BOTISI PYTHONESS: The Seventeenth Spirit is Botisi, Botisui or Botis, a Great President, and Countess. She appears at first within the guise of a huge Snake likened to a vicious Viper or Python of Ouroboros, which will be seen to be pursuing a young Maiden whom to flee like that of a petrified white Mouse around ones Magick Circle to then be caught within its constricting crushing coils to be  hungrily consumed and digested whereupon Botisi will then rapidly take on Human form as a fearsome Female Samurai. When Botisi to take on human appearance one will perceive her wearing a Horned helmet while her body well toned and athletic whose sensuous naked skin to be scaled reptilian does carry a bright and very sharp Dragon sword Katana within her hand.

She will tell of all things Past and to Come if her Master desires it so whereby a Maid will then manifest into Vision whom Botisi will swiftly behead with her Katana of ever sharp blade to then verily gut so as to divine from the Maidens spilt Serpentine Spiral entrails. The young Maids will thence be revealed to be personified periods of Time and thereby aspects of Botisi whom represents the great round of 'Mitochondria' Ouroboros Snake whom be as Circled Eternal Recurrence. The mundane Geneticist to surgically peel away the layers of the Mitochondria so as to determine the rounds of Evolutionary Time while the Sorcerer to do so Internal via Vision and Dream wherefore one to have Botiisi. She also reconciles Friends and Foes whom she will aid in getting them to remember their previous rounds of existence as well as to reveal that her Number be part of a Hidden Runic Code underlying the Goetia. 

She rules over 60 Legions of Spirits all feminine of Maid whom to emanate from various Aeon rounds of the Recurring Ages, which Botisi be the Informing Spirit of.

BOTISI CHINNAMASTA HEADLESS DAKINI

One can equate Botisi with the 'Headless Goddess' in Hinduism going by the name of Chhinnamasta (often spelled Chinnamasta as well as Chhinnamastika) who is seen as being one of the Mahavidyas, as well as an aspect of Devi. The literal translation of the name Chhinnamasta is 'One with a Severed Head.' Chhinnamasta is often depicted as having beheaded her own head with her own 'Sword' who then holds her severed head within one of her hands; three jets of blood are seen spurting out of her bleeding neck, while one streams into her own mouth of her severed head, the other two streams flow into the mouths of her two naked female retinues whom are her Yogini’s.

Chinnamasta is perceived to be a Goddess of Courage and Discernment who is recognized by both Hindus and Buddhists alike; however the Buddhists perceive her as the Headless Dakini rather than that of a Goddess. Scholars believe that Chinnamasta is distantly related to the Severed-Headed form of Vajrayogini.

As for the myth of Chinnamasta it is related that one day the consort of Siva whom is known as the Goddess Parvati went to bathe within the Mandakini River along with her two attendants, Jaya and Vijaya. After bathing, the Great Goddess’s mind drifted as she relaxed. After a time, Parvati’s two female attendants asked her, "Give us some food. We are hungry." Parvati replied, “I shall give you food but please wait.” However, after a while, Parvati’s attendants again asked her for sustenance. Parvati replied, "Please wait, I am thinking about some matters." Waiting awhile, Parvati’s female retinues implored her, "You are the Mother of the universe. A child asks everything from her Mother. The mother gives her children not only food but also coverings for the body. So that is why we are praying to you for food. You are known for your Mercy; please give us food." Upon hearing this, the consort of Siva told her attendants that she would give them what they desired when they returned home. However once again her two attendants begged her, "We are overpowered with hunger, O Mother of the Universe. Give us food so we may be satisfied, O Merciful One, Bestower of Boons and Fulfiller of Desires."

When Parvati heard this statement, the merciful Goddess severed her own head. As soon as she did so her severed head, fell within the palm of her left hand. Three bloodstreams thence emerged from out of her throat; the left and right streams of blood flowed into the waiting mouths of her flanking female attendants while the central stream rained into her own mouth. Afterwards they were all satisfied to later return home and it is by this act Parvati became known as Chhinnamasta.

Within visual imagery, Chhinnamasta is usually depicted standing upon the bodies of a copulating couple called Kamadeva and Rati, with Rati on the top. The couple are both shown lying upon a Lotus. There are usually two differing interpretations of this aspect of Chhinnamasta’s iconography. One can interpret it as symbolising the control of Sexual Desire, the other as a representing the Goddess’s embodiment of Sexual Energy.

