has finally been eclipsed. Peterson's edition is now the standard edition.» — la posición que los editores asignan a Peterson al cerrar su historia de las ediciones: solo con la suya, de 2001, quedó eclipsada la edición parcial y defectuosa de Crowley, y la llaman edición estándar

«in which he looks at the Kabbalistic and practical considerations of using this text, with many tables and interesting experimental records.» — lo que los editores consignan del Goetic Evocation de Steve Savedow: mira las consideraciones cabalísticas y prácticas de usar el texto, con tablas y registros experimentales. La cita arranca después de *hands-on*, palabra que el corte de renglón parte y que la herramienta fundiría en una forma falsa

«The triangle that Salomon Commanded the Disobedient Spirits Into; it is to be Made 2 foot off from the Circle, and 3 foot over. Note, this A [triangle] is to be Placed upon the» — el pie de la ilustración del Triángulo en el Sloane MS 2731, tal como el volumen lo imprime con los corchetes de sus editores: dos pies fuera del Círculo y tres pies de través. La frase cierra al otro lado del corte de plana, en *Co[a]st [that] the Spirit Belongeth [to]*

«The Theurgia-Goetia is concerned with spirits of a mixed nature which relate to the points of the compass. It is effectively a ritual version of the first book of the Steganographia, which was written or compiled by Trithemius in 1500.» — los editores definen la segunda parte del Lemegeton: trata con espíritus de naturaleza mixta ligados a los puntos del compás, y la llaman versión ritual del primer libro de la Steganographia

«One of the most striking things about this grimoire is its insistence upon direction. The Goetia suggests that you face the Triangle of Art which should be placed on the side (or the 'coast') of the Circle from which you expect the spirit to arrive, but it is a bit vague about where that should be for most spirits.» — el contraste que los editores trazan entre los dos primeros libros: la Theurgia-Goetia insiste en la dirección, mientras la Goetia manda encarar el Triángulo por donde se espera al espíritu y queda vaga sobre dónde es eso para casi todos

«The Theurgia-Goetia on the other hand gives precise compass points for each main spirit (and their servitors). For example, Camuel "Ruleth and governeth as King in the South East part of the World" or the South-East, but Padiel "Ruleth in the East and by South" which literally means that he rules the compass point just a bit South of East, not SE.» — la precisión direccional que los editores adjudican a la Theurgia-Goetia, con sus dos ejemplos: Camuel reina en el sudeste, y Padiel en el este y por el sur, que es el punto apenas al sur del este

«Some manuscripts of the Theurgia-Goetia supply a full-blown spirit Compass Rose showing the 32 possible directions from which a King, Prince or Duke can be expected to arrive. This is an advance on the rather rudimentary and incomplete compass that appears in the printed Steganographia.» — lo que los editores consignan de la rosa de los vientos de espíritus: da las treinta y dos direcciones posibles de llegada de un Rey, Príncipe o Duque, y mejora el compás rudimentario del impreso de la Steganographia

«Strangely, although one of the manuscripts of the Steganographia shows 16 compass segments with the names of directions (shown as winds) and the 16 Dukes all shown in their proper places, the printed edition only has an incomplete illustration with just three of the 16 Dukes actually filled in.» — la divergencia entre manuscrito e impreso que los editores consignan sin armonizar: un manuscrito de la Steganographia trae los dieciséis segmentos con sus vientos y sus dieciséis Duques, y la edición impresa solo tres rellenos

«The present manuscript does not include this illustration at all, but that deficiency is made up from another manuscript (and it appears in Figure 10) and by Tables in Appendix 2.» — la carencia del testimonio base que los editores declaran y cómo la suplen: el Harley MS 6483 no trae esa ilustración, y ellos la toman de otro manuscrito y de sus tablas del Apéndice 2

«There is a strict hierarchy of spirits ruled by four Emperors (Caspiel, Camesial, Amenadiel and Demoriel) which correspond with the four Cardinal points (S, E, W, and N, see Table M21). Then the 16 Dukes, correspond to the four Cardinal points (as with the Emperors), plus the four inter-Cardinal points (SE, SW, NW, NE) plus the 8 'Cardinalflanking' directions (those immediately adjacent to the Cardinal points like Padiel at 'East by South' or Cabariel at 'North by West') for which see Table M20.» — la jerarquía de la Theurgia-Goetia tal como los editores la ordenan: cuatro Emperadores en los puntos cardinales y dieciséis Duques repartidos entre cardinales, intercardinales y los ocho puntos que flanquean a los cardinales. El troceo parte *Cardinal-flanking* en el salto de renglón y la herramienta la devuelve fundida como *Cardinalflanking*; la forma real es la del guion

«Lastly, the 11 Wandering Princes fill in the remaining points of the compass in a complex system of rulership pairing - see Table M20a. Each of the 31 principle spirits in turn rule between 10 and 50 lesser spirits (which in the case of the Dukes' spirits are further divided into rulership by either Day or Night).» — cierre de esa jerarquía: once Príncipes Errantes cubren los puntos restantes, y cada uno de los treinta y un espíritus principales manda de diez a cincuenta menores, los de los Duques repartidos además entre día y noche

«This structure is not immediately visible upon first reading, so we have inserted section heads in square brackets.» — la intervención editorial que los editores declaran sobre el texto que imprimen: insertaron encabezados de sección entre corchetes porque la estructura no se ve en una primera lectura

«Strangely, in all manuscripts the actual method of invocation is sandwiched into a section of text just after Pamersiel, one of the 16 Dukes, rather than appearing logically at the front. Also the order of the spirits in the Theurgia-Goetia differs from that in the Steganographia. This suggests that there has been at some point a dislocation of the text.» — el diagnóstico textual que los editores hacen de la Theurgia-Goetia: el método de invocación va encajado tras Pamersiel en lugar de abrir el libro, y el orden de los espíritus difiere del de la Steganographia, lo que les sugiere una dislocación del texto

«The description of the method varies from one manuscript to another. In order to get a picture of exactly how the procedure should be conducted, we have made a composite below from the instructions to be found in various manuscripts so that all the salient points are in one place. We have retained all the instructions in the order given.» — la intervención editorial que los editores declaran para el método: compusieron un texto a partir de las instrucciones de varios manuscritos, conservando el orden dado

«To call forth Pamersiel, or any of his Servants, or indeed any of the spirits of the Theurgia-Goetia, make a Circle in the form as is shown in the Book Goetia for gathering in the upper room of your house, which is most private or secret. Or choose a place in some island wood or grove which is the most occult or hidden place removed from all comers and goers, so that no stranger may chance by that way, or enter your chamber or wherever you choose to do the operation. Observe that the place is very airy because these spirits that are in this part [of the Theurgia-Goetia] are all of the air.» — el método compuesto de la Theurgia-Goetia, en la voz del texto y no en la de los editores: círculo como el de la Goetia en el cuarto más privado de la casa, o en isla, bosque o arboleda apartada de todo transeúnte, y el lugar muy aireado porque estos espíritus son todos del aire

«You may then call the spirits into a Crystal stone four Inches in diameter, set on a Table [of Practice] made as followeth which is called the secret Table of Solomon, having the seal of the Spirit on your breast and the girdle [of lion skin] about your waist as is showed in the Book Goetia, and you cannot err.» — continuación del método compuesto, en la voz del texto: cristal de cuatro pulgadas sobre la Mesa llamada Tabla secreta de Salomón, el sello del espíritu al pecho y el ceñidor de piel de león a la cintura. Los corchetes son del aparato del volumen

«When you are thus prepared, rehearse the Conjuration several times, that is whilst the Spirit is coming, for without doubt he will come. Note the same method is to be used in all the following parts of the second book Theurgia Goetia, as is here shown for Pamersiel and his servants. It is also the same method for Calling forth the four Kings [Emperors] and their Servants aforesaid.» — cierre del método compuesto, en la voz del texto: repetir la conjuración mientras el espíritu viene, porque sin duda vendrá, y usar el mismo método en todo el segundo libro y para llamar a los cuatro Reyes

«Immediately after this passage, there is an illustration that purports to be the Secret Table of [Practice] of Solomon. In most manuscripts it is a very hastily drawn and crude Secret Seal of Solomon (Figure 11). This is in fact incorrect, and it is also in conflict with the illustration shown in the preceding book the Goetia where the Secret Seal of Solomon is correctly shown (Figure 18, Plate 2). The illustration that should appear here is the Table of Practice of Solomon (Figure 12) from the Art Pauline» — la enmienda iconográfica que los editores proponen: la ilustración que sigue al método se da por Tabla secreta de Salomón y es en realidad un Sello Secreto mal dibujado, en conflicto con el de la Goetia; la que debería ir ahí es la Mesa de Práctica de la Ars Paulina

«This is further confirmed by comparing it with the Table of Practice found in other grimoires, and especially Dee's Tabula Sancta cum Tabulis Enochi (see Appendix 3).» — el apoyo que los editores dan a esa enmienda: el cotejo con la Mesa de Práctica de otros grimorios y sobre todo con la Tabula Sancta cum Tabulis Enochi de Dee

«From references in some of Trithemius' letters and from using the system, we would like to make a new suggestion as to what Trithemius' real intentions were.» — los editores declaran de dónde sale su propuesta sobre la Steganographia: de referencias en cartas de Tritemio y del uso del propio sistema

«On the surface he purports to show how to send secret messages, via the agency of the angels to distant friends, purporting to be a sort of a 'spirit telephone'. Without doubt the Steganographia is this, as well as being a cryptographic book, and a book of angel magic: in fact it is precisely all three.» — la posición que los editores sostienen sobre el género de la Steganographia: teléfono de espíritus, libro criptográfico y libro de magia angélica, las tres cosas a la vez

«We believe that the key to understanding the Steganographia is to know that the messages that were encoded to be sent by Trithemius' 'spirit telephone' were not meant for any human recipients. The messages were meant to be sent to the angel concerned, not just by the angel, and were not really intended for human recipients at all.» — la tesis propia que los editores proponen, con su reserva declarada: los mensajes cifrados del teléfono de espíritus no iban dirigidos a destinatario humano alguno, sino al ángel mismo

«The message is reduced cryptographically before being sent, as part of the magical technique itself.» — el giro con que los editores convierten el cifrado en técnica mágica: la reducción criptográfica del mensaje es parte del procedimiento, no un envoltorio de él

«There is much secrecy in magic about putting the exact request or demand to the spirit or angel. Such requests have in the past been addressed in English, Latin, Hebrew or even in Enochian, with varying opinions as to which language is the most effective.» — lo que los editores consignan sobre el secreto en torno a la formulación de la demanda: se ha dirigido en inglés, latín, hebreo o enoquiano, con opiniones encontradas sobre cuál lengua es más eficaz

«The magician faces the quarter of the angel, invokes the angel and submits his request, demand or prayer in code on a piece of paper to the spirit. The mental effort involved in encoding it is part of the magical procedure. This request is what the magician wants the spirit to accomplish. As simple as that - there is no human messenger - there is no human recipient.» — el procedimiento que los editores describen a partir de su tesis: encarar el cuarto del ángel, invocarlo y entregarle en clave la demanda por escrito, con el esfuerzo mental de cifrarla como parte del procedimiento

«Indeed when you examine the conjurations within the Steganographia you will see that hidden within them are the names of some of the Duke's servitors who are actually required to do the actual task. See for example Parmersiel in Tables M20 for the names of his servitor spirits, and match them with the invocations. Although these spirits are listed with their directions and seals in the Theurgia-Goetia, the corresponding conjurations from the Steganographia are missing from the Theurgia-Goetia, so we have re-inserted them in each case.» — el hallazgo textual que los editores adjudican a la Steganographia y la intervención que declaran: dentro de las conjuraciones están escondidos los nombres de los servidores del Duque que han de hacer la tarea, y ellos reponen esas conjuraciones, ausentes de la Theurgia-Goetia

«But why go to such trouble? The answer may be found in the work of a modem magician, Austin Osman Spare who understood that by sigilising or encoding his requests he was better able to convey them to the spiritual creatures which would then accomplish them.» — el paralelo moderno con que los editores sostienen su tesis: Austin Osman Spare entendió que sigilizando o cifrando sus peticiones las transmitía mejor a las criaturas espirituales

«All three things may need to be in place before this particular system works: a) sigilisation or cryptographic conversion of the message or request b) correct direction faced - divided into 32 possible directions c) time - divided into 12 hours of the day and 12 hours of the night» — las tres condiciones que los editores dan por necesarias al sistema: sigilización o conversión criptográfica del mensaje, dirección correcta entre treinta y dos, y tiempo repartido en doce horas de día y doce de noche

«This paradigm or formulation of the magical technique of the Steganographia as it is used and embodied in the Theurgia-Goetia provides a useful way of seeing just how the books of the Lemegeton relate to each other, so that: a) The Steganographia upon which were based the Theurgia-Goetia and the Art Pauline [Book 1] is concerned with cryptographia, and the way communication is to be addressed to the spirits or angels.» — la fórmula con que los editores ordenan la relación entre los libros del Lemegeton: la Steganographia, base de la Theurgia-Goetia y de la Ars Paulina, se ocupa de la criptografía y del modo de dirigir la comunicación

«The Theurgia-Goetia is concerned with direction, as it even opens with the diagram of a spirit Compass Rose. c) The Art Pauline [Book 1] has spirits which are assigned to specific hours of the night and the day. Time here is the key.» — continuación de esa fórmula: la Theurgia-Goetia se ocupa de la dirección, y la Ars Paulina de las horas del día y de la noche

«Finally the angels of the Art Pauline [Book 2] are assigned to the 360 degrees of the Zodiac, which combines both time and direction.» — cierre de la fórmula: los ángeles del segundo libro de la Ars Paulina se reparten los trescientos sesenta grados del zodiaco, y combinan así tiempo y dirección

«In Chinese Taoist sorcery the key is found in the compass direction associated with the correct timing. Chinese Taoist magicians express this knowledge by saying that just for a small time frame, a secret door or Fl 'men' opens, and at that time communication can be made between this world and the other, or even that things can pass from one world to the other.» — el paralelo taoísta que los editores traen para la conjunción de dirección y tiempo: los magos taoístas chinos dicen que por un tiempo breve se abre una puerta secreta y que entonces cabe comunicar entre este mundo y el otro, o pasar cosas de uno a otro

«Such ideas have survived in the West in stories of children being spirited away to fairy realms, or in folk memories of the magical significance of thresholds, and the idea of doors opening into fairyland or the underworld for a short period of time» — el rastro occidental que los editores le buscan a esa idea: los niños llevados al reino de las hadas, la memoria folclórica de los umbrales, y las puertas que se abren por un rato al país de las hadas o al inframundo. La frase sigue al otro lado del corte de plana

«The grimoire, whilst stating the number of lesser spirits ruled, actually only lists the names and seals of a small subset of» — la economía del propio grimorio que los editores consignan: declara cuántos espíritus menores manda cada principal y solo lista los nombres y sellos de un subconjunto pequeño. La frase cierra en la plana siguiente, en *these, which as it says should be sufficient for practice*

«did not however take into account the specific names of the angels or entities to be addressed, the timing, or the direction in which to address them.» — el límite que los editores ponen al paralelo con Austin Osman Spare: no tuvo en cuenta los nombres concretos de los ángeles o entidades a quienes dirigirse, ni el tiempo, ni la dirección. La cita arranca después de *Spare*, que queda al otro lado del corte de plana

«importance, and they are stressed in almost every grimoire, such as The Key of Solomon. Now we can see that direction is also very important.» — los editores sitúan su hallazgo frente a lo sabido: las horas planetarias se subrayan en casi todo grimorio, como la Clave de Salomón, y la dirección, dicen, importa también. La cita arranca después de *In Western magic the planetary hours have always been of prime*

«Much of this knowledge has however been lost in the West. Of course it is spoken of in very general terms by saying that at Halloween the 'veil is thinned', so the concept of opening a door has not been completely lost. But the technology for finding that door, and of its application on a day by day basis, is no longer commonly available.» — el diagnóstico de pérdida que los editores hacen: del abrir la puerta queda el dicho de que en Halloween se adelgaza el velo, y se perdió la técnica para hallarla y aplicarla día a día

«There is a branch of Chinese metaphysics, allied with feng shui, which deals with these doors. It is called Chi Men Tun Chia (or Qi Men Dun Jia), and it still contains a detailed knowledge of these techniques, which have sadly just become a folk memory in the West. Virtually none of these detailed techniques are presently available outside of the Chinese language, where there exists an extensive and well documented literature.» — el paralelo chino con que los editores sitúan lo perdido en Occidente: el Chi Men Tun Chia, rama de la metafísica china emparentada con el feng shui, que conserva esas técnicas y de la que casi nada hay fuera del chino

«Note that some of the primary conjurations are missing from the Theurgia-Goetia both in Rudd and in Joseph Peterson's edition of the Lemegeton but we have supplied a sample of them in Appendix 1 from Sloane MS 3824.» — la carencia que los editores declaran compartida con Peterson y cómo la suplen: faltan conjuraciones primarias de la Theurgia-Goetia en Rudd y en su edición, y ellos dan una muestra en el Apéndice 1 desde el Sloane MS 3824

«The Pauline Art was reputedly delivered to the Apostle Paul at Corinth. This is of course a fictional attribution and relies simply upon the legend of St Paul ascending into heaven which will be found in the Epistles, where he speaks about himself in the third person:» — la atribución que los editores consignan y descartan a la vez: la Ars Paulina se dice entregada a Pablo en Corinto, y lo llaman atribución ficticia apoyada solo en la leyenda de su ascenso al cielo

«I knew a man in Christ above fourteen years ago, (whether in the body, I cannot tell; or whether out of the body, I cannot tell: God knoweth;) such an one [was] caught up to the third heaven... 3. And I knew such a man, (whether in the body, or out of the body, I cannot tell: God knoweth;) 4. How that he was caught up into paradise, and heard unspeakable words, which it is not lawful for a man to utter.» — el pasaje paulino que el volumen imprime como único apoyo de esa atribución, con los corchetes de sus editores: el hombre arrebatado al tercer cielo y al paraíso, que oyó palabras inefables

«Then the Holy [Spirit] who was speaking with [him] caught him up on high to the third heaven, and he passed beyond to the fourth [heaven]. The Holy [Spirit] spoke to him, saying, 'Look and see your [body] upon the earth.' And he [looked] down and saw those [who were upon] the earth...» — el arranque del Apocalipsis de Pablo de Nag Hammadi tal como el volumen lo imprime, con los corchetes de sus editores: el arrebato al tercer cielo y al cuarto, y la orden de mirar el propio cuerpo sobre la tierra

«But I saw in the fourth heaven according to class [hierarchy] - I saw the angels resembling gods, the angels bringing a soul out of the land of the dead. They placed it [the soul] at the gate of the fourth heaven. And the angels were whipping it. The soul spoke, saying, 'What sin was it that I committed in the world?'...» — continuación del mismo texto copto en el volumen: los ángeles del cuarto cielo sacan un alma de la tierra de los muertos, la ponen a la puerta y la azotan, y el alma pregunta qué pecado cometió

«When the soul heard these things, it gazed downwards in sorrow. And then it gazed upward. It was cast down. The soul that had been cast down [went] to [a] body which had been prepared [for it]» — cierre del pasaje copto en el volumen: el alma abatida es echada abajo y va a un cuerpo preparado para ella. Es el tramo del que los editores sacan su lectura sobre la reencarnación

«St Paul visits all the traditional Kabbalistic seven heavens plus the Ogdoad (eighth), ninth and tenth heavens. This gave St. Paul the reputation of being able to travel to the heavens and converse with the angels, so the 'Pauline Art' is seen as an extension of these abilities.» — lo que los editores sacan del texto para explicar el nombre del grimorio: Pablo visita los siete cielos cabalísticos más el Ogdóada, el noveno y el décimo, y de esa fama de viajar y conversar con ángeles cuelga el arte paulino

«This passage also throws an interesting sidelight on the acceptance of reincarnation by early Christianity.» — la lectura lateral que los editores hacen del mismo pasaje: lo tienen por indicio de la aceptación de la reencarnación en el cristianismo temprano

«However St Paul's celestial travels have little to do with the Pauline Art beyond its title. Nor is the grimoire that old, although it certainly dates back at least to the late fifteenth century, as it was mentioned by Agrippa. A copy is also to be found in a sixteenth century Latin manuscript in the Bibliothèque Nationale, according to Robert Turner.» — el límite que los editores ponen a esa explicación y la datación que dan: los viajes celestes de Pablo poco tienen que ver con el arte salvo el título, y el grimorio se remonta al menos al siglo XV porque Agripa lo menciona

«The Pauline Art divides into two sections, which are sufficiently different for them to be really counted as two distinct books.» — la partición que los editores hacen de la Ars Paulina: dos secciones tan distintas que las cuentan como dos libros

«The first part of the Pauline Art gives the 24 angels corresponding to the hours of the day and the hours of the night (see Table M22). This part as we have seen is directly derived from Book 2 of Trithemius' Steganographia.» — el contenido que los editores adjudican al primer libro paulino y su filiación: los veinticuatro ángeles de las horas del día y de la noche, derivados directamente del libro 2 de la Steganographia

«The Table of Practice was effectively the design which was placed on the central table or altar which supported the skrying Crystal or Glass Receptacle. It was typically designed as either a hexagram (six pointed) or a seven pointed star. Integral with that were 7 separate seals representing the 7 Planets, located at the vertices of the heptagram, or at the vertices and the centre (Sun) of the hexagram.» — la descripción que los editores dan de la Mesa de Práctica: el diseño puesto sobre la mesa o altar que sostiene el cristal, hexagrama o estrella de siete puntas, con los siete sellos planetarios en los vértices

«The second part of the Pauline Art gives the angels ruling each of the 360 degrees of the 12 signs of the Zodiac. An angel is ascribed rulership of each degree of the Zodiacal circle.» — el contenido que los editores adjudican al segundo libro paulino: los ángeles que rigen cada uno de los trescientos sesenta grados de los doce signos

«It is interesting that Peter of Abano also gives magical images for each of the 360 degrees, which again associates the author of the Heptameron with the sources of the Lemegeton.» — el eslabón que los editores añaden a su cadena: de Abano da también imágenes mágicas para los trescientos sesenta grados, lo que vuelve a ligar al autor del Heptameron con las fuentes del Lemegeton

«These spirits are sometimes referred to as the monomoirai. At least two Gnostic sects, the Phibionites (a sect infamous for its sacramental view of sex and allegedly lewd practices) and the Marcosians (a Valentinian Gnostic sect) revered the monomoirai, or spirits of the single degrees of the ecliptic.» — la genealogía gnóstica que los editores proponen para esos ángeles: los monomoirai, espíritus de los grados sueltos de la eclíptica, venerados por fibionitas y marcosianos

«These are quite likely to have been the forerunners of the spirits tabulated in the Pauline Art [Book II]. These spirits could of course also be associated with the 360 days of the Egyptian year (the remaining 5 days were put aside for religious celebrations).» — la conjetura que los editores ponen sobre esa genealogía, con su reserva declarada, y la alternativa egipcia que ofrecen: los trescientos sesenta días del año egipcio, con los cinco restantes apartados para celebraciones

«This book is very interesting as the Art Almadel deals with the conjuration of angels using a wax tablet, and with the Angels of the 'Four Altitudes' or Ayres. All these elements are later to be found in the skrying practice of Dr John Dee and Edward Kelley in the 1580s.» — lo que los editores adjudican a la Ars Almadel y el puente que tienden hacia Dee: conjuración de ángeles con tablilla de cera y ángeles de las Cuatro Altitudes o Ayres, elementos que reaparecen en la práctica de Dee y Kelley

«The Art Almadel dates back at least to the late fifteenth century as it was mentioned by Agrippa. According to Turner a copy of it can also be found in a fifteenth century manuscript in Florence.» — la datación que los editores dan a la Ars Almadel: al menos fines del siglo XV por la mención de Agripa, y una copia en un manuscrito florentino del XV según Turner

«A manuscript in the British Library credits Christoforo Cattaneo, a Genovese, with being its inventor, or Tinventore de detti Almadel Arabico'. Cattan was famous for his very influential geomancy published in French in 1558 and in English in 1591, and the English edition would certainly have been known to John Dee. However as the Almadel was known before Cattan was bom, he must simply be seen as a link in the chain of transmission.» — la atribución que los editores consignan y acotan: un manuscrito de la British Library adjudica la invención del Almadel a Christoforo Cattaneo, y como el Almadel se conocía antes de que naciera, lo tienen por eslabón y no por autor

«Arab magicians have always known that the al-Mandal or 'magical circle' was a necessary protection in dealing with spirits or demons.» — la etimología que los editores traen para el nombre del libro: el al-Mandal o círculo mágico que los magos árabes tenían por protección necesaria en el trato con espíritus

«is tempting to think that the name of this book came from the Arabic for 'magic circle', but strangely the particular procedure used in this grimoire is not one that mentions the magic Circle. Of course the Circle of Art might simply have been taken for granted by the author who here simply concentrates on the equipment on the Table of Practice.» — el límite que los editores ponen a esa etimología: el procedimiento del grimorio no menciona el círculo mágico, y conceden que el Círculo del Arte pudiera darse por supuesto. La cita arranca después de *It*, que queda al otro lado del corte de plana

«This book was written before 1236 as it was mentioned by Michael Scot on that date. The earliest manuscript we are aware of is a parchment in the Mellon Collection, Yale University Library, MS. 1 which is dated circa 1225.» — la datación que los editores dan a la Ars Notoria: anterior a 1236 por la mención de Michael Scot, y con su manuscrito más temprano conocido hacia 1225 en la Mellon Collection de Yale

«The Ars Notoria is not, as many people think, 'the notorious art' but is named after the magical diagrams, or notae which are a key part of its method.» — la enmienda etimológica de los editores: el nombre no viene de notorio sino de las notae, los diagramas mágicos que son parte clave del método

«The aim of the Ars Notoria was to use such notae to both prompt memory, and to provide a scheme that would induce a rapid understanding in the operator of any particular art or science.» — el fin que los editores adjudican a la Ars Notoria: usar las notae para avivar la memoria y para inducir en el operador una comprensión rápida de cualquier arte o ciencia

«In a time of few books the ability to understand the groundplan of a subject or memorise whole chunks of material was highly prized and indeed a necessary skill of the scholar. Knowledge was literally defined as how much you knew or could remember.» — el marco histórico con que los editores explican ese fin: en tiempo de pocos libros, entender el plano de una materia o memorizar bloques enteros era destreza necesaria del erudito, y saber se definía por lo que se recordaba

«Its methods promised the student that, with the memorisation of certain very elaborate diagrams accompanied by the correct prayers, whole subjects could be rapidly absorbed.» — lo que los editores dicen que el arte promete: memorizadas ciertas figuras elaboradas y dichas las oraciones correctas, materias enteras se absorberían de prisa

«This method of this book, which was often (but not always) included in the magical procedures of the Lemegeton, relied upon the aid of spirits or angels in achieving these scholarly ends more rapidly.» — la mecánica que los editores adjudican a la Ars Notoria dentro del Lemegeton: se apoya en la ayuda de espíritus o ángeles para alcanzar más rápido esos fines escolares. La guarda anticosido saltó por el paréntesis y el tramo se releyó entero en el crudo antes de silenciarla

«The Ars Notoria, the magical art of memory, flourished during the Middle Ages, although its origins are attributed to Solomon and Apollonius of Tyana. It is a process by which the magician could instantly gain knowledge or memory of all the arts and sciences... To set the process into operation, the appropriate notae were contemplated whilst reciting angelic names and magical orisons [prayers].» — la definición de Robert Turner que el volumen cita, con los corchetes de sus editores: arte mágica de la memoria de origen adjudicado a Salomón y a Apolonio de Tiana, que opera contemplando las notae mientras se recitan nombres angélicos y oraciones

«Its attribution to Solomon gives it a reason for being included in the Lemegeton. There was some question about the morality of using angels rather than the labour of honest study, but in practice most students would use this art as an aid rather than an end in itself.» — la razón que los editores dan a la presencia de la Ars Notoria en el Lemegeton y el escrúpulo que consignan: su atribución a Salomón, y la duda moral de usar ángeles en lugar del estudio honrado, que en la práctica se resolvía usándola como ayuda

«The key to the procedure were the beautiful notae. Sadly all printed editions of the Ars Notoria are missing these essential ingredients. Some of the notae were abstract, but some were like summary sheets for the subject. For example the notae for Grammar shows the 9 parts of speech in circles, and the notae of Geometry shows the line, triangle, square, pentagram, six pointed star and circle in order. However those notae which appear in some manuscripts are much more like large disordered sigils than organised subject outlines.» — la carencia que los editores declaran de todas las ediciones impresas de la Ars Notoria —faltan las notae— y lo que dicen de las que sí aparecen en manuscritos: más sigilos grandes y desordenados que esquemas de materia

«John Dee had at least two manuscript copies of the Ars Notoria in his library, as did Robert Fludd and Ben Jonson. The Ars Notoria was also mentioned by Trithemius who also makes a claim that "he had written a book giving an occult method by which a person totally ignorant of Latin could learn in an hour's time to write anything he wished in that language» — la nómina de poseedores que los editores dan a la Ars Notoria —Dee con al menos dos copias, Robert Fludd, Ben Jonson— y el libro de objetivos parecidos que Tritemio decía haber escrito, para aprender en una hora a escribir en latín sin saberlo

«One whole year [1633-1634] and more I continued a widower, and followed my studies [in astrology and magic] very hard; during which time a scholar pawned unto me, for forty shillings, Ars Notoria, (a) a large volume wrote in parchment, with the names of those angels, and their pictures, which are thought and believed by wise men, to teach and instruct in all the several liberal sciences, and is attained by observing elected times, and those prayers appropriated unto the several angels.» — el testimonio de William Lilly que el volumen imprime, con los corchetes de sus editores: un escolar le empeñó por cuarenta chelines un Ars Notoria en pergamino, con los nombres y figuras de los ángeles que enseñan las ciencias liberales

«I do ingenuosly acknowledge, I used those prayers according to the form and direction prescribed for some weeks, using the word astrologia for astronomia» — la confesión de Lilly que el volumen imprime a continuación: usó esas oraciones unas semanas según la forma prescrita, sustituyendo astrologia por astronomia. El troceo imprime *ingenuosly* por ingenuously

«As the notae are missing from Rudd's manuscript, we decided not to include the Ars Notoria in this volume, preferring to issue it in a more complete form at a later date, properly supported by a full set of notae.» — la decisión editorial que los editores declaran y la razón que le dan: dejan fuera la Ars Notoria porque el manuscrito de Rudd no trae las notae, y anuncian publicarla aparte con el juego completo

«Most manuscript copies of this period, although obviously not Lilly's, are taken from Robert Turner's printed version of 1657 which is also lacking the notae.» — el dato de transmisión con que los editores explican esa carencia general: casi todas las copias manuscritas del periodo salen del impreso de Robert Turner de 1657, que tampoco trae las notae

«The rationale for the Ars Notoria being Solomonic comes from the introduction to the whole Lemegeton which is found in several manuscripts including Sloane MS 3648. Strangely this description does not occur in our present manuscript despite the fact that the manuscript actually contains an Ars Notoria.» — la fuente que los editores dan a la adscripción salomónica de la Ars Notoria y la ausencia que consignan: viene de la introducción al Lemegeton entero, presente en varios manuscritos, y falta justamente en el suyo aunque él sí traiga la Ars Notoria

«The fifth part is a Booke of orations and prayers that wise Solomon used upon the alter in the Temple [in Jerusalem] which is called Artem Novam [part of the Ars Notoria] The which was revealed to Salomon by the holy angel of God called Michael, and he also received many breef Notes [hence Notae] written by the finger of God which was declared to him by the said Angel, with Thunder claps, without which Notes [King] Salomon had never obtained to his great knowledge, for by them in [a] short time he knew all arts and sciences both good and bad which from these Notes [Notae] is called Ars Notoria.» — la introducción del propio Lemegeton, en su voz y no en la de los editores: la quinta parte son oraciones que Salomón usaba en el altar del Templo, reveladas por el ángel Miguel junto con notas breves escritas por el dedo de Dios entre truenos, sin las cuales no habría alcanzado su saber. Los corchetes son del aparato del volumen

«In this Book is contained the whole art of Salomon although there be many other Books that is said to be his yet none is to be compared with this, for this containeth them all, although they be titled with several other names, [such] as the Book Helisol which is the very same as this last is, which [is] called Artem Novam & Ars Notoria, &c.» — continuación de esa introducción en la voz del Lemegeton: el libro contiene el arte entero de Salomón y ninguno de los que se le atribuyen se le compara, porque los contiene todos aunque corran con otros títulos, como el Libro Helisol

«In the Middle Ages generally, but especially in the Ars Notoria, imagination and magic were made to serve memory and scholasticism.» — la fórmula con que los editores sitúan la Ars Notoria en su época: imaginación y magia puestas al servicio de la memoria y de la escolástica

«In the magical literature that circulated between the fifth and ninth centuries, there are many tales of ancient rabbis conjuring an angel called Sar-Torah, the 'Prince of the Torah'. This angel functioned like the angels of the Ars Notoria, and may have even been the model upon which it was based.» — el antecedente judío que los editores proponen para la Ars Notoria, con reserva declarada: el ángel Sar-Torah, Príncipe de la Torá, conjurado por rabinos antiguos, pudo ser el modelo del arte

«Sar-Torah endowed the rabbis with the spectacular memory skills necessary for memorising vast swathes of the Torah. The angel then taught the rabbis a formula for giving others the same gift.» — lo que los editores adjudican a ese ángel: dotaba a los rabinos de la memoria necesaria para retener franjas enormes de la Torá y luego les enseñaba la fórmula para dar a otros el mismo don

«This literature has been made available by Michael Swartz, who gives us rare glimpses of how ancient and medieval Jews viewed this process of rapid learning aided by angelic conjuration. He examines many of the magical rituals for conjuring angels and ascending to heaven, in the Merkabah chariot, a magical practice that is still very much a part of the practical Kabbalah today.» — los editores declaran su fuente para ese material y lo que ven en él: Michael Swartz, y en los rituales de conjuración angélica y de ascenso al cielo en la carroza de la Merkabá una práctica que dicen aún viva en la cábala práctica

«So here you have the reason why the Ars Notoria became part of the Lemegeton, as it was yet another technique of Solomonic angel conjuration.» — la razón que los editores dan al fin para la presencia de la Ars Notoria en el Lemegeton: es otra técnica de conjuración angélica salomónica

«The Ars Nova or Artem Novam is simply the last section of the Ars Notoria amounting to about a third of that book.» — la aclaración terminológica de los editores: la Ars Nova o Artem Novam es la última sección de la Ars Notoria, cerca de un tercio del libro

«The section that Mathers/Crowley refer to as the Explanation of Certain Names used in the Figures in the Goetia is simply a summary of the various key words in the diagrams, and sometimes mistakenly referred to as the Ars Nova. There is no connection between these two pieces of text, except that they both separately appear at the end of some versions of the Lemegeton.» — la distinción que los editores trazan contra Mathers y Crowley: lo que ellos llaman Explanation of Certain Names es un resumen de palabras clave de los diagramas y no tiene conexión con la Ars Nova, salvo que ambos aparecen al final de algunas versiones

«The Lemegeton was the title given, probably during the 1650s, to this collection of five Solomonic grimoires, of which one was previously simply known as The Art of King Solomon. All five books were extant and known to Trithemius in 1503 but some under different names.» — la datación del título que los editores proponen, con reserva declarada: Lemegeton se le dio a la colección probablemente en los años cincuenta del siglo XVII, y los cinco libros ya existían y eran conocidos por Tritemio en 1503, algunos con otros nombres

«Four of these were mentioned separately by Agrippa in 1531 at the end of Book III of his Three Books of Occult Philosophy in the unnumbered chapters 'Of Goetia and Necromancy' and 'Of Theurgia'.» — el testimonio de Agripa que los editores usan para fechar cuatro de los cinco libros: los capítulos sin numerar del final del libro III de los Tres libros de filosofía oculta

«In the chapter 'Of Goetia and Necromancy' Agrippa speaks disapprovingly of the Goetia. He also mentions pseudo-Cyprian or Cyprianus, the Bishop of Antioch who was raised as a pagan and trained as a magician.» — lo que los editores consignan de ese capítulo: Agripa habla con desaprobación de la Goetia y menciona a Cipriano, obispo de Antioquía criado como pagano y formado como mago

«This is obviously no idle reference, as Cyprianus was the reputed author of the Clavis Infemi, another grimoire which is definitely related to the Goetia.» — el peso que los editores dan a esa mención: Cipriano es el autor reputado del Clavis Infemi, grimorio que ligan con la Goetia

«Agrippa defines 'goetian' as those that 'do bind devils by invocating the divine name.' Further on he lists 'Apponius' (Peter de Abano) as the author of a book on the goetia, without specifically noting that de Abano was the actual source of the conjurations in the Goetia.» — la definición de goeciano que los editores toman de Agripa —los que atan diablos invocando el nombre divino— y la omisión que le señalan: lista a Apponius, es decir de Abano, como autor de un libro sobre goecia sin advertir que de él salen las conjuraciones de la Goetia

«In the chapter 'Of Theurgia' Agrippa quotes Porphyry to the effect that "by theurgical consecrations the soul of man may be fitted to receive spirits, and angels". As texts of Theurgy he quotes "the Art Almadel, the Notory Art, the Pauline Art, the Art of Revelations, and many suchlike.» — la definición de teurgia que los editores toman de Agripa citando a Porfirio —que por consagraciones teúrgicas el alma del hombre puede quedar apta para recibir espíritus y ángeles— y la nómina de textos teúrgicos que él da

«The first three are constituent books of the Lemegeton. Hence Agrippa mentions three by name and one by subject matter, out of the five books of the Lemegeton. The remaining book, Theurgia-Goeha is not mentioned as Agrippa obviously knew it as Book 1 of the Steganographia of his master Trithemius.» — la cuenta que los editores hacen de esa nómina: Agripa nombra tres libros del Lemegeton y alude a un cuarto por su materia, y el quinto falta porque lo conocía como libro 1 de la Steganographia

«It is strange that Agrippa separately mentions the Pauline Art, as he must have known that it in turn derived from Book 2 of the Steganographia. Therefore possibly initially the Pauline Art consisted only of its second half, concerning the angels of the 360 degrees of the Zodiac. Maybe only later the first part was added from Book 2 of the Steganographia, but this is only speculation.» — la hipótesis que los editores plantean y acotan en la misma plana: que la Ars Paulina constara al principio solo de su segunda mitad, la de los ángeles de los trescientos sesenta grados, y que la primera se le añadiera después desde la Steganographia

«By themselves these five grimoires are quite different, but taken together they are surprisingly complementary and inter-related, each having a claim to belong to the Solomonic cycle, and each having roots which date back beyond 1500.» — el juicio con que los editores cierran su recorrido por los cinco libros: separados son muy distintos, juntos resultan complementarios y trabados, cada uno con título para pertenecer al ciclo salomónico y con raíces anteriores a 1500

«I can call spirits from the vasty deep." Hotspur: "Why, so can I, or so can any man; But will they come when you do call for them?» — el diálogo de Shakespeare que el volumen pone como epígrafe al capítulo sobre métodos de evocación: Glendower dice poder llamar espíritus de lo hondo, y Hotspur le replica que también él, y cualquiera, y pregunta si vendrán

«It is essential to call them, it is not sufficient to merely think about calling them in your head. We are all given a voice, and we must use it. Even if spiritual creatures could read thoughts, they still need to be summoned verbally.» — la primera regla que los editores enuncian de la evocación: hay que llamarlos con la voz, y aunque las criaturas espirituales leyeran el pensamiento seguirían necesitando ser convocadas de palabra

«Then arises the question as to whether they will they come. The answer is affirmative, if constrained to come in the correct way.» — la respuesta que los editores dan a la pregunta de Hotspur, con su condición: vendrán si se les constriñe del modo correcto. El troceo repite *they*

«This procedure is not, as some commentators have suggested, designed to chain up the spirit: it is designed to release a binding (ligatio) that may have been performed by some other magician at some previous time.» — la enmienda que los editores oponen a otros comentaristas sobre el romper ataduras: no sirve para encadenar al espíritu sino para soltar una ligatio que otro mago pudiera haberle hecho antes

