VOODOO GIRL WEDNESDAY ADDAMS BUNEA: The Twenty-Sixth Spirit is Bunea (or Bimea or Bima). She is a Great and Mighty Duchess. She appears in the form of a young Goth Girl Lolita of Aristocratic Addams Family Class whose shield of heraldry depicts a Dragon and a Gryphon on either side of a shield depicting her sign, which to also have a Dogs head atop of a black Knights helmet. She often frequents graveyards as her playground while to hang out smoking Hashish or to be seen within vivid Visions and Dreams painting Surreal paintings on large canvasses within a sprawling Mansion or to pose for her Master of an Artist when he to trance, indulging in automatic-painting. She is very much into Necromancy and Spiritualism of which she teaches much and speaks with a high and comely voice. She changes the burial places of dead Girls, and causes their Spirits, which are under her care to gather and play upon their sepulchres whom will thence answer those questions put to them by her Master. The Spirits under her authority are called 'Bunis' whom are the Spirits of discarnate Girls and are regarded by the Tartars to be exceedingly wanton and Sexually perverse Nymphs. Their power is great in Poltergeist activity and their mischeivous number immense. But their Sorcerers are ever in communication with these discarnate Spirits of twilight dead Girls by means of whom they carry on their dark practices. Bunea gives riches and great fortune and makes her Master wise and eloquent, but only when she has been sexually fulfilled via those Erotic Lucid Dreams she will induce as a Succubus. She gives truthful answers unto the demands of her Master. She governs Thirty Legions of Spirits likened unto her self.

BUNEA NECROMANTIC WEDNESDAY ADDAMS GOTHIC LOLITA

Bunea is very much akin to 'Wednesday Friday Addams' who is a member of the fictional Addams Family, created by cartoonist Charles Addams for The New Yorker; in Charles Addams's cartoons, Wednesday and other members of the family originally had no names. When the characters were eventually adapted for the 1964 television series, Charles Addams gave her the name "Wednesday", based upon the well-known nursery rhyme line, "Wednesday's child is full of woe". She is the younger of the two children of Gomez Addams and Morticia Addams.

Morticia inspired the character of Elvira whose mythic foundation points towards the ancient Witch Goddess called Hecate; while the name of Wednesday, which in the German is Wodensdaeg is derived from the name of the ancient Shaman God who was known of by the Anglo-Saxon’s as Woden whose spouse is the Sexual Love Goddess Freo. The Goddess Freo is otherwise known as Freyja by the ancient Norse whom is the mistress of Witchcraft and of Cats from whose name Friday is derived.

Wednesday Addams is very similar to Emily the Strange (sometimes written as Emily Strange) who is a fictional counterculture character created by Rob Reger and his company Cosmic Debris Etc. Inc. The very first Emily the Strange illustration dates from 1991, but the 1978 children's book Nate the Great and the Lost List features a very similar illustration of a young Girl named Rosamond who also has long black hair and is frequently accompanied by her black Cats. When Rosamond is introduced she wears a short dress and white Mary Jane shoes, exactly the same as Emily, standing in almost the same pose with her Cats.

The Rosamond illustration is accompanied by the text:"Rosamond did not look hungry or sleepy. She looked like she always looks. Strange." The first Emily the Strange design by Cosmic Debris says: "Emily did not look tired or happy. She looked like she always looks. Strange."

Emily and Rosamond both draw from the same Archetype, which has spawned similar Goth Girl Comic-Strip characters including Vampirella, Devilina and Satana let alone Wednesday Addams of prior Succubus creation. Emily the Strange first appeared on a sticker distributed at concerts, record stores and skate shops to promote Cosmic Debris, the clothing line founded by artist and skateboarder Rob Reger, racing car driver Matt Reed and Nathan Carrico, who designed Emily in 1991 for Santa Cruz Skateboards in Santa Cruz, California.

Today, Rob Reger remains as President and the principle creative visionary at Cosmic Debris, a successful design and marketing firm with millions of fans worldwide whom to wildly Spin the Sub-Quantum Automata Tulpa Succubus of Emily via their Consumerist Emotive Charge; its headquarters is in Berkeley, California. Cosmic Debris claims to be "home of Emily the Strange" and promotes it self as an ambassador of the "Be Yourself, Do It Yourself" Movement.