The most common interpretation is that of perceiving Chinnamasta defeating what Kamadeva and Rati represent, namely Sexual Desire and that of its unhindered Lustful energy. This school of thought perceives Chinnamasta as signifying self-control, which is believed to be the primary hallmark of a successful Yogi. However, the decapitation of Chinnamasta’s own head represents the experience of deep Trance and that of a sensation of becoming centred within ones head while to lose the sense of one having a body. The three spurts of blood represent the three Nerve channels of ones Spinal column being that of the Left-Nerve-Channel-Ida, Right-Nerve-Channel-Pingala and the Central-Nerve-Channel of the Sushmana via which an energy (Kundalini Shati - Fire-Snake) flows free. Chinnamasta’s two female attendants thereby represent the 'Ida' and 'Pingala' Nerve Channels while Chinnamasta is the Central-Nerve-Channel of the 'Sushumna'.

The copulating couple is symbolic of creation for Sex is a Creative act creating all life as well as representing Orgasm. The Sexual act happens at all levels of reality, which manifests the present physical Universe and that of other Universes as well as Space and Time. Sex is the creative power of the Maha Shakti - Maha Devi. It is this Sexual energy, which gushes up through Chinnamasta’s body to eventually erupt out of her headless torso feeding her devotees as well as replenishing herself.

Sex and that of its rhythmic flow of energy makes up the Chhinnamasta icon of the Great Mother whom is the physical Universe of Multiverse for she creates through Copulation, maintains worlds Lovingly and eventually destroys all sense of form when reaching headless Orgasm as the Shakti, or power of the Trimurthi. Chinnamasta represents the Sexual power behind everything which sustains the Universe. The creation of the Great Mother is that of her food whom feasts upon the eventual disembodied Awareness of all things, which in ancient times of perspective was very much tied up with blood sacrifice, which played a role in some (Shakti) Mother Goddess worship; such practice was that of returning the life force back to her in order for its energy to be once again recycled of Eternal Recurrence.

The image of Chhinnamasta is of a composite icon, which conveys an amalgamation of Sexual Creation, Orgasmic Death and of the Destruction of Form via Orgasm as well as Regeneration through Copulation. It is a symbolic representation of the fact that Life equals Sex while Orgasm is equated with Death and such are an intrinsic part of the grand unified scheme, which makes up the manifested Universe.

The stark contrasts within Chinnamasta’s iconographic scenario, such as the gruesome self decapitation, the copulating couple, the drinking of fresh blood, are all arranged into a delicate, harmonious pattern. The Icon of Chinnamasta is designed to shock the viewer into an awareness of the Great Mother whom feeds on Death, is nourished by Death, and necessitates Death whose cycle of Eternal Recurrence is continuous while the function of Sex is to perpetuate more Life, which in turn will decay and Die in order to feed the Great Mother birthing more Life.

VAPULA SPHINX: The Sixtieth Spirit is Vapula, or Naphula. She is a Duchess, Great, Mighty, and Strong of unbound Sexual prowess; appearing at first within the guise of a black Lioness likened to a Sphinx whom will sometimes be perceived to have Angelic Gryphon wings sprouting from amidst her back. She will then manifest into the form of a most sensuously beautiful black woman whose skin is as dark as starless Night whose nature is that of the ancient Egyptian.

Her office is to make her Master knowledgeable in all Handicrafts and Creative Professions to make wise in Philosophy, and other Arcane Sciences Antediluvian. Her memories to stretch back far of Elder times most ancient wherefore to tell of many a Civilisation fallen, which she will make to live again within ones Visions and Dreams so as to know of to explore Archaeological.

Her abode is likened to a great palace that one to find in ancient Egypt or that of Alexandria Library from which she does Inform. She Governs 36 Legions of female Spirits whom manifest as her attentive handmaidens, which she will bestow upon her Master to become as his most loving familiars.