«Physical methods of restraining demons are frequently mentioned in ancient texts. Some demons were restrained by iron chains, others by pots of water, and yet others by angel names. Specific demons such as Obyzouth were bound by the use of a specific angel's name, in that case the Archangel Raphael, who also incidentally controls the demon Asmodeus.» — los métodos físicos de sujeción que los editores inventarían de los textos antiguos: cadenas de hierro, ollas de agua y nombres de ángeles, con Obyzouth atada por el nombre de Rafael, que manda también sobre Asmodeo

«Water and a brass vessel however were the most commonly used restraints. This is a significant clue which we will see is very applicable in determining the correct practical procedures to be used in the Goetia. Solomon reputedly threw such a sealed brass vessel containing 72 demons into the sea, or alternatively into a lake, to ensure they did not further trouble mankind.» — el dato que los editores llaman clave para reconstruir el procedimiento correcto de la Goetia: agua y vaso de bronce eran las sujeciones más usadas, y de ahí el vaso sellado con setenta y dos demonios que Salomón echó al mar o a un lago

«Asmodeus was bound by ten water jars encircling him, confirming the ability of water to constrain demons. He even begs Solomon "do not condemn me to water» — el testimonio que los editores traen del poder del agua para constreñir demonios: Asmodeo atado por diez tinajas de agua en torno suyo, y su propia súplica a Salomón

«Surprisingly, Solomon also bound some demons, often the most troublesome, within the precincts of the Temple of the Lord itself, if the Testament of Solomon is to be believed. It is possible that this 'sea' mentioned above was in fact the great Brass Sea that he constructed in the grounds of his Temple in Jerusalem.» — la conjetura que los editores proponen sobre el mar del relato, con reserva declarada: que fuera el gran Mar de Bronce del recinto del Templo, donde el Testamento de Salomón dice que él ató a algunos de los demonios más molestos

«Enepsigos, the nineteenth demon of the Testament of Solomon, a female with two heads, was bound by Solomon who "made use of the seal and sealed her down with a triple-link chain» — el modo de sujeción que los editores levantan del Testamento para Enepsigos, hembra de dos cabezas: Salomón usó el sello y la selló con una cadena de triple eslabón

«shall be destroyed and all Jerusalem shall be demolished by the king(s) of the Persians and Medes and Chaldeans...also all the vessels in which you have entrapped us shall be broken in pieces by the hands of men. Then we [the demons] shall come forth with much power and we shall be scattered here and there throughout the world.» — la profecía que el Testamento pone en boca de Enepsigos, tal como el volumen la imprime con los corchetes de sus editores: el Templo será destruido, los vasos en que los demonios fueron atrapados serán rotos por mano de hombres, y ellos saldrán con mucho poder y se esparcirán por el mundo

«In the first part of this chapter we review physical methods that were historically used to constrain demons or spirits. Then we will look at the procedure as exemplified in the Goetia. To call a spirit, the least you need to know is his name, so the second part of this section deals with their names. You then need to know the names of the spiritual creatures, like angels, who in the natural world have power over the ones you wish to call: this is addressed in the third part. What you actually say, the conjuration or invocation is addressed in the fourth part. The physical equipment necessary for dealing with the spirits,» — el plan que los editores declaran para el capítulo de la evocación: métodos físicos de constricción, los nombres de los espíritus, los de quienes tienen poder sobre ellos, la conjuración y el equipo. La frase cierra al otro lado del corte de plana, donde añaden la secuencia cronológica del procedimiento

«Omias, the first demon that Solomon encountered, is bound by iron, and even in the Middle Ages iron was considered to be a metal dangerous to demons. It is for that reason that they are threatened by» — los editores hacen del hierro el hilo del pasaje: Omias, el primer demonio que Salomón encuentra, queda atado por hierro, metal que ya en la Edad Media se tenía por peligroso para los demonios. La frase sigue al otro lado del corte de plana, con la espada de hierro consagrada y la ausencia del hierro entre los metales planetarios de los sellos

«imprisoning demons. This clearly shows that Solomon's technique was to imprison demons in vessels, which as we shall see were then immersed in water.» — la tesis técnica que los editores fijan sobre Salomón: encerraba a los demonios en vasijas, que después se sumergían en agua. La cita arranca al otro lado del corte de plana, tras *Other sources are very specific about the use of water in binding or*

«Is there not something else about you, Asmodeus?" He said to me [Solomon], "The power of God which binds me with unbreakable bonds by his seal knows that what I have related to you is true. I beg you, King Solomon, do not condemn me to water." But I smiled and replied, "As the Lord, the God of my father lives, you shall have irons to wear and you shall mould clay for all the vessels of the Temple, eliminating the cost of the mould". Then I ordered ten water jars to be made available and (I commanded) him to be encircled by them.» — el diálogo del Testamento entre Salomón y Asmodeo, tal como el volumen lo imprime con los corchetes de sus editores: el demonio pide no ser condenado al agua, y Salomón le impone hierros, le manda moldear barro para todas las vasijas del Templo y ordena rodearlo de diez tinajas

«This is very significant for us because one of the associated texts written by Peter Smart, the same transcriber of Rudd's manuscript (Harley MS 6482), contains a detailed drawing of one such Brass Vessel which is engraved with the Secret Seal of Solomon in place (see Figure 5). This suggests a continuity of the tradition of constraining demons.» — el eslabón material que los editores colocan entre el relato antiguo y su propio manuscrito: Peter Smart, el mismo transcriptor de Rudd, dibuja en el Harley MS 6482 un Vaso de Bronce grabado con el Sello Secreto de Salomón

«It is an interesting speculation that the great Sea of Brass that stood outside of Solomon's temple and is mentioned in great detail in the Bible may have commemorated the imprisonment of the first class of jinn, or in fact may have been the actual 'sea' into which they were thrown.» — la conjetura que los editores proponen y nombran como tal: que el gran Mar de Bronce del Templo conmemorara el encierro de la primera clase de jinn, o fuera el mar mismo en que se los arrojó

«And he [Solomon] made a molten sea, ten cubits [approximately 17 feet or 5.2 metres] from the one brim to the other: it was round all about, and his height was five cubits [8.6 feet or 2.6 metres]: and a line of thirty cubits [51 feet or 15.7 metres] did compass it round about... 25. It stood upon twelve oxen...' 26. ...it contained two thousand baths [by volume].» — la descripción bíblica del Mar de Bronce que el volumen imprime, con las equivalencias métricas entre corchetes de sus editores: diez codos de borde a borde, cinco de alto, treinta de contorno, sobre doce bueyes y con dos mil batos de capacidad

«The sheer height and volume of this 'sea' (not forgetting to add the bases and the twelve life size brass oxen supports) suggests that it was not merely to be used as a la ver for the pious to wash their hands and feet.» — el argumento que los editores sacan de esas medidas: la altura y el volumen del mar, con sus basas y sus doce bueyes de bronce de tamaño natural, les sugiere que no era simple pila para lavarse manos y pies. El troceo imprime *la ver* por laver

«It is not unreasonable to suggest that both these conditions applied and that Solomon actually imprisoned them in his Sea of Brass within the confines of the Temple precincts - possibly a much safer 'lockup' than casually discarding them in the open sea.» — la propuesta con que los editores concilian las dos versiones sin armonizarlas del todo: que Salomón los encerrara en su Mar de Bronce dentro del recinto del Templo, encierro más seguro que dejarlos en mar abierto

«It is hard to see what Solomon was doing in Babylon, and in fact this story probably had nothing to do with that city. The story may have become a bit confused and it may have simply been the invading Babylonians that released the demons from Solomon's Sea of Brass in Jerusalem when they sacked the Temple. However that is just speculation.» — la objeción que los editores oponen al propio texto que editan, y el límite que le ponen: no ven qué hacía Salomón en Babilonia, proponen que fueran los babilonios invasores quienes soltaron a los demonios del Mar de Bronce en Jerusalén, y lo llaman especulación

«There is some controversy as to how these names are categorised. All that is supplied in the Goetia are their titles which correspond to the seven planets, plus scattered mentions of the Zodiac.» — la reserva que los editores ponen a la clasificación de los setenta y dos: lo único que la Goetia da son títulos correspondientes a los siete planetas, más menciones sueltas del zodiaco

«Column a) gives a sequence used in Wierus and in Harley MS 6482. Column b) gives the standard numbering used in all printed versions and in the present Harley MS 6483. Column c) gives the spirit/demon name, with alternative versions. Column d) gives three possible Hebrew renderings, of which the first is that of Dr Rudd. Column e) gives sundry attributions including the stead ridden by the demon (which is often an indication of its rank). Column f) gives the Golden Dawn Decan divisions, for the sake of completeness. Column g) gives the ruling Shem ha-Mephorash angel, with their Hebrew name.» — la descripción que los editores dan de las columnas de su tabla maestra, entre ellas la de las tres lecturas hebreas posibles —la primera de Rudd— y la del ángel del Shem ha-Mephorash que rige a cada demonio

«There are at least seven demons with dual ranks in the Goetia. This leads us to believe that some confusion of rank has been introduced by copyists, and that there was originally probably one King (attributed to the Sun) for each Zodiacal sign.» — la anomalía que los editores encuentran en el texto y la explicación que le proponen, con reserva declarada: al menos siete demonios llevan dos rangos, lo que les sugiere confusión de copistas y un original con un solo Rey, adjudicado al Sol, por cada signo

«One demon not marked as a King, but by any other criterion should rank as one, is Astaroth. Decarabia is listed as a King in the original Latin text of Weir, but this title has not survived translation. Finally Goap is shown with many kingly qualities, and in fact leads 4 kings. His name is also suspiciously close to Goap, King of the West, so we have added the title of King to the existing titles of each of these three demons.» — la enmienda que los editores declaran haber hecho al texto: añaden el título de Rey a Astaroth, a Decarabia y a Goap, el último por sus cualidades regias y por la cercanía de su nombre con el Rey del Oeste

«This then fortuitously provides exactly one King per Zodiacal Sign, just as there is one Marquise and one President per Sign.» — el resultado que los editores dicen obtener de esa enmienda: exactamente un Rey por signo, como hay un Marqués y un Presidente por signo

«Table M17 gives the correlation between the demon's Rank, Planet and metal which is shown clearly in the Goetia. It is interesting that Earls and Counts, who correspond with Mars, do not have iron as their metal, because as we have seen traditionally such demons fear that metal, and we are all familiar with the use of the iron sword to threaten demons.» — la anomalía metálica que los editores subrayan en su propia tabla: Condes y Earls corresponden a Marte y no llevan hierro por metal, porque esos demonios temen ese metal y con espada de hierro se los amenaza

«From these tables you can find the names, rank, attributions and powers of every demon or spirit mentioned in Rudd's manuscript.» — el uso que los editores declaran para su aparato de tablas: en él están los nombres, rangos, atribuciones y poderes de todo demonio o espíritu nombrado en el manuscrito de Rudd

«Its presence has not been fully explained hitherto in any printed copy of this grimoire, but it is the single most important key to using this grimoire.» — el reclamo de novedad que los editores hacen para su propio libro: ninguna copia impresa del grimorio ha explicado esa palabra, que es para ellos la llave más importante de su uso

«To draw a simple parallel, it is like printing 'Penicillin' at the front of a list of bacteria, for the Shem ha-Mephorash (to transliterate it in a more rational fashion) is the key to controlling the 72 demons and ensuring their compliance with the commands of the magician.» — el símil con que los editores explican su tesis: el Shem ha-Mephorash está a los setenta y dos demonios como la penicilina a una lista de bacterias, y es la llave para controlarlos y asegurar su obediencia

«The Shem ha-Mephorash is literally a name of God embedded in three verses in Exodus. From it Kabbalists generated the names of 72 angels, which have been a highly significant list of angels for a long time.» — la definición que los editores dan del Shem ha-Mephorash: un nombre de Dios encerrado en tres versículos del Éxodo, del que los cabalistas generaron los nombres de setenta y dos ángeles

«There is precisely one angel for each demon, and that angel is the 'antidote' that enables you to control that demon. There is a one-toone correspondence angel to demon, a specific demon being controlled by a specific angel. These can be seen in each double seal, and are listed in Appendix 7 in Tables A24 and A25.» — la correspondencia uno a uno que los editores fijan entre ángel y demonio, y dónde la ponen a la vista: en cada sello doble y en las tablas del Apéndice 7. Llaman antídoto al ángel. El troceo parte *one-to-one* en el salto de renglón y la herramienta la devuelve fundida como *one-toone*; la forma real es la del guion

«In all early grimoires, the texts are careful to say who or what controls a particular demon. It is not enough for the karcist to simply assert his personal power, and to claim that he is 'Paphro Osorronophris' and therefore entitled to order around these spiritual creatures.» — la regla que los editores enuncian de los grimorios tempranos: dicen siempre quién o qué controla a cada demonio, y no basta con que el karcist afirme su poder personal ni con que se declare Paphro Osorronophris

«For example in the Book of Tobit the demon Asmodeus is controlled by the angel Raphael - a very clear example of an adversarial angel, and furthermore Asmodeus is banished by burning a specific substance - in that case the entrails of a specific fish.» — el ejemplo con que los editores ilustran el ángel adversario: Asmodeo controlado por Rafael en el libro de Tobías, y desterrado además quemando las entrañas de un pez determinado

«The procedure utilised in this manuscript is to first invoke the angel, and then using its authority, bind the spirit or demon.» — el procedimiento que los editores adjudican al manuscrito que editan, y que es la tesis del volumen hecha operación: invocar primero al ángel y atar al demonio con su autoridad

«You might ask, "can you be sure that the techniques such as the use of the Shem ha-Mephorash angels were always part of the Goetic» — la objeción que los propios editores se plantean antes de responderla: si puede asegurarse que el uso de los ángeles del Shem fue siempre parte de la tradición goética. La frase cierra al otro lado del corte de plana

«They [the people] are wicked in their behaviour! Some of them fall away [to the worship of] idols. [Others] have [demons] dwelling with them [as did] David the king. He is the one who laid the foundation of Jerusalem; and his son Solomon, who he begat in [adultery], is the one who built Jerusalem by means of the demons, because he received [power over them]. When he [had finished building, he imprisoned] the demons [in the Temple]. He [sealed them] into seven [water pots. They remained] a long [time in] the [water pots], abandoned [there].» — primera mitad del pasaje copto que el volumen imprime, con los corchetes de restitución de sus editores: Salomón edificó Jerusalén por medio de los demonios y, acabada la obra, los encerró en siete tinajas de agua, donde quedaron largo tiempo abandonados

«When the Romans [went] up to [Jerusalem] they discovered [the] water pots, [and immediately] the [demons] ran out of the water pots as those who escape from prison. And the water pots [remained] pure (thereafter). And since those days, [the demons dwell] with men who are [in] ignorance, and [they have remained upon] the earth.» — segunda mitad del mismo pasaje copto: los romanos hallaron las tinajas, los demonios salieron como quien escapa de la cárcel, y desde entonces moran con hombres que están en ignorancia

«The Arabic Solomonic tradition refers to jinn rather than demons, and asserts that the jinn that Solomon subjugated were of two types. The first were antithetical to mankind, and these he sealed into a (brass) bottle, and threw into the sea (although they were later released by a curious fisherman). The second type of jinn were those who helped him in the building of the great Temple, and were altogether more» — la partición que los editores adjudican a la tradición salomónica árabe: los jinn sometidos por Salomón eran de dos clases, los contrarios al hombre, sellados en una botella y echados al mar y luego soltados por un pescador curioso, y los que le ayudaron a construir el Templo. La frase cierra en la plana siguiente, en *docile, but capable of real physical work*

«Golden Dawn used a complex night and day Decan division, there is no trace of this in any of the manuscripts, and so we have not used it. Table M15 spans both pages, and is ordered in the standard sequence of the demons. The 12 Signs of the Zodiac have simply been allocated in order beginning at Aries, as would have been usual.» — la decisión editorial que los editores declaran contra la Golden Dawn: no usan su división decanal de día y noche porque no hay rastro de ella en ningún manuscrito, y reparten los doce signos en orden desde Aries. El marcador de plana se repite a media frase en el límite de chunk, de modo que la cita arranca después de *Although the*

«The key to the control of the demons listed in the Goetia is summed up in just one word 'Shemhamphorash'. This word was written large at the front of some of the manuscripts of the Goetia, and was duly» — la tesis del volumen enunciada en una palabra, en boca de los editores: Shemhamphorash, escrita en grande al frente de algunos manuscritos de la Goetia. La frase cierra en la plana siguiente, donde añaden que Mathers y Crowley la transcribieron sin explicación alguna

«Anyone who thinks they can order around demons, just on their own say so, without the reinforcement and support of a higher authority, is just kidding themselves. They would have as much chance of taming a» — el juicio que los editores dejan sobre quien pretenda mandar a los demonios sin respaldo de una autoridad superior: se engaña a sí mismo. La frase sigue al otro lado del corte de plana, con el símil del caballo bravo sin brida

«Solomon never declared why he thus bound them, and sealed the Vessel and he by divine power cast them all into a deep Lake or hole in Babylon, and the Babylonians wondering to see such a thing there, they went wholly into the Lake to break the vessel open, suspecting to find a great store of treasure, but when they had broken it open out flew all the chief spirits immediately and their Legions followed them and they were all restored to their former places...» — el relato del vaso de bronce en la voz del propio manuscrito de la Goetia, justo después del demonio septuagésimo segundo: los babilonios rompieron el vaso esperando tesoro y salieron los espíritus jefes con sus legiones, restituidos a sus antiguos lugares. El volumen imprime este mismo pasaje otra vez, en la plana 166, dentro del texto transcrito; se cita aquí, en su primera aparición

«Given the extent of borrowing of Goetic elements by scholar-magicians for use in angelic invocations, there has long been an awareness of the close relationship between angels and demons. Examples of such borrowings include the borrowing of the 'Seal of Aemeth' by Dr John Dee from the grimoire Liber Juratus, or his use of a 'Tables of Practice' also borrowed from the same grimoire tradition.» — el argumento de préstamo con que los editores responden a su propia objeción: los magos eruditos tomaron elementos goéticos para invocaciones angélicas, y ponen por ejemplo el Sello de Aemeth y las Mesas de Práctica que Dee toma del Liber Juratus

«Blaise Vigenere (1523-1595) recorded the 72 Shem ha-Mephorash angelic seals used by Rudd in the Goetia. Mathers once referred to Vigenere as "the Great Magician Blaise Vigenere" (a rare compliment indeed coming from Mathers) when he copied out Vigenere's angelic seals for a Golden Dawn Adeptus Minor side paper.» — el eslabón que los editores documentan entre Vigenère y la Golden Dawn: Vigenère registró los setenta y dos sellos angélicos que Rudd usa, y Mathers los copió para un papel lateral de Adeptus Minor llamándolo el gran mago Blaise Vigenere. La guarda anticosido saltó por las fechas entre paréntesis y el tramo se releyó entero en el crudo antes de silenciarla

«These angelic seals were also used by Ebenezer Sibley (1752-99). We have included a few examples of seals taken from Sibley's manuscript of the Goetia in Appendix 6, to demonstrate the continuity of this practice. Vigenere (end sixteenth century), Rudd (seventeenth century), Sibley (end eighteenth century) and Mathers (end nineteenth century) all understood the application of these angelic invocations and seals in the context of an ongoing Goetia tradition.» — la cadena de cuatro nombres con que los editores sostienen la continuidad de la práctica: Vigenère a fines del XVI, Rudd en el XVII, Sibley a fines del XVIII y Mathers a fines del XIX. La guarda anticosido saltó por las fechas entre paréntesis y el tramo se releyó entero en el crudo antes de silenciarla

«Further evidence occurs in the form of contemporary engravings such as that shown in Figure 1, where a carefully executed engraving by Albrecht Durer (1471-1528) clearly shows an angel in control of a demon, or if you prefer, in control of one of their fallen former angelic companions.» — el testimonio iconográfico que los editores añaden: un grabado de Durero que muestra a un ángel controlando a un demonio, o a uno de sus antiguos compañeros angélicos caídos. La guarda anticosido saltó por las fechas entre paréntesis y el tramo se releyó entero en el crudo antes de silenciarla

«The usual interpretation of this engraving is that the angel is imprisoning the demon or casting her into the Pit. If that were the correct interpretation the angel would be forcing the demon into the hatch, rather than standing back and allowing her to step out, as she is doing.» — la objeción que los editores oponen a la lectura recibida del grabado: si el ángel estuviera encerrando a la demonia la estaría forzando hacia la trampilla, y en cambio se retira y la deja salir

«Furthermore the angel holds an iron chain in his left hand which is attached to an iron neck collar on the demon, very clearly illustrating the fact that the angel literally holds the key to controlling the demon.» — el detalle con que los editores rematan su lectura del grabado: la cadena de hierro en la mano izquierda del ángel va prendida a un collar de hierro en la demonia

«The invocation of angels has long been associated with the evocation of their fallen counterparts. If we go back to the third century CE, it is also clear from the Testament of Solomon, that specific angels have long been set over specific demons to control them.» — la tesis de continuidad que los editores enuncian y datan: desde el siglo III, en el Testamento de Salomón, hay ángeles determinados puestos sobre demonios determinados para controlarlos

«By writing down the first verse right to left (in normal Hebrew style), and underneath this the next verse backward (i.e. left to right), and under this again the last verse written again right to left, you have three lines written boustrophedon (as the Greeks would call it, named after the direction oxen travel when ploughing a field). These three lines should then be viewed as 72 columns of three letters. These are then read downwards, three letters at a time, to make 72 three-letter roots.» — la mecánica del bustrofedón que los editores describen: el primer versículo de derecha a izquierda, el segundo al revés y el tercero otra vez de derecha a izquierda, leídos luego en setenta y dos columnas de tres letras

«These angels can be called in their own right, but for our purposes, are each matched up to a corresponding demon name. How this match is done is shown by Rudd, for each demon of the Goetia he links the seal of that demon with its corresponding angelic seal.» — los editores declaran el uso que les dan a esos ángeles y remiten a Rudd para el emparejamiento: él liga el sello de cada demonio de la Goetia con su sello angélico

«These angels also have astrological correspondences, but these are not so important to us here. There is some modem controversy over their exact astrological correspondences. Each angel can be allocated to each of the quinaries (or segments of five degrees) of the Zodiac. It is however problematic as to where in the Zodiac you should start from, either: 1. 0 degrees Aries (like the start of the Tropical Zodiac) 2. 0 degrees Leo (as used by the Golden Dawn) 3. 12 degrees Leo, the actual heliacal rising of Sirius (as used by the ancient Egyptians).» — la controversia que los editores consignan sin arbitrar: las correspondencias astrológicas de los ángeles admiten tres arranques distintos del zodiaco, cero de Aries, cero de Leo como la Golden Dawn, o doce de Leo por la salida helíaca de Sirio como los egipcios

«This table deliberately just starts at 0 degrees, so you can decide for yourself which convention to adopt, and adjust accordingly.» — la decisión editorial que los editores declaran para no arbitrar esa controversia: su tabla arranca a cero grados para que el lector elija la convención

«Having established the names of the angel we have also added in a fairly modem list of powers and attributes. Those are not central to our theme, but listed just for interest.» — la acotación con que los editores separan su propio añadido de lo que el manuscrito trae: la lista de poderes y atributos de los ángeles es bastante moderna y va solo por curiosidad

«The invocations of the Goetia are all translations of the Latin invocations which occur in the Heptameron of Peter de Abano. In addition to these the Form of Adjuration (see Appendix 15) should be incorporated.» — los editores repiten la filiación de las invocaciones —todas traducción de las latinas del Heptameron— y añaden la pieza que mandan incorporar, la Forma de Adjuración del Apéndice 15

«Each invocation has Godnames and angelic names, which have been bolded for rapid recognition. In fact in the manuscript they are often hand printed carefully, so there can be no mistaking their exact spelling. Many of these are distorted Hebrew or Greek words, and we have attempted in Appendix 10 to interpret as many as possible.» — la intervención tipográfica que los editores declaran sobre el texto que imprimen —marcar los nombres divinos y angélicos— y el dato del manuscrito que la justifica: allí van escritos a mano con cuidado para que no quepa duda de su grafía

«As well as the Godnames and angelic names, it is important to commemorate the names of one or more famous magicians who in the past controlled the spirits; in this case the name of Solomon is commemorated.» — la regla que los editores enuncian sobre la conmemoración: hay que nombrar a uno o más magos famosos que hayan controlado a los espíritus, y en este caso se conmemora a Salomón

«Equally well the name of Jesus is also called upon, but this can be considered in the light of it being the name of someone who during his life controlled and drove out demons, rather than necessarily in a Christian religious context.» — la lectura con que los editores explican la presencia de Jesús en las invocaciones: como nombre de quien en vida controló y expulsó demonios, y no necesariamente en contexto religioso cristiano

«Figure 2: Magician (centre) with a sword evokes a homed treasurefinding spirit (right) from within the safety of a Circle, whilst a passing friar (left) looks on curiously (14th century). From a manuscript of The Pilgrimage of the Soul, a translation by John Lydgate (1370? - 1451?) from William de Deguilleville's La Pélerinage de l'âme written in 1330-1332.» — el pie de la figura 2 tal como el volumen lo imprime: un mago con espada evoca desde el círculo a un espíritu cornudo buscador de tesoros mientras un fraile mira, en un manuscrito de la traducción de John Lydgate de La Pélerinage de l'âme. El troceo imprime *homed* por horned y parte *treasure-finding* en el salto de renglón, que la herramienta devuelve fundida como *treasurefinding*. La guarda anticosido saltó por las fechas entre paréntesis y el tramo se releyó entero en el crudo antes de silenciarla

«The Circle drawn upon the ground is one of the most ancient protections of the magician. The Arabic word al-Almadel even means 'circle'.» — la definición y la etimología que los editores dan al Círculo: la más antigua protección del mago, y el árabe al-Almadel que significa círculo

«A 1425 copy of a thirteenth century text by the Florentine Brunette Latini shows the magician Canoaster [Zoroaster] commanding two full sized homed, hairy, bearded and winged demons with cloven hooves and bird's feet respectively from within the safety of a single circle drawn upon the ground (see Figure 3).» — el testimonio iconográfico que los editores traen del Livre de Tresor: el mago Canoaster, que leen como Zoroastro, manda a dos demonios de tamaño natural desde un solo círculo trazado en el suelo. El escaneo imprime el pasaje a una palabra por renglón

«Interestingly a different folio in this same manuscript portrays witches preparing herbal medicine with the aid of a demon that mingles freely with them without the separation of a boundary circle. Maybe this was a fundamental difference in the perception of the practices of magicians and witches.» — la conjetura que los editores proponen sobre un folio vecino del mismo manuscrito: unas brujas preparan medicina con un demonio que se mezcla con ellas sin círculo de por medio, y lo leen como diferencia de fondo entre la percepción de magos y de brujas

«The circle in later versions of the Goetia such as Sloane MS 3825 contains multiple rings (or in fact becomes a spiral) containing the Kabbalistic Godnames, archangels and angels of the ten Sephiroth. This treatment reaches its greatest refinement in the edition of the Goetia transcribed by Mathers/Crowley, where these words have been put back into Hebrew by Mathers from the original plain English of the manuscripts, and the artist has taken the liberty of drawing the spiral as a snake.» — lo que los editores consignan del círculo en las versiones tardías y en Mathers y Crowley: anillos múltiples o espiral con los nombres divinos, arcángeles y ángeles de las diez sefirot, devueltos al hebreo por Mathers desde el inglés llano de los manuscritos, y la espiral dibujada como serpiente por el artista

«By contrast the circle used in the present Rudd manuscript is essentially simple, and harks back to the Heptameron and the fourteenth century example shown in Figure 2. An interesting and practically important feature of these simpler circles is that the names inscribed within them are not fixed, but vary according to the time and date of the operation:» — el contraste que los editores trazan con su propio testimonio: el círculo de Rudd es simple y remite al Heptameron y al ejemplo del siglo XIV, y sus nombres no son fijos sino que cambian con el tiempo y la fecha de la operación

«the form of the Circles is not always one and the same; but useth to be changed, according to the order of the Spirits that are to be called, their places [direction of calling], times, daies and hours [of the operation]. For in making a Circle, it ought to be considered in what time of the year, what day, and what hour, that you make the Circle; what Spirits you would call, to what Star and region they do belong, and what functions they have.» — el pasaje del Heptameron que el volumen imprime como prueba de esa variabilidad, con los corchetes de sus editores: la forma del círculo cambia según el orden de los espíritus llamados, sus lugares, tiempos, días y horas

«De Abano goes on to give the exact instructions which imply that one circle does not 'fit all.' Indeed in one of the GraecoEgyptian papyri (dating from a thousand years before de Abano) it is specifically stated that if the magician is unable to first invoke the divinities ruling the day and hour of the operation he is engaged in, then the specific spirit he is attempting to invoke will have no respect for him and consequently not appear.» — el apoyo que los editores traen desde mil años antes de de Abano: un papiro grecoegipcio fija que si el mago no invoca primero a las divinidades que rigen el día y la hora, el espíritu no le tendrá respeto y no aparecerá

«It is therefore more than just an arbitrary choice of protective names; it is an integral part of the invocational process. Following this hint, it might be an idea to commemorate these names out loud at the beginning of the invocation.» — la consecuencia práctica que los editores sacan, y la única recomendación que se permiten: los nombres del círculo son parte integral del proceso invocatorio, y sugieren conmemorarlos en voz alta al empezar

«As the form of Dr Rudd's Circle is quite different from the one we have come to associate with the Goetia, we have added Appendix 14 which has the more convention Circle and Triangle from Welcome MS 3203.» — la decisión editorial que los editores declaran para no dejar al lector sin lo conocido: añaden el Apéndice 14 con el Círculo y el Triángulo más convencionales del Welcome MS 3203

«When we utter the divine names standing in the Circle, we are establishing ourselves as the higher power, entitled to command the obedience of these spiritual creatures. As Eliade wrote, "Projection of a fixed point - the centre -is equivalent to the creation of the world." Thus by creating our magic circle and connecting ourselves to God through the use of his names, we reproduce the creation of the world through the utterance of the creative logos.» — la lectura que los editores hacen del círculo, apoyada en una frase de Eliade que citan: al proyectar un punto fijo se crea el mundo, y al trazar el círculo y ligarse a Dios por sus nombres se reproduce la creación por el logos

«The Triangle does not feature visually in Rudd, the Heptameron, or in any of the fourteenth century manuscripts mentioned above. For Dr Rudd, the two places the spirit is constricted to are the Crystal or Glass Receptacle on the Table of practice, or the Brass Vessel, a replica of which will be located outside the circle where the Triangle of Art would normally be. We will look at both these loci further on.» — la ausencia que los editores consignan en su propio testimonio y lo que la sustituye: el Triángulo no aparece en Rudd ni en el Heptameron, y los dos lugares a que se constriñe al espíritu son el cristal sobre la Mesa de Práctica y el Vaso de Bronce fuera del círculo

«The names 'Primeumaton, Anaphaxeton and Tetragrammaton' at the three sides, plus the inscription of 'Mi-cha-el' the Archangel at the comers, help to constrain the spirit into giving truthful answers to questions, and in its response to the formula of binding.» — los nombres del Triángulo y la función que los editores les dan: constreñir al espíritu a responder con verdad y a someterse a la fórmula de atadura

«Interesting that whilst Tetragrammaton is Hebrew, the other two names on the Triangle sides are Greek in origin, just as the demon names are a mixture of Hebrew and Greek. Remember that although the Triangle provides a focus for the spirit, there is a second possible focus in the crystal set on the Table of Practice.» — el detalle lingüístico que los editores subrayan y el recordatorio con que cierran: dos de los tres nombres del Triángulo son de origen griego como parte de los nombres demoníacos, y el cristal sobre la Mesa de Práctica es un segundo foco posible

«The names of these angels were obtained by combining the letters of three verses from the book of Exodus 14:19-21. These three verses in» — el procedimiento de derivación de los setenta y dos ángeles que los editores exponen: combinando las letras de tres versículos de Éxodo 14:19-21. La frase cierra en la plana siguiente, en *Exodus each contain 72 letters*

«Another manuscript from the fourteenth century shows the magician armed with a sword, wearing a breastplate shield with a red cross» — la descripción que los editores hacen del otro testimonio iconográfico: mago armado con espada y peto con cruz roja. La frase sigue al otro lado del corte de plana, con el círculo doble y las cruces de brazos iguales en los cuatro puntos cardinales

«inscribed on it (reminiscent of the Crusaders), and standing within a double circle with equal-armed crosses marked at the four cardinal directions, with three sigils drawn between each cross. The circle is inscribed in red on the grass of a hillock» — continuación de esa descripción ya en la plana siguiente: círculo doble con cruces de brazos iguales en los cuatro puntos cardinales, tres sigilos entre cada cruz, e inscrito en rojo sobre la hierba de un montículo

«The magician is ensuring the success of his operation by placing in full view in the circle the names of the angels presiding over the time of the operation.» — la razón que los editores dan al círculo variable: el mago pone a la vista los nombres de los ángeles que presiden el tiempo de la operación. La frase sigue en la plana siguiente con la conjetura de que el círculo de Rudd sea más antiguo y quizá más eficaz

«The traditional Triangle of Art is designed to constrict the manifestation of the spirit to one particular point or locus. An important point about the Triangle is that it is a separate construction which does not have a fixed position in relation to the Circle, but should be placed on the side of the circle from which it is expected the» — la función del Triángulo y su regla de colocación según los editores: constreñir la manifestación del espíritu a un punto, y no tener posición fija respecto del Círculo sino ir del lado por donde se lo espera. La frase cruza el corte de plana

«Solomon's Ring is and was an integral part of his command of the spirits. What was the Ring made of? The usual choices might have been gold or silver, but it is much more likely that the Ring was made of iron and/ or brass, as iron was the metal most feared by demons, and brass was the metal of the confining Brass Vessel.» — la conjetura que los editores proponen sobre el material del Anillo de Salomón, con reserva declarada: no oro ni plata sino hierro o latón, por ser el hierro el metal más temido por los demonios y el latón el del Vaso de Bronce

«The legend that Solomon possessed a seal ring on which the name of God was engraved and by means of which he controlled the demons is related at length in Git. 68a, b. This legend is especially developed by Arabic writers, who declare that the ring, on which was engraved "the Most Great Name of God," and which was given to Solomon from heaven, was partly brass and partly iron.» — la entrada de la Jewish Encyclopaedia que el volumen cita sobre el anillo de Salomón: sello con el nombre de Dios grabado, dado desde el cielo, en parte de latón y en parte de hierro

«With the brass part of the ring Solomon signed his written commands to the good genii, and with the iron part he signed his commands to the evil genii, or devils.» — continuación de la misma entrada: con la parte de latón Salomón firmaba sus órdenes a los genios buenos y con la de hierro las dirigidas a los malos

«The Arabic writers declare also that Solomon received four jewels from four different angels, and that he set them in one ring, so that he could control the four elements. The legend that Asmodeus once obtained possession of the ring and threw it into the sea, and that Solomon was thus deprived of his power until he discovered the ring inside a fish, also has an Arabic source.» — cierre de la misma entrada enciclopédica: cuatro joyas de cuatro ángeles engastadas en un solo anillo para controlar los cuatro elementos, y la leyenda de Asmodeo arrojando el anillo al mar hasta que Salomón lo halla dentro de un pez

«Then it happened that while I was praying to the God of heaven and earth, there was granted me from the Lord Sabaoth through the archangel Michael a ring which had a seal engraved upon precious stone. He [Michael] said to me, 'Solomon, Son of David, take the gift which the Lord God, the highest Sabaoth, has sent you; [and with it] you shall imprison all the demons, both female and male, and with their help you shall build Jerusalem when you bear this seal of God. And this engraving of the seal of the ring sent there is a Pentalpha.» — el pasaje del Testamento de Salomón sobre el origen del anillo, con los corchetes de los editores: el arcángel Miguel se lo trae de parte del Señor Sabaoth, con un sello grabado en piedra preciosa, para encarcelar a los demonios y construir Jerusalén con su ayuda

«It is obviously not the same Ring, but one made of the same pattern and suitably consecrated. Thirteen hundred year later this Ring appears again in the Goetia (see Figure 18). It has engraved around the outside 'Anepheneton Michael', and on the inside 'Tetragrammatonהוה י .This directly commemorates the name of the» — la lectura que los editores hacen del anillo de la Goetia: no el de Salomón sino uno del mismo patrón y consagrado, con Anepheneton Michael por fuera, que conmemora al arcángel que dio el anillo a Salomón. El escaneo imprime esas palabras a una por renglón y mete caracteres hebreos que la cita corta antes

«The names IHVH or YHVH (Yahweh) and Elohim frequently occur in conjunction with the word Sabaoth, which literally means 'hosts' in a military sense. For example YHVH Elohe Sabaoth means 'YHVH God of Hosts'. The original meaning of Sabaoth is probably to be found in 1 Samuel 17: 45, where YHVH Sabaoth is interpreted as denoting 'the God of the armies of Israel'.» — la explicación filológica que los editores dan de Sabaoth: significa huestes en sentido militar, y su sentido original lo sitúan en 1 Samuel 17:45, donde YHVH Sabaoth denota el Dios de los ejércitos de Israel

«It is noteworthy also that the name IHVH Sabaoth is more than once directly associated with the deadly destructive power associated with the Ark of the Covenant. It is therefore the prime name for our purposes, which is to strike fear and obedience into the hearts of the demons conjured.» — el argumento con que los editores eligen ese nombre para su propósito: IHVH Sabaoth se asocia más de una vez al poder destructor del Arca, y por eso lo tienen por el nombre primero para infundir temor y obediencia en los demonios

«An indication of the power that these Godnames were supposed to hold is that the destruction of the Temple in 70 CE has sometimes been blamed on the fact that forty years prior, the priests had ceased to pronounce the Name once a year, every year, as was their previous custom. Without the presence of the indwelling god, the Temple was left unprotected, and so the Romans were able to sack and destroy it.» — la explicación tradicional que los editores consignan de la destrucción del Templo en el 70: los sacerdotes habían dejado de pronunciar el Nombre una vez al año cuarenta años antes, y sin el dios que lo habitaba el Templo quedó sin protección

«Of course this may have just been a post hoc justification for their loss. However after the destruction of this Temple the knowledge of how to pronounce the divine Name is said to have been lost. It has been suggested that without a Temple and without the knowledge of this name, the indwelling god of the Hebrews could no longer be invoked. Certainly not to the point where physical manifestations of fire and a column of cloud could be seen, as it was in the time of Moses and Solomon.» — el límite que los editores ponen de inmediato a esa explicación, y lo que dicen que se siguió: puede ser justificación posterior de la pérdida, pero tras la destrucción se dio por perdido el modo de pronunciar el Nombre y con él la posibilidad de invocar al dios que allí moraba

«The same is true of the invocation of other spiritual creatures, be they angels, demons or spirits, the exact pronunciation of the commanding Godname must be known. This is perhaps one of the reasons why Dr Rudd began a detailed study of Hebrew; in fact a Hebrew grammar attributed to him is still extant.» — la consecuencia que los editores sacan para la práctica y el dato biográfico con que la apoyan: la pronunciación exacta del nombre que manda ha de saberse, y en eso ven una razón del estudio del hebreo por Rudd, de quien queda una gramática hebrea atribuida

«Where there are alternative versions of the name it is as well to include both in the full conjuration, just to be sure.» — la única recomendación práctica que los editores se permiten sobre los nombres: incluir las dos formas en la conjuración completa cuando haya variantes

«The true test of the importance of a divine name was the care taken by scribes in writing it. The number of divine names that traditionally required the scribe's special care is just seven: El, Elohim, Adonai, YHVH, Ehyeh-Asher-Ehyeh, Shaddai, and Sabaoth.» — el criterio que los editores dan para medir la importancia de un nombre divino —el cuidado del escriba al escribirlo— y la nómina de siete que lo exigían

«Sabaoth as a Godname is applied to both the Sephirah Hod and the Sephirah Netzach, and the Archangel Michael is usually applied to Tiphareth, thus completing a triangle on the Tree of Life.» — la lectura cabalística que los editores hacen del nombre: Sabaoth se aplica a Hod y a Netzaj y Miguel a Tiferet, con lo que se cierra un triángulo en el Árbol de la Vida