Cosmic Debris has opened four Emily the Strange flagship stores to date (Taiwan, Taipei, Hong Kong and Greece), with plans to open a string of Emily the Strange retail stores in the Americas. The Emily the Strange franchise has a considerable merchandising catalogue, including clothing, stationery, stickers and fashion accessories. All of the products feature Emily's distinctive Mandala appearance of Icon as well as frequently featuring one of her famous Mantric sayings like "Get Lost," "Be All You Can't Be," and "Wish You Weren't Here".

Co-branding alliances and partnerships have included Jones Soda, Gibson Guitars and Manic Panic (hair colouring, nail polishes and colourful extensions). Emily the Strange is published in several formats by world renowned publishers including Chronicle Books, Dark Horse Comics and, most recently, HarperCollins.

Dark Horse Comics announced the publication of "The Art of Emily Volume One", the first collection of images showing the wide and inspired range of artistic styles and mediums that have been used to create the world of Emily the Strange. Silk-screened vinyl skateboard stickers to custom rock-and-roll album art, large-scale psychedelic paintings, and intricate Mongolian paper cutting, the fantastic and artful imaginings of Rob Reger, Buzz Parker, and a large number of other collaborators whom are all helping to lend flesh to the Emily the Strange Succubus to Evoke.

An Emily the Strange feature film has been optioned by Mike Richardson, of Dark Horse Entertainment, as producer. A release date has not yet been granted to the film, but it is in active development with Universal Pictures attached for distribution. Suffice to say, Wednesday Addams of an Archetypal Succubus has had a big impact upon ones Subconscious Mythic Mind, who has not only inspired Rosamond to that of Emily the Strange, but to have also inspired the Gothic Lolita genre of Manga, Anime and Hentai as well as its ensuing fashion craze in Japan, whereby Bunea is a very rich little Goth Girl indeed.

Wednesday is originally a pale, dark-haired, grim-looking little Girl with a fascination with death and the macabre. She is explicitly stated to be six years old in the pilot episode of the 1960s Television series within which she is significantly more sweet-natured; although her favourite hobby is raising poisonous Spiders; she is also a Ballerina.

Wednesday's favourite toy is her Marie Antoinette Voodoo doll, which her brother guillotined. In one episode, she is shown to have several other headless dolls as well.

She also paints Surrealist pictures (including a picture of trees with human heads and other Sadomasochistic fetish imagery, whereby one has the Art of Emily Strange) and once writes a poem dedicated to her favourite pet Spider, Homer. Wednesday is deceptively strong; she is able to bring her father down with a judo hold, whereby Bunea is very protective of her Master agianst those of malign intent.

Wednesday had a close kinship with the family's giant butler Lurch of a Frankenstein created Golem whom acted somewhat like her familiar. In the TV series, it was revealed that her middle name is "Friday". In the Spanish language version, her name is Merlina Addams. The name of Merlina is the feminine version of the Norman (French) name of the Magician called 'Merlin,' which was originally derived from the Welsh name of Myrrdin whom is associated with the Roman God Mercury and the prior Greek Hermes. Mercury was otherwise known as Woden by the Anglo-Saxon’s whom the ancient Norse called Odin. The feminine version of the name Odin is Odina, while Woden is Wodena. In the Brazilian version (Portuguese), Wednesday Addams name is Wandinha.

“Child of woe is wane and delicate...sensitive and on the quiet side, she loves the picnics and outings to the underground caverns...a solemn child, prim in dress and, on the whole, pretty lost...secretive and imaginative, poetic, seems underprivileged and given to occasional tantrums...has six toes on one foot...” (Charles Addams)

The actress Christina Ricci plays Wednesday in The Addams Family film (1991) and that of its sequel Addams Family Values (1993), Ricci portrays a teenage Wednesday as being far more malevolent than her younger television self. Wednesday's personality is severe, with a deadpan wit and a morbid interest in trying to inflict harm upon her brothers, first Pugsley and later Pubert.

One can perceive Bunea as a grown-up hashish smoking Wednesday Addams of an Elvira Emily Strange entertaining her Necronomicon party guests of Night-Gaunts, Shuggoths and other infernal creatures with her Rosamond Tibetan thighbone flute of human bone while divining coded messages via her Ouija board, for she is highly versed in the art of Necromancy.