THE PREDATORY LIONESS OF FELINE SPHINX

The Sphinx is usually perceived as being that of a Male Lion with the head of a Pharaoh whom represents the power of the Lion, which is obviously highly distinctive and easily recognized by its mane. The Lion is one of the most widely recognized Totemic animal symbols in human culture; however, the Male Lion is usually associated with Kingship within primarily urban patriarchal cultures, which have skirted over the factual issue that it isn’t really the Male Lions whom rule over their Prides for it is the Lionesses who rule the Prides.

FEMALES DO LOVE TO HUNT IN PACKS

The Male Lion has been symbolically depicted throughout history as representing Nobility to be covered extensively in literature, in sculptures, in paintings, on national flags, and in contemporary films and literature such as ‘The Lion, The Witch and the Wardrobe’ by C.S Lewis for example whose Lion alludes to Christ as the Lion of Judah. The image of the Male Lion is extensively used in heraldry, even when the Female Lion is intended, for it is the Lioness, which has been historically recognized as being the pinnacle of Hunting Prowess from the earliest of human writings and graphic representations.

WOMEN ARE CONSUMMATE STALKERS ALL

In other words it was never the Male Lion that was being alluded to as symbolically representing Power and Nobility but that of the Lioness, whereby the Sphinx is more than likely that of a Lioness since it is the Lionesses who are the Hunters for their Pride whom capture their prey with precise and complex teamwork; each Lioness develops specific skills for her role in the Hunting techniques used by her Pride and, generally, assumes that role during most Hunts. Depictions of Lionesses Hunting in groups have existed from the Upper Paleolithic period, with carvings and paintings from the Lascaux and Chauvet Caves.

PUSSIES HAVE VERY SHARP TEETH AND EVEN SHARPER CLAWS

Members of human cultures living among Lions in natural habitats have deeply observed and understood this characteristic whereby to have chosen the Lioness as representing their most Ferocious War deities and Warriors, often naming their Male rulers as her "Son". Examples drawn from the earliest of written records include the Egyptian pantheon deities of Sekhmet, Bast, Menhit, and Tefnut, and these deities may have had precursors in Nubia and Lybia. Other Egyptian deities are quite complex and assume aspects that may include one as a Lioness headed human or a Lioness in specific roles such as the Sphinx.

THE SPHINX OF INORGANIC FEMININE INTELLIGENCE ALWAYS HUNGERS EVER HUNGERING TO FEAST UPON ONES EVENTUAL INCORPOREAL INGRESS

Many ancient images, which were initially perceived by Patriarchal inclined Archaeologists to represent Fierce, large Feline animals described as Leopards and Panthers reveal their true identity as Lionesses when the tail is examined. The characteristic tuft at the tip of tail only belongs to Lionesses should there be no mane - no matter what they are called by modern interpreters. The presence of spots may not differentiate them either, since young Lions often have spots in a rosette pattern, the tail must be examined to exclude the Lioness from many mislabelled images whereby the Male Lion utilised in Heraldic Coats of Arms take on another meaning for they were originally female, hence the Sphinx is that of a Lioness.

WHEN THE GIRLS GO OUT ON THE TOWN HUNTING THEIR LIONESS EYES DO LIGHT UP SHOPPING

The Great Sphinx of Giza is situated not far away from the supposed Pyramid of Khafre, which is seen as a zoomorphic mythological figure of a recumbent lion with a human head; however the human head looks to be added on at a far later date and usually seen to be that of a Male by the vast array of Egyptologists. The Sphinx has its origins amidst the sculpted figures of Old Kingdom Egypt, whereupon the ancient Greek's later applied their own name for their female version of the Sphinx, which they called the "Strangler", and that of an archaic figure in Greek mythology. (The 'Strangler' refers to the Reptilian-Brain-Stem, which determines ones state of Conscious Awareness as well as ones depth of Dream states.) Similar Sphinxes appear throughout South and South-East Asia as well as within European decorative art, which led to the Sphinx enjoying a major revival from the Renaissance period onwards.

SEKHMET TO KALI BOTH THE SAME

In Ancient Egyptian mythology, the Sphinx can be seen as a recumbent Lioness with the human head of a Female, but occasionally there are other sculptural versions where one finds a Lion with the head of a Falcon, Hawk, or that of a Ram. The Sphinx had its principle origin within the Old Kingdom, which one can see as being associated with the Solar Lioness Goddess Sekhmet whom is the warlike version of the Love Goddess Hathor. Sekhmet and Hathor are somewhat similar to the ancient Hindu Goddesses called Kali and Durga for one has Sekhmet going into a blind rage whereupon the God Ra had to quell her world destroying fury by using magic words, which transformed her back into loving Hathor; one also has the same motif with the Hindu God Siva who also had to halt Kali's fury destroying the world by sublimating him self to her via his use of Yoga whereby Kali was transformed back into Durga.