«The stories of the war in heaven or of the archangel Michael locking up the hosts of the fallen angels (or demons) is not just a lovely myth, but an indication of the state of play which enables the magician to also control these demons or spirits through the same relevant angel.» — la lectura que los editores hacen de la guerra en el cielo: no solo mito hermoso sino indicación del estado de cosas que permite al mago controlar a esos demonios por el ángel que les corresponde

«If you want to think about it Kabbalistically, the controlling forces of this triad of Sephiroth (Tiphareth, Netzach and Hod), which are inscribed in the Triangle of Art, stand immediately above the demons of Yesod. Taking the analogy further, it is specifically by the angel and Godnames of these three Sephiroth that we are able to drive the demons resident in Yesod into action in the material world of Malkuth.» — la traducción cabalística que los editores proponen de su propio procedimiento: la tríada de Tiferet, Netzaj y Hod, inscrita en el Triángulo del Arte, está sobre los demonios de Yesod, y por sus nombres angélicos y divinos se los mueve hacia Maljut

«As well as having an engraved precious stone, the Ring also has set in it the herb which has been identified by several authorities as the root barra.» — el segundo componente que los editores adjudican al anillo: además de la piedra grabada, la hierba que varias autoridades identifican como la raíz barra

«The classic magicians' Ring in the Greek magical tradition bore a different inscription, and was often inscribed with the Lix Tetrax formula from the so called Ephesian Letters.» — el contraste que los editores trazan con la tradición griega: el anillo del mago llevaba allí la fórmula Lix Tetrax de las llamadas Letras Efesias

«This formula dates back at least to 409 BCE, as they form part of an inscription in Himera in Sicily of that date.» — la datación que los editores dan a esa fórmula por su testimonio epigráfico de Himera, en Sicilia

«Although these words are sometimes dismissed as nonsense words, in fact λιξ τετραξ, Lix Tetrax, was the fifth demon in the Testament of Solomon, a fact that ties this Greek formula in with the Solomonic tradition.» — la objeción que los editores oponen a quien tiene esas palabras por sinsentido: Lix Tetrax es el quinto demonio del Testamento de Salomón, lo que ata la fórmula griega a la tradición salomónica

«The Idaian Daktuloi were Alchemists and Goetic sorcerers who dwelt on Crete and served Adrasteia of the Mountains (the goddess Thea).» — lo que los editores consignan de los Dáctilos ideos, de los que sale Damnameneus: alquimistas y hechiceros goéticos de Creta al servicio de Adrastea de las Montañas

«Interestingly, those who were initiated into the Samothracian Mysteries of the Great Gods (Axieros, Axiokersa, Axiokersos and Kasmilos) were granted the Purple Sash and the Magnetic Iron Ring. Here is a hint that not only should the Ring be made partly of iron, but also that it should be magnetised.» — la pista que los editores sacan de los misterios samotracios: a los iniciados se les daba la faja púrpura y el anillo de hierro magnético, de donde infieren que el anillo debería ser en parte de hierro y además imantado

«The 'pentalpha' or pentagram mentioned in one version of the Testament of Solomon as inscribed upon the stone set in the Ring seems to have come down to us as a separate item, the Pentagram of Solomon, and not part of the Ring.» — el desglose que los editores proponen: el pentalfa que el Testamento pone grabado en la piedra del anillo llegó hasta nosotros como pieza aparte, el Pentagrama de Salomón

«The pentagram (which is mistakenly referred to as a pentagon in the Goetia) should be made of gold or silver, and is engraved with 'Te-tra-gram-ma-ton' inscribed in between the vertices of the pentagram, and 'Soluzen' in the middle.» — la enmienda terminológica de los editores y la descripción del Pentagrama: la Goetia lo llama pentágono por error, y va en oro o plata con Tetragrammaton repartido entre los vértices y Soluzen en el centro

«The Pentagram is designed to protect the operator from danger and to help enforce his command.» — la función que los editores adjudican al Pentagrama: proteger al operador del peligro y ayudar a imponer su mando

«This is called the 'sexangled figure of Solomon' in Sloane MS 3825 (see Figure 19, Plate 5). Basically it is a Star of David inscribed in Roman letters with Te-tra-gram-ma-ton on 5 of its points, which are each marked with a cross, and with both AGLA and Alpha-Omega written between the points. In the middle is a 'T' or Tau cross with the rather unnecessary caption 'Tau'.» — la descripción que los editores dan del Hexagrama: estrella de David con Tetragrammaton repartido en cinco puntas marcadas con cruz, AGLA y Alfa-Omega entre las puntas, y una cruz tau al centro con un rótulo que llaman innecesario

«worn at the skirt of your white vestment covered with a linen Cloth, which when the Spirit appears, Show it [to] him & he will be compelled to [take] human shape and be obedient.» — la instrucción del propio texto sobre el Hexagrama, con los corchetes de los editores: se lleva al faldón de la vestidura blanca cubierto con lienzo y se le muestra al espíritu cuando aparece, que queda forzado a tomar forma humana y a obedecer

«So the Hexagram should only be used after the spirit has appeared, and to enforce a human and more tractable shape.» — la regla de uso que los editores deducen de esa instrucción: el Hexagrama solo entra después de que el espíritu aparece, y sirve para forzar una forma humana y más tratable

«The Psalms, said to have been composed by David, Solomon's father, play an important part in this magic. The appropriate Latin snippets from the Psalms are written in the angelic part of each of the seals of the Goetic spirits, and are listed in full in Table A25.» — el papel que los editores adjudican a los Salmos en esta magia: los versículos latinos pertinentes van escritos en la parte angélica de cada sello goético

«The Seal of Solomon is on the other hand not a seal to be worn, but is the all important stopper to the Brass Vessel and that which prevents the escape of the spirits.» — la distinción que los editores trazan entre los sellos: el Sello Secreto de Salomón no se lleva puesto, es el tapón del Vaso de Bronce que impide la fuga de los espíritus

«In fact it is just one of 8 seals of the Patriarchs or Fathers, to be found in the Magical Calendar, which we have reproduced in Figure 4.» — la enmienda que los editores oponen a la idea de que ese sello sea único: es uno de los ocho sellos de los Patriarcas del Magical Calendar

«The same Seal features in various manuscripts of the Goetia, but it is only in the present manuscript, where it forms the stopper of the Brass Vessel that it has an obvious function.» — el reclamo de singularidad que los editores hacen para su testimonio: el mismo sello sale en varios manuscritos de la Goetia y solo en éste, como tapón del Vaso de Bronce, tiene función evidente

«The Wand is not mentioned in any great detail in the Goetia, and there are none of the usual instructions to cut it with a new knife at dawn from a virgin hazel tree. Nevertheless the Wand is a necessary part of the equipment of a Goetic magician.» — la ausencia que los editores consignan y la conclusión que aun así sacan: la Goetia no detalla la Vara ni manda cortarla al alba de un avellano virgen con cuchillo nuevo, y con todo la tienen por parte necesaria del equipo

«The Goetia gives brief instructions for its use. Although they are strangely embedded in the description of the spirit Beleth, these instructions are undoubtedly meant to apply to all spirits.» — la lectura que los editores hacen de la colocación de esas instrucciones: van embebidas en la descripción del espíritu Beleth y, sostienen, valen sin duda para todos los espíritus

«Given the text of the Testament of Solomon however a more specifically useful inscription might have been "Tetragrammaton Sabaoth Michael" or in Hebrew מיכאל יהוה צבאות. The key word is Tetragrammaton» — la enmienda que los editores proponen a la inscripción del anillo: por el Testamento sería más útil Tetragrammaton Sabaoth Michael. La frase cierra en la plana siguiente, donde dicen que IHVH Sabaoth es el nombre más ligado al anillo de Salomón

«The individual seals of each demon are intrinsic to the method. It is recommended at a number of points in the description of the 72» — el papel que los editores adjudican a los sellos individuales: son intrínsecos al método. La frase sigue al otro lado del corte de plana, donde mandan llevar al pecho el sello del demonio y, por extensión, el del ángel

«demons, that the seal of the demon should be worn on the breast of the magician. By extension so should the seal of the angel, and this might even be inscribed on the back of the demon's seal.» — continuación de ese pasaje ya en la plana siguiente: el sello del demonio al pecho del mago y, por extensión, el del ángel, quizá inscrito al dorso del suyo

«Figure 4: The Seals of the Patriarchs Adam, Moses, Elias, Joshua, Ezekiel, Daniel, Solomon and Jeremiah as printed in The Magical Calendar of 1620. The eight seals have specific virtues ascribed to them. Solomon's is for Wisdom, and is attributed to Mars and Fire, which may well be appropriate for restraining demons.» — el pie de la figura 4 tal como el volumen lo imprime, con la adjudicación que los editores comentan: el sello de Salomón vale por la Sabiduría y se atribuye a Marte y al Fuego, lo que les parece apropiado para sujetar demonios

«According to a Rabbinical legend, God once sent Asmodeus to depose Solomon, as a punishment for the king's sin, and for a while the demon is supposed to have taken Solomon's appearance and ruled in his stead.» — la leyenda rabínica que los editores traen para explicar el origen del lamen: Dios envió a Asmodeo a deponer a Salomón como castigo, y el demonio tomó su apariencia y reinó en su lugar

«The fact that Asmodeus was able to temporarily depose Solomon is as interesting as the thought that God might have encouraged him to so do. Anyway it does not matter if this is simply a Rabbinical tale, the point is that the prescribed protection against as mighty a demon as Asmodeus was simply one of the holy names written on a scrap of parchment worn on the breast. This practice is the origin of the lamen, which acts in the grimoires as a protection against demons.» — lo que los editores sacan de esa leyenda, dejando en suspenso si es cuento rabínico: la protección prescrita contra un demonio tan grande como Asmodeo era un nombre santo en un trozo de pergamino al pecho, y en eso ponen el origen del lamen

«Another Jewish practice, the wearing of phylacteries is likewise based on a similar premise. Phylacteries contained a scrap of scripture written on parchment and bound tightly to the body (often the upper arm or forehead) with the aim of providing protection.» — el segundo uso judío que los editores emparejan con el lamen: las filacterias, con un trozo de escritura en pergamino atado firmemente al cuerpo para proteger

«In fact one notable and much underrated early twentieth century Goetic magician, Lewis de Claremont, specifically recommended their use in evocation. The principle is the same as the lamen, that protection in the form of the written word upon parchment should be attached very firmly to the body of the operator.» — el eslabón moderno que los editores traen, con el juicio que dejan caer: Lewis de Claremont, mago goético del siglo XX que llaman muy subestimado, recomendaba usar filacterias en la evocación

«The Brass Vessel is probably unique to the Goetia as a piece of magical equipment, not appearing in any other European grimoire to our knowledge.» — la singularidad que los editores adjudican al Vaso de Bronce, con reserva declarada: no lo ven en ningún otro grimorio europeo

«One commentator reasonably suggested that it be used simply as a storage facility for the 72 demon sigils. However it was much more than that. The Brass Vessel was used in ritual in much the same way as the Triangle was used, as a locus for the spirit, but also as a threat to recalcitrant spirits, to 'lock them up and throw away the key' as it were.» — la enmienda que los editores oponen a ese comentarista: el Vaso no era solo depósito de los setenta y dos sigilos sino lugar del espíritu en el rito, como el Triángulo, y amenaza para los recalcitrantes

«Bound up in Harley MS 6482 (the previous manuscript to the one here transcribed) is an exquisitely detailed engraving (see Figure 5) done by or for Peter Smart, which is obviously based on a real metal object.» — el testimonio material con que los editores sostienen su tesis del Vaso: el grabado del Harley MS 6482 hecho por Peter Smart o para él, que tienen por copia de un objeto de metal real

«It is almost certain that this illustration should have been bound in with Harley MS 6483 rather than in Harley MS 6482, as it is in fact a very sophisticated illustration associated with the Goetia.» — la enmienda codicológica que los editores proponen, con reserva declarada: el grabado debería ir encuadernado con el Harley MS 6483 y no con el 6482, por ser ilustración de la Goetia

«There he tentatively identified it as a sort of music stand or "a picture of a mirror glass, placed upon a three-legged stand with its back turned outwards.» — la identificación de Adam McLean que los editores recogen para objetarla: atril de música o espejo puesto en un trípode con el dorso hacia fuera

«If however you look closely at the intricate engraving, you will see that this is not just the decorative back of anything, but is in fact the front of a very specific piece of magical equipment.» — la objeción que los editores oponen a esa identificación, seguida también por Carroll Runyon: no es el dorso decorativo de nada sino el frente de un equipo mágico concreto

«We believe that the drawing is of the front of a Brass Vessel that was meant to be used ritually. In the present manuscript there are instructions for its use, where it performs the same function as the Triangle» — la tesis que los editores declaran sobre el grabado, con su reserva expresa, y el apoyo interno que le dan: es el frente de un Vaso de Bronce de uso ritual, y el manuscrito que editan trae instrucciones donde cumple la función del Triángulo

«Rudd's version of the Brass Vessel is altogether more detailed. Apart from the stopper, the whole surface is chased with scroll designs upon which are written the numbers 1 to 72, and after each number is the corresponding Shem ha-Mephorash angel's name in Hebrew» — la descripción que los editores dan del Vaso de Rudd y lo que lo distingue: la superficie entera va labrada con cartelas donde corren los números 1 a 72 y, tras cada número, el nombre hebreo del ángel del Shem correspondiente

«The last word after number 72 is Greek, telios which means 'the end, or it is completed. In addition there are the letters A to G in 'celestial writing', corresponding to Agiel, Beloh, Chemer, Din, Elim, Febeh and Graphic.» — lo que los editores leen en el remate del Vaso: la palabra griega telios, el fin o está acabado, y las letras A a G en escritura celeste que corresponden a Agiel, Beloh, Chemer, Din, Elim, Febeh y Graphic

«The purpose of this engraving is to make a permanent metal representation of each and every adversarial angel's name, so that no matter which demon was conjured, the protective angel's name was always present on this metal representation of the Brass Vessel.» — la función que los editores adjudican al grabado, y que es la tesis del volumen hecha objeto: fijar en metal el nombre de cada ángel adversario, para que el del protector esté siempre presente sea cual sea el demonio conjurado

«If you again examine the engraving carefully, you can see that although it represents a three-dimensional Vessel, that this particular item was itself flat. The 'legs actually pass through a flat slit at the bottom, and are therefore not meant to be three-dimensional.» — la observación en que los editores apoyan su conjetura siguiente: aunque el grabado representa un vaso tridimensional, la pieza misma era plana, y las patas atraviesan una ranura plana en la base

«So why would Rudd have commissioned, at considerable expense no doubt, a flat metal representation of the fabled Brass Vessel? It is obviously and alternate to the Triangle of Art, which does not feature strongly in Rudd's manuscript.» — la pregunta que los editores se hacen sobre la pieza plana y la primera respuesta que dan: es alternativa al Triángulo del Arte, que apenas figura en el manuscrito de Rudd

«We hypothesise that a flat metal representation of the Brass Vessel of King Solomon may also have been used by Rudd and his co-workers as a sort of Breastplate, as the ultimate metal lamen which was inscribed with all of the 72 Shem ha-Mephorash angel names, to protect them from whatever demon they conjured.» — la hipótesis que los editores enuncian y nombran como tal: que la pieza plana sirviera a Rudd y a los suyos de pectoral, el lamen de metal definitivo con los setenta y dos nombres angélicos

«It is suggestive to observe the 'handles' of the Brass Vessel which have been extended with a flat bar that would be an ideal shape to attach supporting straps to.» — el indicio material con que los editores apoyan esa hipótesis: las asas del Vaso van prolongadas en una barra plana, forma ideal para sujetarle correas

«The breastplate application is pure conjecture, which can only be proven by finding the actual artefact here represented in Peter Smart's engraving.» — el límite que los editores ponen a su propia hipótesis, en la misma plana en que la enuncian: la llaman conjetura pura, que solo se probaría hallando el objeto que el grabado representa

«Anyway we can be certain that this engraving is a representation of the Brass Vessel that was used by Rudd in his Goetia workings in the same way as the Triangle of Art. We can also be certain that the engraving on its surface of the 72 Shem ha-Mephorash angels was to ensure the obedience of the 72 demons.» — lo que los editores separan de la conjetura y dan por cierto: que el grabado representa el Vaso que Rudd usaba como Triángulo del Arte, y que los setenta y dos ángeles grabados en él aseguraban la obediencia de los setenta y dos demonios

«As we know from the Bible, the Jewish High Priest needed a Breastplate, embedded with 12 jewels, presumably to protect himself from the energies involved in dealing with the god in his sanctuary. It is probable that Solomon was acquainted with this form of spiritual protection, and therefore it is not surprising that a breastplate may later have been used to protect the karcist from the spirits and demons he evoked. Whether or not such a device has been handed down for centuries, or reinvented by Rudd, we cannot say.» — el precedente bíblico y la abstención con que los editores lo cierran: el peto de doce piedras del sumo sacerdote, y no saben decir si el dispositivo se transmitió durante siglos o lo reinventó Rudd

«In practice this means that whatever of the 72 demons you plan to evoke, or indeed whichever one comes, the corresponding angelic name is engraved upon the Brass Vessel. It is also designed to remind the demon of the brass stoppered container into which Solomon originally bound the 72 demons.» — la consecuencia práctica que los editores sacan del Vaso grabado: sea cual sea el demonio que venga, su nombre angélico está grabado allí, y la pieza recuerda al demonio el recipiente en que Salomón lo ató

«The presence of this significant diagram is another reason why we chose to specifically publish the Rudd version of the Goetia.» — la razón editorial que los editores añaden a las cinco de la introducción: ese diagrama es otro motivo por el que eligieron publicar la versión de Rudd

«The clothing is detailed at some length, and even includes a headpiece such as a Jewish priest might have worn. More significant is the specification that the 3 inch (7.5 cm) wide waist belt should be made of lion's skin.» — lo que los editores consignan del vestido en el texto: se detalla con cierta extensión, incluye un tocado como el de un sacerdote judío, y manda un ceñidor de tres pulgadas de piel de león

«This is either a piece of bravado to demonstrate to the spirits that this magician does not even fear lions, or may be a carry over from Egyptian priestly practice of wearing a full lion or leopard pelt, which can be seen in various Egyptian tomb paintings.» — las dos lecturas que los editores proponen del ceñidor de león, sin elegir entre ellas: bravata ante los espíritus, o resto de la práctica sacerdotal egipcia de vestir piel de león o de leopardo

«The Lemegeton is not specific about perfumes, but where Rudd has copied in parts of de Abano's Heptameron, the perfumes of the days of the week are used.» — la carencia que los editores consignan y cómo la suple el propio manuscrito: el Lemegeton no precisa perfumes, y donde Rudd copia partes del Heptameron entran los perfumes de los días de la semana

«that the lamen, along with many other grimoire procedures owes its origin to Jewish practice.» — la adscripción que los editores declaran para el lamen y para otros muchos procedimientos grimóricos: su origen es la práctica judía. La cita arranca después de *It is clear*, que queda al otro lado del corte de plana

«Benaiah then asked him for a sign, and...these facts having been ascertained to be true, Benaiah directed the [members of the] Sanhedrin to [protect themselves and] write the Holy Name on pieces of parchment and to wear them on their breasts and to appear with them before the [demon Asmodeus disguised as the] king. Benaiah, who accompanied them, took his sword and with it struck Asmodeus. Indeed, he would have killed the latter had not a bat koi cried: 'Touch him not: he only executed my commands'.» — segunda parte del mismo pasaje, con los corchetes de los editores: el Sanedrín escribe el Nombre Santo en pergaminos y los lleva al pecho ante el demonio disfrazado de rey, y una voz del cielo impide a Benaiah matar a Asmodeo

«If you look at the top of the illustration you will see that it depicts the» — la descripción con que los editores fundan su lectura del grabado del Vaso. La frase cierra en la plana siguiente, en *mouth of a three-dimension metal bottle*

«mouth of a three-dimension metal bottle. Prominent at the top is the very Secret Seal of Solomon, which was always said to be the seal or stopper in the Brass Vessel. On either side of the neck are the handles, whose design is very similar to the drawing of the "brass vessel for containing the spirits" in Sloane MS 3825. On the bottom are the three tripod-like legs of the Brass Vessel.» — continuación de esa descripción ya en la plana siguiente: boca de una botella metálica tridimensional, el Sello Secreto de Salomón arriba como tapón, asas a los lados del cuello parecidas a las del Sloane MS 3825, y tres patas de trípode abajo

«If you think back to King Solomon's Temple you may recall that the» — el precedente que los editores traen para su conjetura del pectoral. La frase cierra en la plana siguiente, donde recuerdan que el sumo sacerdote llevaba peto de metal al entrar en el Santo de los Santos

«High Priest officiating there had to wear a metal Breastplate whenever he entered the Holy of Holies, for his own protection.» — continuación ya en la plana siguiente: el sumo sacerdote que oficiaba en el Templo llevaba peto de metal al entrar en el Santo de los Santos, para su propia protección

«Benaiah sent for Solomon, and asked him how his deposition had happened. Solomon replied that when sitting one day in his palace a storm had hurled him to a great distance and that since then he had been deprived of his reason.» — primera parte del pasaje rabínico que el volumen imprime: Salomón cuenta a Benaiah que una tormenta lo arrojó lejos y que desde entonces quedó privado de razón

«Egypt, in much the same way as they are used in both ancient and modem China, to frighten evil spirits. Of course a lion guardian with a human head is a sphinx, and it is the sphinx with guards the three best known pyramids. As such, lion skin makes a very acceptable material for a magician's belt.» — la serie que los editores tienden desde el ceñidor de león: leones guardianes de puerta en Egipto y en China para espantar malos espíritus, y el león de cabeza humana que es la esfinge. La cita arranca después de *Lion statues were also used as door guardians in ancient*, que queda al otro lado del corte de chunk. El troceo imprime *modem* por modern

«Figure 5: Peter Smart's 1699 engraving of the Solomon's Brass Vessel with every one of the 72 Shem ha-Mephorash angel names designed to control the 72 corresponding demons of the Goetia. Note that each angelic name is numbered from 1 to 72, beginning just below 'Din' and ending in the opposite comer. Note also the Secret Seal of Solomon in its place as a stopper for the Brass Vessel. This Seal is even captioned 'Secretum Sygillum Solomonis' to avoid any doubt as to its true nature.» — el pie de la figura 5, que es la pieza material de la tesis del volumen: el grabado de Peter Smart de 1699 con los setenta y dos nombres angélicos del Shem numerados, y el Sello Secreto de Salomón en su sitio como tapón, rotulado Secretum Sygillum Solomonis

«The Crystal is not mentioned in the equipment section of the Goetia but it is specifically referred to in the conjurations as a locus of manifestation for the spirit. The Crystal is a key piece of equipment» — la ausencia y la presencia que los editores consignan a la vez: el Cristal no está en la sección de equipo de la Goetia y sí en las conjuraciones, como lugar de manifestación del espíritu

«ought to have for his purpose a Crystal stone, of a round globic form, very clear & transparent, or other stone of like diaphanity, or ball of clear & solid glass, or thick hollow glass, with a little hole on the top of like form, of any convenient bigness or» — la especificación del Cristal en la voz del propio texto: piedra de cristal de forma globosa, muy clara y transparente, u otra piedra de igual diafanidad, o bola de vidrio sólido, o vidrio hueco grueso con un agujerito arriba. La frase cierra al otro lado del corte de plana

«diameter, according as can reasonably be obtained or made, & the same [stone] to be set in a frame, & also the Glass to be made with a stalk or shank fixed thereto, & so to be put in a Socket with a foot or pedestal to stand upright; the stone being called by the name of a Shew stone; and the Glass by the name of a Glass Receptacle, and in practice or Action, upon Invocation or motion made for spiritual appearance.» — continuación de esa especificación en la plana siguiente, con los corchetes de los editores: la piedra montada en un marco y el vidrio con vástago puesto en un casquillo con pie, llamados Shew stone y Glass Receptacle

«There are many mentions of the use of a crystal inside the Circle, in the context of evocation. In one example, the magician simultaneously uses two such instruments to attract the air spirits, with Oriens, Egyn and Paymon constrained to appear in one vitrum, and Amaymon in another.» — el uso doble que los editores levantan de los testimonios: un mago emplea a la vez dos instrumentos para atraer a los espíritus del aire, con Oriens, Egyn y Paymon constreñidos a aparecer en un vitrum y Amaymon en otro

«The Crystal can be replaced by a glass container holding water or some other liquid. Franz Bardon's work on fluid condensers is useful in this context.» — la sustitución que los editores admiten y a quién remiten para ella: un recipiente de vidrio con agua u otro líquido, y el trabajo de Franz Bardon sobre condensadores fluídicos

«Sacrifice is not often spoken about in the context of magical rituals, except in a disapproving manner. However before we dismiss sacrifice as a cruel and outmoded practice, we should just look at its religious precedents. Judaism, before the destruction of the Temple in 70 CE, insisted upon sacrifice as a major part of its ritual, and the discussion of the qualities and quantities of sacrificed animals, takes up a lot of space in the Old Testament or Tanakh.» — la posición que los editores declaran sobre el sacrificio y el precedente con que la sostienen: antes de descartarlo como práctica cruel y anticuada miran sus antecedentes religiosos, y el judaísmo anterior al año 70 lo exigía como parte mayor de su rito

«Solomon, above all other kings, sacrificed an enormous number of animals to consecrate his new Temple in Jerusalem. The smell or savour was supposed to be delightful to the Lord.» — lo que los editores consignan de Salomón como sacrificador: consagró su Templo con un número enorme de animales, cuyo olor se tenía por deleitable al Señor

«Just as the daemons, sitting by the [pagan] altars of the Gentiles, used to feed on the steam of sacrifices, so also the angels, allured by the blood of the victims which Israel offered as symbols of spiritual things, and by the smoke of the incense, used to dwell near altars and to be nourished on food of this sort.» — el pasaje de Orígenes que el volumen cita, con los corchetes de sus editores: daimones junto a los altares gentiles alimentándose del vapor de los sacrificios, y ángeles atraídos por la sangre de las víctimas de Israel y por el humo del incienso

«It is clear that spiritual creatures are nourished by such sacrifices. It also identifies the similarity between the angels and the daemons, both allegedly supping on the vapours of sacrifice.» — lo que los editores sacan de ese pasaje, y que es su tesis de fondo sobre ángeles y demonios: las criaturas espirituales se nutren de los sacrificios, y el pasaje iguala en eso a ángeles y daimones

«After the demise of paganism at the death of the Emperor Julian in 363 CE, sacrifice became a more private matter, and became more relevant to lesser spiritual creatures, rather than just the major pagan gods.» — el giro histórico que los editores adjudican al sacrificio tras la muerte de Juliano en el 363: se volvió asunto privado y más pertinente a las criaturas espirituales menores que a los dioses paganos mayores

«Christianity replaced the animal sacrifice of its predecessor religion, Judaism, with the Eucharist, the consumption of the blood and body of Christ. Blood is however still central to the act, and it still commemorates a form of sacrifice.» — la continuidad que los editores trazan hacia el cristianismo: la Eucaristía sustituye al sacrificio animal del judaísmo, y la sangre sigue en el centro del acto

«For those city dwelling non-vegetarians amongst our readers who deplore the idea of animal sacrifice on humanitarian grounds, think first of the slaughterhouses which daily slaughter thousands of animals to provide the meat on your plates, before complaining about the barbarity of this practice.» — la réplica que los editores dirigen al lector urbano no vegetariano que deplora el sacrificio: le oponen los mataderos que matan miles de animales al día para su plato

«The experiment concluded with him almost loosing control. The application of one's own blood by way of a sacrifice is definitely not to be recommended.» — el juicio con que los editores cierran el experimento de Hockley con su propia sangre: casi pierde el control, y la aplicación de la sangre propia a modo de sacrificio no es recomendable. El troceo imprime *loosing* por losing

«There were certain necromancers [nigromancers] that offered sacrifices and burnt offerings unto him [the Spirit]; and to call him up, they exercised an art, saying that Salomon the wise made it. Which is false: for it was rather Cham, the son of Noah» — la contraatribución que el propio texto de la Goetia hace bajo el espíritu Gaap, con los corchetes de los editores: niega que el arte de los sacrificios sea de Salomón y lo adjudica a Cam, hijo de Noé

«who after the flood began first to invocate wicked spirits. He invocated Bileth, and made an art in his name, and a book which is known to many mathematicians.» — continuación de esa atribución en la voz del texto: Cam fue el primero en invocar espíritus malos tras el diluvio, invocó a Bileth e hizo un arte en su nombre y un libro conocido de muchos matemáticos

«There were burnt offerings and sacrifices made, and gifts given [to the spirits], and much wickedness wrought by the exorcists, who mingled there withal the holy names of God, the which in that art are everywhere expressed. Marie [certainly] there is an epistle [letter] of [about] those names written by Salomon, as also write [in the book] Helias Hierosolymitanus and [the book] Helisaeus.» — cierre del mismo pasaje: los exorcistas mezclaban en esos sacrificios los nombres santos de Dios, y el texto remite a una epístola de Salomón sobre esos nombres y a dos libros más

«Timing is a key factor. For the spirits of the Goetia it is useful to select the day and the hour corresponding to the planet and rank of the spirit. But more importantly, the Moon should be waxing (that is increasing in size from New to Full) rather than waning or shrinking. It is also suggested that it should not be located in the heavens too close to the Sun, where it will be rendered 'combust' and its powers diminished considerably. These rules are designed so that the magician may take best advantage of the lunar tides that govern the 'sublunary regions'.» — las reglas de tiempo que los editores compendian: día y hora del planeta y del rango del espíritu, y sobre todo la Luna creciente y no demasiado cerca del Sol, para no quedar combusta y con sus poderes disminuidos

«Similar concerns are reflected in Taoist magic especially in the exercises which involve the 'inhalation of lunar essences directly from the Moon.» — el paralelo taoísta que los editores traen para esas reglas lunares: los ejercicios de inhalación de las esencias lunares directamente de la Luna. El troceo abre comillas sin cerrarlas

«There are five traditional and distinct stages in the evocation of spirits. It is not sufficient to simply call them and demand what you wish of them.» — la partición del rito en cinco etapas que los editores declaran, y su advertencia: no basta con llamar a los espíritus y pedirles lo que uno quiera. La frase cruza el corte de plana, donde la adjudican al Cuarto libro de Agripa

«The constituents of the ceremony are classically divided according to the following Latin headings: Consecratio Dei Invocatio Constrictio Ligatio Licentia» — los cinco encabezados latinos con que los editores ordenan la ceremonia: Consecratio Dei, Invocatio, Constrictio, Ligatio y Licentia

«Each part of the operation must be successfully concluded before moving on to next. Such operations have their own 'rhythm' and are rapidly reduced to failure if rushed.» — la regla de ritmo que los editores enuncian: cada parte ha de concluirse bien antes de pasar a la siguiente, y la operación fracasa pronto si se atropella

«On the day of the ceremony, after a schedule of fasting, abstaining, praying and purifying, the magician opens with prayers to god, looking in the first instance for support and protection from the highest source possible. John Dee prefaced his actions with spirits with long and sometimes very tedious prayers. However this is a necessary first line of defence. The seven Penitential Psalms are often recommended for use here.» — lo que los editores adjudican a la Consecratio Dei: tras ayuno, abstinencia, oración y purificación, el mago abre con oraciones a Dios, como hacía Dee, y se recomiendan los siete Salmos Penitenciales

«The word 'invoke' comes from the Latin vocare, simply meaning 'to call'. De Abano recommends that Consecratio is followed by invocations to the 'Angels from the four parts of the world, that rule the Air the same day wherein' the ceremony tales place. These are the names which would be incorporated into the Circle, if you are using a Heptameron style Circle.» — la etimología y la secuencia que los editores dan a la Invocatio: primero los ángeles de las cuatro partes del mundo que rigen el aire del día, cuyos nombres van en el círculo al estilo del Heptameron

«The invocations then continue with the invocation of the correct Shem ha-Mephorash angel which is responsible for controlling the spirit/demon who is to be called. The relevant Psalm is used for this. Only when this angel has been satisfactorily invoked, may the spirit/demon be safely evoked.» — el orden que los editores fijan y que es la tesis del volumen hecha rúbrica: primero el ángel del Shem que controla al demonio, con su salmo, y solo cuando ese ángel ha sido invocado a satisfacción cabe evocar al demonio sin riesgo

«Interestingly, there is not usually a separate section for calling the spirit, as that also comes under Invocatio, the same section as the calling of the angels. This is in de Abano referred to as an 'exorcism' rather than an invocation.» — la observación textual que los editores hacen: no suele haber sección aparte para llamar al espíritu, porque cae bajo la misma Invocatio, y de Abano la llama exorcismo

«The word 'exorcism' has changed somewhat in meaning over the centuries from calling out spirits to driving them away, a change probably brought about by the practices of the» — la enmienda semántica que los editores proponen y a quién adjudican el cambio: exorcismo pasó de llamar a los espíritus a ahuyentarlos, cambio que achacan a las prácticas de la iglesia. La frase cierra al otro lado del corte de plana

«The essence here is to pace yourself: do not rush or gabble the invocations. The invocations should be learned and not read, so that they almost say themselves, and the mind can then concentrate on the job in hand not on attempting to read a script. It is far better to extemporise, if need be, than to fumble with a script which wont be easily readable in the half light anyway.» — la regla práctica que los editores dan para las invocaciones: aprenderlas y no leerlas, para que la mente atienda a la tarea, y antes improvisar que trastabillar con un guion apenas legible a media luz

«Call with the knowledge that it may take the spirit/demon some time to arrive, and that rushing through the invocation is both discourteous and counterproductive. It may be necessary to repeat each invocation several times.» — la segunda regla de ritmo: llamar sabiendo que el espíritu puede tardar, porque atropellar la invocación es descortés y contraproducente, y puede hacer falta repetirla varias veces

«It is the job of the assistants to keep a watchful eye out for indications like an apparent drop in temperature, a change in the light, changes in the incense stratification, unaccountable noises, or similar signs that something is attempting to arrive.» — el reparto de tareas que los editores describen y los signos que enumeran: los asistentes vigilan la caída de temperatura, el cambio de luz, la estratificación del incienso y los ruidos inexplicables

«The skryer of course will remain with his or her attention fixed on the crystal or glass receptacle on the Table of Practice. Only when a clear presence is seen, or at the very least strongly felt, should the magician move on to the next process.» — la regla de umbral que los editores fijan: el escrutador no aparta la atención del cristal, y solo con una presencia clara, o al menos fuertemente sentida, se pasa al proceso siguiente

«The purpose of this part of the proceedings is to make sure that the spirit is either visible in the crystal, or forming outside the Circle, preferably in the vicinity of the Triangle or the Brass Vessel. It should be constricted to one or other of these loci.» — lo que los editores adjudican a la Constrictio: asegurar que el espíritu se vea en el cristal o se forme fuera del Círculo, cerca del Triángulo o del Vaso de Bronce, y quede constreñido a uno de esos lugares

«As is often warned in the grimoires, this is the time to challenge the spirit and to test if it is really what it claims to be, or indeed if it is the spirit which you originally intended to evoke. Examples of such challenges can be found in Volume II of the present series.» — la advertencia que los editores repiten de los grimorios: es el momento de desafiar al espíritu y probar si es lo que dice ser y el que se quería evocar

«In the Goetia, at least two demons are overtly represented as requiring sacrifice, Malphas and Belial, and» — el dato que los editores levantan del propio texto: al menos dos demonios, Malphas y Belial, piden sacrificio abiertamente. La frase sigue al otro lado del corte de plana, con el sacrificio de animales pequeños como el gallo

«Ligatio is the binding of the spirit with an oath, to an agreement that it will perform the task demanded of it. Ligatio has the secondary meaning of 'to harness'.» — la definición que los editores dan de la Ligatio: atar al espíritu con juramento a cumplir la tarea, con el sentido segundo de uncir

«Ideally the spirit should also 'sign' the Liber Spirituum left open in the Triangle, or mark the seal there drawn in some other unique way. In practice, a verbal agreement to undertake what it has been charged with is sufficient.» — lo que los editores prescriben y de inmediato relajan: idealmente el espíritu firma el Liber Spirituum abierto en el Triángulo o marca el sello allí trazado, y en la práctica basta un acuerdo verbal

«Another, and most important part of Ligatio, is to bind the spirit so that it will come again (with less delay) when called again by the operator. If this part of Ligatio is carried out properly the magician's load is very much lightened the second time around. In fact a competent magician will have already done this, so that when a task arises he will already have bound a spirit suitable for its accomplishment.» — la parte de la Ligatio que los editores llaman más importante: atar al espíritu a volver con menos demora cuando se le llame otra vez, de modo que el mago competente ya tenga atado el espíritu adecuado antes de que surja la tarea

«In the case of the spirit the stimulus or agreed invocatory shorthand might be the uncovering or incensing of its sigil, or a hand gesture, accompanied by the correct words. Muttering accompanied by certain mudras or hand gestures is a common short-form invocation seen in some schools of oriental magic.» — la taquigrafía invocatoria que los editores describen y su paralelo: descubrir o incensar el sigilo, o un gesto de la mano con las palabras correctas, como los mudras de algunas escuelas de magia oriental

«The magician should never invoke a spirit just out of curiosity, any more than you might say ring the police, just to see if they are there.» — la regla con que los editores cierran la Ligatio, con su símil: nunca invocar un espíritu por curiosidad, como no se llama a la policía por ver si está

«It is interesting that this is expressed as a 'licence', that is a permission to depart, rather than a banishing.» — la distinción que los editores subrayan en la Licentia: se expresa como permiso de partir y no como destierro

«Modem magical practice is overly keen on the Lesser Banishing Ritual of the Pentagram as promulgated by the Golden Dawn, Aleister Crowley, and Regardie, and indeed in Techniques of High Magic. Our thinking has however moved on from there. Having conjured, threatened, and bound the spirit successfully, it is downright rude to then banish it. If you want to develop a relationship in which the spirit will come willingly next time, the appropriate tool to use is the Licence to Depart.» — la objeción que los editores dirigen a la práctica mágica moderna, y a su propio libro anterior: tras conjurar, amenazar y atar al espíritu, desterrarlo les parece descortés, y para que vuelva de buen grado prefieren la Licencia de Partir. El troceo imprime *Modem* por Modern

«The spirit will go as if attached to an elastic band which has just been released. Or to use another analogy, the spirit will return to its own abode like a swimmer will return to the surface, after holding his breath for more than three minutes in the alien environment of water. For the demon or spirit, a physical manifestation is a very alien place, and he will be more keen that you to return to his own world.» — los dos símiles con que los editores explican la partida del espíritu: la liga elástica que se suelta, y el nadador que vuelve a la superficie tras aguantar la respiración, porque la manifestación física le es tan ajena como el agua

«If the spirit becomes recalcitrant you might need to fall back on using the name of its angel to constrain it, reminding the spirit that the angel has the keys. However this is an unlikely situation if the Ligatio has been successfully performed.» — el último recurso que los editores admiten, y que es la tesis del volumen hecha remedio: recordar al espíritu recalcitrante el nombre de su ángel, que tiene las llaves

«The use of the Lesser Banishing Ritual of the Pentagram so favoured by the Hermetic Order of the Golden Dawn might be useful afterwards, but only to encourage any other low grade spirits who (like moths) may have been attracted to the flame of your ceremony, to depart.» — el uso restringido que los editores conceden al Ritual Menor de Destierro del Pentagrama: después de la ceremonia, y solo para despedir a los espíritus de baja estofa que como polillas se acercaron a la llama

«Of course if you have successfully invoked the angels of the four quarters at the beginning of the ceremony, then the Lesser Banishing Ritual of the Pentagram should be recast as an acknowledgement of their aid.» — la enmienda que los editores proponen a ese ritual cuando se han invocado bien los ángeles de los cuatro cuartos: refundirlo como reconocimiento de su ayuda

«Finally there are other techniques for banishing demons, as mentioned in the Testament of Solomon and The Book of Tobit, but you should probably reserve techniques like the burning of catfish entrails for cases of exorcism, or for dire emergencies.» — la reserva con que los editores tratan las demás técnicas de destierro del Testamento y de Tobías: la quema de entrañas de pez la dejan para casos de exorcismo o para emergencias graves