One could also associate Bunea Wednesday Addams with the Vodou Loa Maman Brigitte. In Vodou, Maman Brigitte (Grann Brigitte, Manman, Manman Brigit, Manman Brijit) is a death Loa, who also bestows financial riches; she also has special influence over Black Magick and ill-gotten fortune, which is usually to do with winning profuse amounts of money through the use of Necromancy in order to be always lucky at gambling; she is the wife of Baron Samedi. The name Samedi means Saturday in French, however it is very likely derived from the word Samadhi, which is a Hindu, Buddhist and Sikh technical term. Samadhi usually denotes higher levels of concentrated meditation, or Dhyana, in Yogic schools. In the Yoga tradition, it is the eighth and final limb identified in the Yoga Sutras of Patanjali.

Samadhi has been described as a non-dualistic state of consciousness in which the consciousness of the experiencing subject becomes one with the experienced object, in which the mind becomes still (one-pointed or concentrated) though the person remains conscious. In Buddhism, it can also refer to the mind becoming very still but it does not merge with the object of attention, and is thus able to observe and gain insight into the changing flow of experience.Within Hinduism, Samadhi can also refer to Videha Mukti or the complete absorption of the individual consciousness in the Self at the time of 'death,' usually referred to as Mahasamadhi, as well as referring to a Mausoleum of a Saint, or Spiritual leader wherefore one has Baron Samedi.

Brigitte is said to live in a tree like the Babylonian deity called Lillith, which is situated amidst a cemetery; one can of course perceive her abode as being a tree house unless she has moved to a labyrinthine Gothic Mansion with a sprawling tree growing inside of it; her sacred trees are the Weeping Willow and Elm. Brigitte usually dresses in black or purple and is said that she also protects gravestones in cemeteries if they are properly marked with a cross. Brigitte's sacred colours are usually seen to be black, purple and white while her number is nine; the particular days of her service includes Monday and Saturday. Black Chicken's are seen as being her sacrifial animal.

Maman Brigitte, like the rest of the Baron/Ghede constellation of Spirits, is a tough-talking Loa who uses a lot of over the top sexually obscene language. She drinks copious amounts of rum laced with hot pepper, so hot that a person who is not possessed by her Loa could never drink it. She is also known to pass hot Haitian peppers over the soft skin of her genitals to arouse into moistening, and this is the test to which women are subjected to when they are suspected of "faking"Brigitte's possession. She dances the sexually suggestive and remarkably artistic Banda, and the virtuosity of her erotic dancing is legendary.

Maman Brigitte, surprisingly enough for a Vodou Loa, is originally British of origin, whom is descended from Brigid, the Celtic "Triple Goddess" of Poetry, Smithcraft, Healing and Fire. Brigid is associated with the festival of Imbolc, which is the Celtic holiday that marks the rebirth and beginning of Spring. Imbolc is ruled over by the Goddess Brigit in Ireland to have also been worshipped in ancient Britain as Brigantia whom is known as Bride in Scotland. In Irish and ancient British myth, the God of the Earth called Dagda, also known as the “Good God,” had three daughters, who were all named Brigit. The first Brigit was the Goddess of Poetry, the second was the Goddess of Smithcraft, and the third was the Goddess of Fire and Healing. Smithcraft was always considered to be a Magickal practice, for example in Siberian Shamanism the Smithy was known as the elder of the Shaman for the Smithy had mastery over Fire, which alludes to the inner Fire of the Life-force; the Mongol Shamans (Kam's) considered the Fire as being sacred whose mother was called Yal-un eke while the master of Fire is known as Odqan.

All three Brigit's are really aspects of one Triple Goddess who was associated with the Sun and with Fire. On the day of Imbolc Brigit used her flame to rekindle the fire in the Earth to assure that the plants would have the heat, which they needed to break through the earth in order to grow. In ancient times, a woman dressed as Brigit would bless the fires in the households and forges across Ireland. On this day, Brigit’s snake would come out of its womb mound, and the snake’s behavior would determine how long the remaining frost will last. This is the most likely origin of Groundhog Day; however, in ancient times the snake was considered as representing the Life-force.

During the ascendency of Christianity, Brigit was transformed into a Saint who was also associated with the Virgin Mary. Imbolc became the Christian Candlemas, the Feast of the Purification of the Blessed Virgin Mary, which is celebrated by lighting candles. A Brigit’s cross is a talisman made of woven 'Reeds,' which in Olde English are called 'Bune' formed into a cross with a woven square in the centre and four equal arms extending out from the centre. This design gives the cross a sense of rotation, which evokes the wheel of the year of similarity to a counter-clockwise Swastika. Brigit’s cross should be made or bought on the day of Imbolc and used to protect the home throughout the year wherefore one has the cross of Maman Brigitte. Also on this night one can leave a silk ribbon on the doorstep for Brigit to bless. Later it can be used for Healing.