CROSS-CULTURAL UNDERSTANDING OF AN INNER EXPERIENCE WHERE THE SPHINX DOES HUNT

The use of heads of various other animals atop of the usual Lioness body followed the particular totemic deities of a city or region where they were built or which were prominent within the Egyptian pantheon at the time. At some point of later date, the image of the Sphinx, or something of very similar concept to that of the original Egyptian idea, was invariably exported into many other cultures via trade routes, albeit often interpreted quite differently by others due to translations of descriptions of the originals and the evolution of the concept in relation to differing cultural traditions.

SPHINX OF GIZA FAR MORE ANCIENT OF TIME FIRST THOUGHT

The role of Sphinxes was usually that of temple guardians for they were often placed in regards to architectural structures such as royal tombs or religious temples. Perhaps the first Sphinx was the one depicting Hetepheres II, whom ruled during the Fourth Dynasty, which lasted from 2723 to 2563 BC. However, the largest and most famous is the Great Sphinx of Giza, which is sited on the Giza Plateau upon the west bank of the Nile River facing due East; the Sphinx of Giza is seen as being from the same period of Fourth Dynasty although the actual date of its construction is yet uncertain, while the head of the Great Sphinx is believed to be that of the Pharaoh Khafra; however there is little evidence to support such a perspective.

SEKHMET LIONESS DEVOURER OF WORLDS VAMPIRIC; SHE TO GIVE AND TAKE AWAY

There is an avenue of Ram-headed Sphinxes of far more patriarchal hue, which one can find at Karnak in Luxor dating to the later Eighteenth Dynasty; what names their original builders gave to these Sphinxes is not known. One can find at the Great Sphinx site an inscription wrote upon a stele, which was erected a thousand years later, by Thutmose IV in 1400 BCE that lists the names of three aspects of a local Sun deity of that period, Khepera - Rê - Atum. The utilisation of these Sphinxes within tomb and temple complexes quickly became very popular whereupon many Pharaohs had their heads carved atop of the guardian statues when standing guard over their own tombs so as to show their close relationship with the powerful deity, Sekhmet.

SPHINX OF GUARDIAN TO INNER QUANTUM WORLD BEYOND THE VEIL OF MAYA

Other well known Egyptian Sphinxes include one bearing the head of the pharaoh Hatshepsut, with her likeness carved within granite, which is now found to be residing within the Metropolitan Museum of Art in New York; one also has the alabaster Sphinx of Memphis, which is currently located within the open-air museum at the same site. The theme of the Sphinx was further expanded to formulate into great avenues of guardian Sphinxes lining the grandiose approaches towards sprawling tombs and temples as well as serving as details atop of the posts of flights of stairs leading up towards very grand complexes. Nine hundred Sphinxes with Rams' heads, which represented the deity Amon, were built in Thebes, where the principle cult site of Amon was situated.

THE SPHINX OF ANCIENT GREEK MYSTERY

Since the early Bronze Age when Troy was still in all its glory, the Hellenes of ancient Greece had extensive trade and cultural contacts with Egypt. Well before the time when Alexander the Great occupied Egypt from whose lineage Cleopatra to later spring from as a Sphinx; the Greek name of Sphinx, was traditionally ascribed to these feline predatory creatures made into many a statue. The ancient Historians and Geographers of Greece wrote extensively about the intricacies of Egyptian culture, which fed into their philosophy. The Greek Historians sometimes called the Ram-headed type of Sphinxes, Criosphinxes, while the bird-headed ones were verily named Hierocosphinxes.