«This manuscript Harley MS 6483, like other numerically adjacent manuscripts, such as Harley MS 6482 and MS 6484, was transcribed by Peter Smart between 1712 and 1713 from the original manuscript of Dr Thomas Rudd (1583-1656).» — el dato codicológico central del volumen: Peter Smart copió el Harley MS 6483 entre 1712 y 1713 del manuscrito original de Thomas Rudd

«Smart's copy even has the old page numbers from the original more cramped manuscript written at the top of every few pages: Smart used 414 folios to copy just 103 folios written by Rudd.» — la prueba material con que los editores sostienen esa filiación, y la desproporción que miden: Smart conservó en su copia los viejos números de plana del original apretado, y usó cuatrocientos catorce folios para copiar ciento tres de Rudd

«Smart started transcribing from the beginning of Rudd's manuscript (in Harley MS 6482), but only reached Dr Rudd's Goetia, the first book of the Lemegeton, with the 'thirtysixth sheet of Dr. Rudd.' At this point Smart began transcribing into the volume now known as Harley MS 6483.» — el punto de corte que los editores localizan entre los dos códices: Smart empezó por el principio del manuscrito de Rudd, en el Harley MS 6482, y al llegar a la Goetia, con la hoja treinta y seis del Dr. Rudd, pasó al volumen que hoy es el 6483

«In terms of subject matter however, Harley MS 6483 is self-contained, with the five distinct books of the Lemegeton completely contained within its covers.» — la unidad que los editores adjudican a su testimonio pese a ese corte: el Harley MS 6483 se basta a sí mismo, con los cinco libros del Lemegeton completos dentro de sus tapas

«It is very likely that the original Rudd manuscript was written in 1655/1656. Upon Rudd's death in 1656 we conjecture that it was passed to Sir John Heydon (1629-1667), the prolific writer on the Rosicrucians and geomancy: Rudd's close friendship with Heydon is actually written about within the pages of the present manuscript (see Appendix 11).» — la conjetura de transmisión que los editores nombran como tal: muerto Rudd en 1656, sus papeles habrían pasado a Sir John Heydon, escritor sobre rosacruces y geomancia, cuya amistad con Rudd se cuenta dentro del propio manuscrito

«Upon Heydon's death in 1667 we think that Rudd's manuscripts were passed to his good friend the astrologer Dr John Gadbury (1627-1704). It is definitely known that Gadbury then passed them to Peter Smart in 1686.» — el eslabón siguiente de esa cadena, con lo que los editores conjeturan y lo que dan por cierto: los papeles habrían pasado al astrólogo John Gadbury, y se sabe con seguridad que él los pasó a Peter Smart en 1686

«There are at least six main manuscript versions of the Lemegeton, and its constituents that we need to consider and compare.» — el censo de testimonios que los editores declaran comparar: al menos seis versiones manuscritas principales del Lemegeton y de sus partes

«Sloane MS 3825 (written on or after 10th March 1640/1) which is the main source for Joseph Peterson's standard edition of the Lemegeton. This volume also contains the Ars Notoria and Janua Magical Reserata (which has been issued by us as Volume II of the present series).» — lo que los editores consignan del testimonio base de Peterson: el Sloane MS 3825, que trae además la Ars Notoria y la Janua Magica Reserata publicada por ellos como segundo volumen de su serie. El troceo imprime *Janua Magical Reserata*

«Sloane MS 2731 (written 18th January, 1686/7). This manuscript copies from a number of sources including Sloane MS 3648. It has formed the basis of most of the modem and incomplete editions of the Lemegeton. It omits the Ars Notoria.» — lo que los editores consignan del Sloane MS 2731: copia de varias fuentes, entre ellas el Sloane MS 3648, base de la mayoría de las ediciones modernas e incompletas, y sin la Ars Notoria

«Liber Malorum Spirituum seu Goetia, Harley MS 6483 (copied in 1712/13). This is a verbatim transcription from the Rudd MS listed above under b), and its contents are transcribed in this volume. It also shows some similarities with Sloane MS 3648.» — la ficha que los editores dan a su propio testimonio, y una remisión que en el troceo no cuadra: lo llaman transcripción literal del Rudd MS listado bajo la letra b), cuando el Rudd MS es el ítem c) de su propia lista

«Hence the present book is printed from the most recent version of the Lemegeton. Or is it?» — la pregunta con que los editores ponen en duda su propio punto de partida: el libro se imprime de la versión más reciente del Lemegeton, o eso parece

«The Rudd MS has the double seals, including the 72 angels necessary to control the 72 demons of the Goetia. These angels are left out of all the other manuscripts. So is the Rudd MS from an earlier source, and the angels simply omitted from later manuscripts, or were the angels a later addition by Dr Rudd?» — la primera de las tres diferencias que los editores enumeran, planteada como pregunta abierta: los sellos dobles con los setenta y dos ángeles faltan en todos los demás manuscritos, y no deciden si el Rudd MS viene de fuente más antigua o si los ángeles son añadido suyo

«The seals in the Rudd MS are neater and simpler than any of the Sloane seals. Does this suggest that seals became sloppier and more elaborate as they were copied and recopied, or does it suggest that a later copyist simplified the seals arbitrarily?» — segunda diferencia, también en forma de pregunta: los sellos de Rudd son más limpios y simples que los de los Sloane, y no deciden si los sellos se enredaron al copiarse o si un copista tardío los simplificó

«Without a doubt, the invocations in all versions are drawn from Peter de Abano's Heptameron. But, and this is a clincher, only in the Rudd MS is the main floor circle also drawn from the Heptameron. So what is most likely, that the circle became more elaborate as it passed from copyist to copyist, or that a later copyist suddenly reverted to the original simple Heptameron circle rather than following the text he was copying?» — tercera diferencia, la que los editores llaman decisiva: solo en el Rudd MS el círculo del suelo viene también del Heptameron, y preguntan qué es más probable, que el círculo se complicara al copiarse o que un copista tardío volviera de pronto al simple

«We suggest that it is more likely that the version with a Circle closer to the Heptameron's Circle design is the older version, and the Circle got more complex as it was recopied, culminating in the elaborate design which incorporates all the angelic and Godnames drawn in order from the Tree of Life.» — la respuesta que los editores dan a su propia pregunta, con reserva declarada: la versión con el círculo más cercano al del Heptameron sería la más antigua, y el círculo se fue complicando hasta el diseño con los nombres angélicos y divinos del Árbol de la Vida

«We suggest that the 1712/13 copy of the 1655/56 Rudd MS may represent an earlier form of the Goetia than any of the other extant manuscripts, a form with simpler seals and Circle, rooted more firmly and closely in its predecessor grimoire the Heptameron. However because of certain scribal errors, we can only be certain that it represents a different branch of the manuscript stemma.» — la tesis textual del volumen y el límite que sus propios autores le ponen en la misma plana: la copia de 1712/13 podría representar una forma de la Goetia más antigua que la de los demás manuscritos, y por ciertos errores de escriba solo pueden asegurar que representa otra rama del stemma

«With all seventeenth century manuscripts of the Lemegeton, the fifth book, the Ars Notoria, as pointed out by Joseph Peterson, is taken from the printed English translation of 1657 done by Robert Turner.» — el dato que los editores toman de Peterson sobre la quinta parte: en todos los manuscritos seiscentistas la Ars Notoria sale de la traducción impresa de Turner de 1657

«If we go back a little further and tentatively identify the 'T.R.' who translated the Pseudomonarchia Daemonum from Latin into English in 1570 with Thomas Rudd senior, then we have the possibility that knowledge of the 72 demons may have been in the Rudd family since at least that date.» — la conjetura con que los editores vuelven sobre las iniciales T.R., y la nombran como tal: si fuera Thomas Rudd padre, el conocimiento de los setenta y dos demonios estaría en la familia Rudd desde 1570

«Capitalisation in some manuscripts is applied to all significant nouns, but in others such as Harley MS 6483 the usage is closer to modem usage.» — el primer dato de estilo que los editores declaran de su testimonio: el Harley MS 6483 no capitaliza todo sustantivo significativo, como otros manuscritos, sino que se acerca al uso moderno

«In this volume we have sometimes inserted additional paragraph breaks in the interests of easier reading, where this does not affect the meaning or the flow. Where a new sentence break has been introduced to facilitate reading, it is marked with a footnote as 'SB'. These breaks usually fall on a colon or semicolon.» — la primera intervención editorial que los editores declaran sobre el texto: añaden cortes de párrafo y marcan con la nota SB los cortes de frase nuevos, que suelen caer en dos puntos o punto y coma

«Many line ends are filled with a dash. This has been usually ignored, although sometimes interpreted as a comma where the sense allows.» — la segunda intervención declarada, y la que más importa para citar este texto: muchos finales de renglón llevan raya, que ellos suelen ignorar y a veces leen como coma

«Standard manuscript contractions like the bar or tilde over the last letter (representing'm' or W) have been silently expanded. Some older spellings like 'shalt' have been retained as there should be no difficulty in understanding them.» — cuarta intervención declarada: las contracciones estándar de manuscrito se expanden en silencio, y grafías viejas como *shalt* se conservan

«Many of the spirit names have variant spellings. We have not been exhaustive in listing these, but have corrected obvious transcription errors. The letters 'u' and V have been interchanged to reflect modem usage, with 'u' used as a vowel and V as a consonant. Most variant spirit names in the Goetia will be found in Table M15 in Appendix 2. We have not documented all the variations in the spirit names of the Art Pauline.» — el alcance que los editores declaran para su tratamiento de los nombres: no listan todas las variantes, enmiendan los errores evidentes de transcripción, intercambian u y v al uso moderno, y no documentan las variantes de la Ars Paulina

«Allow it that licence and it will depart rapidly to its own abode. Stories of spirits not departing upon being licensed to so do, are sure» — lo que los editores prescriben al cerrar: dada la licencia, el espíritu parte de prisa a su morada. La frase cierra en la plana siguiente, donde los relatos de espíritus que no se van se leen como indicio de que la Ligatio no se hizo bien

«In 1657 the Ars Notoria: the Notary Art of Solomon (the fifth book of the Lemegeton) was published in English by Robert Turner of Holshott (c.1620-c.1665), a date that becomes important in sorting out the» — el dato de datación que los editores declaran decisivo para ordenar los manuscritos: la Ars Notoria de Robert Turner de Holshott se imprimió en inglés en 1657. La frase cierra al otro lado del corte de plana. La guarda anticosido saltó por las fechas entre paréntesis y el tramo se releyó entero en el crudo antes de silenciarla

«It seems possible however that this translation was made available to others of a like mind by Turner before it was actually printed.» — la reserva que los editores añaden en la plana siguiente: les parece posible que Turner pusiera su traducción a disposición de afines antes de imprimirla

«From a practical point of view this version is useless as it omits the all» — la razón práctica con que los editores cierran su decisión de omitir la Ars Notoria: la versión de Turner es inútil porque deja fuera los diagramas. La frase cierra en la plana siguiente, en *important diagrams, the notae, without which the procedure will not work*

«In general, the spelling of the manuscript has been rationalised to modem English, without interfering with the meaning. For example words like "seales", "soe" and "doe" have been transcribed as "seals", "so" and "do", "ccelestial" as "celestial", and "Angell" as "Angel".» — la tercera intervención editorial declarada: la grafía del manuscrito se moderniza sin tocar el sentido, con los ejemplos que el propio volumen da

«The grammar of the manuscript is reproduced faithfully, and no» — la abstención que los editores declaran sobre la gramática del manuscrito: se reproduce fielmente. La frase cierra al otro lado del corte de plana, donde dicen no haber intentado modernizarla porque el texto es bastante claro en su forma original

«Footnotes quoting the Latin on the seals follow Rudd, and will therefore not always match exactly with either the Vulgate (which anyway has several versions) or Table A25 to be found in Appendix 7.» — la advertencia que los editores hacen sobre su propio aparato: las notas que citan el latín de los sellos siguen a Rudd y no siempre coinciden con la Vulgata ni con su propia tabla

«The following abbreviations are used in the footnotes to distinguish textual differences between different manuscripts. We have adopted Joseph Peterson's abbreviation standards for ease of comparison» — el sistema de siglas que los editores declaran para el cotejo de manuscritos, tomado de Joseph Peterson para facilitar la comparación

«This manuscript English translation done in 1570 by ‘T.R.’ was used by Reginald Scot in his Discoverie of Witchcraft (page 393 [278]), rather than the printed Latin version of the Pseudomonarchia Daemonum.» — el dato que el propio volumen imprime a la cabeza del Liber Malorum Spirituum: Scot usó en su Discoverie la traducción inglesa manuscrita de 1570 de T.R. y no el impreso latino de la Pseudomonarchia

«This Book contains all the names, Orders, and Offices of all the Spirits Solomon ever conversed with. The Seals and Characters belonging to each spirit; and the manner of calling them forth to visible appearance.» — la declaración de contenido con que se abre el texto transcrito, en la voz del propio manuscrito: nombres, órdenes y oficios de todos los espíritus con que Salomón conversó, sus sellos y caracteres, y el modo de llamarlos a aparición visible

«Some of these Spirits are in Enoch's Tables which I have explained, but omitted their Seals & Characters how they may be known, but in this book they are at large set forth.» — la frase en primera persona con que el manuscrito se enlaza con las Tablas de Enoc, y que los editores usan para tender el puente con el Harley MS 6482: algunos de estos espíritus están en las Tablas de Enoc, ya explicadas por él pero sin sus sellos, que aquí sí se despliegan

«Magick is the highest most absolute and divinest knowledge of Natural Philosophy advanced in its works and wonderful operations, by a right understanding of the inward and occult virtue of things, so that true agents being applied to proper patients, strange and admirable effects will thereby be produced; whence Magicians are profound and diligent searchers into Nature; they because of their skill know how to anticipate an effect which to the vulgar shall seem a miracle.» — la definición de la magia que el propio texto transcrito enuncia, y el pasaje que coloca a la obra en un mapa de ideas: conocimiento altísimo y divinísimo de la filosofía natural, que obra por el recto entendimiento de la virtud interior y oculta de las cosas aplicando agentes propios a pacientes propios

«Origen saith that the Mediaeval Magical Art doth not contain any thing subsisting, but although it should yet that must not be evil or subject to contempt or scorn; and doth distinguish the Natural Magick from that which is Diabolical.» — la autoridad con que el texto separa las dos magias: adjudica a Orígenes la distinción entre la magia natural y la diabólica

«Philo Hebreus saith that true Magick by which we come to the secret works of nature is so far from being contemptible that the greatest monarchs & Kings have studied it, Nay amongst the Persians none might reign unless he were skilful in this great Art.» — la segunda autoridad del texto en el mismo lugar: adjudica a Filón que la magia verdadera, por la que se llega a las obras secretas de la naturaleza, la estudiaron los mayores monarcas, y que entre los persas no reinaba quien no fuera diestro en ella

«This noble Science often degenerates, and from Natural becomes Diabolical, from true philosophy turns to Negromancy which is wholly to be charged upon its followers who abusing or not being capable of that high and mystical knowledge do immediately hearken to the temptations of Sathan, and are misled by him into the study of the black art.» — la teoría interna de la degeneración que el propio texto enuncia, y que descarga la culpa en los seguidores y no en el arte: la ciencia noble degenera de natural en diabólica y de filosofía verdadera en nigromancia cuando quien la sigue abusa de ella o no es capaz de ese conocimiento

«Hence it is that Magick lies under disgrace, and they who seek after it are vulgarly esteemed Sorcerers. And the fraternity of the Rosy Crucians thought it not fit to style themselves Magicians but philosophers, they are [not] ignorant Empirics, but learned and» — la consecuencia que el texto saca de esa degeneración, y la distinción que los rosacruces hacen según él: de ahí el descrédito de la magia y el mote de hechiceros, y por eso la fraternidad de la Rosa Cruz prefirió llamarse de filósofos y no de magos. El corchete es del aparato del volumen y la frase cruza el corte de plana

«Part 1. Is a book of evil Spirits Called Goetia, showing how he bound those Spirits up, and used them in Several things, whereby he obtained great fame. Part 2. Is a book of Spirits, partly good and partly evil, which is named Theurgia Goetia, all airy spirits.» — la partición del Lemegeton en la voz del propio texto: la primera parte es el libro de espíritus malos llamado Goetia, y la segunda el de espíritus en parte buenos y en parte malos, todos aéreos, llamado Theurgia Goetia

«Part 3. Is a book governing the planetary houses and partly evil what Spirit belongs to every degree of the Signs and planets in the Signs, called the Pauline Art. Part 4. Is a book called the Almadel of Solomon which contains 20 chief Spirits and govern the four Altitudes or the 360 degrees of the Zodiac. The two last orders of Spirits are good and are to be sought by divine seeking.» — continuación de esa partición en la voz del texto: la tercera parte es la Ars Paulina de las casas planetarias y los grados de los signos, la cuarta el Almadel con veinte espíritus jefes de las cuatro Altitudes, y las dos últimas órdenes de espíritus son buenas y se buscan por búsqueda divina

«The first principal Spirit is a King riding [ruling] in the East called Bael, he makes men go invisible he ruleth over 66 Legions of inferior spirits he appeareth in divers shapes sometimes like a Cat, sometimes like a dog and sometimes like a Man, and sometimes in all these forms.» — la primera entrada del catálogo de los setenta y dos, en la voz del texto y con los corchetes de los editores: Bael, rey del Este, hace a los hombres invisibles, manda sesenta y seis legiones y aparece como gato, como perro, como hombre o en todas esas formas a la vez

«At once he speaketh hastily and this is his Character or Seal which must be worn as a Lamin [Lamen] by the Magician who calls him, on his breast else he will not do you homage.» — el remate de esa primera entrada, que instituye la regla del lamen para todo el catálogo: el sello ha de llevarse al pecho, o el espíritu no rendirá homenaje

«The second Spirit is a Duke called Agares he is under the power of the East, and comes up in the form of an old man of a fair complexion riding upon a Crocodile very mildly carrying a Goshawk on his fist. He makes them run that stand still and bringeth back Runaways, he can teach all Languages or tongues, he hath power also to destroy dignities both supernatural and temporal, and causeth Earthquakes. He was of the Order of Virtues he hath under his Government 31 Legions of Spirits, and this is his Seal which is to be worn as a Lamen.» — segunda entrada del catálogo, muestra del formato completo: Agares, duque del Este, anciano de tez clara sobre un cocodrilo con un azor en el puño, hace correr a los quietos, devuelve a los fugados, enseña lenguas, destruye dignidades y causa terremotos, y manda treinta y una legiones

«The fourth Spirit is Gamigin a great Marquis he appeareth in the form of a little horse and ass, and then takes human shape, he puts himself at the request of the Master, he teacheth all liberal sciences and gives an account of dead souls that die in sin. He ruleth over 30 Legions of inferior spirits. His Seal is which is to be worn as a Lamen before the Magician when he is Invocated When he taketh human shape he speaketh with a hoarse voice disputing of all the liberal Sciences; he bringeth also to pass, that the souls which are drowned in the Sea shall take airy bodies and evidently appear and answer to Interrogations at the request of the Exorcist.» — cuarta entrada, con el rasgo que más se acerca a la necromancia dentro del catálogo: Gamigin da cuenta de las almas de quienes mueren en pecado y hace que las ahogadas en el mar tomen cuerpos aéreos y respondan a interrogatorio

«The 5th Spirit is Marbas alias Barbas he is a great President and appeareth in the form of a mighty Lion but at the command of the Magician he putteth on human shape, he answereth fully as to any thing which is hidden or secret; he causeth diseases and cureth them; he promoteth wisdom, and the knowledge of mechanical arts or Handicrafts; he changeth men into other shapes; he governeth 36 Legions of spirits» — quinta entrada del catálogo, con el oficio doble que el texto le adjudica: Marbas, alias Barbas, causa enfermedades y las cura, promueve la sabiduría y el conocimiento de las artes mecánicas y muda a los hombres de forma

«The Sixth Spirit is Valefar he is a mighty Duke and appeareth in the form of a Lion with a Mans head howling, he is a good familiar, but he tempteth them that are familiar for to steal, he governeth ten Legions of spirits. His Seal is this which is to be worn constantly if you will» — sexta entrada, y muestra de que el propio texto adjudica a un espíritu una inclinación viciosa: Valefar es buen familiar y a la vez tienta a robar a quienes lo tienen por tal. La frase cierra al otro lado del corte de plana, en *have his familiarity else not*

«The Seventh Spirit is Amon he is a Marquis great in power and most strong, he at first appeareth like a wolf with a serpents tail vomiting out of his mouth flames of fire, sometimes appears like a Raven with Dogs teeth in his head; He telleth all things past present and to come, and procureth love; And reconcileth Controversies between friends & foes and governeth forty Legions of spirits, his Seal is to be worn &c» — séptima entrada del catálogo: Amon, marqués, lobo con cola de serpiente que vomita llamas o cuervo con dientes de perro, dice lo pasado, lo presente y lo por venir, procura amor y reconcilia pleitos entre amigos y enemigos

«The third Spirit is a mighty Prince of the same nature as Agares called Vasago. This spirit is of a good nature, and his office is to declare» — tercera entrada del catálogo, y la que el volumen señala omitida por Weyer: Vasago, príncipe de la misma naturaleza que Agares y de buen natural. La frase cierra en la plana siguiente, con lo pasado y lo por venir y el descubrir lo oculto o perdido

«The Eighth Spirit is Barbatos he is a great Duke and appeareth when the Sun is in Sagittarius with four noble Kings and their Companies of great troops, he giveth the understanding of the singing of birds and» — octava entrada del catálogo, muestra de la cronología astrológica dentro de él: Barbatos aparece cuando el Sol está en Sagitario, con cuatro nobles reyes y sus tropas, y da el entendimiento del canto de las aves. La frase cruza el corte de plana

«and he breaketh open hidden treasures that hath been laid by the enchantment of Magicians, and is of the Order of Virtues which some part bear rule still &c» — continuación de la entrada de Barbatos en la plana siguiente: abre los tesoros ocultos puestos por encantamiento de magos, y es de la Orden de las Virtudes, de las que parte sigue mandando

«The Ninth Spirit in order is Painion a great King and very obedient to Lucifer he appeareth in [the] form of a man sitting on a Dromedary with a Crown most glorious on his head there goeth before him an host of spirits like men with trumpets and well sounding Cymbals and all other sorts of Musical Instruments &c he hath a great voice and roareth at his first coming and his speech is such that the Magician cannot well withstand him except he compel him.» — novena entrada, y la que más liga el catálogo con la jerarquía infernal: Paimón, rey obedientísimo a Lucifer, sobre un dromedario y precedido de una hueste con trompetas y címbalos, cuya habla el mago apenas resiste si no lo compele. El troceo imprime *Painion* por Paimon

«This Spirit can teach all Arts and sciences and other secret things, he can discover [reveal] what the earth is, and what holdeth it up in the waters, and what the wind is and where it is, and any other thing you desire to know, he gives dignities and confirms the same. He bindeth and maketh any man subject to the Magician if he desire it, He giveth good familiars and such as can teach all arts, He is to be observed towards the West, he is of the Order of Dominations and hath two hundred Legions of spirits under him, one part of them is of the order of Angels the other of Potestates.» — continuación de la entrada de Paimón, con la cosmografía que el texto le adjudica: puede revelar qué es la tierra y qué la sostiene sobre las aguas, y qué es el viento y dónde está; se observa hacia el Oeste y sus doscientas legiones se reparten entre el orden de los Ángeles y el de las Potestades

«The tenth Spirit is Buer a great President and appeareth in Sagittarius when the Sun is there. He teacheth Philosophy both moral and natural and the Art of Logic and the virtues of all herbs and plants, and healeth all distempers in man, and giveth good familiars, he governeth 50 Legions of Spirits, and this is his seal of obedience which you must wear when you call him to obedience.» — décima entrada, muestra del lado docente del catálogo: Buer enseña filosofía moral y natural, el arte de la lógica y la virtud de todas las hierbas y plantas, y sana todos los destemples del hombre

«The twelfth Spirit is Sitri he is a great Prince and appeareth at first with a Leopard's face and Wings as a Griffin, but after at the command of the Exorcist he putteth on human shape very beautiful enflaming men with women's love and causeth them to show themselves naked if» — duodécima entrada, muestra del lado erótico del catálogo: Sitri, primero con cara de leopardo y alas de grifo y luego en forma humana muy hermosa, inflama a los hombres con amor de mujeres. La frase cruza el corte de plana

«This great King Beleth causeth all the love that possibly may be [had] both of man and woman till the Master Exorcist have had his mind fulfilled &c. He is of the order of Powers and governeth Eighty-five Legions his of Spirits. His noble Seal is this which is to be worn before you at working.» — cierre de la entrada de Beleth, con los corchetes de los editores: causa todo el amor posible de hombre y de mujer hasta que el Maestro Exorcista vea cumplida su intención

«The fourteenth spirit is called Leraic, he is a Marquis great in power showing himself in the likeness of an Archer clad in green carrying a bow and quiver, he causeth all great battles and contests and causeth the wounds to putrefy that are made with arrows by archers. This [spirit] belongs to Sagittarius and he governeth 30 Legions of spirits and this is his Seal.» — decimocuarta entrada, muestra de la adscripción zodiacal explícita dentro del catálogo: Leraic, arquero vestido de verde, causa las grandes batallas y hace que se pudran las heridas de flecha, y pertenece a Sagitario

«The 16th Spirit is Zepar he is a great Duke and appeareth in red apparel armed like a Soldier. His Office is to cause women to love men and to bring them together in love, he also maketh them barren, He governeth 26 Legions of inferior spirits. His Seal is this that he obeys when he sees it.» — decimosexta entrada, muestra del oficio doble y contrario que el texto adjudica a un mismo espíritu: Zepar hace que las mujeres amen a los hombres y los junta en amor, y también las vuelve estériles

«If you call this Spirit Paimon alone you must make some offering to» — la rúbrica de ofrenda que el texto instituye para Paimón, uno de los pocos lugares del catálogo donde se pide sacrificio. La frase cierra en la plana siguiente, donde le asisten dos reyes, Baball y Abalam

«him, and there will attend him two Kings called Baball & Abalam, and other spirits of the order of Potestates. In his host are 25 Legions because those spirits which are subject to them are not always with them except the Magician compel them, his Character is this which is to be worn as a Lamen.» — continuación de la entrada de Paimón ya en la plana siguiente: le asisten dos reyes, Baball y Abalam, y otros espíritus del orden de las Potestades, y su hueste es de veinticinco legiones porque los sujetos a ellos no siempre los acompañan

«The thirteenth Spirit is called Beleth he is a mighty King and terrible,» — arranque de la decimotercera entrada, la que el volumen lee como instrucción general y no como rasgo de un solo espíritu. La frase sigue al otro lado del corte de plana, con el caballo pálido, la vara de avellano y el Triángulo fuera del Círculo

«The twentieth Spirit is called Purson a great King he appeareth comely like a man with a Lion's face carrying a cruel viper in his hand and riding on a boar, many Trumpets going before him sounding. He knoweth things hidden, and can discover Treasure, and tell all things past, present, & to come: he can take a body either human or airy, and Answereth truly all things either secret or divine, and of the Creation of the world and he bringeth forth good familiars and under his government are 22 Legions of Spirits partly of the order of Virtues and partly of the order of Thrones and his mark or Seal is this which he owes obedience to, and must be worn in time of action.» — vigésima entrada, y de las pocas del catálogo en que el espíritu responde de materia cosmogónica: Purson responde con verdad de cosas secretas o divinas y de la Creación del mundo, puede tomar cuerpo humano o aéreo, y sus veintidós legiones se reparten entre Virtudes y Tronos

«The 21st Spirit is Marax he is a great Earl and President, he appeareth like a great Bull with a Man's face. His office is to make men very knowing in Astronomy and all other liberal Sciences, he can give good familiars and wise which know the virtues of herbs and stones which be precious. He governeth 3 [30?] Legions of Spirits and his Seal is to be thus made and to be worn.» — vigesimoprimera entrada, muestra de cómo los editores marcan una cifra dudosa dentro del texto: Marax da familiares sabios que conocen la virtud de hierbas y piedras, y el número de sus legiones lleva la enmienda entre corchetes

«The 23th Spirit is Aim he is a great & strong Duke, he appeareth in [the] form of a very handsome man in body with three heads the first like a serpent, the second like a man, having 2 stars in his forehead, the third like a Cat; he rideth on a Viper carrying a fire brand in his hand burning, wherewith he sets Cities castles and great places on fire, he maketh one witty all manner of ways, giveth true Answers to private matters he governeth twenty six Legions of inferior spirits, his Seal is thus, which wear.» — vigesimotercera entrada, muestra del lado destructivo del catálogo: Aim, de tres cabezas y montado en una víbora, lleva un tizón ardiendo con que prende fuego a ciudades, castillos y grandes lugares

«The twenty fifth spirit is Glasya-la bolas he is a mighty President and shows himself in [the] form of a Dog with wings like a Griffin, he teaches all arts and Sciences in an instant and is an author of bloodshed and manslaughter, He teaches all things past present and to come if desired, and causeth love of friends and foes, he can make a man go invisible.» — vigesimoquinta entrada, muestra de cómo el propio texto adjudica a un espíritu la causa del derramamiento de sangre: Glasya-la bolas enseña todas las artes en un instante y es autor de matanza y homicidio, y a la vez causa amor de amigos y enemigos

«The twenty sixth Spirit is Bime, he is a strong great mighty Duke and appeareth in form of a Dragon with three heads, one like a Dog, the other like a Griffin the third like a man, he speaketh with a high and comely voice, he changeth the places of the dead, and causeth those spirits which are under him to gather upon your sepulchre.» — vigesimosexta entrada, la que más se acerca a la necromancia dentro del catálogo: Bime muda los lugares de los muertos y hace que los espíritus bajo su mando se junten sobre el sepulcro de quien lo llama

«The twenty-eight Spirit is Berith he is a mighty great and terrible Duke he hath two other names given unto him by men of later times, viz. Beale and Bolfry he appeareth in form of a Soldier with red clothes riding on a red horse, and a Crown of Gold upon his head, he giveth true Answers for those things past present & to come. You must use a ring [for protection], as is before spoken of, [with] Beleth in calling him forth, he can turn all Metals into Gold» — vigesimoctava entrada, y el único punto en que el catálogo toca la transmutación: Berith, con dos nombres que el texto dice dados por hombres de tiempos posteriores, Beale y Bolfry, convierte todos los metales en oro. Los corchetes son del aparato del volumen

«The twenty ninth spirit is Astaroth he is a mighty and strong Duke and appeareth in form of an beautiful Angel riding on an Infernal [creature] like a Dragon and carrying in his right hand a viper, you must not let him come too near you lest he do you damage by his stinking breath; therefore the Magician must hold the Magical Ring near his face and that will defend him.» — vigesimonovena entrada, y la que pone en acto el Anillo Mágico dentro del catálogo: a Astaroth no hay que dejarlo acercarse por su aliento hediondo, y el mago ha de sostener el Anillo junto al rostro de él

«He giveth true Answers of things past present and to come and can discover all secrets, he will discover & declare willingly how the spirits fell if desired and the reason of his own fall, he can make men wonderfully] knowing in all liberal sciences. He Ruleth 40 Legions of spirits. His Seal is this which wear as a Lamen before you or else he will not appear nor obey you.» — continuación de la entrada de Astaroth, y el pasaje del catálogo que toca la doctrina de la Caída: declarará de buen grado cómo cayeron los espíritus y la razón de su propia caída

«He giveth the ring of Virtues, he teacheth the art of Arithmetic, Geometry Astronomy and all handicrafts absolutely, he giveth full and true answers to your demands, he maketh a man invisible, he showeth the place where treasure lyeth and guardeth them if it be among the Legions of Amaymon's, he governeth 72 Legions of inferior spirits. His Seal is to be made & worn as a Lamen before you &c.» — cierre de la entrada de Asmodai, que es el único del catálogo con setenta y dos legiones: da el anillo de las Virtudes, enseña aritmética, geometría y astronomía, y guarda los tesoros que estén entre las legiones de Amaymon

«The Nineteenth Spirit is Sallos he is a great and mighty Duke and appeareth in the form of a gallant Soldier riding on a Crocodile with a» — decimonovena entrada del catálogo: Sallos, duque que aparece como soldado galante sobre un cocodrilo. La frase cierra en la plana siguiente, con la corona ducal y el causar pacíficamente el amor de mujeres y de hombres

«The two and thirtieth Spirit is Asmodai he is a great King strong and powerful, he appeareth with three heads whereof the first is like a bull the second is like a man, the third like a ram with a serpent's tail belching or vomiting out flames of fire out of his mouth, his foot is webbed like a goose he sitteth on an infernal Dragon carrying a Lance and a flag in his hand he is the first and choicest [spirit] under the power of Amaymon and goes before all others, when the Exorcist hath» — arranque de la trigesimosegunda entrada, la de rúbrica más detallada del catálogo: Asmodai, de tres cabezas y pie palmeado de ganso, es el primero y principal bajo el poder de Amaymon y va delante de todos

«a mind to call him let it be abroad and let him stand on his feet all the time of action [evocation] with his Cap off, for if it be on, Amaymon will deceive him and cause all his doings to be bewrayed [revealed], but as soon as the Exorcist seeth Asmoday in the shape aforesaid he shall call him by his name "Art thou Asmoday", and he will not deny it and by and by he will bow down to the ground &c.» — continuación de esa rúbrica, con los corchetes de los editores: se le llama a campo abierto, en pie y con la gorra quitada, porque llevándola puesta Amaymon engañará al exorcista y hará que se revele cuanto haga; y se le pregunta por su nombre, que no negará

«The three and thirtieth spirit is Gaap he is a great President and a mighty Prince, he appeareth when the Sun is in some of the Southern signs, in a human shape there going before him [are] four great and» — trigesimotercera entrada: Gaap aparece cuando el Sol está en alguno de los signos australes, en forma humana y precediéndole cuatro reyes a los que guía. La frase cruza el corte de plana

«His office is to make men insensible and also knowing in philosophy and all the liberal sciences, he can cause Love or hatred, and he can teach you how to Consecrate these things that belongs to the Domination of Amaymon his King and can deliver familiars out of the Custody of other Magicians and answereth truly and perfectly of things past present and to come, and can carry & recarry men very speedily from one Kingdom to another at the will & pleasure of the Exorcist.» — continuación de la entrada de Gaap, donde el catálogo toca la disputa entre magos: enseña a consagrar lo que pertenece a la dominación de Amaymon, su rey, y puede sacar familiares de la custodia de otros magos

«The thirty fourth Spirit is Furfur he is a great and mighty Earl appearing in the form of a Hart with a fiery tail, he never speaketh truth unless he be compelled and brought within a △ Triangle, being compelled therein he will take upon him the form of an angel, being he can raise thunder, lightning blasts and great tempestuous storms, giveth true Answers both of secret and divine things, if commanded.» — trigesimocuarta entrada, y la que hace del Triángulo condición de veracidad: Furfur nunca dice verdad si no se le compele dentro de un Triángulo, y compelido toma forma de ángel

«he told his chief Master which was Solomon that after 1200 years he had hopes to return to the seventh throne, and his Seal is to be made and worn as a Lamen.» — el motivo de la esperanza de restitución que el catálogo repite en varias entradas: Marchosias dijo a Salomón, su maestro principal, que tras mil doscientos años esperaba volver al séptimo trono

«The thirty seventh Spirit is Phenix he is a great Marquis and appeareth like the bird Phenix having a Child's voice he singeth many sweet notes before the Exorcist which he must not regard» — trigesimoséptima entrada, y la única del catálogo con una advertencia de este tipo: Phenix canta con voz de niño muchas notas dulces ante el exorcista, que no ha de hacerles caso. La frase cruza el corte de plana

«The fortieth Spirit is Raum he is a great Earl and appeareth at first in the form of a Crow, but after at the command of the Exorcist he putteth on human shape, his office is to steal treasure out of King's houses and to Carry it where he is commanded and to destroy Cities and the dignities of men, and to tell all things past present and to come and to tell what is and what will be, and to cause love to be between friends and foes, he was of the order of Thrones, and he governeth thirty Legions of Spirits. His Seal is this which wear.» — cuadragésima entrada, muestra del oficio a la vez destructor y conciliador que el catálogo adjudica: Raum roba tesoros de las casas de los reyes, destruye ciudades y dignidades, y causa amor entre amigos y enemigos

«The one and fortieth Spirit is Forcalor he is a mighty Duke and Strong he appeareth in the form of a man with Griffin's wings, his office is to kill men and to drown [them] in the waters & to kill men overthrow ships of war, for he hath power both overseas & winds but he will not hurt any man or thing if he be commanded to the contrary by the Exorcist, he hath hopes to return to the seventh Throne after 1000 years. He governeth 3 [30?] Legions of Spirits. His Seal is this which wear.» — cuadragesimoprimera entrada, y la que mejor muestra el límite que el catálogo pone al oficio de cada espíritu: Forcalor mata y ahoga y hunde naves de guerra, y no dañará a hombre ni cosa si el exorcista le manda lo contrario

«The 39th Spirit is Malphas he appeareth in form at first like a Crow but after he will put on human shape at the request of the Exorcist» — trigesimonovena entrada del catálogo. La frase cruza el corte de plana, donde el texto dice que Malphas recibirá de buen grado el sacrificio que se le haga y con todo engañará a quien lo haga

«and speaks with a hoarse voice, he is a mighty President & powerful he can build houses & high Towers, and he can bring quickly artificers together from all places of the world. He can destroy the Enemies desires or thoughts and what they have done, he gives good familiars and if you make any sacrifices to him he will receive it kindly and willingly but he will deceive him that doth it.» — continuación de esa entrada ya en la plana siguiente, uno de los dos lugares del catálogo en que se habla de sacrificio: Malphas lo recibirá de buen grado y con todo engañará a quien lo haga

«The forty second Spirit is Vepar he is a great and strong Duke he appeareth in [the] form of a Mermaid, his office is to guide the waters and ships laden with armour, therein he will at the request of the Exorcist cause the Seas to be rough and stormy and to appear full of ships, he causeth men to die in three days with putrefying [of] their» — cuadragesimosegunda entrada, muestra del oficio letal por putrefacción que el catálogo repite: Vepar guía las aguas y las naves cargadas de armadura, embravece los mares y hace morir a los hombres en tres días. Los corchetes son del aparato del volumen y la frase cruza el corte de plana

«The forty fourth spirit is Shax, he is a great Marquis and appeareth in [the] form of a Stock Dove [which] speaketh with a hoarse and subtle voice, his office is to take away the sight hearing and the understanding of any man or woman at the command of the Exorcist, and to steal money out of King's houses and to carry it [back] again in 1200 years, if commanded, he will fetch horses at the request of the» — cuadragesimocuarta entrada: Shax quita la vista, el oído y el entendimiento de cualquier hombre o mujer a mandato del exorcista, y roba dinero de las casas de los reyes para devolverlo en mil doscientos años. La frase cruza el corte de plana

«Exorcist or any other thing, but he must be Commanded into a Triangle first A or else he will deceive him and tell him many lies.» — continuación de la entrada de Shax ya en la plana siguiente, y la segunda del catálogo que hace del Triángulo condición de veracidad: hay que mandarlo primero a un Triángulo, o engañará al exorcista y le dirá muchas mentiras

«The forty sixth Spirit is Bifrons he is an Earl and appeareth in the form of a monster at the first, but after a while at the Command of the Exorcist he putteth on the shape of a man. His office is to make one wonderfully] cunning in Astrology and Geometry and other Arts and Sciences, he also teacheth the virtues of Stones and woods, he changeth dead bodies and puts them into another place and lighteth seemingly upon the graves of the dead.» — cuadragesimosexta entrada, otra de las que tocan el trato con los muertos: Bifrons muda los cuerpos muertos y los pone en otro sitio, y se posa al parecer sobre las sepulturas

«Note that a Legion is 6666 [spirits]. Read Cardanus & lamblichus.» — la nota aritmética y la remisión bibliográfica que el propio manuscrito intercala en mitad del catálogo, sin que ningún espíritu la motive: la legión es de 6666, y remite a Cardano y a Jámblico. El troceo imprime *lamblichus* por Iamblichus y el corchete es del aparato del volumen

«The forty eight Spirit is Haagenti he is a great President appearing in the form of a mighty Bull having the wings of a Griffin but after at the Exorcist's command he putteth on human shape. His office is to make men wise and to instruct them in diverse things and to transmute and change Metals into Gold and change wine into water and water into wine. He commands 33 Legions of spirits. His Seal is thus made.» — cuadragesimoctava entrada, y el segundo punto en que el catálogo toca la transmutación: Haagenti transmuta los metales en oro y muda el vino en agua y el agua en vino

«The forty ninth Spirit is Crocell he appeareth in [the] form of an Angel he is a great strong Duke speaking something mystically of hidden things, he teacheth the art of Geometry and the liberal sciences, he at the command of the Exorcist will make great noises like the running of water although there be none, he warmeth waters and distempereth baths &c. He was of the order of Potestates as he declared to Solomon before his fall» — cuadragesimonovena entrada, y otra de las que tocan la doctrina de la Caída dentro del catálogo: Crocell habla algo místicamente de cosas ocultas y declaró a Salomón que era del orden de las Potestades antes de su caída

«The one and fiftieth Spirit is Balam he is a terrible great and powerful King, he appeareth with three heads, the first is like a bull, the second like a man the third like a ram, he hath a Serpent's tail and eyes flaming Riding upon a furious bear carrying a Goshawk on his fist» — quincuagesimoprimera entrada, y una de las tres del catálogo con la misma tríada de cabezas que Asmodai: Balam, con cabeza de toro, de hombre y de carnero, cola de serpiente y ojos llameantes, sobre un oso furioso. La frase cruza el corte de plana

«The two and fiftieth Spirit is Alloces he is a great and mighty strong Duke appearing in the form of a Soldier [riding on a Griffin with a Duke's Crown on his head, there goeth before him three of his Ministers with great trumpets sounding; his office is to teach philosophy perfectly and to constrain souls deceased to come before the Exorcist to answer to those things which he shall ask them if he desire it. He was partly of the order of Thrones and partly of Angels, he ruleth now 30 Legions of Spirits. His Seal is this.]» — quincuagesimosegunda entrada, en la primera de las dos formas que el volumen imprime enfrentadas y sin armonizar: Alloces sobre un grifo y con corona ducal, que enseña filosofía y constriñe a las almas difuntas a comparecer ante el exorcista. Los corchetes son del aparato del volumen

«riding on a great horse; his face is like a Lion's, very red, having Eyes flaming, his speech is hoarse & very Big; his office is to teach the art of Astronomy, & all the Liberal sciences, he Bringeth good familiars & ruleth 36 Legions of spirits, his seal is Thus made, & to be worn, &c.]» — la segunda forma de esa misma entrada, que el volumen imprime a continuación y entre corchetes: aquí Alloces va sobre un gran caballo, con cara de león muy roja y ojos llameantes, y enseña astronomía y las ciencias liberales. Las dos versiones se consignan sin armonizar

«The three and fiftieth Spirit is Camio he is a great President and appeareth in the form of a bird called a Thrush at first but after a while he putteth on the shape of a man carrying in his hand a sharp» — quincuagesimotercera entrada del catálogo: Camio aparece como zorzal y luego toma figura de hombre. La frase cruza el corte de plana, con la espada afilada, el responder en cenizas ardientes y el entendimiento de las voces de los animales y de las aguas

«he seemeth to answer in burning ashes, he is a good disputer, his office is to give men the understanding of all birds, lowing bullocks barking of Dogs and other creatures and also the voice of waters and giveth very true Answers of things to come, he was of the Order of Angels, and now ruleth 30 Legions of Infernal Spirits his Seal» — continuación de esa entrada ya en la plana siguiente, y la que más se acerca a la piromancia dentro del catálogo: Camio parece responder en cenizas ardientes y da el entendimiento de las aves, de los bueyes, de los perros y de la voz de las aguas

«The three five and fiftieth Spirit is Orobas he is a great and mighty Prince appearing at the first like a horse but after at the Command of the Exorcist he putteth on the Image of a Man, his office is to discover all things past present and to come, and to give dignities and Prelacies and the favour of friends and foes, he giveth true answers of divinity [theology] and of the Creation of the world, he is very faithful to the Exorcist and will not suffer him to be tempted by any spirit» — quincuagesimoquinta entrada, y la única del catálogo que adjudica lealtad al espíritu: Orobas responde con verdad de teología y de la Creación del mundo, es fiel al exorcista y no consentirá que otro espíritu lo tiente. El troceo imprime *The three five and fiftieth*

«The six and fiftieth Spirit is Gemory he is a strong and powerful Duke appearing in the form of a beautiful woman with a Duchess' Coronet tied about her middle, riding on a great Camel his office is to tell all things past present and to come, and [the whereabouts] of treasures hid, and what [place] it ly lieth in, and to procure the love of women both young and old, he governeth 26 Legions of Spirits, And this is his Seal which must be worn.» — quincuagesimosexta entrada, muestra de la vacilación de género que el propio texto arrastra: Gemory aparece como mujer hermosa con corona de duquesa y el texto la sigue nombrando en masculino. Los corchetes son del aparato del volumen y el troceo imprime *ly lieth*

«The fifty ninth Spirit is Orias he is a great Marquis and appeareth in the form of a Lion riding on a mighty strong horse with a serpent's tail holding in his right hand two great serpents hissing, his office is to teach the virtue of stars, and to know the mansion of the planets and how to understand their [magical] virtues, he also transformeth men and giveth dignities prelacies, & confirmations and the favour of friends & foes, he governeth 30 Legions, his Seal is this.» — quincuagesimonovena entrada, la que liga el catálogo con la astrología: Orias enseña la virtud de las estrellas y a conocer las mansiones de los planetas y sus virtudes. Los corchetes son del aparato del volumen

«The 61 [st] Spirit is Zagan he is a great King and President, appearing at the first in [the] form of a Bull with Griffin's wings but after a while he putteth on human shape, and maketh men witty, he can turn wine into water, and blood into wine, also water into wine, he can turn all metals into coin of the Dominion [coin of the Realm] that the Metal is of, and can make fools wise, he governeth 36 Legions of spirits. His Seal is this.» — sexagesimoprimera entrada, y el tercer punto en que el catálogo toca la transmutación: Zagan muda el vino en agua, la sangre en vino y el agua en vino, y convierte todos los metales en moneda del dominio de ese metal. Los corchetes son del aparato del volumen

«The sixty third Spirit is Andras he is a great Marquis appearing in the form of an Angel with a head like a black night Raven riding upon a strong black wolf, with a sharp bright sword flourishing in his hands, his office is to sow discords, if the Exorcist have not a care he will kill him and his followers, he governeth 30 Legions of spirits, and this is his Seal which is worn as a Lamen.» — sexagesimotercera entrada, y la que trae la advertencia más grave de todo el catálogo: Andras siembra discordias, y si el exorcista no se cuida lo matará a él y a los suyos

«The Sixty fourth Spirit is Haures, he is a great Duke and appeareth at first like a mighty terrible and strong Leopard but after at the Command of the Exorcist he putteth on the shape of a man with fiery eyes and a terrible Countenance, he giveth true Answers of all things past present and to come, but if he be not commanded into a Triangle A he will lie in all those things and deceive and beguile the Exorcist in other things or business, he will gladly talk of Divinity and of the Creation of the world, and of his and all other Spirits' falls, he destroyeth and bumeth those that are the Exorcist's Enemies if he require it, and will not suffer them to be tempted or otherwise» — sexagesimocuarta entrada, que junta las dos notas mayores del catálogo: sin el Triángulo, Haures mentirá en todo y engañará al exorcista; y hablará de buen grado de teología, de la Creación del mundo y de la caída suya y de todos los demás espíritus. El troceo imprime *bumeth* por burneth

«The sixty sixth spirit is Cimeries he is a mighty great Marquis strong & powerful appearing like a valiant Soldier riding on a goodly black horse, he ruleth over all spirits in the parts of Africa, His office is to teach perfectly Grammar Logic Thetoric, and to discover treasure & things lost or hidden, he can make a man seem like a Soldier in his own likeness, he governeth 20 Legions of Infernal Spirits. His Seal is this which wear.» — sexagesimosexta entrada, la única del catálogo con jurisdicción geográfica declarada: Cimeries manda sobre todos los espíritus en las partes de África. El troceo imprime *Thetoric* por Rhetoric, como en todo el catálogo

«The Sixty seventh Spirit is Amducias he is a strong and great Duke appearing at first like a Unicom but after at the request of the Exorcist he standeth before him in human shape causing Trumpets and all sorts of Musical Instruments to be heard but not seen, also Trees to bend and incline according to the Exorcist's will, and gives excellent familiars and governeth 29 Legions of Spirits his Seal is this which wear.» — sexagesimoséptima entrada, muestra de la manifestación sensible que el catálogo adjudica: Amducias hace oír trompetas e instrumentos sin que se vean, y hace que los árboles se inclinen a voluntad del exorcista. El troceo imprime *Unicom* por Unicorn

«of fire speaking with a comely voice declaring that he fell first from amongst the worser sort which went before Michael and other heavenly Angels. His office is to distribute preferments of senatorship and to cause favour of friends & foes, he giveth excellent familiars, and governeth 80 Legions of Spirits partly of the order of Virtues partly of Angels.» — sexagesimoctava entrada, la de Belial, con la doctrina de la Caída que el propio texto le pone en boca: declara haber caído el primero de entre los peores, los que iban delante de Miguel y de los demás ángeles celestiales. La cita arranca al otro lado del corte de plana

«Note this King Belial must have offerings sacrifices and gifts presented to him by the Exorcist or else he will not give true answers to his demands, but then he tarrieth [remains] not one hour in the truth unless he be constrained by divine power.» — la nota que el texto añade a Belial, y el segundo de los dos lugares del catálogo donde se exige sacrificio: sin ofrendas no dará respuestas verdaderas, y aun entonces no permanece una hora en la verdad si no se lo constriñe por poder divino

«The sixty ninth Spirit is Decarabia he appeareth in the form of a Star in a Pentacle ☆ at the first but after at the Command of the Exorcist he puts on the Image of a man, his office is to discover the virtues of birds & precious stones, and to make the similitude [illusion] of all birds to fly before the Exorcist, and tarry with him as if they were tame singing and drinking, and natural birds &c. He governeth thirty Legions of Spirits, he himself being a great Marquis» — sexagesimonovena entrada, la única que aparece primero como figura y no como animal o persona: Decarabia se muestra como estrella en un pentáculo, y hace volar ante el exorcista la semejanza de todas las aves. Los corchetes son del aparato del volumen

«The Seventieth Spirit is Seer, he is a mighty Prince and powerful under Amaymon King of the East, he appeareth in the form of a beautiful man riding on a horse with wings, his office is to go and come & bring all things to pass on a sudden, & to carry & recarry any thing where you would have it from, for he can pass over the whole earth in the twinkling of an Eye. He giveth true Relation [news] of all theft and treasures hid & many other things, he is indifferent good natured willing to do any thing the Exorcist desireth. He governeth 26 Legions of spirits his Character and Seal is this.» — septuagésima entrada, una de las cuatro que Weyer omite: Seer, príncipe bajo Amaymon, rey del Este, que atraviesa la tierra entera en un abrir y cerrar de ojos. Los corchetes son del aparato del volumen

«The 72[nd] Spirit is Andromalius he is a great and mighty Earl appearing in the form of a man holding a serpent in his hand, his office is to bring a thief and goods back that is stolen to the house, and to discover all wickedness and underhand dealings, and to punish thieves and other wicked people, and to discover treasure that is hid, He ruleth thirty six Legions of spirits His Seal is this.» — septuagesimosegunda y última entrada del catálogo, otra de las que Weyer omite: Andromalius devuelve al ladrón y lo robado, descubre toda maldad y todo trato solapado, y castiga a ladrones y a otra gente perversa. Los corchetes son del aparato del volumen

«These 72 [spirits] be the mighty Kings or princes which King Solomon commanded into a Vessel of Brass with their Legions of whom Belial and Bileth, Asmodai and Gaap was the chief» — el cierre del catálogo en la voz del texto, que lo ata al marco del vaso de bronce: los setenta y dos son los reyes o príncipes que Salomón mandó a un Vaso de Bronce con sus legiones, y de ellos Belial, Bileth, Asmodai y Gaap eran los jefes. La frase cruza el corte de plana

«but only [except for] Belial who entered into a certain Image, and there gave Answers to those who did offer sacrifice unto him, as the Babylonians did for they offered sacrifice and worshipped that Image as God.» — la excepción con que el texto cierra el relato del vaso, y que es el único punto donde el catálogo toca el culto: solo Belial no volvió a su antiguo lugar sino que entró en cierta Imagen y daba respuestas a quienes le ofrecían sacrificio, y los babilonios adoraban esa Imagen como Dios

«I Invocate and Conjure you Spirit N: and being armed with power from the Supreme Majesty, I strongly command you by Beralanensis, Baldachiensis, Paumachiae et Apologiae, and the most powerful Princes, Genio Liachiae Ministers of the Tartarian seat, Chief Prince of the seat of Apologia in the ninth Region» — el arranque de la Primera Conjuración en la voz del propio texto, con la nómina de nombres de mando que viene del Heptameron: Beralanensis, Baldachiensis, Paumachiae et Apologiae, y el príncipe jefe de la sede de Apologia en la novena región

«The fifty seventh Spirit is Oso he is a great President and appeareth like a Leopard at first but after a little time he putteth on the shape of a man, his office is to make men cunning [clever] in the liberal» — quincuagesimoséptima entrada del catálogo: Oso, leopardo que luego toma figura de hombre. La frase cruza el corte de plana, con la metamorfosis completa que el texto le adjudica. Los corchetes son del aparato del volumen

«sciences and to give true Answers of Divinity and secret things, and to change a man into any shape that the Exorcist desireth that he that is so changed will not think any other thing but he that he is that Creature or thing [that] he is changed into» — continuación de esa entrada ya en la plana siguiente, y la que adjudica al catálogo la metamorfosis completa: Oso muda a un hombre en la forma que el exorcista quiera, de modo que el mudado no piense ser otra cosa que aquella criatura

«and I conjure you by him, to whom all Creatures are obedient, and by his ineffable name Tetragrammaton Jehova[h], which being heard the Elements are overturned, the air is shaken, the sea runneth back, the fire is quenched, the Earth trembleth, and all the Hosts of Celestial, Terrestrial, and Infemals do tremble and are troubled and confounded together» — el efecto cósmico que la Primera Conjuración adjudica al nombre inefable: oído Tetragrammaton Jehovah, los elementos se trastornan, el aire se sacude, el mar retrocede, el fuego se apaga, la tierra tiembla y las huestes celestiales, terrestres e infernales tiemblan. Los corchetes son del aparato del volumen

«Say this as often as you please, and if the Spirit do[es] not come, say as followeth.» — la rúbrica que articula la escalada del rito, en la voz del texto: se repite la conjuración cuanto se quiera y, si el espíritu no viene, se pasa a la siguiente

«and by the name of God Agla, which Lot heard and was saved with his family. And by the name Anephenetori which Aaron heard and spake and became wise. And by the name Scemes Amathiawhich Joshua called upon, and the Sun stood still» — continuación de esa enhebradura: Agla que Lot oyó y se salvó con su familia, Anephenetori que Aarón oyó y se hizo sabio, y Scemes Amathia que Josué invocó y el Sol se detuvo

«And by the name Emanuel which the three Children Shadrach Meseck and Abednego sung in the midst of the fiery furnace and was [were] delivered. And by the name of Alpha and Omega which Daniel names and destroys Bel and the Dragon; And by the name Zebaoth which Moses names and all the Rivers and waters in Egypt are turned into Blood; And by the name Eserchie Oriston which Moses named and all the Rivers brought forth frogs and they went» — continuación de la misma serie: Emanuel que los tres muchachos cantaron en el horno, Alfa y Omega con que Daniel destruye a Bel y al Dragón, y Zebaoth y Eserchie Oriston con que Moisés vuelve sangre los ríos de Egipto y los llena de ranas. Los corchetes son del aparato del volumen

«And by the name Primeumaton which Moses named and the Earth opened and swallowed up Corah Dathan & Abiram. [I command] that you make faithful Answers to all my demands and to perform all my desires so far as in [your] office you are capable of to perform.» — el cierre de la Segunda Conjuración: Primeumaton, con que la tierra se abrió y tragó a Coré, Datán y Abirán, y la petición de respuestas fieles hasta donde el oficio del espíritu alcance. Los corchetes son del aparato del volumen

«If they do not come yet at the Rehearsing of the two former Conjurations, but without doubt they will. Say as folioweth, it being a Constraint.» — la rúbrica que pasa del conjuro a la constricción, con la certeza que el propio texto declara: sin duda vendrán, y si no, se dice lo siguiente, que es una Constricción. El troceo imprime *folioweth* por followeth

«I conjure and constrain you Spirit N. by all aforesaid, and by these seven names which wise Solomon bound thee and thy followers in a Vessel of brass. Adonai, Preraii, Tetragrammat on, Anepheneton, Inessenfatel, Pathatumon & Itemon» — el corazón de la Constricción, que enlaza el rito con el marco del vaso: los siete nombres con que el sabio Salomón ató al espíritu y a los suyos en un Vaso de bronce. El troceo parte *Tetragrammat on*

«and if you be so disobedient and refuseth to come I will in the power and by the power of the name of the supreme Everlasting Lord God who created both you and me and all the world in six days and what is contained in it Eyesaraii, and by the power of this name Primeumaton which Commandeth the whole Host of heaven [I] Curse you and deprive you from all your office Joy and place, and bind you in the depth of the bottomless pit there to remain until the last day of the last Judgement» — la amenaza con que la Constricción cierra: maldecir al espíritu, privarlo de su oficio, gozo y lugar, y atarlo en lo hondo del pozo sin fondo hasta el día del último juicio

«If you come so far, and he yet [he] do not appear, you may be sure he is sent to some other place by his King and cannot come, and if it be so Invocate the King as followeth to send him, but if he do not come, then you may be sure he is bound in Chains in Hell and is not in the Custody of his King. So if you have a desire to call him from thence you must Release the Spirit's Chain.» — la rúbrica de diagnóstico del rito, en la voz del texto: si aun así no aparece, es que su rey lo mandó a otra parte, o que está atado en cadenas en el infierno y no en custodia de su rey, y entonces hay que soltarle la Cadena. Los corchetes y el troceo repiten *he*

«O you great mighty and powerful King Amaymon who bears rule by the power of the supreme God El, over all Spirits both Superior and Inferior of the Infernal Order in the Dominion of the East» — el arranque de la Invocación del Rey en la voz del texto: Amaymon, que manda por poder del supremo Dios El sobre todos los espíritus superiores e inferiores del orden infernal en la dominación del Este

«After you have Invocated the King in this manner twice or thrice over then Conjure the Spirit you would call forth by the aforesaid Conjurations Rehearsing them several times together and he will come without doubt if not at first, [then] the second time Rehearsing, but if he do not come Add the Spirits Chain to the end of the aforesaid Conjurations and he will be forced to Come [even] if he be bound in Chains for the m Chains will break off from him, & he will be at liberty.» — la rúbrica que cierra la Invocación del Rey: repetidas las conjuraciones, si aun así no viene se añade la Cadena del Espíritu y vendrá forzado aunque esté atado, porque las cadenas se le romperán. El troceo imprime *the m Chains*

«O thou wicked and Rebellious or disobedient Spirit (N) because thou hast rebelled and not obeyed nor regarded my words which I have rehearsed they being all glorious & incomprehensible Names of the true God Maker and Creator of you and me and all the world, I by the power of those Names which no Creature is able to resist do Curse you into the depths of the bottomless pit and there to remain until the day of doom, in Chains of fire and brimstone unquenchable, unless you forthwith appear here before this Circle in this A to do my will &c.» — la Maldición Menor o Cadena del Espíritu en la voz del texto: por el poder de los nombres que ninguna criatura resiste, se maldice al espíritu a lo hondo del pozo sin fondo en cadenas de fuego y azufre inextinguible hasta el día del juicio, a menos que aparezca

«When you have read so far, and he do[es] not come, then write his name & Seal in [on] Virgin's parchment and put it in a black box with brimstone & asafoetida and such like things that bear a stinking smell, and then bind the box up round with an iron wire, and hang it on your Sword's point, and hold it over the fire of Charcoal, and say to the fire [as follows,] first it being placed to that quarter [from which] the Spirit is to come.» — la rúbrica material que sigue a la Maldición Menor: escribir nombre y sello en pergamino virgen, meterlos en una caja negra con azufre y asafétida, atarla con alambre de hierro, colgarla de la punta de la espada y sostenerla sobre el carbón. Los corchetes son del aparato del volumen

«I Conjure thee Fire by him that made thee and all other good Creatures in the world that thou torment bum and Consume this Spirit N. into fire Everlasting because thou [the spirit] art disobedient and obeyed not my Commands» — el arranque de la Conjuración del Fuego, dirigida al elemento y no al espíritu: se conjura al fuego por quien lo hizo a atormentar, quemar y consumir al espíritu en fuego sempiterno por su desobediencia

«Let all the holy Company of Heaven Curse thee; the Sun and Moon and all the Stars, the Light and all the host of heaven curse thee into the fire unquenchable and torments unspeakable, and as thy name and Seal is contained in this box chained and bound up and [you] shall be choked in Sulphurous and stinking substance brimstone, and burnt [as your Seal is] in this material fire.» — la parte de la Maldición Mayor que suma al cielo entero: que toda la compañía santa del cielo, el Sol, la Luna, las estrellas, la luz y toda la hueste celestial maldigan al espíritu, y que él arda como arde su sello en la caja. Los corchetes son del aparato del volumen

«Here the Exorcist must put the box into the fire] And by and by he [the spirit] will come, but as soon as he is come Quench the fire that the box is in and make a sweet perfume, and give him a kind Entertainment» — la rúbrica que convierte la maldición en acto y el giro inmediato del rito: el exorcista mete la caja en el fuego, el espíritu viene, y en cuanto llega se apaga el fuego, se hace un perfume dulce y se lo acoge con amabilidad. Los corchetes son del aparato del volumen

«Behold your Conclusion [fate] if you be disobedient, Behold the ☆ Pentacle of Solomon which I have here brought before your presence. Behold the person of the Exorcist who is called Ochnomos in the midst of the Exorcism who is armed by God and without fear who potently Invocated you and called you to appearance, therefore make rational Answers to my demands and be obedient to me your Master in the Name of the Lord Bathal Rushing upon Abrack coming upon Aberer.» — la Alocución del Exorcista al Espíritu en la voz del texto: se le muestra el Pentáculo de Salomón, se le nombra al exorcista —llamado Ochnomos— como armado por Dios y sin miedo, y se le pide obediencia. Los corchetes son del aparato del volumen

«that ye forthwith appear and show yourself unto me before this Circle in a fair and human shape without any deformity or ugly shape, and without delay do you come to make rational answers unto all those things which I shall ask of you, and come ye peaceably and visibly and affably without delay manifesting what I desire» — el núcleo de la Primera Conjuración en la voz del texto: que el espíritu aparezca ante el Círculo en forma bella y humana, sin deformidad ni fealdad, y venga en paz, visible y afable, a dar respuestas racionales

«by the name and in the name of Y and U which Adam heard and spake and by the name loth which Jacob heard from the Angel wrestling with him and was delivered from the hands of Esau his brother» — el arranque de la Segunda Conjuración, que enhebra nombres divinos con el episodio bíblico en que cada uno obró: el nombre que Adán oyó y dijo, y el que Jacob oyó del ángel que luchaba con él

«And therefore I shall Excommunicate you and destroy your name and Seal which I have here enclosed in this Box and shall bum them in immortal [eternal] fire, and bury them in immortal [eternal] oblivion unless thou immediately come and appear visibly and affably, friendly and courteously here before unto me, before this Circle in this Triangle A in a fair and comely form, and in no wise horrible hurtful or frightful to me or any other Creature whatsoever upon the face of the Earth» — el núcleo de la Conjuración del Fuego: excomulgar al espíritu, destruir su nombre y sello encerrados en la caja, quemarlos en fuego inmortal y enterrarlos en olvido inmortal, salvo que venga en forma bella y sin espanto. Los corchetes son del aparato del volumen

«Now O thou Spirit N. since thou art still pernicious and disobedient, & will not appear unto me to answer to such things which I would have desired of you or would have been satisfied in &c: I do in the name and by the power and dignity of the omnipotent and immortal Lord» — el arranque de la Maldición Mayor en la voz del texto: el espíritu sigue pernicioso y desobediente y no aparece a responder. La frase cierra al otro lado del corte de plana, con el Señor Dios de los ejércitos y la maldición al lago de fuego y azufre

«God of Hosts Jehovah Tetragrammaton the only Creator of Heaven and Earth and Hell and all that in them is, who is the marvellous disposer of all things both visible and invisible Curse you and deprive you from all your office joy and place and do bind thee in the depth of the bottomless pit and there to remain until the day of the last Judgement I say into the Lake of fire and brimstone which is prepared for all Rebellious disobedient obstinate and pertinacious spirits.» — continuación de la Maldición Mayor: maldecir al espíritu, privarlo de oficio, gozo y lugar y atarlo en lo hondo del pozo sin fondo hasta el juicio final, en el lago de fuego y azufre preparado para los espíritus rebeldes

«Welcome Spirits or most noble King or Kings. I say you are all welcome unto me, because I called you through him who Created both Heaven and Earth and Hell and all that is contained in them, and you have obeyed also by the same power I called you forth by; I bind you that you remain affably & visibly here before this Circle in this A Triangle so constant and so long as I have occasion for you and not to depart without my license until you have truly and faithfully performed my will without any falsity.» — la Alocución de Bienvenida en la voz del texto, y el punto en que el rito pasa de la amenaza al pacto: se acoge al espíritu y se lo ata a permanecer visible ante el Círculo y a no partir sin licencia hasta haber cumplido

«At this point the magician should outline to the spirit the tasks he wishes him to accomplish, ensuring that they are within the remit (or office) of the spirit When the spirit has agreed to perform these things within a specific time frame, and maybe sealed or 'signed' an agreement, then the magician should licence the spirit to depart.» — la rúbrica que los editores insertan entre corchetes dentro del texto, y que es su reconstrucción del procedimiento: exponer al espíritu las tareas dentro de su oficio, acordar plazo, sellar o firmar el acuerdo y solo entonces licenciarlo

«O thou Spirit (N) because thou hast diligently Answered my Demands, and was very ready and willingly to come at my first call I do here license thee to depart unto thy proper place without doing any injury or danger to man or beast. Depart I say and be ever ready to [answer] my call being Exorcised and Conjured by the sacred Rites of Magick, I charge thee to withdraw peaceably and quietly, and the peace of God be ever continued between me and thee. Amen.» — la Licencia de Partir en la voz del texto, y la pieza en que el volumen apoya su objeción al destierro moderno: se despide al espíritu a su propio lugar sin daño a hombre ni bestia, y se deja continuada la paz de Dios entre exorcista y espíritu

«After you have given the Spirit License [to Depart], you are not to go out of the Circle till they be gone, And [until] you have made prayers to God for the great blessings he hath bestowed on you in granting your desires and delivering you from all the malice of your enemy the Devil.» — la rúbrica de cierre del rito: no salir del Círculo hasta que se hayan ido, y orar a Dios por haber concedido lo pedido y librado de la malicia del enemigo. Los corchetes son del aparato del volumen

«Note you may Command these Spirits [to enter] into the brazen vessel as you do into the Triangle. Saying [to them] that you do forthwith appear before this Circle in this Vessel of Brass in a fair and comely shape &c as is showed before in the Conjurations.» — la nota del propio texto que sostiene la tesis del volumen sobre el Vaso: se puede mandar a los espíritus al vaso de bronce igual que al Triángulo. Los corchetes son del aparato del volumen

«And in the Innermost Outermost Circle let there be drawn in the four angles the names of the Presidential Angels of the air, that day wherein you would do this work, to wit the name of the King and his three ministers. Without [outside] the Circle in [the] four Angles let Pentagons be made. In the Inner Circle let there be written 4 divine names with Crosses interspersed in the middle of the Circle; to wit towards the East let there be written Alpha, And towards the West there be written Omega, and let a Cross divide the middle of the Circle» — el remate del Círculo en la voz del texto: en los cuatro ángulos los ángeles presidenciales del aire de ese día, pentágonos fuera del Círculo, y cuatro nombres divinos con cruces, Alfa al este y Omega al oeste. El troceo imprime *Innermost Outermost*, que se consigna tal cual

«The Angels do rule the hours in a successive Order according to the Course of the Heavens and planets unto which they are subject; So that that spirit which governeth the day ruleth also the first hour of the day; the second from this governeth the second hour of the day, the third, [rules] the third hour & so [on] consequently: And when seven planets & hours have made their Revolution it returneth again to the first which ruleth the day.» — la ley de las horas planetarias en la voz del texto: el espíritu que rige el día rige también la primera hora, el siguiente la segunda, y cumplida la revolución de los siete planetas se vuelve al primero

«A year is divided into the Spring, Summer, Harvest and Winter [seasons], the names whereof are these The Spring Talvi The Summer Casmaran» — el marco de la tabla de las estaciones en la voz del texto, con los nombres propios de la primavera y del verano, Talvi y Casmaran. Los corchetes son del aparato del volumen y la frase cruza el corte de plana

«The Angels of the Spring Caratasa - Core - Amatiel - Commissaros Talvi Casmaran Ardarael FarIas The head of the sign of the Spring Spugliguel The name of the Earth in the Spring Amadai The names of the Sun & Moon in the Spring Abraim» — muestra razonada de la tabla de las estaciones, en su bloque de primavera: los cuatro ángeles, la cabeza del signo Spugliguel, el nombre de la Tierra Amadai y el del Sol Abraim. El troceo entrevera aquí las dos columnas y repite los nombres de las cuatro estaciones a media tabla

«The God of Abraham God of Isaac God of Jacob bless here the Creatures of these kinds that they may fill up the power and virtue of these odours, So that neither the Enemy nor any false Imagination be able to enter into them through our Lord Jesus Christ.» — la Bendición de los Perfumes en la voz del texto: que Dios llene esas criaturas de la virtud de sus olores, de modo que ni el enemigo ni imaginación falsa alguna pueda entrar en ellos

«The Fire which is to be used for Suffumigations is to be [kindled] in a new Vessel of Earth or Iron, and let it be Exorcised after this manner. I Exorcise thee O thou Creature of fire by him by whom all things are made; that forthwith thou cast away every phantasm from thee, that it shall not be able to do any hurt in anything.» — el Exorcismo del Fuego en la voz del texto, con su rúbrica material: vaso nuevo de barro o de hierro, y el conjuro para que el fuego eche de sí todo fantasma. Los corchetes son del aparato del volumen

«Let it be a Priest's Garment if it can be obtained, but if it cannot be had let it be of linen and clean then take this Pentacle made in the day and hour of Mercury [with] the Moon Increasing [waxing] written in parchment made of a Kid's skin. But first let there be saidthe Mass of the holy Ghost and let it be sprinkled with water of Baptism.» — la rúbrica del vestido y del Pentáculo en la voz del texto: hábito de sacerdote o lienzo limpio, y el Pentáculo hecho en día y hora de Mercurio con la Luna creciente sobre pergamino de piel de cabrito, con misa del Espíritu Santo y agua de bautismo. El troceo imprime *saidthe*

«This was the practice in times of popery but Dr Rudd omitted it saying No Mass, nor using any holy water.» — la intervención del propio Rudd dentro del texto que el volumen imprime, y uno de los pocos lugares donde su voz se separa de la del grimorio que copia: omitió la misa y el agua bendita por ser práctica de tiempos de papismo

«Ancor, Amacor, Amides, Theodonias, Anitor, by the merits of thy Angels O Lord I will put on the Garment of Salvation, that this which I desire I may bring to effect. Through thee the most holy Adonai, whose Kingdom endureth for ever and ever Amen.» — la Oración del Vestido en la voz del texto: por los méritos de los ángeles, vestirse el hábito de salvación para llevar a efecto lo que se desea

«The form of Circles is not always one and the same but used to be changed according to the order of the spirits that are to be called,» — la regla de variabilidad del Círculo en la voz del texto transcrito, la misma que los editores citan del Heptameron en su capítulo de técnica. La frase sigue al otro lado del corte de plana, con los lugares, tiempos, días y horas

«Therefore let there be made three Circles of the latitude of nine foot and let them be distant one from another [by] a hand's breadth; and in the middle Circle first write the name of the hour wherein you do the work. Secondly write the name of the Angel of the hour.» — la construcción del Círculo en la voz del texto: tres círculos de nueve pies separados por un palmo, y en el del medio, por orden, el nombre de la hora, el del ángel de la hora y su sigilo. Los corchetes son del aparato del volumen

«Ninthly, and for the completing of the middle Circle write the name of the Sun and of the moon according to the said rule of time, for as the time is changed, so the names are to be altered.» — el cierre de esa construcción, y la razón que da el texto para que ningún círculo valga para todo: los nombres del Sol y de la Luna se escriben según la regla del tiempo, porque al cambiar el tiempo cambian los nombres

«The Operator ought to be clean & purified by the space [duration] of nine days before the beginning of the work, and to be Confessed & receive the holy Communion. Let him have ready the Perfume appropriate to the day wherein he would perform the work. He ought also to have Holy water from a priest, and a new Earthen vessel with» — la preparación del operador en la voz del texto: nueve días de limpieza y purificación, confesión y comunión, el perfume del día y agua bendita de sacerdote. Los corchetes son del aparato del volumen y la frase cruza el corte de plana

«The Operator or Master ought to be purified with fasting and chastity for 9 days before he Operate. And on the day that he would do the work being clothed with pure garments and furnished with pentacles, Perfumes & and other things necessary hereunto Let him Enter the Circle, and call the Angels from the four parts of the world, which do govern the seven planets, the seven days of the week, Colours and Metals, whose names you may see in their proper places. And with bended knees Invocating Say O Angels supradicti, estote adjutores meae petitioni, & in adjutorium mihi, in meis rebus & petitionibus.» — la entrada al Círculo en la voz del texto: purificado con ayuno y castidad nueve días, vestido y provisto, llama de rodillas a los ángeles de las cuatro partes del mundo que rigen los siete planetas, los días, los colores y los metales

«O vos omnes adjuro atque Contestor per sedem Adonai, per Hagios O Theos, Ischyros, Athanatos, Paracletos, Alpha et Omega, et per haec tria nomina secreta, Agla, On, Tetragrammaton, quod hodie debeatis adimplere quod cupio.» — la fórmula latina de adjuración que el texto pone tras haber implorado los nombres del Círculo, y una de las pocas piezas que el volumen imprime sin traducir

«A Morule, Taneha, Latisten, Rabur, Escha, Aladia, Alpha et Omega, Leiste Oriston Adonai: O my most merciful Father have mercy upon me although a Sinner, make appear the arm of thy power in me this day (although [I am] thy unworthy Child) against these obstinate and pernicious spirits that by thy will may be made a contemplator of thy divine works and may be illustrated with all wisdom, and always worship and glorify thy name.» — la Oración a Dios en las cuatro partes del Círculo, en la voz del texto: el operador se declara pecador e hijo indigno y pide que el brazo del poder divino se muestre contra los espíritus obstinados y perniciosos

«I humbly Implore and beseech thee that these Spirits which I call by thy Judgement may be bound and constrained to come, and give true and perfect answers to those things which I shall ask them, and that they may declare and show unto us those things which shall be commanded them not hurting any Creature neither injuring nor terrifying me or my followers nor hurting any other Creature nor affrighting any one; but let them be obedient to my requests in all those things which I command them.» — la petición con que cierra esa oración, y el límite que ella misma pone al mando: que los espíritus vengan atados y constreñidos, respondan con verdad y no dañen ni aterren a criatura alguna

«Per Pentaculum Solomonis advocavi dent mihi Responsum verum.» — la fórmula latina que el texto manda decir en medio del Círculo con la mano hacia el Pentáculo, y que cierra la oración de las cuatro partes

«The composition is as follows: Outer Ring: The angel of the Air ruling Sunday (Varcan) and his three ministers. Middle Ring: Name of Spring (Talvi); the 4 Angels of Spring (left); First hour of day (Yayn) and its ruling Angel (Michael); Angel of Sunday (Michael again) and his seal; the angels of the day of Sunday (Dardiel and Huratapel). Inner Ring: Four godnames.» — la reconstrucción que los editores insertan entre corchetes para el lector, leyendo el diagrama del Círculo de la primera hora del domingo en primavera: anillo exterior con el ángel del aire Varcan y sus tres ministros, anillo medio con la estación, la hora y los ángeles del día, y anillo interior con cuatro nombres divinos

«The Angel of the Air ruling on the Lord's Day Varcan Rex [King]. His Ministers Sus, Andas, Cynabal. The Wind which the Angel of the Air is under. The North wind.» — el arranque del Directorio de los siete días en la voz del texto, tomado del Heptameron: el ángel del aire que rige el domingo, Varcan, sus tres ministros y el viento a que están sujetos. Los corchetes son del aparato del volumen

«Note here. That the Spirits of the Air of the Lord's Day are under the North wind, there [their] nature is to procure Gold, Gems, Carbuncles, Riches, to raise one [to a powerful position] to obtain favour and benevolence, to dissolve the enmities of men; to raise men to honours, to carry or take away infirmities.» — la naturaleza que el texto adjudica a los espíritus del aire del domingo, y muestra del formato que el Directorio repite día por día: procuran oro, gemas, carbunclos y riquezas, disuelven enemistades y levantan a honores. Los corchetes son del aparato del volumen

«From the East. Gabriel, Gabrael, Madiel, Deamiel, Janael. From the West. Sachiel, Zaniel, Habaiel, Bachanael, Cerabael. From the North. Mael, Vuael, Valnum, Baliel, Balay, Humastrau. From the South. Curaniel, Dabriel, Darquiel, Hanun, Anayl, Vetuel. The Perfume on Monday, Aloes.» — muestra razonada del Directorio en su bloque de lunes, con la nómina de ángeles del primer cielo por los cuatro puntos y el perfume del día. Se declara en Notas que los siete bloques no se citan enteros

«I Conjure and confirm upon you O you strong and good Angels in the name Adonay, Adonay, Adonay, Eie, Eie, Eie, Cados, Cados, Cados, Achim, Achim, la, la, Fortis, la, who appeared on Mount Sinai, with the glorification of the King Adonay, Saday, Zebaoth Anathay, Ya, Ya, Marinata, Abim, Ida, who created the Seas, rivers ponds and all waters» — el arranque de la Invocación del lunes en la voz del texto, muestra del formato que el Directorio repite: nombres divinos triplicados y el que apareció en el Sinaí con la glorificación del rey Adonay

«The Spirits of the Air of Monday are subject to the West wind which is the wind of the Moon, their nature is to give Silver; to Convey things from place to place, to make horses swift, and to disclose the secrets of persons both present and future, In what manner these spirits appear we have already declared at large.» — la naturaleza de los espíritus del aire del lunes: dan plata, trasladan cosas de un sitio a otro, hacen veloces a los caballos y descubren los secretos de las personas presentes y futuras

«I Conjure & Confirm upon you O you strong and holy Angels by the name Ya, Ya, Ya, He, He, He, Va, Hy, Hy, Hy, Ha, Ha, Ha, Va, Va, Va, An, An, An, Aie, El, Ay, Elibra, Eloim, Eloirnand by the names of the same high God, who made the water appear dry & called it Earth, and produced trees & herbs from it» — el arranque de la Invocación del martes en la voz del texto, con la obra de la creación que le corresponde: el Dios que hizo aparecer seca el agua y la llamó Tierra, y produjo de ella árboles y hierbas. El troceo imprime *Eloirnand*

«Spirits of the Air of Tuesday are under the East wind their nature is to raise wars mortality, death and Combustions, and to give two thousand Soldiers at a time, to bring death, Infirmities or health. The manner of their appearing we have declared before.» — la naturaleza de los espíritus del aire del martes, y la más violenta del Directorio: levantan guerras, mortandad, muerte y quemas, dan dos mil soldados de una vez y traen muerte, enfermedad o salud