LILLITU SUCCUBAE DO STRANGLE THEIR PREY TO RIDE FEASTING UPON THEIR FEAR; HENCE ONE TO LOVE TO GO, MUCH MORE CONDUCIVE

The word Sphinx originally comes from the ancient Greek, apparently from the verb Sphíngo, meaning "To Strangle". Some have determined that the name may have been derived from the fact, (as stated earlier) that the hunters for a pride of Lions are the Lionesses whom kill their prey by strangulation, biting the throat of their prey while holding them down until they die. However, it is far to do with an initiatory experience of an Altered-State-Of-Consciousness, which some inadvertently endure as the quaintly termed Old-Hag or Bedroom Invader Experience and that of a Succubus where the initiate or otherwise of victim initially experiences being strangled by an Inorganic Feminine Intelligence, which some may term as that of a Demonic entity; such an experience is called the 'Riddle of the Sphinx' in ancient times.

NECRONOMICON TIME OF THE GREAT-OLD-ONES MATRIARCHAL TITANS ALL  

In Greek mythology there was a single Sphinx, and that of a very unique female Demon who was often associated with destruction and bad luck. According to Hesiod, the Sphinx was a daughter of Echidna and Orthrus; while according to others, the Sphinx was a daughter of Echidna and Typhon. All of these associations are chthonic underworld figures from the earliest of Greek myths when the ‘Great-Old-Ones’ ruled as the Titans, before the Olympians came onto the scene of the Greek pantheon. Pierre Grimal's The Penguin Dictionary of Classical Mythology mentions that the proper name of the Sphinx was Phix, however he does not identify a source for this information, although the Sphinx, is called by the name of Phix by Hesiod in line 326 of his Theogony.

EROTIC SPHINX MOST SENSUAL SEXUAL VERY MUCH FELINE OF PUSSY-CAT

Ancient Greek mythology usually depicts the Sphinx as a monster with a head and breasts of a comely woman, the body of a Lioness, having the wings of an Eagle, as well as having a Serpent headed tail.

EVERY ATHENA OF WOMAN BE AS A STALKING SPHINX

The Sphinx was the totemic emblem of the ancient city-state of Chios, as well as appearing upon royal seals and the obverse side of coins from the sixth century BC until the third century AD. One also has a Sphinx appearing within the middle of the Corinthian helmet worn by the statue of Athena Parthenos.

THE UNDERWORLD LIBRARY OF THE SUCCUBUS SPHINX BE WITHIN ONE

The Sphinx is seen as guarding the entrance into the ancient Greek city of Thebes, whom asked a riddle of many travellers before allowing them safe passage into her domain. The exact riddle asked by the Sphinx was never specified by early tellers of the stories, let alone standardized until late in Greek history.

THE RIDDLE OF THE SPHINX MOST ARCANE

It was communicated in late Greek lore that Hera (sometimes Ares, hence referring to the Egyptian War Goddess Sekhmet) sent the Sphinx from her Ethiopian homeland (one will note that the Greeks always remembered the foreign origin of the Sphinx) to Thebes in Greece where the Sphinx asks all passers-by the most famous riddle in history: “Which creature in the morning goes on Four legs, at mid-day on Two, and in the evening upon Three, and the more legs it has, the weaker it be?” The Sphinx strangled and devoured anyone unable to answer her riddle. Oedipus solved the riddle by answering: “Man - who crawls on all Fours as a baby, then walks on Two feet as an adult, and then walks with a cane in old age. One will find in other accounts of rarity, that there was a second riddle: "There are Two Sisters: one gives Birth to the other and she, in turn, gives Birth to the first." The Answer: Day and Night - both words are feminine in Greek.

NINE OF ENNEAD BARDO VISIONS WHILE PYLONS TWO POINT TO TWILIGHT BINARY STAR SIRIUS

The first riddle of the Sphinx refers to the number Nine and that of the ancient Egyptian Ennead as well as that of ‘Nine’ states of Consciousness, which is extensively explored in the Bardo-Thodal, the Tibetan Book of the Dead where one has Seven visionary States along with an experience of the 'Primary Clear Light' and the 'Secondary Clear Light'. The second riddle of the Sphinx refers to the two Nerve Channels running along either side of ones Spinal Column, which are symbolically associated with Day and Night; the two Nerve Channels pertain to ones Autonomic-Nervous-System whose headquarters is situated within ones Reptilian-Brain-Stem of Throat area hence that of the association with Strangulation.