«I Conjure and Confirm on you O you strong holy & potent Angels, in the name of the strong most fearful and holy Jah, Adonai, Eloim, Sadai, Eie, Eie, Eie, Asamie, Asaraie, and in the name Adonay, the God of Israel who created the great Lights [Sun and Moon] to distinguish the Day from the night» — el arranque de la Invocación del miércoles en la voz del texto, con la obra de la creación que le corresponde: el Dios de Israel que creó las grandes lumbreras para separar el día de la noche. Los corchetes son del aparato del volumen

«The Spirits of the Air of Wednesday are subject to the Southwest wind, their nature is to give all metals, to reveal all earthly things past present and to come; to pacify Judges, to give victories in battle, to Re-edify & teach experiments and all decayed [lost] sciences, and to change bodies mixed of Elements conditionally out of one into another, to give infirmities or health, to raise the poor and cast down the high ones; to bind or loose spirits; to open locks or bolts; such kind of spirits have the operation of others but not in their perfect power, but in virtue or knowledge. In what manner they appear was before declared.» — la naturaleza de los espíritus del aire del miércoles, la más larga del Directorio y la que más toca lo alquímico: dan todos los metales, enseñan experimentos y ciencias perdidas, y mudan los cuerpos mezclados de elementos de uno en otro, con el límite de que no obran en poder perfecto sino en virtud o conocimiento

«Let one of the Servants carry the earthen vessel full of fire, and the Perfumes, and let another bear the Book, another the Garment and Pentacle, and let the Master carry the Sword over which there must be said one Mass of the Holy Ghost, And on the middle of the sword let there be written this name AGLA» — el reparto de oficios en la procesión al lugar consagrado, en la voz del texto: un servidor lleva el vaso de fuego y los perfumes, otro el Libro, otro la Vestidura y el Pentáculo, y el Maestro la Espada con AGLA grabado en medio

«But because there are no Angels of the Air to be found above the fifth heaven, therefore on Thursday say the prayers, following in the four parts of the world.» — la excepción que el propio texto declara para el jueves, y que vale también para el sábado: por encima del quinto cielo no hay ángeles del aire, de modo que se dicen oraciones en lugar de nombres

«O God most wise excellent and just, and of a divine Clemency. I beseech thee most godly Father to grant me my petition that I may perfectly understand this day [how] to complete my work & labour, Thou who livest and reignestfor ever & ever Amen.» — la oración del oeste que sustituye a los nombres en el jueves: se pide al Padre entender perfectamente ese día cómo completar la obra y el trabajo. Los corchetes son del aparato del volumen y el troceo imprime *reignestfor*

«I Conjure and Confirm upon you holy Angels by the name Cados, Cados, Cados, Eschereie, Eschereie, Eschereie, Hatim ya, strong Strengthener of ages, Cantine, laynt, lanie, Anic, Calbat, Sabbac, Berifay, Alnaym, and by the name Adonay, who created the fishes and creeping things in the waters, and birds upon the face of the earth flying towards heaven [on] the fifth day» — el arranque de la Invocación del jueves en la voz del texto, con la obra de la creación que le corresponde: el Adonay que creó los peces y los reptiles de las aguas y las aves que vuelan hacia el cielo. Los corchetes son del aparato del volumen

«The Spirits of the Air of Thursday are subject to the South wind, their nature is to procure the love of women, to be merry and joyful, to pacify strife and contentions, to appease enemies, to heal the diseased, and to disease the whole, and procureth losses, or taketh them away. Their manner of appearing we have before declared.» — la naturaleza de los espíritus del aire del jueves, y la que mejor muestra el oficio doble que el Directorio repite: sanan al enfermo y enferman al sano, y procuran pérdidas o las quitan

«I Conjure and Confirm upon you Caphriel or Cassiel, Machatori and Seraquiel strong and potent Angels, and by the name Adonay, Adonay, Adonay, Eie, Eie, Eie, Acim, Acim, Acim, Cados, Cados, Cados, Ina vel Ima, Ima, Saclai, la, Sar, Lords Confirmatory of ages who rested on the seventh day: and by him who in his own good pleasure gave to the Sons of Israel unto their inheritance to be observed, that they should strictly keep and sanctify it, that they might receive hence a good reward in another world» — el arranque de la Invocación del sábado en la voz del texto, con la obra de la creación que le corresponde: el Señor que descansó el séptimo día y dio a los hijos de Israel la observancia del sábado

«The Spirits of the Air of the Sabbath day or Saturday are subject to the Southeast wind. The nature of them is to sow discords hatred evil thoughts & Cogitations to give leave freely to slay & kill every one, and to lame or maim every member. We have already declared their familiar shapes.» — la naturaleza de los espíritus del aire del sábado, la más sombría del Directorio: siembran discordias, odios y malos pensamientos, dan licencia franca para matar y para lisiar cualquier miembro

«In this Treatise you have the names of the chief Spirits with several of the ministering spirits which are under them with their Seals or Characters which are to be worn by the Exorcist as a Lamen on his breast when he Invocates, for without that the spirit that appears will not obey nor do his will.» — la declaración de contenido con que abre la Theurgia-Goetia, en la voz del texto, e instituye su regla de lamen: sin el sello al pecho el espíritu que aparezca no obedecerá ni hará la voluntad del exorcista

«The Offices of these Spirits is all one for what one can do the other can do the same, they can show and discover all things that are hid and done in the world, and can fetch and carry, and do any thing that is to be done or is contained in any of the four Elements, fire, air, earth water, also the secret of Kings or any other person or persons let it be in what kind it will.» — el oficio común que el texto adjudica a todos los espíritus de la Theurgia-Goetia: descubren todo lo escondido y lo hecho en el mundo, llevan y traen, y hacen cuanto quepa en los cuatro elementos, incluidos los secretos de reyes

«These Spirits being Aerial are by nature good and evil, that is, one part is good the other part is evil, they are governed by their Princes and each Prince hath his abode in the points of the Compass. Therefore when you have a desire to call any of the Princes or any of their servants you are to direct yourself to that point of the Compass [where] the King or Prince hath his Mansion or place of abode and you cannot err in your operations.» — la naturaleza mixta que define a la segunda parte del Lemegeton, en la voz del texto: siendo aéreos son por naturaleza buenos y malos, una parte buena y otra mala, y cada príncipe tiene su morada en un punto del compás, hacia el que hay que dirigirse

«Note every Prince is to have his Conjuration yet all [conjurations are] of one form excepting the name & place of the spirit, for in that they must change and differ. Also the Seal of the Spirits is to be changed accordingly. As for the Garments and other materials they are spoken of in the Book Goetia.» — la economía formular que el propio texto declara: cada príncipe lleva conjuración propia y todas son de una misma forma salvo el nombre y el lugar del espíritu, y el sello cambia en consecuencia. Los corchetes son del aparato del volumen

«Carmasiel is the most great and chief Emperor Ruling in the East who hath 1000 great Dukes & 100 lesser Dukes under him besides 60000000000000 Ministering spirits which are more inferior then [than] the Dukes whereof we shall make no mention but only [mention] 12 of the chief Dukes and their Seals because they are sufficient for practice.» — la primera entrada de la jerarquía de la Theurgia-Goetia, y la que declara su propia economía: el emperador del Este con mil duques mayores y cien menores, además de una cifra enorme de espíritus ministrantes que el texto no nombra porque doce duques bastan para la práctica. El troceo imprime *Carmasiel* aquí y *Carnesiel* en la conjuración

«Note that when you call any of these Dukes there never attends above [more than] 300 & sometimes not above 10.» — la acotación práctica con que el texto rebaja sus propias cifras: llamado un duque, nunca acuden más de trescientos y a veces no más de diez. Los corchetes son del aparato del volumen

«Carnesiel aphroys chemeryn mear aposyn. Layr pean noema ovear ma sere cralty calevo thorteam chameron ianoar pelyn Layr, baduson iesty melros ionatiel delassar rodivial meron savean fabelron clumarsy preos throen benarys favean demosynon laemoty chamedonton.» — muestra de las conjuraciones suplementarias que los editores reponen desde la Steganographia de Tritemio, ausentes de todas las versiones del Lemegeton: la primera del emperador del Este, en la lengua cifrada del original y sin traducción

«It is already declared in the Directory for Thursday that there are no Angels ruling the Air above the fifth heaven, therefore in the four» — la remisión interna del texto que extiende al sábado la excepción del jueves: por encima del quinto cielo no hay ángeles del aire que rijan. La frase cierra en la plana siguiente, con las oraciones del jueves en los cuatro ángulos

«Caspiel is the chiefest and greatest Emperor ruling in the South who hath 200 Great Dukes & 400 lesser Dukes under him besides 1000200000000 of ministering Spirits which are much inferior, Solomon makes mention only of 12 of the chief Dukes & their Seals. Each of these 12 Dukes have 2660 under Dukes apiece to attend them,» — la segunda entrada de la jerarquía de la Theurgia-Goetia: el emperador del Sur con doscientos duques mayores y cuatrocientos menores, de los que Salomón solo menciona doce. La frase cruza el corte de plana, donde los subordinados salen tercos y groseros

«Ameradiel is the Great Emperor of the West who hath 300 Great Dukes and 500 lesser Dukes besides 40000030000100000 other ministering Spirits more inferior to attend him where of we shall not» — la tercera entrada de la jerarquía: el emperador del Oeste con trescientos duques mayores y quinientos menores. La frase cierra en la plana siguiente, con los doce duques que bastan para la práctica. El troceo imprime *Ameradiel* aquí y *Amenadiel* en la conjuración

«Demoriel is the great & mighty Emperor of the North who hath 400 Great & 600 lesser Dukes with Servants in number 700000800000900000 under his Command to attend him whereof we shall make mention but of 12 of the chief Dukes and their Seals which» — la cuarta y última entrada de los emperadores, con la cifra de servidores más alta del texto: el emperador del Norte con cuatrocientos duques mayores, seiscientos menores y una cifra de quince dígitos de sirvientes. El escaneo imprime la entrada a una palabra por renglón

«Note; each of these Dukes hath 1140 Servants who attend them as need requireth.» — la acotación aritmética con que el texto cierra el bloque de los emperadores: cada uno de esos duques tiene mil ciento cuarenta servidores que acuden según la necesidad

«Note these Spirits are by nature evil and very false, and not to be trusted in [with] secrets, but are excellent in driving away Spirits of darkness from any that is haunted as houses.» — la advertencia del texto sobre Pamersiel y los suyos, y el único oficio que les reconoce: son por naturaleza malos y muy falsos, no se les confían secretos, y son excelentes para ahuyentar espíritus de tinieblas de una casa encantada

«as he [the Master] goeth to the consecrated place let him continually read Litanies, the servants answering [with the responses]. And when he cometh to the place where he will erect the Circle, Let him draw the lines of the Circle as is before taught, and after he hath made it, Let him sprinkle the Circle with holy water Saying Asperges me Domine. Thou shalt purge me with hyssop O Lord and I shall be clean: thou shalt wash me and I shall be whiter than» — continuación de la rúbrica de la procesión: el Maestro va leyendo letanías con las respuestas de los servidores, traza el Círculo y lo asperja con agua bendita diciendo el Asperges. Los corchetes son del aparato del volumen y la frase cruza el corte de plana

«Pamersiel is the first and chief Spirit ruling in the East under» — la primera entrada de los dieciséis Duques de la Theurgia-Goetia. La frase cierra en la plana siguiente, con los mil espíritus que han de llamarse de día y con gran cuidado por altivos y tercos

«Camesiel who hath 1000 Spirits under him which are to be called in the Day time but with great care for they are very lofty and stubborn, whereof we shall make mention [of] but of Eleven.» — continuación de esa entrada ya en la plana siguiente, y la que fija el régimen horario del bloque: los mil espíritus de Pamersiel se llaman de día y con gran cuidado, porque son muy altivos y tercos

«To call forth Pamersiel or any of these his Servants make a Circle in the form as is showed in the Book Goetia foregoing in the upper room of your house, or in a place that is airy because these spirits that are in this part [of the Theurgia-Goetia] are all of the air.» — el Método de Llamar de la Theurgia-Goetia en la voz del texto, y la razón que da para el lugar: círculo como el del libro Goetia, en el cuarto alto de la casa o en sitio aireado, porque estos espíritus son todos del aire. El volumen imprime este método otra vez, en la plana 349, dentro de los extractos del Sloane MS 3824; se cita aquí, en su primera aparición. Los corchetes son del aparato del volumen

«You may [alternatively] call the spirits into a Crystal stone four Inches [in] Diameter, set on a Table made as followeth which is called the secret Table of Solomon, having his seal on your breast and the girdle about your waist as is showed in the Book Goetia.» — continuación del Método: cristal de cuatro pulgadas sobre la Mesa llamada Tabla secreta de Salomón, con el sello al pecho y el ceñidor a la cintura. Los corchetes son del aparato del volumen y el método se repite en la plana 349

«When you have thus got what is to be prepared, Rehearse the Conjuration several times i.e. whilst the Spirit comes for without doubt he will come. Note the same method is to be used in all the following spirits of the second book Theurgia Goetia, also the same [method is used] in Calling forth the four Kings and their Servants aforesaid.» — cierre del Método, con la certeza que el texto declara: repetida la conjuración mientras el espíritu viene, sin duda vendrá, y el mismo método vale para todo el segundo libro y para llamar a los cuatro Reyes. Los corchetes son del aparato del volumen y el método se repite en la plana 350

«The [primary] Conjurations are at large [at length] set down at the end of the Theurgia Goetia.» — la remisión interna del texto que explica por qué las conjuraciones no van con cada entrada: están puestas por extenso al final de la Theurgia-Goetia. Los corchetes son del aparato del volumen

«Pamersiel, anoyr madriel through the service ebra sothean abrulges itrasbiel. And nadres ormenuitules rablion hamorphiel.» — muestra de las conjuraciones que los editores reponen desde la Steganographia: la de Pamersiel, donde el cifrado de Tritemio deja asomar tres palabras inglesas, *through the service*, en medio de la lengua ininteligible

«The second Spirit in order [of rank] under [Camesiel] the Emperor of the East is Padiel, he Ruleth in the East and by Southas King and Governeth 10000 Spirits by day and 20000 by night, besides several thousands under them they are all naturally good and may be trusted.» — la segunda entrada de los Duques, y la que fija el reparto día y noche: Padiel manda diez mil espíritus de día y veinte mil de noche, todos naturalmente buenos y de fiar. Los corchetes son del aparato del volumen

«Solomon saith these Spirits have no power of themselves but what is given them by their Prince Padiel, therefore he hath made no mention of any of their Names because if any of them be called they cannot appear without the leave of their prince Padiel as is declared before of Pamersiel.» — la razón que el texto adjudica a Salomón para no nombrar a los servidores de Padiel: no tienen poder propio sino el que su príncipe les da, y no pueden aparecer sin su licencia

«The 3rd Spirit in Order under the [Camesiel] Emperor of the East is Camuel who Ruleth as King in the South East parts of the world and hath several Spirits under his Command whereof we shall make mention of ten that belongs to the day and as many as belong to the night and each of these have ten Servants to attend them Excepting Camiel, Citgara, Apuiel, Calym, Dobiel, and Maras for they have 100 a piece to attend them, but Tediel, Moziel, and Tugaros they have none at all; they appear all in a very beautiful form and very courteously in the night as well as in the day» — tercera entrada de los Duques, muestra de cómo el texto reparte los servidores de modo desigual: Camuel tiene diez de día y diez de noche, seis de ellos con cien servidores cada uno y tres sin ninguno, y todos aparecen en forma hermosa y cortés. Los corchetes son del aparato del volumen

«The fifth Spirit in Order is Barmiel he is the first and chief Prince under Caspiel Emperor of the South, he governeth in the South as King under Caspiel, and hath ten Dukes for the day and 20 for the night to attend him to do his will, they are all very good and willing to obey the Exorcist: where of we shall make mention but of Eight that belongs to the day and as many for the night with their Seals for they are sufficient for practice. Note every [one] of these Dukes hath 20 Servants apiece to attend them when they are called, Except the four last for the night they have none. Those Spirits of the Day must be called in the day, & those of the night in the Night.» — quinta entrada de los Duques, y la que enuncia la regla horaria de todo el bloque: los espíritus del día se llaman de día y los de la noche de noche

«The 6th Spirit in order (but the second under [Caspiel] the Emperor of the South) is Gediel who Ruleth as King in the South and by west, who hath 20 Chief Spirits to serve him in the day and as many for the night, and they have many Servants at [their] Command whereof we shall make mention but of Eight of the chief spirits that belong to the Day and as many of those that belong to the night who have twenty Servants a piece to attend them when they are called forth to appear, they are very loving and courteous and willing to do your will.» — sexta entrada de los Duques, muestra del formato pleno: Gediel manda veinte espíritus jefes de día y otros tantos de noche, y el texto nombra ocho de cada uno con veinte servidores cada uno. Los corchetes son del aparato del volumen

«The Eight Spirit in order but the 4th under [Caspiel] the Emperor of the South is called Maseriel who ruleth as King in the Dominion of the West and by South, and hath a great number of [spirits] under him to attend to do his will. Solomon mentions 12 Spirits that belong to the day, & 12 Spirits that belong to the night, they are all good by nature and are willing to do your will in all things. Each spirit hath 30 Servants, those that belong to the day are to be called in the day, and those for the night are to [be] called in the night.» — octava entrada de los Duques, muestra de la regla horaria que el bloque repite: los doce espíritus de Maseriel del día se llaman de día y los doce de la noche de noche, y cada uno tiene treinta servidores. Los corchetes son del aparato del volumen

«The 12th Spirit in Order (but the fourth under [Amenadiel] the Emperor of the West) is Cabariel he hath 50 Dukes to attend on him in the day and as many for the night under whom are many Servants to attend on them; whereof we shall make mention of but ten of the chief Dukes that belongs to the day and as many for the night, and every one of them hath fifty servants to give attendance when their Masters are called. Note these Dukes that belong to the day are very good and willing to obey their Masters and are to be called in the day time; And those of the night are to be called in the night time, they are by nature evil & disobedient and will deceive you if they can.» — duodécima entrada, y la que mejor muestra la naturaleza mixta de este libro: los duques diurnos de Cabariel son buenos y obedientes, y los nocturnos malos y desobedientes y engañarán a quien puedan. Los corchetes son del aparato del volumen

«The 13[th] Spirit in order (but the first under Demoriel the Emperor of the North) is called Rasiel, he ruleth as King in the North, and hath 150 Dukes for the day and as many for the night to attend him and they have many servants under them again for to do their will &c, whereof we shall mention 16 Chief Dukes that belong to the day because they are by nature good and willing to obey, and but only 14 belong to the night because they are by nature evil and stubborn & disobedient & will not obey.» — decimotercera entrada, donde el propio texto explica por qué nombra distinto número de día y de noche: de Rasiel cita dieciséis duques diurnos porque son buenos y obedientes, y solo catorce nocturnos porque son malos, tercos y desobedientes. Los corchetes son del aparato del volumen

«The fourteenth Spirit in order (but the second under [Demoriel] the Emperor of the North) is Symiel who Ruleth as King in the North and by East who hath ten Dukes to attend on him in the day time, and a thousand in the night, and every one of them hath a certain Number of servants whereof we shall make mention of the ten that belongs to the day and ten of those that belongs to the night, and those of the day are very good and not disobedient as those of the night for they are stubborn and will not appear willingly.» — decimocuarta entrada, con el reparto más desigual del bloque: Symiel tiene diez duques de día y mil de noche, y los nocturnos son tercos y no aparecen de buen grado. Los corchetes son del aparato del volumen

«Observe the Planetary notion [motion] in calling forth the two first that belong to the day, for the two first that belong to the day are to be called in the first planetary hour of the day, and the two next in the second planetary hour of the day and so on successively till you have gone through the day to the night, and through the night, till you come to the first of the day again.» — la regla horaria más detallada de todo el bloque, en la entrada de Dorochiel: los dos primeros duques del día se llaman en la primera hora planetaria, los dos siguientes en la segunda, y así de corrido por el día y la noche hasta volver al primero. El texto repite la fórmula más adelante; se cita aquí, en su primera aparición. El troceo imprime *notion* por motion

«The fifteenth Spirit in order (but the third under [Demoriel] the Emperor of the North) is Armadiel who Ruleth as King in the North East part and hath many Dukes under him besides their Servants whereof we shall make mention of 15 of the chief Dukes who hath 260 Servants to attend them these Dukes are to be called in the day & night dividing the same into 15 parts beginning at the Sun Rising with» — decimoquinta entrada de los Duques, y la que reparte el tiempo de otro modo: los quince duques de Armadiel se llaman dividiendo el día y la noche en quince partes desde la salida del sol. Los corchetes son del aparato del volumen y la frase cruza el corte de plana

«Un this place we are to give you the understanding of Eleven mighty potent Princeswith their Servants who wander up and down in the air and never continue [stay] in one place, whereof one of the chief and first is called Geradiel who hath 18150 Servants to attend him for he hath no Dukes nor Princes therefore he is to be Invocated alone, but when he is called there comes a great Number of his Servants with him, but more or less according to the planetary motion hour of the day or night he is called in.» — el marco de los once Príncipes Errantes en la voz del texto, y lo que los distingue de los dieciséis Duques: vagan por el aire y nunca permanecen en un lugar. Geradiel no tiene duques ni príncipes y se invoca solo. El troceo imprime *Un* por In y *Princeswith*

«These next [and second] of those wandering Spirits is Prince Buriel who hath many Dukes and other Servants which do attend on him to do his will, they are all by nature evil & as are hated of all other spirits» — segunda entrada de los Errantes, y la más hostil del libro: los de Buriel son por naturaleza malos y odiados por todos los demás espíritus. Los corchetes son del aparato del volumen

«they appear roguish and [manifest] in the form of a serpent with a Virgin's head and speaketh with many [different] voices, they are to be called in the night because they hate the day» — la forma y el horario que el texto adjudica a los de Buriel: serpiente con cabeza de virgen que habla con muchas voces, y se los llama de noche porque odian el día. Los corchetes son del aparato del volumen

«They appear in the form of a serpent with a Serpent's head and face yet they are very Courteous and willing to obey, they delight most in & about water and all moist grounds.» — el hábitat que el texto adjudica a los de Hydriel, tercero de los Errantes, y muestra de que este bloque los caracteriza por lugar: se deleitan en el agua y en los terrenos húmedos

«The fourth in order of these wandering Princes is called Pyrichiel, He hath no Princes nor Dukes but Knights whereof we shall make mention of Eight of the chief [Knights] they being sufficient for practice, who have 2,000 Servants under them, they are to be called according to the planetary motion [hours]; they are all good by nature, and will do your desires willingly.» — cuarta entrada de los Errantes, y la única de todo el libro cuyo séquito son caballeros: Pyrichiel no tiene príncipes ni duques sino ocho caballeros con dos mil servidores. Los corchetes son del aparato del volumen

«The fifth wandering Prince is called Emoniel who hath 100 Princes and chief Dukes besides 20 other Dukes and multitudes of Servants to attend them Whereof we shall mention twelve of the chief Princes or Dukes who hath 1320 Dukes and other inferior servants to attend them, they are all by nature good and willing to obey. They are to be called in the day as well as in the night, and according to the Planetary order. It is said they Inhabit in woods.» — quinta entrada de los Errantes, con el hábitat que el texto le adjudica y la reserva con que lo dice: se dice que habitan en los bosques

«The Sixth wandering Spirit & Prince is called Icosiel who hath 100 Dukes and 300 Companies besides other Servants which are more inferior, whereof we have taken 15 of the chief Dukes for practice they being sufficient and they have 2200 Dukes and servants to attend on them. They are all of a good nature and will do what they are commanded, they appear mostly in houses because they delight most there. They are to be called in the 24 hours of the day and night, that is to be divided the 24 hours into 15 parts according to the number of spirits beginning at the first at Sun rise and end at Sun rising the next» — sexta entrada de los Errantes, con su hábitat y su reparto horario: los de Icosiel aparecen sobre todo en las casas porque es donde más se deleitan, y se llaman dividiendo las veinticuatro horas en quince partes de salida a salida del sol. La frase cruza el corte de plana

«The seventh of these wandering Spirits and Princes is called Soleviel who hath under his command 200 Dukes and 200 Companies who changeth every year their places, they have many to attend them. They are all very good, and very obedient and here we shall mention twelve of the chief Dukes where the first Six are Dukes one year and the other six the next [year] following and so rule in order to serve their Prince, who have under them 1840 Servants to attend on them, they are all to be called in the day as well as in the night, according to the planetary motion [hours].» — séptima entrada de los Errantes, y la que introduce la rotación anual: los doscientos duques de Soleviel mudan de lugar cada año, y de los doce nombrados los seis primeros mandan un año y los otros seis el siguiente. Los corchetes son del aparato del volumen

«The Ninth wandering Spirit [or Prince] in Order is called Macariel who hath 40 Dukes besides many other Inferior Servants to attend him. Whereof we shall mention twelve of the chief Dukes who have 700 Servants to attend them, They are all good by nature and willing to do the will of the Exorcist, they appear in divers forms but mostly» — novena entrada de los Errantes: los doce duques de Macariel son buenos y aparecen en diversas formas. La frase cierra en la plana siguiente, en la forma de dragón con cabeza de virgen. Los corchetes son del aparato del volumen

«The tenth wandering Spirit [or Prince] in Order is Called Uriel who hath ten chief Dukes and 100 Under Dukes with many servants to attend him, they are all by nature evil and will not obey willingly and are very false in their doings, they appear in the form of a Serpent with a fiery Virgin's head and face.» — décima entrada de los Errantes, y la segunda más hostil del libro: los de Uriel son por naturaleza malos, no obedecen de buen grado, son muy falsos en sus tratos y aparecen como serpiente con cabeza de virgen ígnea. Los corchetes son del aparato del volumen

«The Eleventh and last Prince of this wandering Order is called Bidiel who hath under his Command Twenty chief Dukes and two hundred other Dukes more inferior besides very many Servants. These Dukes changeth every year their Office [specialities] and place, they are all good and willing to obey the Exorcist in all things and they appear very beautiful in human shape whereof we shall mention here ten of the chief Dukes who ereof have 2400 servants to attend them.» — undécima y última entrada de los Errantes, con la segunda rotación anual del libro: los duques de Bidiel mudan cada año de oficio y de lugar, son todos buenos y aparecen muy hermosos en figura humana. El troceo imprime *who ereof*

«The ninth Spirit in order is (but the first under [Amenadiel] the Emperor of the West) is called Malgaras he Ruleth as King in the» — novena entrada de los Duques, muestra del desglose desigual de servidores que el bloque repite. La frase cruza el corte de plana. Los corchetes son del aparato del volumen

«For in the 2 first hours of the day (according to the planetary motion) and the 2 second hours of the night there come 470 of his servants» — el arranque de la escala horaria de comitiva que el texto adjudica a Geradiel: en las dos primeras horas del día y las dos segundas de la noche acuden cuatrocientos setenta de sus servidores. La frase cruza el corte de plana

«with him, & in the two second hours of the day and in the two and in the two third hou hours of the night there comes 590 of his Servants with him, and in the two third hours of the day and in the two fourth hours of the night there comes 930 of his Servants with him; and in the two fourth hours of the day and in the two fifth hours of the night there comes 1560 of his servants. And in the two fifth hours of the day and in the 2 sixth hours of the night there comes 13710 of his Servants, and the sixth or last hours of the day there comes 930 of his Servants and they are all indifferently good by nature and will obey in all things willingly.» — continuación de esa escala, donde el número crece hasta trece mil setecientos diez y el texto cierra llamándolos indiferentemente buenos. El troceo repite *in the two* y parte *hou hours*

«I Conjure thee O thou Mighty & potent Prince Bidiel who wandereth here and there in the air with thy Dukes and other of thy servants. I conjure thee Bidiel that thou forthwith appear with thy attendants in this first hour of the day here before me in this Crystal Stone or here» — la Conjuración de los Príncipes Errantes en la voz del texto, muestra del formato único que sirve para los once: se los llama a comparecer con su séquito en la primera hora del día. La frase cruza el corte de plana

«I Conjure thee O thou mighty and potent Prince Pamersiel who Ruleth as King in the Dominion of the East under the great Emperor Carnasiel Conjure thee Pamersiel that forthwith thou appear with thy attendants in this first hour of the day here before me in this Crystal Stone or here before me in this Circle in a fair & Comely shape to do my will in all things that I shall ask of you &c. Observe this mark * and [then] go on.» — la Conjuración de los Príncipes de los Cuartos en la voz del texto, con la marca que el propio manuscrito usa para no repetir el cuerpo de la fórmula. Los corchetes son del aparato del volumen y el troceo salta el *I* de *I Conjure thee Pamersiel*

«To the Wandering Dukes, how to call them forth or any other Dukes that do not wander, only leaving out wandering here and there &c and only say for Princes say Dukes.» — la instrucción de adaptación que el texto da para su única fórmula: para los duques que no vagan se quita el *wandering here and there* y se dice Duques donde dice Príncipes

«I Conjure & Command and Constrain you Spirit N. by Alpha and Omega, and by the name Primeumaton which commandeth the whole host of heaven and by all those names which Moses named when he by the power of those Names brought great plagues upon Pharaoh and all the people of Egypt» — el cuerpo de la conjuración general de la Theurgia-Goetia, que reproduce la enhebradura bíblica del primer libro: Primeumaton que manda la hueste del cielo, y los nombres que Moisés nombró al traer las plagas sobre Faraón

«When he is appeared Show him the seal and pentacle of Solomon Saying behold the Pentacle of Solomon which I have brought before your presence as is showed in the first Book Goetia at the latter End of the Conjurations, also when you have had your desire of the Spirit, License him to depart as is showed in the Book Goetia.» — la rúbrica de cierre de la Theurgia-Goetia, que remite en todo al primer libro: mostrar el Pentáculo de Salomón al aparecido y licenciarlo a partir como allí se enseña

«This [book] is divided into two Parts; the first part of the Angels of the hours of the day and night. The Second Part of the Angels of the signs of the Zodiac as hereafter follows.» — la partición de la Ars Paulina en la voz del texto: primera parte de los ángeles de las horas del día y de la noche, segunda de los ángeles de los signos del zodiaco. Los corchetes son del aparato del volumen

«Observe also in making the Seals of the 24 Angels according to the time of your day & hour that is you call the Angel or his Servants to do your will but you cannot [make a] mistake therein if you do but observe the example that is laid down in the following work they being all fitted for the tenth day of March being on a Wednesday in the year 1641, according to the old Account, and to know what is attributed to the seven planets do refer you to the Books of Astrology whereof large volumes have been written.» — la rúbrica de los sellos de la Ars Paulina y el dato de datación que el propio texto imprime: sus ejemplos están calculados para el diez de marzo de 1641, miércoles, según la cuenta vieja

«When the Seals are made according to the former directions lay it [them] on the Table of Practice upon that part of the Table that is noted [inscribed] with the Character that the Lord of that Ascendant is of. Then lay your hand on the Said Seal and say the Conjuration that is [written] at the latter end of the third part for it serves for all [of the conjurations] only changing their names according to the time of the work. The Perfumes are to be made of such things as are attributed to the seven planets.» — la rúbrica de uso que cierra el preámbulo: poner el sello sobre la Mesa de Práctica en la parte marcada con el carácter del señor del ascendente, poner la mano encima y decir la conjuración del final, que sirve para todo. Los corchetes son del aparato del volumen

«The nature of these twenty four Angels of the day and night changeth every day, and their offices is to do all things that is Attributed to the seven planets but that changeth every day also as for Example you may see in the following Treatise that the Angel Samael Ruleth the first hour of the day beginneth at Sun rising Suppose it be on a Monday in the first hour of the day (that hour is attributed to the Moon) that you Call Samael or any of his Dukes their office in that hour is to do all things that is attributed to the Moon» — la ley que gobierna la Ars Paulina en la voz del texto, y la que hace de ella el libro del tiempo: la naturaleza de los veinticuatro ángeles cambia cada día, y su oficio es hacer lo atribuido al planeta de esa hora, de modo que Samael hará cosa de Luna llamado el lunes a la salida del sol

«but if you call him or any of his Servants Dukes on Munday Tuesday morning at Sun rising, being the first hour of the day their office is to do all things that are attributed to Mars, and so the like [same] Rule is to be observed in the first hour of every day and the like is to be observed of the Angels and their servants that Ruleth any of the other hours either in the day or night.» — continuación de esa ley con el segundo término del ejemplo: llamado el martes a la salida del sol, el mismo ángel hará lo atribuido a Marte, y la regla vale para toda hora del día y de la noche. El troceo deja *Munday Tuesday*, con la corrección del copista sin tachar

«Now to make a Seal for any of those Eight Dukes or their chief princes Do as follows. First write the Character of the [planet which is] Lord of the Ascendant. Secondly the Moon afterwards the rest of the Planets, and then the Character of the Sign that ascends on the 12th house in that March A[nn]o 1641 being on a Wednesday & the first hour of the Day.» — la rúbrica de fabricación del sello en la Ars Paulina: primero el carácter del señor del ascendente, luego la Luna, después el resto de los planetas y el signo que asciende en la casa doce, para marzo de 1641 en miércoles. Los corchetes son del aparato del volumen

«when you have a desire to work on the second house on Wednesday on the tenth of March, Make a Seal as was showed before in clean paper or parchment, writing first the Character of the Lord of the Ascendant then the rest of the Planets and the sign of the 12th house as you see in the sigil, and when it is made lay it on that part of the Table that hath the same Character as the Lord of the Ascendant is of, Observe this rule in all the rest.» — la rúbrica de colocación del sello, que el texto instituye como regla general: hecho en papel o pergamino limpio, se pone en la parte de la Mesa que lleva el mismo carácter que el señor del ascendente

«The ninth hour of the day is called Karron and the Angel Ruling it is called Vadriel who hath many Dukes both of the greater and lesser order besides many other servants which is more Inferior, whereof ten of the great and 100 of the lesser Dukes hath 192890 Servants in ten Orders to obey and serve them whereof we shall mention the names of five of the great Dukes and ten of the lesser who hath 650 Chief Servants to attend on them in this hour they being sufficient for practice.» — novena hora del día, muestra de la aritmética desbordada de la Ars Paulina: diez duques mayores y cien menores con ciento noventa y dos mil ochocientos noventa servidores en diez órdenes, de los que el texto solo nombra quince

«The Eleventh hour of every night is called Aulacho and the Angel governing it is called Dardariel who hath many Dukes and Servants whereof we shall mention fourteen of the chief Dukes and seven of the next lesser Orders who hath 420 servants to attend them they are all good Spirits and obey God's Laws.» — undécima hora de la noche, y el único lugar de la Ars Paulina donde el texto califica moralmente a los espíritus de una hora: los de Dardariel son todos buenos y obedecen las leyes de Dios

«And that you would be favourably pleased that I may have thy familiar friendship and constant society both now and at all other times when I shall call thee forth to visible appearance to inform and direct me in all things that shall seem good and lawful unto the Creator and thee» — la petición que distingue a la Ars Paulina del primer libro: no un mandato sino la amistad familiar y la sociedad constante del ángel, para que informe y dirija en cuanto parezca bueno y lícito al Creador y a él mismo

«whose Power and virtue is most effectual for the Calling [of] you forth, and Commanding you to transmit your rays visibly and perfectly unto my sight and your voice to my ears in and through this Crystal stone; That I may plainly see you and perfectly hear you speak unto me.» — el corazón de la misma conjuración, y la fórmula que liga la Ars Paulina con la práctica del cristal: que el ángel transmita sus rayos visible y perfectamente a la vista y su voz al oído a través de la piedra de cristal. Los corchetes son del aparato del volumen

«The first hour of every day is ruled by an Angel called Samael who» — primera entrada de la Ars Paulina, muestra del formato que las veinticuatro repiten. La frase cierra en la plana siguiente, con los ocho duques jefes y los cuatrocientos cuarenta y cuatro servidores

«O thou mighty great and potent Angel Samuel who Ruleth in this first hour of the day. I the Servant of the most High God do conjure and entreat thee servant of the most Omnipotent & immortal God ofHostjs] Jehovah Tetragrammaton and by the name and in the name of that God that you owe obedience to, and by the head of your Hierarchy, And by the Seal or mark you are known in power by; And by the seven Angels that stand before the throne of God» — el arranque de la Conjuración única de la Ars Paulina, que sirve para las veinticuatro horas: se conjura al ángel por el nombre del Dios a quien debe obediencia, por la cabeza de su jerarquía y por su sello. El troceo imprime *Samuel* por Samael y *ofHostjs*

«The Eight hour of the Night is called Ximalim and the Angel ruling it is called Narcoriel who hath 101550 Dukes and other servants spirits to attend him being divided into twelve Degrees whereof we shall mention twelve Dukes of the first order and six of the next they being sufficient for practice in this hour» — octava hora de la noche, muestra de la aritmética que la segunda mitad de la Ars Paulina repite hora por hora: ciento un mil quinientos cincuenta duques y sirvientes repartidos en doce grados, de los que el texto nombra dieciocho

«This second Part contains the mystical names of the Angels of the Signs [of the Zodiac] in general, and also the Angels of every degree of the Signs in general which [are] called the Angels of men, Because that in some one of these signs and degrees every man is born in, therefore he that knows the minute of his birth, [thus] he may know the name of the Angel that governs him; And therefore he may attain to all Arts and Sciences, yea to all the wisdom and knowledge that any man at all can desire in this world.» — la declaración de contenido de la segunda parte de la Ars Paulina en la voz del texto, y la promesa que la distingue: quien sepa el minuto de su nacimiento sabrá el nombre del ángel que lo gobierna, y por él alcanzará todas las artes y ciencias. Los corchetes son del aparato del volumen

«The Ancient Philosophers have taught how a man may know the nature of a [personal angel or] Genius whether good or bad from the Influx [influences] and aspects of the stars of his Geniture [birth date]. Porphyrius seeks after it from the star that was Lord or Lady of the Geniture. Chaldeans find it out from the [the position of the] Sun or the Moon in his Nativity located.» — las tres vías que el texto adjudica a los antiguos para conocer el genio propio: la influencia de los astros de la natividad, la estrella señora del tema según Porfirio, y el Sol o la Luna según los caldeos. Los corchetes son del aparato del volumen

«A threefold Daemon attends every man, one is his proper keeper, One indeed is holy, the other belongs to his geniture or Nativity. The holy Daemon proceeds not from the stars but from a supreme power, even from God who himself is the president of Daemons, and descends to the Rational Soul being assigned thereto, and is universal above Nature's conception.» — la doctrina del daimon triple que el texto enuncia, y de las pocas piezas doctrinales del volumen que no son rúbrica: a cada hombre le asisten tres daimones, y el santo no procede de los astros sino de Dios, presidente de los daimones, y desciende al alma racional

«But the Daemon of the Birth or Geniture which is also called the Genius, this Genius doth descend to the Birth [of the child] from the disposition of the stars [in] their Circuits round the world, who are Conversant [involved] in the generation.» — el segundo de los tres daimones: el del nacimiento o genio, que desciende al niño por la disposición de los astros en sus circuitos. Los corchetes son del aparato del volumen

«The Daemon of the profession or Calling of the Native is given from the stars to which such a profession or calling is subject to which any man professes, and the Soul shall make choice of. But this Daemon is changed as any man changes his Calling, from a mean one to a more sublime [one] accordingly [the Daemon will be] more worthy and sublime. Daemons are present with us according as we daily ascend from one virtue to another, And these Daemons do further take care to defend us.» — el tercero de los tres daimones, y el único que el texto declara mudable: el del oficio o llamamiento, que cambia cuando el hombre cambia de vocación, y se hace más digno y sublime conforme se asciende de virtud en virtud

«These be the twelve Seals which are attributed to the twelve Signs & the 360 Angels or Geniis aforesaid.» — el marco de los doce sellos de los signos en la voz del texto, que cierra la segunda parte de la Ars Paulina: los doce sellos valen para los trescientos sesenta ángeles o genios. Los corchetes son del aparato del volumen

«The Second Seal [of Gemini] Make this Seal of ☉ 3i. ☽ 3i. Melt them together when the Sun enters Gemini and make a Lamen thereof when the Moon is in Leo or Pisces.» — muestra razonada de los doce sellos zodiacales, que son recetas metalúrgicas con su tiempo astrológico: el segundo se funde de oro y plata al entrar el Sol en Géminis y se hace lamen con la Luna en Leo o en Piscis. Los corchetes son del aparato del volumen

«This Seal make of ☼ when he enters Leo then after when Jupiter is in Pisces Engrave the first figures, and [then] the other side when the Moon is in Pisces it must not come into the fire but once when it is melted.» — segunda muestra de esos sellos, y la que trae la única prohibición técnica del bloque: el tercero se graba por una cara con Júpiter en Piscis y por la otra con la Luna en Piscis, y no ha de entrar al fuego más que una vez

«Make this Seal of pure ♃ in the hour of the Sun entering Sagittarius and engrave it in the hour of ♃. this Seal is to be hung in a silver ring.» — tercera muestra de esos sellos: el quinto se hace de Júpiter puro en la hora en que el Sol entra en Sagitario, se graba en hora de Júpiter y se cuelga de un anillo de plata

«So when you know the Angel that governs the sign and degree of your Nativity and having the Seal ready, that belongs to the sign and degree as is showed before, then you are next to understand what Order he [the Genii] is of and under what prince as is showed here in this following part.» — la rúbrica que ata las dos mitades de la Ars Paulina: sabido el ángel que rige el signo y el grado de la natividad, y hecho su sello, queda saber de qué orden es y bajo qué príncipe

«Note that those Angels that are attributed to the fire hath more knowledge therein than any other, and so likewise of the [Angels of the] air and water. And to know which belongs to the fire, Earth, air or Water. Observe the nature of the Signs and you cannot err» — la regla elemental que el texto añade para los ángeles del zodiaco: los del fuego saben más de lo suyo que los demás, y lo mismo los del aire y el agua, y basta observar la naturaleza de los signos. Los corchetes son del aparato del volumen

«Secondly those Genii that are attributed to Taurus, Virgo and Capricorn are of the Earthly Region and are governed by Uriel who hath three princes to attend him viz: Asaiel, Sachiel and Cassiel, therefore these Genii which are attributed to him, and these signs are to be observed in the West, They appear like Kings having Green and Silver Robes, or like little Children or women delighting in hunting. They are to be observed on Saturday [day of Saturn] at the first and eighth hours of the day, and the third and tenth hours of the night, in these hours you are with privacy to obtain your desires, directing yourself towards the west as aforesaid.» — segunda región: los terrestres bajo Uriel con tres príncipes, hacia el Oeste, en horas del sábado, con hábitos verdes y de plata, o como niños o mujeres que se deleitan en la caza

«Thirdly those Genii that are attributed to Gemini Libra and Aquarius are of the airy Region whose Sovereign Prince is called Raphael who hath under him two Princes which are called Seraphiel and Miel. Therefore those Genii who are attributed to him, and those signs are to be observed towards the South on a Wednesday [day of Mercury] the first and eighth hours of the day, and at night the third & tenth hours. They appear as Kings or beautiful young men in Robes of diverse colours but most comely like women transcendentally handsome by reason of their admirable whiteness and beauty.» — tercera región: los aéreos bajo Rafael con dos príncipes, hacia el Sur, en horas del miércoles, como reyes o jóvenes hermosos con hábitos de diversos colores. Los corchetes son del aparato del volumen

«Fourthly and lastly those Genii that are attributed to Cancer Scorpio and Pisces are of the watery Region and are governed by Gabriel who hath under him three mighty princes viz: Samael, Madiel and Mael. Therefore these Genii that are attributed to those signs are to be observed on Monday [day of the Moon] towards the North at the first and eighth hours of the day and at night at the third and tenth hours. They appear like Kings having Green and silver robes like little Children or Women delighting in hunting.» — cuarta región: los acuáticos bajo Gabriel con tres príncipes, hacia el Norte, en horas del lunes; y el texto les da la misma descripción de figura que a los terrestres, sin armonizar la repetición. Los corchetes son del aparato del volumen

«Or otherwise thus Those Genii that are of the Order of fire are to be observed in the Summer, and those of the Earth in Autumn, and those of the air in Spring, and those of the water in Winter.» — la versión simplificada de la misma regla, en la voz del texto: los del fuego en verano, los de la tierra en otoño, los del aire en primavera y los del agua en invierno

«Their Office is to do all things that are just and not against the Laws of the great God Jehovah, but what is for our good and what shall concern the protection of our Lives our being & well being, and the doing good to and obliging our Neighbours.» — el límite moral que el texto pone al oficio de los genios, y el pasaje que más aparta a la Ars Paulina de la Goetia: hacen lo justo y no contra las leyes de Dios, y lo que toca a la protección de la vida y al bien del prójimo

«Now if his Genius be of the fire [triplicity, then] his demands must be for the Conservation of his body and person, that he may receive no hurt from or by any fire, arms or guns or the like. And having a Seal suitable ready prepared, he is to wear it when he hath a desire to see his Genius, that he [the Genius] may confirm it to him [the operator]; That for the time to come he may not fail of his assistance & protection on any occasion.» — la demanda que el texto adjudica al genio ígneo: la conservación del cuerpo y de la persona frente al fuego, las armas y las armas de fuego, con el sello puesto para que él la refrende. Los corchetes son del aparato del volumen

«But if his Genius be Aerial, He reconciles men's natures increase love and affection between them and causeth the deserved love of Kings and princes, and secretly promotes marriages, and therefore he that hath such a Genius before he observe him should prepare a Seal suitable to his order that he may have it Confirmed by him in the day & hour of observation whereof he shall see strange and wonderful effects.» — la demanda que el texto adjudica al genio aéreo: reconcilia las naturalezas de los hombres, aumenta el amor y el afecto, procura el amor merecido de reyes y príncipes y promueve en secreto los matrimonios

«And when the time is come that you would See your Genius, turn your face to that quarter [of the sky] the sign is [located in] And that with prayers to God, they being composed to your fancy but suitable to the matter in hand, There thou shalt find him; and having found him Sincerely acknowledge him, do your duty, then will he, as being benign and sociable Illuminate your mind taking away all that is obscure and dark in thy memory, and make you knowing in all Sciences sacred and divine in an instant.» — la promesa con que el texto cierra la doctrina del genio: hallado y reconocido, por ser benigno y sociable ilumina la mente, quita lo oscuro de la memoria y hace saber todas las ciencias sagradas y divinas en un instante

«A form of Prayer which ought to be said upon that Coast or quarter where the Genius is several times it being an Exorcism to call the Genius into the Crystal Stone. Note this prayer may be altered to the mind of the worker for it is here set for an Example.» — la licencia que el propio texto concede sobre su fórmula, rara en un grimorio: la oración puede alterarse al gusto de quien obra, porque va puesta solo como ejemplo

«O thou great and blessed N. my Angel Guardian vouchsafe to descend from thy holy mansion which is Celestial, with thy holy influence and presence into this Coelestiall [Crystal] Stone; that I may behold thy glory an enjoy thy society aid and assistance both now and forever hereafter» — la Oración al Ángel Guardián en la voz del texto: que descienda de su mansión celeste a la piedra de cristal para que quien ora contemple su gloria y goce de su sociedad, ayuda y asistencia. Los corchetes son del aparato del volumen

«O thou that are higher than the fourth heaven and knows the secrets of Elanel, thou that rides upon the wings of the wind, and art mighty & potent in thy Celestial and superlunary motion do thou descend and be present I pray thee, and I humbly desire and entreat thee that if ever I have merited thy society; or if any of my actions or intentions be real and pure and sanctified before thee; bring thy external presence hither and converse with me one of thy submissive people, in and by the name of the great God Jehovah whereunto the whole Quire [Choir] of Heaven sings continually O! mappa=la=man Hallelujah Amen» — el cierre de la misma oración, con la fórmula que el texto pone en boca del coro del cielo y que el troceo imprime con signos de igual: el ángel que cabalga en las alas del viento y sabe los secretos de Elanel

«When you have said this Prayer several times as Occasion serves; You will at last see strange sights and passages in the stone, and at last you will see your Genius; then give him a kind entertainment [greeting], as you were before directed, Declaring unto him your mind, and what you will have done.» — la rúbrica de resultado con que cierra la Ars Paulina: dicha varias veces la oración se verán vistas y pasos extraños en la piedra y al fin el genio, a quien se acoge con amabilidad y se le declara lo que se quiere. Los corchetes son del aparato del volumen

«By this Art Solomon attained great wisdom from the Chief Angels that governs the four Altitudes of the World, for you must observe there are four Altitudes which represents the four Comers of the world East, West, North and South, the which are divided into twelve parts, that is every part [is divided into] three [Zodiacal signs]. And the Angels of every [one] of these Altitudes have their particular Virtues and powers as shall be showed hereafter.» — la declaración de contenido del Art Almadel en la voz del texto: por este arte alcanzó Salomón gran sabiduría de los ángeles jefes que gobiernan las cuatro Altitudes del mundo, divididas en doce partes de tres signos cada una. Los corchetes son del aparato del volumen

«And of this same wax there must be made four Candles and they must be of the same colour as the Almadel is of. Note divide the wax into three parts one for to make the Almadel of, and the other parts to make the Candles of & let there come forth of every one of them a foot made of the same wax to Support the Almadel with, this being done, in the next phase you are to make a Seal of pure Gold or Silver but Gold is better whereon must be Engraved these three names Helion, Helluion, Adonai.» — el resto de la receta: la cera se divide en tres, una para la tablilla y las otras para las cuatro velas, de cada una de las cuales sale un pie que sostiene el Almadel, y un sello de oro o de plata con tres nombres grabados

«First those Genii that are attributed to Aries, Leo and Sagittarius are» — arranque del reparto de los genios en cuatro regiones. La frase cierra en la plana siguiente, con la primera región bajo Miguel y la observancia hacia el Este

«of the first Region, and [this] is governed by Michael the great Angel who is one of the chief Messengers of God which is towards the East, therefore these Genii are to be observed in the first hour of a Sunday [day of the Sun] and at the 8th hour, also at the third and tenth hour [of the night]: Directing yourself towards that quarter; They appear in Royal robes, holding Sceptres in their hands, oft[en] riding on a Lion or a Cock. Their robes are of a red and saffron Colour, and most Comely, they assume the shape of a Crowned Queen, and very beautiful to behold.» — primera de las cuatro regiones en que la Ars Paulina reparte los genios, muestra del formato que las cuatro repiten: los ígneos van bajo Miguel, se observan hacia el Este en horas determinadas del domingo, y aparecen con cetro sobre un león o un gallo, o como reina coronada. Los corchetes son del aparato del volumen

«So in the next place you are to observe the season of the year according to the constellation of the Celestial bodies. Otherwise we shall lose all our Labour. For if a Genius be of the Igneal Hierarchy it's in vain to observe him in any other season but when the Sun enters those signs which are of his nature that is Aries Leo and Sagittarius. So» — la regla estacional que el texto añade a la horaria: un genio ígneo se observa solo cuando el Sol entra en sus signos, o de lo contrario se pierde todo el trabajo. La frase cruza el corte de plana

«Make this Almadel of pure white wax (but the others must be colours suitable to the Altitude). It is to be four square and six Inches and in every Corner a hole, and write betwixt every hole with a new pen these words or names of God following (but this is to be done in the day and hour of Sol) write upon the first part towards the East Adonai,» — la receta del Almadel en la voz del texto: tablilla cuadrada de cera blanca pura de seis pulgadas con un agujero en cada esquina, y nombres divinos escritos con pluma nueva en día y hora del Sol. La frase cruza el corte de plana

«Note the first Altitude is called Chora Orientis or the East Altitude, and to make any experiment in this Chora it is to be done in the day & hour of the Sun and the power and office of those Angels is to make all things fruitful and Increase both Animal and vegetable in Creation and generation advancing the birth of Children and making barren women fruitful, and their names are these viz. Almiel Gabriel, Borachiel, Lebes and Hellison.» — la primera de las cuatro Choras en la voz del texto, con el oficio que la distingue de las otras tres: los ángeles del Este hacen fructificar y crecer lo animal y lo vegetal, adelantan el nacimiento de los niños y hacen fecundas a las mujeres estériles

«Note you must not pray for any Angel but those that belong to the Altitude you have a desire to Call forth; And when you Operate set the four Candles upon four Candlesticks, but be careful you do not light them before you begin to operate, then lay the Almadel between the four Candles upon the waxen feet that comes from the Candles, And lay the Golden Seal upon the Almadel and having the Invocation ready written in Virgin's parchment, Light the Candles and read the Invocation.» — la regla de exclusividad que el texto instituye para el Almadel y su rúbrica material: no se ora a otro ángel que el de la Altitud que se llama, y las cuatro velas no se encienden hasta empezar

«And when he is appeared, he appeareth in the form of an Angel carrying in his hand a Fan or flag having the picture of a white Cross upon it, his body being wrapped round about with a fair Cloud, and his face very fair and bright, and a Crown of Rose flowers upon his head.» — la aparición del ángel de la primera Chora, muestra del formato que las cuatro repiten: figura angélica con un abanico o bandera con una cruz blanca pintada, el cuerpo envuelto en nube y corona de rosas

«Then you must Answer him saying I desire that all my requests may be granted and what I pray for may be accomplished, for your office makes appear and declares that such is to befulfilled by you, if it please God.» — la respuesta que el texto pone en boca del operador, y el límite que lleva dentro: que se cumplan sus peticiones porque el oficio del ángel lo declara, si place a Dios. El troceo imprime *befulfilled*

«But if he do not appear presently you must then take the Golden seal and make with it three or four marks upon the Candles by which means the Angel will presently appear as aforesaid. And when the Angel departs he will fill the whole place with a sweet and pleasant smell which will be smelt [for] a long time.» — el remedio y la señal de partida que el texto adjudica al Almadel: tres o cuatro marcas con el sello de oro sobre las velas si el ángel tarda, y un olor dulce y agradable que queda mucho tiempo. Los corchetes son del aparato del volumen

«Note that the [same] Golden seal will serve and is to be used in all the operations of all the four Altitudes. The Colour of the Almadel belonging to the first Altitude or Chora is Lily white. And the second Chora a perfect red Rose Colour, the third Chora is to be green mixed with white silver Colour. The fourth Chora is to be a black mixed with a little Green of a sad colour.» — la tabla de colores de las cuatro Choras en la voz del texto: blanco de lirio la primera, rojo de rosa perfecto la segunda, verde mezclado de blanco plateado la tercera, y negro mezclado de un poco de verde apagado la cuarta. Los corchetes son del aparato del volumen

«Note all the other three Altitudes with their Signs and Princes have power over goods and riches and can make any man rich or poor. And as the first Chora gives increase and makes fruitful, so these give decrease and barrenness» — la partición de oficios entre las Choras, y la simetría que el texto declara: la primera da aumento y fecundidad, y las otras tres disminución y esterilidad, y pueden hacer rico o pobre a cualquiera

«But do not pray for anything that is contrary to the nature of their office or against God and his Laws, but what God giveth according to the Custom or Course of nature, that you may desire and obtain» — el límite que el texto pone a lo que cabe pedir a las Choras: nada contrario a su oficio ni contra Dios y sus leyes, sino lo que Dios da según el curso de la naturaleza

«The Angels of this Chora or Altitude are named viz. Eliphaniasai, Gelomiras, Gedobenai, Saranava and Elomnia, they appear in [the] form of Children or little women dressed in Green and silver Colour very delightful to behold, and a Crown of Bays beset with flowers of white and Green Colours upon their heads, and they seem to look a little downward with their faces. They speak as the others do to the Exorcist, and leaves a mighty sweet Perfume behind them.» — la aparición de los ángeles de la tercera Chora: niños o mujercitas vestidos de verde y plata, con corona de laurel entreverada de flores blancas y verdes, y la mirada un poco hacia abajo

«And the Angels of this Chora are called Barchiel, Gediel, Gobiel, Deliel and Captiel. They appear in [the] form of little men or boys with Clothes of a black colour mixed with a dark green, and in their hands they hold a bird which is naked, & their heads compassed round with a bright shining of diverse colours. They leave a sweet smell behind them also but [it] differs from the others something.» — la aparición de los ángeles de la cuarta Chora, y la única del bloque con un atributo en la mano: hombrecillos o muchachos de negro mezclado de verde oscuro, con un pájaro desnudo en las manos y las cabezas ceñidas de un resplandor de diversos colores

«Note there are twelve Princes ruling besides these in the Altitudes, and they distribute their office among themselves every one ruling thirty days or thereabouts every year. Now it will be in vain to call any of those Angels unless it be them that governs them, For every Chora or Altitude hath its limited time according to the twelve signs of the Zodiac and in that sign the Sun is in, that or the Angel that belongs to that sign hath the government.» — la ley temporal del Almadel en la voz del texto: doce príncipes más reparten el oficio entre sí a razón de treinta días al año cada uno, y es vano llamar a un ángel fuera del signo en que está el Sol

«But the Altitudes have a name formed severally in the substance of heaven even as a Character, for when the Angels hear the names of God that is attributed to them, they hear it by virtue of that Character. Therefore it is in vain to call any angel or spirit Unless he knows what Names of God to call him by.» — la razón última que el texto da a toda su onomástica, y de las pocas piezas doctrinales del Almadel: las Altitudes tienen nombre formado en la sustancia del cielo como un carácter, y los ángeles oyen los nombres de Dios por virtud de ese carácter, de modo que es vano llamar a un ángel sin saber por qué nombres de Dios llamarlo

«O thou great blessed and glorious Angel of God (N) who Ruleth and is the first and chief governing Angel in the first Chora or Altitude in the East, I the servant of the same your God Adonai, Helomi and Pine whom you do obey, and is the distributor and disposer of all things both in heaven, Earth and hell do Invocate Conjure and Entreat thee (N) that thou forthwith appear in the virtue and power of the same God Adonai, Helomi and Pine. And I do Command thee by him whom you do obey and is set over you as King by the divine power of God.» — la Invocación del Almadel en la voz del texto: se conjura al ángel de la primera Chora por los tres nombres divinos del Este, Adonai, Helomi y Pine, a quienes él obedece

«The Angel of the second Altitude appeareth in the form of a young Child with Clothes of satin and of a red rose Colour having a Crown of» — la aparición del ángel de la segunda Chora: niño vestido de raso rojo de rosa. La frase cierra en la plana siguiente, con la corona de claveles rojos y el rostro vuelto al cielo

«red Gilly flowers upon his head his face looks upward towards heaven and is of a red colour and is compassed round about [surrounded] with a bright splendour or the beams of the Sun, and before [he] departs, he speaks unto the Exorcist saying, I am your friend and brother and illuminates the Air round about with his splendour and leaves a pleasant smell which will last a long time.» — continuación de esa aparición ya en la plana siguiente, y la única de las cuatro Choras en que el ángel se declara amigo y hermano del exorcista antes de partir. Los corchetes son del aparato del volumen

«As for Example Suppose I would call the two first of the five [angels] that belongs to the first Chora, then choose the first Sunday in March after the Sun hath entered Aries, and then I make my Experiment. And so do the like if you will the next Sunday after again. And if you will call the two second that belongs to the first Chora, then you must take» — el ejemplo con que el texto instruye la ley temporal del Almadel: los dos primeros de los cinco de la primera Chora se llaman el primer domingo de marzo tras entrar el Sol en Aries. La frase cruza el corte de plana. Los corchetes son del aparato del volumen

«Therefore O thou blessed Angel (N) be friendly unto me so far as God shall give you power in office to perform, whereunto I move you in power and presence to appear, that I may sing with holy Angels O Mappa la man Hallelujah. Amen When he is appeared give him or them a Kind entertainment [welcome], and then ask what is just and lawful, and that which is proper and suitable to his office and you shall obtain it.» — el cierre del Almadel en la voz del texto, con el límite que pone a lo que cabe pedir: se acoge al ángel con amabilidad y se le pide lo justo y lícito y propio de su oficio. Los corchetes son del aparato del volumen

«And who hath likewise given to Man, a Sovereign power over all sublunar Spirits, both Aerial, Terrestrial & otherwise Elemental, residing in Orders & Mansions proper, Er other wandering Spirits out of Orders or Mansions proper, both of Light & Darkness, Er also Infernal Spirits, & subjected them to his Obedience & Service, whensoever he shall Command, Constrain, Call forth & move them to visible appearance, in order thereunto.» — la consecuencia que esa oración saca de tal antropología, y que es el fundamento doctrinal de todo el volumen: Dios dio también al hombre poder soberano sobre los espíritus sublunares, aéreos, terrestres, errantes e infernales, y los sujetó a su obediencia. El troceo imprime *Er* por el ampersand del manuscrito

«The Lord bless us & keep us, the Lord make his Face shine upon us, & be gracious unto us: the Lord lift up his Countenance upon us, & give us his Peace.» — la bendición sacerdotal de Números con que el Longobardus cierra su oración de apertura, antes de pasar a la invocación de los tres demonios gobernantes

«O All you Spirits of great power L:B:S: [Lucifer, Beelzebub, and Sathan] unto whom By Orders & Offices, as Messengers of wrath, & Ministers of divine Justice, the Execution of God's Judgement are committed, & accordingly at his Commandment by you fulfilled, on all sublunar things, Creatures & places whatsoever & wheresoever he shall decree and appoint the same to be inflicted» — el arranque de la invocación de los tres demonios gobernantes, ausente de los manuscritos aceptados del Lemegeton: los llama por orden y oficio mensajeros de la ira y ministros de la justicia divina, a quienes se encomienda ejecutar el juicio de Dios. Los corchetes son del aparato del volumen

«And otherwise also & against sundry & many other times, preordained you by Orders & Offices, to serve & assist the Sons of men, living upon Earth, Servants of the most high God, whensoever you shall be invoked, moved, requested, commanded & constrained thereunto» — el segundo oficio que esa invocación adjudica a Lucifer, Belcebú y Satán, y que es lo que permite llamarlos: están preordenados por orden y oficio a servir y asistir a los hijos de los hombres siervos del altísimo Dios cuando se los invoque

«We do Exorcise, Conjure, Command, Constrain & move you, O all you Spirits L:B:S: [Lucifer, Beelzebub, and Sathan] to subject all Spirits whatsoever, from the Superior to the Inferior, that have place & Residence in any, or all, & every of your several & respective Orders or Mansions, or that shall be otherwise under your power, government & Command unto us, & our Invocations, Conjurations & Constringations.» — el mando efectivo de esa invocación, y la razón por la que el volumen la imprime: se ordena a los tres gobernantes que sujeten a todos los espíritus de sus órdenes y mansiones a las invocaciones del operador. Los corchetes son del aparato del volumen

«as to [not] seduce, subvert & seek to destroy them by your evil Temptations, or any other vile, subtle, crafty insinuations & illusions:» — la cláusula de salvaguarda de esa misma invocación, con la restitución de los editores entre corchetes: que los espíritus sirvan y no seduzcan, subviertan ni busquen destruir a los hombres con malas tentaciones ni con insinuaciones e ilusiones sutiles

«And to show forth unto us true & visible signs, foregoing [foreshadowing] their coming & appearance. And to make true & faithful Answers unto us, & also to reveal, discover & show forth unto us, the very truth & certainty of all such our purposeful matters & things in question, & to fulfil, perform & accomplish unto us, all these our demands & Requests, as lyeth here before us. And also furthermore, as in the content of our Invocations, Conjurations & Constringations, shall more fully & at large be declared & expressly rehearsed: speaking plainly unto us, so as that we may both hear & understand them.» — lo que esa invocación exige además de la comparecencia: señales verdaderas y visibles que anuncien la llegada, respuestas fieles y habla clara que se pueda oír y entender. Los corchetes son del aparato del volumen

«O most high, Immense, Immortal, Incomprehensible, and Omnipotent Lord God of Hosts, the only Creator of Heaven & Earth, & of all things contained therein; who, amongst all other admirable works of the Creation, hast made Man, according to the express Image of thy self, dignifying him with more divine, Celestial & Sublime Excellency, & superior part and participation, cohering with the most high & sacred Godhead, Angels, Heavens, Elements, & Elemental things» — el arranque de la oración del Longobardus, en la voz del Sloane MS 3824, y la antropología que el volumen recupera de él: Dios hizo al hombre a su imagen expresa y lo dignificó con una excelencia más divina, celeste y sublime

«given him an Imperial Sovereignty, over all Sublunar things in the Creation, both Animal, Vegetable, Mineral & Elemental: and next even to thy self under the Heavens, as a benefit and prerogative proper only to Man, & to no other Creature» — continuación de esa antropología: soberanía imperial sobre todo lo sublunar, animal, vegetal, mineral y elemental, y el segundo lugar bajo los cielos, como prerrogativa propia solo del hombre

«may at the reading & rehearsal of our Invocations, Conjurations & Constringations, & by thee commanded, Er compelled, & constrained, obediently and peaceably to move & appear visibly, in fair & decent Form & Shape, Er in no wise hurtful, dreadful, terrible or affrightful» — el núcleo de la petición del Longobardus: que los espíritus de luz y de tinieblas y las potencias infernales se muevan y aparezcan en forma bella y decente y de ningún modo dañina, temible ni espantosa. El troceo imprime *Er* por el ampersand del manuscrito

«A General Invocation, Conjuration or Constringation, moving and calling forth, any particular Aerial, Terrestrial, or other Elemental or» — el marco de la Invocación General del Sloane MS 3824, que declara su propio alcance: sirve para cualquier espíritu aéreo, terrestre o elemental. La frase cruza el corte de plana, donde suma a los infernales y a los errantes

«and by the Name of Gin, which Noah heard & spake, after he was delivered from the Flood» — el eslabón que la Invocación General del Sloane MS 3824 añade a la enhebradura bíblica de la Goetia, y que no está en ella: el nombre que Noé oyó y dijo tras ser librado del Diluvio

«And by the Name Bume, by the virtue & power whereof the Sea parted in sunder, And by the efficacy of that Name, at the rehearsing whereof the Waters was divided, And by the mighty power of that great Name, at the speaking whereof, the Stones burst & relented.» — tres eslabones más que esta invocación añade a la serie: el nombre por cuya virtud se partió el mar, aquel cuyo recitado dividió las aguas, y aquel a cuya pronunciación reventaron y cedieron las piedras

«And by the virtue & power of those Names, whereby Solomon called forth, constrained, bound, enclosed or shut up Spirits Elbrach, Ebanher, Agla, Goth, loth, Othie, Venoch, Nabrach» — los nombres que la invocación adjudica al acto fundador del propio libro: aquellos con que Salomón llamó, constriñó, ató, encerró o cerró a los espíritus

«Now therefore O you Spirit N: prepare ye & be not obstinate, refractory or pertinacious, but come ye away forthwith & immediately from your Orders, or from what Mansion, Element, Angle, part or place of residence, or else wheresoever you are in, or at this present shall, or may, either chance by, or otherwise by divine or superior command or appointment happen to be, & depart ye not from our presence & commands, until ye have fully & effectually fulfilled our desires, in all fidelity reality & truth, without any delay, fraud, guile, or illusion whatsoever.» — el mando central de la Invocación General: que el espíritu venga de su orden, mansión, elemento, ángulo o lugar de residencia y no se aparte hasta haber cumplido con fidelidad, realidad y verdad

«Move therefore & come away, in the name of the Omnipotent, Everliving & true God Helioren, & appear as aforesaid visibly here before us, in these Names Aye Saraye, Aye Saraye, Aye Saraye, make haste & defer not your coming, in & through these Names Eloye, Archima Rabur and obey your Master who is called Octinomos.» — el nombre con que esta invocación llama al operador, y que en la Goetia sale como Ochnomos: se manda al espíritu obedecer a su Maestro llamado Octinomos

«In this following Treatise you have 31 names of chief Spirits, with several of the Ministering Spirits which are under them, with their Seals or Characters, which is to be worn as a Lamen on your breast, for without that the Spirit that is appeared will not obey you to do your Will, &c.» — la declaración de contenido de la Segunda Parte del Arte del Rey Salomón, en la voz del Sloane MS 3824: treinta y un espíritus jefes con sus ministrantes, y el sello al pecho sin el cual el aparecido no obedece. Es el mismo texto que el volumen imprime como Theurgia-Goetia, con otro título

«These Spirits Naturally are both good and Evil (that is to say) one part of them is good, & the other part of them is Evil; They are all commanded, and all Subject, governed & ruled by their Princes, & each said Prince resideth in that Mansion & place of abode, in the true point of the Compass, which is at large fixed compassed & showed forth, in the following Scheme or figure.» — la naturaleza mixta enunciada en la versión del Sloane MS 3824, que el volumen imprime junto a la del Harley y sin armonizar las dos redacciones: una parte de ellos es buena y la otra mala, y cada príncipe reside en su punto del compás

«The Form of the Figure which discovers the Orders of the 31 Kings or Princes, with their Servient Ministers, for when the King is found, his Subjects are easier to be found out, & so conversed withal.» — la razón que el Sloane MS 3824 da a su rosa de los vientos, y que la versión del Harley no enuncia así: hallado el rey, sus súbditos se hallan con más facilidad y se conversa con ellos

«Carnesiell is the most great & chief Emperor Ruling in the East, who hath 1000 great Dukes, and a 100 lesser Dukes under him, beside 5000000000000 of Ministering Spirits, which is more inferior than the Dukes whereof we shall make no mention but only of twelve of the chief Dukes & their Seals, because they are sufficient for practice.» — la entrada del emperador del Este en la versión del Sloane MS 3824, y la divergencia numérica que el volumen deja sin armonizar: aquí sus ministrantes son cinco billones y en la versión del Harley sesenta. El troceo imprime *Carnesiell* aquí y *Camesiel* dos renglones después

«Note Camesiel when he appears day or night, attends him 60000000000000 Dukes, but when you call any of these Dukes, there never attends above 300, & sometimes not above 10 &c.» — la cifra que el Sloane MS 3824 adjudica a la comitiva del emperador del Este y su rebaja inmediata: lo acompañan sesenta billones de duques, y llamado uno de esos duques nunca acuden más de trescientos y a veces no más de diez

«We Conjure thee O thou mighty & potent Prince Camesiel, who is the Emperor & chief Commander ruling as King in the Dominion of the East, who has Rule by the power of the Supreme God El, over all Spirits both Superior & Inferior, belonging to the Infernal Orders.» — el arranque de la conjuración del emperador del Este en la versión del Sloane MS 3824, en primera persona del plural donde la del Harley va en singular: manda por poder del supremo Dios El sobre todos los espíritus de los órdenes infernales

«that thou O Spirit Camesiel, forthwith come forth & appear unto me here before this Circle, in a fair & comely form: & shape, without doing any harm to me, or any other Creature, this Place or any other part or place in the World, and answer truly & faithfully to all our Requests, that we may accomplish our Will or desire, in knowing or obtaining any matter or thing, which by Office you know, if belonging to your Orders, or proper for you to perform or to accomplish, through the power of God El, who created & disposeth of all things both Celestial Aerial Terrestrial & Infernal.» — el mando de esa conjuración y el límite que lleva dentro: que aparezca en forma bella y decente sin hacer daño a nadie ni a lugar alguno del mundo, y responda con verdad a lo que sea propio de su oficio. El troceo imprime *PrimaVmaton*

«I a Presidential Spirit called by name called Padiel, residing & serving under B Carnesiel a King of the Angle or Mansion of the West, at the Command of the Sovereign head of my Orders, and on my own accord, by the virtue power & force of Invocation on that behalf, do firmly & solidly bind & oblige my self by these present, Visibly to appear, in fair & decent Form, unto A:B and C:D or either of them, at all times & in all places, whensoever & wheresoever, I shall of them, or either of them [be] called forth & moved thereunto; either in a Glass Receptacle or otherwise out of it, as the Condition or Occasion of any matters in question or Operation shall properly or necessarily require.» — el arranque del Contrato con el Espíritu Padiel, la pieza del Sloane MS 3824 que el volumen declara inédita: el propio espíritu se obliga por escrito a aparecer en forma bella y decente ante dos personas designadas, en el receptáculo de vidrio o fuera de él. El troceo repite *called*

«You may perceive by this Figure, that 20 of these Kings hath fixed Mansions, the Eleven is moveable, sometimes in one place, & sometimes in another, & other times together. Therefore you may stand with your Face, which way you please, when you call any of» — el reparto entre fijos y móviles en la versión del Sloane MS 3824: veinte reyes tienen mansión fija y los once son movibles, ora en un lugar ora en otro y otras veces juntos. La frase cruza el corte de plana

«And I the said Spirit Padiel, do also yet further & more especially bind & oblige my self, unto A:B & C:D or either of them as aforesaid, in by & through the truest & most especial name of my God, & by the principal head of my Orders, & by his Seal & Character & the virtue thereof, at the sight of which all Spirits in their several & respective degrees, Orders & Offices, do therein accordingly serve, honour & obey.» — el cuerpo del Contrato con Padiel: el espíritu se obliga por el nombre más verdadero de su Dios, por la cabeza principal de sus órdenes y por su sello, a cuya vista todos los espíritus sirven, honran y obedecen según su grado

«I the said Spirit Padiel do firmly & faithfully promise to appear visibly unto A:B & C:D or either of them, in manner & form as aforesaid, & to make true & faithful answers, unto all & every their or either of their demands & requests» — el núcleo del mismo contrato, y el pasaje que el volumen opone al pacto diabólico de la Inquisición: quien se obliga por escrito es el espíritu y no el mago

«Dr Rudd in Harley MS 6482 draws together the threads of the Goetia, the couterpointing of angels and demons, and Dee's magical practice. By bringing these together in one place you can see clearly how the techniques are complementary. In fact Rudd achieves the synthesis that Mathers was striving for, without the addition of Freemasonic and lodge rituals, keeping strictly to the evocation and invocation of 'spiritual creatures.'» — la tesis que los editores sostienen sobre el Apéndice 3, y su comparación con Mathers: Rudd junta la Goetia, el contrapunto de ángeles y demonios y la práctica de Dee, y logra la síntesis que Mathers buscaba sin añadir rituales masónicos ni de logia

«The difference is that in Rudd's manuscript they are written in Hebrew, but in the Sloane manuscripts just mentioned are written in English. In Rudd they are drawn around the Table of Practice, rather than the floor Circle, and they are obviously meant to contain the spirit in the crystal or glass receptacle.» — la diferencia que los editores fijan entre el testimonio de Rudd y los Sloane: en Rudd los nombres van en hebreo y dibujados en torno a la Mesa de Práctica y no al círculo del suelo, con lo que sujetan al espíritu en el cristal

«Where Dee simply places initials in the complex Tablets, Rudd expands them in full, and it is no surprise that this expansion reveals the names of spirits from the Goetia. Whether or not Dee intended this is difficult to tell, but Rudd expands Dee's letter 'b' into Botis, Buer, Bathin, Balam, Belial, and other spirits beginning with that letter.» — el hallazgo que los editores adjudican a Rudd sobre las Tablas Planetarias de Dee: donde Dee pone iniciales, Rudd las despliega, y el despliegue saca nombres de espíritus de la Goetia, de modo que la b da Botis, Buer, Bathin, Balam y Belial

«It does seem possible that Dee used abbreviations for what might otherwise have been embarrassing demon names on his Holy Table.» — la conjetura que los editores proponen sobre ese hallazgo, con su reserva declarada: que Dee abreviara lo que de otro modo habrían sido nombres demoníacos embarazosos en su Mesa Santa

«Not only does Rudd expand the letters, but he also interprets the numbers on these tables to indicate the number of times each spirit should be invocated. It would be interesting to know if Dr Rudd generated this interpretation, or if he was working from one of Dee's notebooks which has subsequently been lost.» — la segunda intervención que los editores adjudican a Rudd y la deuda que declaran: interpreta los números de las tablas como el número de veces que ha de invocarse a cada espíritu, y no saben si la lectura es suya o de un cuaderno perdido de Dee

«Robert Turner believes that Dr Rudd's interpretation of Dee's Table is wrong.» — la objeción de tercero que los editores consignan sin arbitrar, justo tras exponer la lectura de Rudd: Robert Turner la tiene por equivocada

«The 'Schemhamphoras' list of 72 angels is laid out in full on folios 21v-28. In each case, the appropriate invocatory Latin and English Psalm is given, with both the Hebrew and English spelling of the Shem ha-Mephorash angel. These are also used on the sigils of each of the 72 demons in the present volume. Thus it is clear that this part of Harley MS 6482 is meant as a summary of the ingredients of the Goetia which follows in Harley MS 6483.» — el argumento codicológico con que los editores atan los dos manuscritos: la lista de los setenta y dos ángeles del Harley MS 6482, con su salmo latino e inglés, es la misma que va en los sellos de este volumen, de modo que esa parte del 6482 resume los ingredientes de la Goetia del 6483

«The Names of the Some of the Good and Bad Spirits Solomon Made Use of which are mentioned in Enoch's Seven Tables, with a true account of their shapes, powers, government and effects, with their several seigniories and degrees.» — el rótulo con que Rudd encabeza su lista de sesenta y un espíritus en el Harley MS 6482, en su voz y no en la de los editores: buenos y malos de que Salomón se sirvió, mencionados en las Siete Tablas de Enoc. El troceo imprime *the Some of the*

«BAEL, a King which is of the power of the East, appeareth with three heads, the first like a toad, the second like a man, third like a cat, speaketh with a hoarse voice. He maketh a man go invisible. He hath under his government 66 Legions.» — segunda muestra de la misma lista, y su divergencia con la entrada goética del propio volumen: aquí Bael tiene tres cabezas, de sapo, de hombre y de gato, mientras que en la Goetia aparece como gato, como perro o como hombre. Las dos versiones se consignan sin armonizar

«The BL catalogue entry for Harley MS 6483, the manuscript here transcribed, states that "Some of these spirits are in Enoch's Tables described in the former volume..." We have therefore extracted those» — la razón que los editores dan al Apéndice 3, y el dato de catálogo del que parte: la entrada de la British Library dice que algunos de estos espíritus están en las Tablas de Enoc descritas en el volumen anterior. La frase cruza el corte de plana

«This is a consummate extension of Dee's work and confirmation that the skrying crystal or glass receptacle on the Table of Practice needed as much protection as the main circle itself. In practice the spirit/ demon more often manifests in the glass than in the Triangle, but both venues should always be made available to it. It also shows that the» — la lectura con que los editores cierran el cotejo de la Tabula Sancta: el cristal sobre la Mesa de Práctica necesitaba tanta protección como el círculo mayor, y el espíritu se manifiesta más a menudo en el vidrio que en el Triángulo. La frase cruza el corte de plana

«ASTAROTH, a great and strong Duke coming forth in the shape of a foul Angel, sitting upon an infernal Dragon, carrying in his right hand» — muestra razonada de la lista de sesenta y uno de Rudd. La frase cierra en la plana siguiente, donde Astaroth dice que no cayó por su propia voluntad, cosa que la entrada goética del mismo volumen no dice

«He answers truly to matters present and to come, and of their fall. He saith he fell not by his own accord. He maketh a man wonderfully learned in the liberal sciences. He ruleth 40 Legions.» — continuación de esa entrada, y su divergencia más notable con la Goetia del mismo volumen: aquí Astaroth dice que no cayó por su propio acuerdo. Las dos versiones se consignan sin armonizar

«VALEFOR, is a strong Duke, appears in the shape of a lion and the head of a thief. He is very familiar with them to whom he maketh himself acquainted, that he may bring them to the gallows.» — muestra de la misma lista donde la maldad del espíritu se dice más crudamente que en la Goetia: Valefor se hace familiar de quien trata para llevarlo a la horca

«These demons may be analysed according to their source and function as follows:» — el renglón con que Rudd cierra su lista de sesenta y uno y anuncia un análisis por fuente y función; el análisis anunciado cae en el hueco de planas que el troceo no trae

«The Apostles observed the Jewish custom of praying at the third, sixth and ninth hour of the day and at midnight (see Acts 10:3, 9; and 16:25). The Christian prayers of that time consisted of almost the same elements as the Jewish. There is a parallel in the Muslim observance of five prayer times per day. The main difference being that Muslim prayer times are to be observed by all Muslims, whereas the Christian observance was mainly confined to the cloister or the monastery.» — el paralelo litúrgico que los editores trazan, y su límite: los apóstoles siguieron la costumbre judía de orar a las horas tercera, sexta y novena y a medianoche, hay paralelo en las cinco oraciones musulmanas, y la observancia cristiana quedó sobre todo en el claustro