THE BACK OF THE HEAD CAUDRON DEEP OF WOMB RECEIVING WHITE SEED OF CONSCIOUSNESS INTO CHALICE RED MOON BLOOD MENSTRUAL

When the Sphinx is bested at last as the ancient Greek tales to tell, the Sphinx then throws herself down from her high rock and dies. However, when an Initiate experiences the visitation of the Sphinx via a Dream whom is usually a Male he initially experiences being strangled, which is that of his own Emotive Fear and when overcome by Love he then has a highly erotic experience of being dragged out of his body via the 'Back of his Head' by a feminine entity whereupon he falls into and through an abyss of gaping vaginal void into the otherworldly womb realm of the Sphinx.  An alternative version of the Greek myth covering the Sphinx tells that she devours herself; but it be that of the Initiate who is devoured when to fall through the binary pylons of twilight Trance gateway overseen by the Sphinx; however, if he fears her the Initiate is destroyed.

TWILIGHT TRANCE GATEWAY OF VAGINAL STARGATE PORTAL

Some perceive Oedipus as being a "Liminal" or Threshold-Figure, who helps effect the transition between the old religious practices, represented by the death of the Sphinx of Matriarchal Titan, and the rise of the new, Olympian Gods; but such a scholarly mundane perception is usually that of those who have not had the internal experience so as to encounter the reality of the Sphinx, which inspired many an ancient mind to ponder her Mysteries.

AMENTA INFERNAL OF WOMB MYSTERIES WEAVING WEBS OF LIGHT

In a retelling of the Oedipus legend entitled ‘The Infernal Machine’, the Sphinx reveals to Oedipus the answer to her riddle whereby she kills herself so that she does not have to kill anyone anymore as well as making Oedipus love her. However, Oedipus leaves without ever thanking the Sphinx for giving him the answer to her riddle. The scene comes to an end when the Sphinx and Anubis, whom are there to kill their victims who cannot answer the riddle, ascend back to the heavenly Duat. In other words, there are no longer any Initiates into the Mysteries whom can truly fathom the ‘Riddle of the Sphinx’.

MOTHER DIANA-LUCIFERA MITOCHONDRIA BURNING BRIGHT

The Lioness Sekhmet was associated with the Sun, hence that of Light and Fire; but the Light was not that of an external source most obvious of Sun, but that of an inner Sun and that of its fire to attain. Ones Dreams are made of Light, which is that of the Bio-Photon; the Bio-Photon flame of laser light emanates from ones Mitochondrial DNA residing within the Mitochondria, which is in each and every one of ones Cells that determines the energy output of the Cell let alone to be also conjectured as generating ones very Consciousness by parallel processing information emanating from alternate realities existing within parallel universes. The Mitochondria is only passed down by the Mother to her Children, whereby one has ones Lioness of Sekhmet and Sphinx. Ones ancestors were well aware that the Light quality within ones Dreams was emanating from a Feminine source just as the Greek Hera was the Goddess of the Hearth, Mother of Fire whom the Mongolian Kams knew as Yal-un eke. It is via ones Dreams one can interact with the Inorganic Feminine Intelligence of Sphinx, which communes via the Primary-Clear-Light of Bio-Photon Fire emanating from ones Mitochondria; the Riddle of the Sphinx resides within every Carbon-Based-Life-Form and that of a legacy passed down from the first Mother and that of a time most ancient when the Mitochondria was once a free swimming organism!

DEATH OF THE KISS EROTIC BLISS

In order to attain internal conscious communion with the Sphinx one has to first overcome ones Fear otherwise one will experience ‘Strangulation’, which is a precursor to deep Trance and Lucid-Dreaming; when one overcomes ones Fear, the sensation of strangulation transforms into a highly erotic sensation whereupon one will then sense ones conscious awareness being eased out of the back of ones head by a 'Kiss', which is initiated by a feminine intelligence; one then falls through an abyss into another reality where the Sphinxes Mysteries will be revealed to one. The sensation of the 'Kiss' to the back of ones head was known in Occult circles as 'The Death Of The Kiss' of most secret rite, those whom experience it are usually Males.   