«This item is really just a summary of the names used in the illustrations of equipment in the Goetia, together with an Oration which may be a curse directed at anyone who might be tempted to steal the original manuscript. It is likely to be just one practitioner's notes, and is only appended to two manuscripts of the Lemegeton, Sloane MS 2731 and Sloane MS 3648. Our present manuscript Harley MS 6483 omits it completely. Nevertheless for the sake of completeness, we have reproduced it here in full.» — lo que los editores dicen del llamado Ars Nova y la decisión editorial que declaran: es resumen de los nombres de las ilustraciones más una oración que puede ser maldición contra quien robara el manuscrito, falta en su propio testimonio y aun así lo reproducen entero

«The Explanation of Certain Nantes used in Figures of the Goetia is a summary made by a later writer, just three folios in length, but it does preserve some consecratory prayers that might be missing from the Goetia. It is often mistakenly labelled the 'Ars Nova', but in the manuscript it has no title at all. It is rightly confined to an Appendix by Peterson, but was reproduced by Mathers (and therefore Crowley) as if it were a part of the main text, but in a very confused state.» — el juicio que los editores hacen de esa pieza y de su transmisión: resumen de un escritor posterior, sin título en el manuscrito, que Peterson pone en apéndice con razón y Mathers y Crowley imprimieron como parte del texto principal y en estado confuso. El troceo imprime *Nantes* por Names

«An item taken by Mathers, Crowley and Peterson as an 'explanation' of the 'Two Triangles, by which is meant the Hexagram & Pentagram. In fact it is not an explanation at all, but a simple list of the key words, in the English, taken from the drawings of the Hexagram & Pentagram in the Goetia, plus a prayer probably recited whilst drawing them up. This would have been a summary for the practitioner making his equipment. However this list is fairly corrupt.» — la enmienda que los editores oponen a los tres editores anteriores sobre la pieza de los dos triángulos: no es explicación alguna sino lista de palabras clave de los dibujos del Hexagrama y del Pentagrama más una oración

«The second column of all these first three items has a series of prayers to be said when each of the Circle, Pentagram, Hexagram and Triangle are made and consecrated. However because of the cramped writing this has not previously been recognised as two columns, and so it has been read, by all commentators to date, across the page to produce completely nonsensical 'explanations' such as: "Masloth [the zodiac] - so that it may tend unto thy glory and man's good» — la enmienda codicológica que da razón al Apéndice 9, y el ejemplo con que los editores la muestran: la escritura apretada ocultó que eran dos columnas, y leído a lo ancho sale un sinsentido

«However it was never meant to be read across the page. If you read it as two columns vertically, it then makes perfect sense. The result of reading it this way is 13 prayers for consecration of the equipment which is missing from the main text of the Goetia. We have expanded and reorganised these and reproduce them below in the form they were meant to be read.» — el resultado que los editores declaran de esa enmienda: leído en dos columnas verticales sale sentido pleno, y de ahí salen trece oraciones de consagración del equipo que faltan en el texto principal de la Goetia

«A very corrupt version of the Prayer before the Brazen Vessel. We have restored the Hebrew as much as possible, but it is in a very corrupt state and obviously written by someone completely unfamiliar with that language.» — lo que los editores dicen de la Oración ante el Vaso de Bronce y de la intervención que hicieron: restituyeron el hebreo hasta donde pudieron, y lo tienen por escrito por alguien del todo ajeno a esa lengua

«This may be an imprecation designed to force a thief to return stolen goods. Benjamin Rowe suggests this as a curse written at the end of the manuscript, by one of its owners, and directed against anyone who might have stolen the manuscript. It contains phrases like: "that thou thief return immediately & restore the goods again which thou hast stolen away... thou thief to restore the goods again immediately or else the wrath of God may fall upon thee & force thee to come immediately.» — la Poderosa Oración del apéndice, con la conjetura que los editores recogen de Benjamin Rowe: sería maldición escrita al final del manuscrito por uno de sus dueños contra quien lo robara

«Almighty God whose dwelling is in the highest heavens The great King of heaven and all the powers therein And of all the holy hosts of Angels and Archangels Hear the prayers of thy servant who put[s] his whole trust in thee Let thy holy Angels command assist me at this time and at all times» — la primera de las trece oraciones de consagración que los editores restituyen al leer el texto en dos columnas, la de Kéter: se pide al Rey del cielo que sus ángeles santos asistan al siervo que en él confía

«God Almighty, God omnipotent, hear my prayers Command thy holy Angels Above the fixed stars To be Assisting and Aiding of thy servants That I may command all spirits of the Air Fire water earth and hell So that it may tend to thy glory and Mans good» — la oración de la esfera del Zodiaco, y la que muestra qué ganaba la restitución: leída en columna es plegaria para mandar a los espíritus del aire, fuego, agua, tierra e infierno para gloria de Dios y bien del hombre

«Most Almighty eternal and everliving Lord God Command thy Seraphims To attend on us now at this time to assist us and defend us from all perils and dangers» — la oración de consagración de Marte entre las trece restituidas: que los Serafines asistan y defiendan de todo peligro

«Let Michael who is under thee, General of thy heavenly host, Come and expel all evil and danger from us both now and forever» — la oración de consagración de Mercurio entre las trece restituidas, con el título militar que da a Miguel: general de la hueste celestial, que venga a expulsar todo mal y peligro

«OSE, is a great President and cometh forth like a Leopard and counterfeiting to be a man. He maketh one cunning in the liberal sciences, he answereth truly of divine and secret things. He transformeth a man's shape, and bringeth a man to that madness that he thinketh himself to be that which he is not, duratque id regnum ad» — muestra de la lista de sesenta y uno donde Rudd acota lo que la Goetia deja abierto: la locura del transformado dura una hora. La coletilla latina cruza el corte de plana, donde el volumen la traduce entre paréntesis

«Before the invention of clocks, certainly before their universal availability, the day was for both secular and religious purposes divided into Planetary Hours. The observance of Planetary Hours was part of the daily life of Mediaeval Europe as indeed it had been Jewish practice before. Although the list below is standardized in to specific clock times, these only really apply twice a year at the Equinox, otherwise the natural daylight hours are divided evenly up into twelve, as are the night hours. What could be more natural than for the procedures of magic to also follow the Planetary hours? It made a lot of sense, as in Summer the day was longer and its 'marker posts'» — el marco del Apéndice 8 en voz de los editores: antes del reloj el día se repartía en horas planetarias por fines seculares y religiosos, práctica ya judía antes que cristiana, y las horas naturales se dividen en doce. La frase cruza el corte de plana

«I command thou spirit of what Region soever thou art come into this circle and Appear in human shape And speak to us audibly in our mother tongue And shew and discover to us all treasures that thou knowest of or that is in thy keeping and deliver it to us quietly And answer us all such questions as we shall demand without any defect now at this time» — una de las trece oraciones de consagración restituidas, y la única que se dirige al espíritu y no a Dios: que entre en el círculo, aparezca en forma humana, hable en lengua materna y descubra los tesoros que guarde

«Thou who art the first and last let all spirits be subject to us and let the spirit be bound in this Triangle that disturbs this place By thy holy Angel Michael until I shall discharge him Thou God of almighty power be ever present with us to guard us and protect us, and let thy holy presence be now and always with us To be a light to our understandings and attend us now in our undertakings and defend us from all evil and danger both of soul and body» — la oración de consagración del Triángulo entre las trece restituidas: que el espíritu que perturba el lugar quede atado en él por el ángel Miguel hasta que se lo licencie

«Thou, before thy presence all spirits both infernal Airy and all others do fear and tremble, let them be now at this time and forever be in subjection to me at the word of thy most holy name Jehovah» — la oración del Cuadro del Medio entre las trece restituidas: que los espíritus infernales, aéreos y todos los demás queden sujetos al operador por el nombre de Jehová

«The Hebrew above is very conjectural, and virtually worthless, while the supposed translation of it in the manuscript continues below» — el juicio que los editores dejan por escrito sobre el hebreo de la Oración ante el Vaso de Bronce, y uno de los pocos lugares del volumen donde declaran sin valor lo que imprimen

«By the most great & almighty power of Alpha & Omega, Jehovah & Emmanuel, and by him that divided the Red Sea & by that great power that turned all the waters & rivers of Egypt into blood & turned all the dust into flies» — el arranque de la Poderosa Oración, que rehace la enhebradura bíblica de las conjuraciones para un fin doméstico: las plagas de Egipto invocadas contra un ladrón

«On = said to be the ancient Egyptian city of Heliopolis, once considered to be the centre of the earth and of the magical world» — muestra del Apéndice 10, con la reserva que los editores ponen en la propia entrada: On se dice que es Heliópolis, tenida por centro de la tierra y del mundo mágico

«Primeumaton = First Breath (Greek) = the Creator = the name Moses spoke and the Earth swallowed up Corah, Dathan, and Abiram» — segunda muestra del Apéndice 10, y la que mejor enseña el doble registro: Primeumaton se deriva del griego como Primer Aliento y a la vez del episodio bíblico que le da credenciales

«He burnt the powder as he was bid, and there appeared a shining fly upon the bible which he had in his hands, this vanished whilst he slept, which was then about 8 in the morning. Gemini being the Ascendant and Mercury in Virgo, the Gentleman conceived that this Spirit had been with him all his lifetime as he gathered from certain monitory [warning] Dreams and Visions whence he was forewarned as well of several dangers [shown to him] as visions.» — la continuación de esa narrativa: quemados los polvos apareció una mosca luminosa sobre la biblia, y el caballero concluyó que ese espíritu lo había acompañado toda la vida, por ciertos sueños y visiones de aviso. Los corchetes son del aparato del volumen

«this Spirit discovered [showed] himself to him after he had for a whole year together earnestly prayed to God to send a good Angel to him to be a guide of his life and actions, also he prayed for a token that this was the will and pleasure of God which was granted, for in a bright shining day no Cloud appearing there fell a drop of water upon his hat which to this day is not dry, and I think never will be although it be worn in this hot weather.» — el signo que la narrativa da como prueba: tras un año de rogar a Dios un buen ángel, en día claro y sin nube cayó una gota de agua en su sombrero que, dice el relato, no se ha secado ni se secará. Los corchetes son del aparato del volumen

«Ever since this Spirit hath been always with him, and by some sensible [perceptible] sign did ever advertise [warn] him of things as by striking his right ear if he did not well, if otherwise his left, if any danger he was foretold of it.» — el modo de comunicación que la narrativa adjudica al genio guardián: le golpea la oreja derecha si obra mal y la izquierda si obra bien, y le anuncia el peligro. Los corchetes son del aparato del volumen

«Now it is the Condition of spirits themselves who cannot appear visible without some violence done to their own nature, it being as troublesome to them to keep in one steady visible consistency in the air, as it is for men to dive [and] to hold their breath in the water.» — la explicación que la narrativa da a la dificultad de la aparición, y el mismo símil que los editores usan en su capítulo de técnica: al espíritu le cuesta mantenerse visible en el aire como al hombre aguantar la respiración bajo el agua

«The Guardian Genii seem to me to be as the benign eye of God running to & fro in the world with love and pity beholding the innocent endeavours of harmless and single hearted men ever ready to do them good and to help them.» — la definición del genio guardián en la voz del narrador, en primera persona: el ojo benigno de Dios recorriendo el mundo con amor y piedad, siempre presto a hacer bien a los hombres de corazón sencillo

«And these must be no Euchites or Heretics that prophesy by familiarity of evil spirits for they deny goodness and honesty and their principles, and are of a different nature from goodness.» — el deslinde que la narrativa hace contra otra clase de trato: nada de euquitas ni herejes que profetizan por familiaridad con espíritus malos, porque niegan la bondad y la honestidad

«It is lawful to pray to God for such a good Genius or Angel. And to purge the mind from pride and hypocrisy which is one reason that all men are not capable of Consociation with these good Genii, for faith and desire ought to be full sail to make such voyages prosperous, and our end and purpose pure & sincere; but if pride & conceitedness or affection of some peculiar privilege above other mortals spur a man up to so bold an enterprise, his Devotion will no more move either God or the good Genii than the whining voice of the Counterfeit will stir the affection of the discretely charitable.» — la condición moral que la narrativa pone al trato con el genio, y el pasaje que más aparta este apéndice del resto del volumen: purgar la mente de soberbia e hipocresía, porque si mueve al hombre la vanidad su devoción no moverá a Dios ni a los buenos genios

«Nay this presumption may invite some real fiends to invade deceive him & be his destruction.» — la advertencia que sigue de inmediato a esa condición: la presunción puede invitar a demonios reales a invadir, engañar y destruir al presuntuoso

«But the safest wisdom is the sincere consecrating [of] Man's Soul to God, and the aspiring to nothing but to a profound pitch of humility, as not to be Conscious to our selves of being at all touched with the praise and applause of men; and to such a free and universal sense of charity as to be delighted with the welfare of another as much as our own; they that really only have their eye upon these will find coming in what ever their heart can desire; but they that put forth their hand to catch at high things as they fancy & neglect these, prove at last but a plague to themselves and a laughing stock to the world.» — el consejo con que se cierra la narrativa, y de las pocas piezas del volumen que son doctrina moral y no rúbrica: consagrar sinceramente el alma a Dios y no aspirar sino a la humildad y a una caridad universal. Los corchetes son del aparato del volumen

«You must know and observe the Moon's age for your working. The best days are when the Moon [is] 2, 4, 6, 8, 10, [or] 12 days old according to Solomon, and no other days are profitable.» — la regla lunar del Apéndice 13 en la voz del texto: los mejores días son los de Luna de dos, cuatro, seis, ocho, diez o doce días según Salomón, y ningún otro aprovecha

«The 12 Principal Kings are under the power of Amaymon, Corsu[n] [Ziminiar] and Goap which are [the four] great Emperors or potentates ruling in the [four] Quarters of the world and [these] are not to be called forth except on great occasions, but Invocated or Commanded to send such or such a Spirit as is under their power and rule in their room as is shown in the following Invocation or Conjuration.» — la regla de jerarquía del Apéndice 13: los cuatro emperadores de los cuartos no se llaman salvo en grandes ocasiones, sino que se los invoca para que envíen al espíritu bajo su mando. Los corchetes son del aparato del volumen

«Amaymon king of the east, Gorson [or Corson] king of the south, Zimimar [Ziminiar] king of the north, Goap king and prince of the west, may be bound from the third houre [of the day, i.e. 9 am], till noone, and from the ninth houre [3 pm] till evening [sunset]. Marquesses [Marquises] may be bound from the ninth hour [of the day, i.e. 3 pm] till compline [9 pm], and from compline [9 pm] till the end of the day.» — la tabla de horas de atadura que el volumen toma de Scot, con los corchetes de sus editores: los cuatro reyes se atan de la hora tercera a mediodía y de la novena al ocaso, y los marqueses de la novena a completas y de completas al fin del día

«All of these names have an actual derivation from Hebrew or Greek, plus a fanciful one which links them with a particular magical act in the Bible, which is their 'credentials' as a Word of Conjuration. The list is not definitive.» — el criterio que los editores declaran para el Apéndice 10, con su límite en la misma frase: cada nombre de conjuración tiene una derivación real del hebreo o del griego y otra fantasiosa que lo liga a un acto mágico de la Biblia, sus credenciales. El troceo imprime el párrafo dos veces seguidas; se cita en su primera aparición

«There was a Gentleman by Descent from the lines of the Plantagenets who was in Egypt, Italy and Arabia, frequenting the Society of the» — el arranque de la Narrativa del Apéndice 11, la única pieza narrativa del volumen. La frase cruza el corte de plana, donde el caballero acaba en una taberna de Cheapside con Heydon y con Rudd

«inspired Christians being at a Tavern in Cheapside with Mr Heydon and others whose discoursing of the nature and dignity of Angels which was interrupted by Dr Rudd who said to the Gentleman, "Sir you are not from the Kingdom of God;" at this many were silent yet several thoughts arose, some desired [asked] this strange Gentleman to stay but he refused, and being pressed he gave the Gentleman a paper of [containing some] white and yellow paper powder and bid him bum it at midnight, and read [aloud] that Chapter that lay open in his bible in his Chamber, and sing such Psalms, and then the window flew open and the Gentleman vanished.» — continuación de esa narrativa, y el pasaje que liga a Rudd con Heydon: Rudd interrumpe la conversación sobre los ángeles diciendo al forastero que no es del Reino de Dios, y aquél deja unos polvos y desaparece por la ventana. El troceo imprime *bum* por burn

«Let no man doubt of the existence of a spirit.» — el renglón suelto con que se cierra el Apéndice 11, sin más argumento que su propia enunciación

«The simple version of the Circle of Art as outlined in the Heptameron» — la razón del Apéndice 12 en voz de los editores, que acompaña con testimonio la regla de variabilidad del Círculo. La frase cierra en la plana siguiente, donde dicen que la estructura básica queda igual y los dos anillos exteriores cambian con el rey y los espíritus que rigen

«and used by Rudd, changes according to the hour and day of the conjuration. Below are four examples of these variant forms of the Circle taken from Sloane MS 3824, folio 140. You can see that the basic structure remains the same, but the outer two rings change according to the King and spirits ruling.» — continuación de esa razón ya en la plana siguiente: el círculo simple del Heptameron que Rudd usa cambia con la hora y el día, y los cuatro ejemplos vienen del folio 140 del Sloane MS 3824

«therefore in & by the names of the Almighty God before rehearsed I charge thee, thou thief to restore the goods again immediately or else the wrath of God may fall upon thee & force thee to come immediately. Amen.» — el remate de la Poderosa Oración, que descubre su propósito: obligar al ladrón a devolver lo robado so pena de la ira de Dios

«Plate 5. The 6 angled figure to be made on parchment made of Calfskin to be worn [attached] at the skirt of your white vestment covered with a linen Cloth, which when the Spirit appears, Show it [to] him & he will be compelled to [take] human shape and be obedient.» — el pie de la lámina del Hexagrama, con los corchetes de los editores: en pergamino de piel de becerro, al faldón de la vestidura blanca y cubierto de lienzo, para mostrárselo al espíritu y forzarlo a forma humana

«The other Materials are a Sceptre or Sword, a Mitre or Cap, a long white robe of linen, shoes and other Clothes for the purpose, a girdle of Lion's skin 3 inches broad, with all the names about it, as are [written] round about the uttermost [outer most] part of the Circle - Perfumes, a chafing dish of Charcoal, and Candles & put the fumes.» — el inventario de equipo restante en la voz del texto, con la sola pieza que el volumen comenta aparte: el ceñidor de piel de león de tres pulgadas con los nombres del borde exterior del Círculo. Los corchetes son del aparato del volumen

«By the figurative Mystery of this holy vesture I will clothe me with the armour of Salvation in the Strength of the Highest. Ancor Amacor Amides Theodonias Anitor that my desire may be Effected through the Strength ofAdonay to whom be Praise and Glory for Ever and Ever. Amen.» — la oración del vestido en esta segunda redacción, con los mismos cinco nombres de la del cuerpo del libro: por el misterio figurativo de esta vestidura santa se reviste el operador con la armadura de la salvación. El troceo imprime *ofAdonay*

«WHEN you will have any spirit, you must know his name and office; you must also fast, and be cleane from all pollution, three or four days before; so will the spirit be the more obedient unto you. Then make a circle, and call up the spirit with great intention, and holding a ring in your hand, rehearse in your own name, and your companions (for one must always be with you) this prayer following, and so no spirit shall annoy you, and your purpose shall take effect.» — la Forma de Adjurar que el volumen toma de Scot, y la condición que pone al operador: saber el nombre y el oficio del espíritu, ayunar y estar limpio tres o cuatro días, y no obrar solo, porque siempre ha de haber un compañero

«Plate 4. The Pentagonal Figure to be made of Gold & Silver, and to be» — el pie de la lámina del Pentagrama en el Welcome MS 3203, que el volumen añade porque el testimonio de Rudd no lo trae: de oro y plata. La frase cierra en la plana siguiente, con el llevarlo al corazón junto al sello del espíritu

«worn on the heart with the Seal of the Spirit by its Side.» — cierre de ese mismo pie de lámina: el Pentagrama se lleva sobre el corazón con el sello del espíritu al lado

«Solomon's Magical Ring to be held or placed before the face of» — el pie de la lámina del Anillo, que repite en imagen la función que el volumen le adjudica en su capítulo de técnica. La frase cierra en la plana siguiente, con el preservar al exorcista de los humos hediondos del espíritu

«the Exorcist to preserve him from the stinking fumes of the Spirit. Michael Anephezaton.» — cierre de ese pie de lámina ya en la plana siguiente, con los dos nombres que el Anillo lleva grabados

«And note how this agreeth with popish charms and conjurations.» — el comentario que Scot deja dentro de la propia rúbrica que transcribe, y que el volumen conserva: la voz del desacreditador dentro del texto que sirve de fuente

«In the name of our Lord Jesus Christ the + father + and the son + and the Holy-ghost + holy trinity and inseparable unity, I call upon thee, that thou might be my salvation and defence, and the protection of my body and soul» — el arranque de la oración de la Forma de Adjurar de Scot, tal como el volumen la imprime con las cruces del impreso: se invoca a la trinidad santa e inseparable unidad como salvación, defensa y protección del cuerpo y del alma

«holy cross, and through the virtue of thy passion, I beseech thee O Lord Jesus Christ, by the merits of thy blessed mother S[aint] Marie, and of all thy saints, that thou give me grace and divine power over all the wicked spirits, so as which of them soever I do call by name, they may come by and by from every coast, and accomplish my will, that they neither be hurtful nor fearful unto me, but rather obedient and diligent about me.» — el núcleo de esa oración: que se le dé gracia y poder divino sobre todos los espíritus perversos, de modo que vengan de toda parte y cumplan su voluntad sin serle dañinos ni temibles

«I require thee O Lord Jesus Christ, that thou give me thy virtue & power over all thine [fallen] angels (which were thrown down from heaven to deceive mankind) to draw them to me, to tie and bind them, & also to loose them, to gather them together before me, & to command them to do all that they can, and that by no means they condemn my voice, or the words of my mouth» — la petición central de la misma oración, que enuncia la teoría del poder sobre los espíritus del volumen entero: poder sobre los ángeles caídos para atraerlos, atarlos, soltarlos, reunirlos y mandarles cuanto puedan hacer. Los corchetes son del aparato del volumen

«Oh great and eternal virtue of the highest, which through disposition, these being called to judgement, Vaicheon, Stimulamaton, Esphares, Tetragrammaton, Olioram, Cryon, Esytion, Existion, Eriona, Onela, Brasim, Noym, Messias, Soter, Emanuel, Sabboth, Adonay, I worship thee, I invocate thee, I implore thee with all the strength of my mind, that by thee, my present prayers, consecrations, and conjurations be hallowed: and whersoever wicked spirits are called, in the virtue of thy names, they may come together from every coast [direction], and diligently fulfil the will of me the exorcist. Fiat, fiat, fiat, Amen.» — la tercera y última oración de la Forma de Adjurar, con que se cierra el cuerpo del volumen: que por los nombres queden santificadas las oraciones, consagraciones y conjuraciones, y que los espíritus perversos vengan de toda dirección a cumplir la voluntad del exorcista

«Harley MS 6482 - A Treatise on Angel Magic, Tabula Sancta cum Tabulis Enochi, Dr Rudd's Nine Hierarchies and other relevant Rudd Goetia material Harley MS 6483 - Lemegeton - Rudd's Liber Malorum Spirituum seu Goetia Sloane MS 2731 - Lemegeton (Clavicula Salomonis) Sloane MS 3648 - Lemegeton Sloane MS 3824 - proto-Lemegeton Sloane MS 3825 - Lemegeton& Janua Magica Reserata Welcome MS 3203 - Lemegeton Welcome MS 4665 - Lemegeton Cambridge, Trinity MS 0.8.29 College - Livre des Esperitz» — la nómina de fuentes manuscritas con que se abre la bibliografía del volumen: los dos Harley de Rudd, cuatro Sloane, dos Welcome y el manuscrito de Trinity College con el Livre des Esperitz

«Peterson, Joseph, (ed). The Lesser Key of Solomon: Lemegeton Clavicula Salomonis, Weiser Books, Maine, 2001. [The standard edition which uses Sloane MS 3825 as its main text with footnotes from Sloane MS 2731, Sloane MS 3648, and Harley MS 6483.» — el asiento bibliográfico con que los editores describen la edición de Peterson y su base textual: el Sloane MS 3825 como texto principal con notas de los Sloane 2731 y 3648 y del Harley 6483, y la llaman la edición estándar

«Oh father omnipotent, oh wise son, oh Holy-ghost, the searcher of hearts, oh you three in [one] persons, one true godhead in substance, which didst spare Adam and Eve in their sins; and oh thou son, which died for their sins a most filthy death, sustaining it upon the holy cross; oh thou most merciful, when I fly unto thy mercy, and beseech thee by all the means I can, by these the holy names of thy son» — la segunda oración de la Forma de Adjurar, y el penúltimo texto de práctica que el volumen imprime: se apela a las tres personas en una sola verdadera deidad en sustancia, que perdonó a Adán y a Eva. Los corchetes son del aparato del volumen

«grant me thy virtue and power, that I may be able to cite before me, thy spirits which were thrown down from heaven, & that they may speak with me, Cr dispatch by & by without delay, & with a good will, & without the hurt of my body, soul, or goods, &c: as is contained in the book called Annulus Salomonis.» — continuación de esa oración: poder para citar ante sí a los espíritus arrojados del cielo, que hablen y despachen sin daño de cuerpo, alma ni bienes, como se contiene en el libro llamado Annulus Salomonis

«that thou O Spirit Caspiel, forthwith come forth & appear unto me here before this Circle, do not delay, do not linger, what needs any more words, Move (we say) move we say» — el apremio que la conjuración del emperador del Sur añade en la versión del Sloane MS 3824 y que la del Harley no trae: no tardes, no te demores, para qué más palabras

«Note Amenadiel may be called at any hour of the day or night, but his Dukes (who hath 3880 Servants a piece to attend them) are to be called in certain hours, as Vadros, he may be called in the 2 first hours of the day, Camiel in the second 2 hours of the day, & so successively on till you come to Nadros who is to be called in the 2 last hours of the Night, and then begin again at Vadros &c: the same Rule is to be observed in calling the Dukes belonging to Demorial the Emperor of the North.» — la regla horaria que el Sloane MS 3824 adjudica a los duques del emperador del Oeste: él se llama a cualquier hora y ellos por pares de horas en rueda, de Vadros a Nadros y vuelta a empezar

«BELIAL, is a King, appears like a beautiful Angel sitting in a fiery chariot, speaketh fair, distributeth preferments and the favour of friends, giveth excellent familiars, ruleth 80 Legions.» — muestra de la lista de sesenta y uno de Rudd y su divergencia con la Goetia del mismo volumen: aquí Belial no pide sacrificio ni cuenta su caída, y solo se le adjudica hablar bien y repartir preferencias

«BERITH, a great and terrible Duke, he cometh forth as a red soldier on a red horse with a crown on his head. He answereth truly of things past, present and to come. He tumeth metals into Gold, giveth Dignities, and confirmeth them. Speaketh with a clear and subtle voice. 26 Legions are under him.» — segunda muestra de esa divergencia: aquí Berith tiene veintiséis legiones y en la Goetia del mismo volumen, veintiséis también, pero sin los dos nombres tardíos que allí se le dan. Las dos redacciones se consignan sin armonizar

«BUNE, is a great Duke appeareth as a Dragon with three heads, the third whereof is like a man. He speaketh with a divine voice. He maketh the dead to change their place, and devils to assemble upon the sepulchres of the dead. He greatly enricheth a man and maketh him eloquent and wise» — tercera muestra de la lista de sesenta y uno: Bune hace mudar de lugar a los muertos y hace que los diablos se junten sobre los sepulcros, igual que en la entrada goética, pero con voz divina en lugar de alta y gallarda. La frase cruza el corte de plana

«Agla – AGLA= אבלא =Aeth Gado Leolam Adonai = "Thou art mighty forever, O Lord' = the name Lot heard and was saved from the destruction of Sodom» — muestra del Apéndice 10 en su doble registro: Agla se deriva de una fórmula hebrea que el volumen traduce, y a la vez del episodio de Lot salvado de la destrucción de Sodoma. La cita salta los caracteres hebreos que el troceo intercala

«Escherchie Ariston = Greek ischuros ariston = Strong and noble (as in 'aristocrat') = supposedly the name that turned the rivers of Egypt into blood» — segunda muestra del mismo apéndice, con la reserva que los propios editores ponen: la derivación griega es firme y la credencial bíblica va como supuesta

«Dukes may be bound from the first hours [of the day, i.e sunrise] till noone; and [only if] clear weather is to be observed. Prelates may be bound in anie [any] houre of the daie. Knights [may be bound] from daie dawning, till sunne rising; or from evensong, till sunne set. A President may not be bound in anie houre of the daie, except the king, whom he obeieth [obeys], be invocated; nor in the shutting of the evening [twilight]. Countries or erles [Earls] may be bound at anie houre of the daie, so [as long as] it be in the woods of feelds, where men resort not.» — el resto de la tabla de horas de atadura que el volumen toma de Scot, en la grafía del impreso isabelino: duques de la salida del sol a mediodía y solo con tiempo claro, presidentes solo si se invoca a su rey, y condes en cualquier hora con tal que sea en bosques o campos apartados. Los corchetes son del aparato del volumen

«Plate 1. Fig 1 - The form of the triangle that Solomon commanded the Evil Spirits into, it is to be made 2 feet from the Circle and 3 feet over [across] -N.B. it is to be placed on that quarter of the compass as the spirit is to come from.» — el pie de la lámina del Triángulo en el Welcome MS 3203, y el apoyo con que el volumen sostiene su lectura de *over* como a lo ancho: dos pies del Círculo y tres de través, puesto en el cuarto del compás por donde ha de venir el espíritu. Los corchetes son del aparato del volumen

«This Secret Seal is to be made by one clean inwardly and outwardly & hath not defiled himself by any woman [within] the space of a month, but with fasting and prayer hath desired of God to forgive him his» — la condición de pureza que el pie de la lámina impone al Sello Secreto: hecho por quien esté limpio por dentro y por fuera y no se haya manchado con mujer en un mes, con ayuno y oración. La frase cruza el corte de plana

«Blish, James. Black Easter, or Faust Aleph-Null. Buccaneer, New York, 1968. [One of the best descriptions, albeit fictional, of the Goetic process.» — el único asiento de la bibliografía en que los editores recomiendan una novela, con su juicio entre corchetes: la tienen por una de las mejores descripciones del proceso goético, aunque ficticia

«Kieckhefer, Richard. Forbidden Rites: A Necromancer's Manual of the Fifteenth Century, Sutton, Stroud, 1997.» — asiento de la bibliografía que liga el volumen con el manual nigromántico cuatrocentista que él mismo cita como CLM 849

«We Conjure thee O thou mighty & Potent Prince Amenadiel, who is Emperor & chief King ruling in the dominion of the West, who bears rule & power, by the permission of the Supreme God El, over all Spirits both Superior & inferior, belonging to the Terrestrial & Infernal Orders» — la conjuración del emperador del Oeste en el Sloane MS 3824, con la variante que la aparta de sus hermanas: aquí manda por permisión del supremo Dios El y no por su poder, y sobre los órdenes terrestres e infernales

«Let thy holy Angel Raphael wait upon us at this present [time] and forever To Assist us in this our undertakings» — la oración de consagración del Sol entre las trece restituidas del Apéndice 9: que el ángel Rafael asista ahora y siempre en lo emprendido. Los corchetes son del aparato del volumen

«Illustrations of the Lemegeton seals and sigils (including Figures 6, 7, 8, 9,13, 14, and 15) from Harley MS 6483; of Peter Smart's engraving of Solomon's Brass Vessel (Figure 5) and Rudd's version of the Tabula Sancta (Figure 14) from Harley MS 6482; the Spirit Compass Rose (Figure 10) from Sloane MS 3825; of a magician evoking a spirit from within a Circle from Cotton MS Tiberius A VII, folio 44 (the dust jacket and Figure 2); of the magician 'Canoaster', with grimoire, admonishing two demons from Additional MS 39844, folio 51 (Figure 3); and the variant forms of the Circle from Sloane MS 3824 (Figure 17) have been reproduced with the kind permission of the Trustees of the British Library.» — la página de créditos del volumen, donde se declara de qué manuscrito sale cada ilustración: los sellos del Harley MS 6483, el grabado del Vaso de Peter Smart y la Tabula Sancta de Rudd del Harley MS 6482, la rosa de los vientos del Sloane MS 3825 y dos figuras de manuscritos del British Museum

«The illustrations (including Figures 10, 11 and 17) from Welcome MS 3203 have been reproduced with the kind permission of the Welcome Trust, for which we are also duly grateful.» — segunda parte de esos créditos: las ilustraciones del Welcome MS 3203 se reproducen con permiso del Welcome Trust. El troceo imprime *Welcome* por Wellcome en todo el volumen

«Our thanks to Adam McLean for the illustration of the Seals of the Patriarchs (Figure 4) from his Magical Calendar. We are also grateful for the painstaking work of restoring and cleaning the seals by Dianthus and Valentina Kim and Er Choon Haw. To Peter Forshaw for assistance with Latin and German texts.» — los agradecimientos nominales del volumen: Adam McLean por los Sellos de los Patriarcas de su Magical Calendar, Dianthus, Valentina Kim y Er Choon Haw por restaurar y limpiar los sellos, y Peter Forshaw por el latín y el alemán

«And last but not least to Joseph Peterson for having done the definitive version of the Lemegeton in the first place.» — el último agradecimiento del volumen, y el que fija su deuda con la edición que quiere complementar: a Joseph Peterson por haber hecho la versión definitiva del Lemegeton en primer lugar

Goetia (γοητεία, arte goético) — Primer libro del Lemegeton, que el volumen imprime desde el Harley MS 6483 bajo su título latino Liber Malorum Spirituum seu Goetia; Skinner y Rankine sostienen que sus setenta y dos sellos llevan en la otra cara al ángel del Shem que controla a cada demonio, y que eso vuelve la práctica más accesible y algo más segura.

Theurgia (obra divina) — El volumen reparte los cinco libros en tres categorías y llama Theurgia a los tres últimos, los de espíritus buenos y ángeles, con la Theurgia-Goetia de naturaleza mixta en medio; Agripa, citado por los editores, define la teurgia con Porfirio como lo que dispone el alma a recibir espíritus y ángeles.

Evocación (llamar y constreñir espíritus) — Los editores niegan que haya línea práctica de demarcación entre evocar e invocar, y ordenan el rito en cinco etapas latinas tomadas del Cuarto libro de Agripa: Consecratio Dei, Invocatio, Constrictio, Ligatio y Licentia.

Grimorio (libro de magia) — La serie declara querer rescatar a los grimorios del estigma de ser meros manuales de hechicero, como los llamó A E Waite, y mostrarlos como parte integral de las tradiciones de la magia ceremonial.

Círculo mágico (circulus) — Círculo triple de nueve pies cuyos nombres no son fijos sino que cambian con la hora, el día y el espíritu llamado; los editores sostienen que el círculo simple de Rudd, tomado del Heptameron, es más antiguo que los círculos cabalísticos de las ediciones recientes.

Triangulo Magico — Se coloca dos pies fuera del Círculo y de tres pies de través, del lado por donde se espera al espíritu; los editores enmiendan la lectura de *over* como a lo ancho y no por encima, contra Carroll Runyon.

Vaso de Bronce — Pieza que el volumen declara propia de la Goetia y de ningún otro grimorio europeo: sirve de lugar del espíritu como el Triángulo y de amenaza, y el grabado de Peter Smart lleva grabados en su superficie los setenta y dos nombres angélicos del Shem.

Sello Secreto — Tapón del Vaso de Bronce, y uno de los ocho sellos de los Patriarcas del Magical Calendar; el pie de lámina exige que lo haga quien esté limpio por dentro y por fuera.

Lamen — Sello del espíritu llevado al pecho, sin el cual el aparecido no rinde homenaje; los editores le buscan el origen en la leyenda rabínica del Nombre Santo escrito en pergamino y llevado al pecho contra Asmodeo, y lo declaran de práctica judía.

Pentagrama (estrella flamígera) — Figura de oro o plata con Tetragrammaton repartido entre los vértices y Soluzen al centro, hecha para proteger al operador del peligro y para imponer su mando.

Hexagrama — Figura de seis ángulos en pergamino de piel de becerro, que solo se usa después de que el espíritu aparece, para forzarle forma humana y obediencia.

Anillo Magico — Se sostiene ante el rostro del exorcista contra los humos hediondos del espíritu; los editores lo conjeturan en parte de latón y en parte de hierro, con la raíz barra engastada, y sugieren además que fuera imantado.

Piedra de Cristal — Cristal globoso de cuatro pulgadas o receptáculo de vidrio, ausente de la sección de equipo de la Goetia y presente en sus conjuraciones como lugar de manifestación; los editores sostienen que el espíritu se manifiesta más a menudo en él que en el Triángulo.

Mesa de Practica — Diseño hexagonal o heptagonal con los siete sellos planetarios sobre el que se posa el cristal; los editores enmiendan la ilustración de la Theurgia-Goetia, que da por Tabla secreta lo que es un Sello Secreto mal dibujado, y la emparejan con la Tabula Sancta de Dee.

Horas planetarias — El ángel que rige el día rige la primera hora y la serie vuelve al primero cumplida la revolución de los siete planetas; la Ars Paulina hace del tiempo su ley, y el mismo ángel hará cosa de Luna o cosa de Marte según el día en que se lo llame.

Espiritus Aereos — Los treinta y un espíritus de la Theurgia-Goetia son aéreos y por naturaleza buenos y malos a la vez, una parte buena y otra mala, y cada príncipe tiene su mansión en un punto del compás.

Almadel — Tablilla de cera de seis pulgadas en cuadro con un agujero en cada esquina y nombres divinos distintos por punto cardinal, sostenida por pies de la misma cera que las velas; los editores le buscan el nombre en el al-Mandal árabe y a la vez señalan que el procedimiento no menciona círculo alguno.

Altitudes — Las cuatro Choras del Art Almadel, que representan las cuatro esquinas del mundo divididas en doce partes; la primera da aumento y fecundidad y las otras tres disminución y esterilidad.

Daimon (entidad intermedia, ni ángel ni demonio) — El texto enuncia el daimon triple que asiste a cada hombre —el santo, que no procede de los astros sino de Dios; el del nacimiento o genio; y el del oficio, que cambia cuando el hombre cambia de vocación—.

Necromancia (nigromancia) — Los editores separan necromantia, adivinación por el espíritu de un muerto, de nigromantia, adivinación por demonios, y objetan que la academia moderna use la primera donde trata de la segunda.

Magia Natural — El propio texto transcrito define la magia como el conocimiento más alto y divino de la filosofía natural, que obra por la virtud interior y oculta de las cosas aplicando agentes propios a pacientes propios, y adjudica a Orígenes la distinción entre la natural y la diabólica.

Cadena de transmisión (quién tomó de quién) — El volumen traza una cadena que va del Testamento de Salomón a Rudd pasando por de Abano, Tritemio, Agripa, Weyer, Vigenère y Dee, y la sigue después hasta Sibley, Hockley, Mathers y Crowley.

Crítica de fuentes (criterios de inclusión y descarte) — Los editores declaran su testimonio base, cotejan seis versiones manuscritas, plantean como preguntas abiertas las tres diferencias del Rudd MS y acotan su propia conclusión a que representa otra rama del stemma.

Templo de Salomón (el escenario del oficio) — Los editores sostienen que Salomón no solo usó poderes demoníacos para levantar el Templo sino que ató algunos a su fábrica, y conjeturan que el Mar de Bronce del recinto fuera el mar en que se los arrojó.

Tetragrammaton (el Nombre de cuatro letras) — Nombre cuya sola audición, según la Primera Conjuración, trastorna los elementos, sacude el aire, hace retroceder el mar, apaga el fuego y hace temblar a las huestes celestiales, terrestres e infernales.

Sefirot (las diez numeraciones) — El Apéndice 9 restituye, leyendo en dos columnas lo que se leía a lo ancho, trece oraciones de consagración repartidas por las diez sefirot con sus nombres divinos, arcangélicos y planetarios.