VALUNA HERMIONE GRANGER: The above image depicts a Goetic evocation of the 62nd spirit (Volac/Valak/Valu/Ualac) Valuna within an urban environment of a bedroom all laid out with ritualistic Mandala icons wrought out of modern imagery. The Manadala images are utilised for Meditation purposes in alignment with Mantras to bring about a state of Mental exhaustion so as to access the Hypnagogic state of Trance. One can say that such be but base crudity but understandable in relation to the material communicated of Goetia. One has to first deal with ones Leaden Shadow of Prima-Materia base desires so as to transform Alchemical into the Gold of ones 'Aroused' Intent made Manifest of 'Spun' Tulpa whose Sentience is the sum total of focus formed by many Minds throughout the Matrix of Space-Time.

The Spirit will at first manifest as a 'Spun' whirl of energy before ones Minds Eye that be 'Charged' by ones excited Emotive state of being, which be the opening of the Stargate 'Portal' followed by Entoptic phenomena of Geometric shapes and flashing colours to then formulate into a form. The Spirit will seem to be manifest, almost material within ones Triangle of Art Vision, yet not there as if one be merely imagining what be happening. However, if ones Intent of ritual has been conducted correctly one will then find that the Spirit will assail ones Dreams whence to discover that a Door be far more than a mere Doorway within the realms of the Quantum Dream, but that of a Mini-Wormhole of Yoni Stargate through which the Spirit called upon will contact one.

When calling upon a Spirit one needs a background Story so as to empower ones focus and those tales best to utilise are usually stories, which are either Archetypal of Mythic formulation or ongoing sagas which are Collective of Focus such as those of the Harry Potter books. One can of course fuse both together around a chosen Trigger Symbol, which in its self has to be Archetypal of nature such as that of the Symbol of a 'Schoolgirl' for example made somewhat of a collective cultural Icon of Focus via Japanese Manga and Anime Cos-Play whose European forerunner was that of St Trinian's whence leading to a Schoolgirl-Witch Hermione.

Ones Subconscious Mind works with 'Charged' Symbols of Associative Stimuli whereby it will set about weaving a Lucid-Dream Domain of Hidden Shadow University around ones self whose 'Mercurial' classes of Hermetic Science will either have one taking on the Horned Goat guise of a Teacher Schooling or to be Schooled as a winged heeled Student to be reflected back at ones self within School Hogwarts somewhat surrounded by hungry Slytherin Schoolgirl Dakinis led by Valuna-Hermione whom will enhance ones Intelligence manifold.

Hence one has the Image above, depicting a successful 'Surrealist' Sorcerer experiment of calling upon an Anima emanation of a Sentient Sub-Quantum Tulpa!

The Feminine name of Hermione is derived from the Masculine name of the ancient Greek deity Hermes whom wielded the DNA Helix Double Headed ‘Serpent’ Caduceus; this is the reasoning behind why one has the description of the 62nd Spirit Valuna riding a Two Headed Dragon. This is more the case since Valuna has the planetary sign of Mercury (The Roman name for Hermes) ascribed to the Spirit as described in the Goetia.  

However, Hermione is also mentioned in ancient Greek Mythology as being the daughter of Menelaus and Helen. Whilst her parents were away fighting, Hermione was dutifully raised by her doting aunt, Clytemnestra. One can of course utilise such a 'Charged' relationship structure so as to update to the modern in order to empower ones Valuna Tulpa to 'Spin' further. Hermione is also a character featured in William Shakespeare’s play 'The Winter’s Tale'. The name was again plucked from out of obscurity for the main female role in J. K. Rowling’s 'Harry Potter' series called Hermione Granger; hence one can make imaginative associations between a feminine Hermes of a very naughty 'Hermione' Hogwarts 'Schoolgirl' Succubus so as to merge with an Intellectual 'Valuna' riding a Two Headed phallic Slytherin Dragon of a DNA Helix Caduceus Broomstick.

Valuna of 'Symbolic Interface' form Hermione will then Communicate to her Master the Wisdom Teachings of Hermes Hermetica via his Harry Potter Quantum Dreams.

(Note: If one desires to have some Idea so as to formulate a 'Tulpa' Technique of ones own to utilise, which was used by a Parapsychological Investigation team based in Toronto who created a Ghost, which made a Table to dance Poltergeist in front of an audience, check out the Article: The Science of Sorcery Evocation Part II & III while part I explains what a Tulpa is. One can find the Articles in the 'Occult Articles' Secion of this most humble Wyrd-Web-site!)