The Haitian Maman Brigitte is described as having green eyes to have light European skin with blonde hair unless she has dyed it black. Brigitte very likely migrated to Haiti within the hearts of deported Scottish, Irish and English indentured servants who also became Slaves along with their African kin. There is even a Creole song which is sung in Vodou ceremonies which goes 'Maman Brijit, li soti nan anglete,' which in the English translates as: Maman Brigitte, she comes from England..."

As mentioned before the Celtic Goddess Brigid of Irish mythology was the same as the Goddess called Brigantia whom was worshipped in ancient Britain, her other names of similarity are, Brij, Bride, Bridey, Brighid, Brigit, Briggidda. The worship of Brigantia survived throughout the Roman invasion of Britain to become part of the Celtic (Gallo-Roman and Romano-British) religion of Late Antiquity. In the interpretatio Romana, she was equated with Victoria. The characters of Brigid and 'Saint Brigid' in Irish mythology and legend are originally derived from Brigantia.

The name Brigantia is in origin an adjectival epithet simply meaning "The High Goddess". An exact cognate is found in the Germanic Burgundi, Proto-Germanic Burgundī, There are comparisons in the ancient Sanskrit where one to find the word, 'Brhati' and in the Avestan language to discover similar feminine adjectives meaning "High." The Sanskrit Brhati is also a female given name, as is Old High German Purgunt. One also has the ancient British tribe who derived their name from Brigantia called the Brigantes, which can either be translated as "The High, Noble Ones" or to "Highlanders".

The Brigantes were a Celtic tribe who in pre-Roman times controlled the largest section of Northern England and a significant part of the Midlands. Their kingdom was known as Brigantia, and it was centered in what was later known as Yorkshire, which the Anglo-Saxon's later invaded followed by the Viking's after the Roman's left British soil. The Brigantes were the only Celtic tribe to have a presence in both England and Ireland, in the latter of which they could be found around Wexford, Kilkenny and Waterford, where the Viking's later took up residence. Within England, the territory which the Brigantes inhabited was bordered by that of four other Celtic tribes: the Carvetii (to whom they may have been related) in the North-West, the Parisii to the East and, to the South, the Corieltauvi and the Cornovii.

As for the name of Britain it was derived from the name Britannia, whose origin emanates from Brigantia; Britannia was also a popular Celtic Goddess in the Romano-British pantheon of Late Antiquity; Brigantia and Britannia were in essence one and the same deity to be associated with the Roman Goddess Minerva who was originally derived from the ancient Greek Goddess Athena. During the reign of Claudius Caesar, when the Roman's conquered Britain in AD 43, they named the new province after the Goddess, Britannia, hence one has the name of Britain from whence Brigitte came from.

Mama Brigitte is a powerful Loa whom is associated with an inner Fire lighting up ones skull to inspire poetry when one reaches a state of Odqan 'Samadhi' wherefore one can thence handle hot coals with impunity. She is served throughout Haiti as the mother of the unruly comical trickster Ghede's who are the death Loa; one could say that they are somewhat like the Addams Family on speed. Maman Brigitte is a tough talking, hard core woman; one can get an idea what she is like by merging the characteristics of Morticia with Elvira together whereby she has a take no prisoner attitude; she is more likely to tell one to piss off, rather than give one a helping hand at first. She has to be harsh of ruse to be kind; one merely has to look at her husband Baron Samedi who is like Gomez let alone her unruly children, the Ghede's! It would take a woman with an iron willed personality of a Brigantia to bring all those Underworld folks through the uterine veil!

Brigitte manifests through possession in a remarkable number of ways. There is Ti-Gitte (Little Brigitte) who is akin to a Wednesday Addams of a sexually precocious coquette likened to a street-wise Goth Girl, tough and tender at the same time; and of course Maman Brigitte of a silent judge, wearing a heavy black veil to lean sensuously on a cane; she doesn’t speak that much, other than to royally gesture and make magick bottles with herbs and liquor like an aristocratic Morticia to then suddenly switch into a tough talking prostitute of a working woman with a hard drinking, smoky over the top bar persona like Elvira whom makes ones gut rip with laughter for her to then dance erotic. Whatever her appearance, she offers help and is also said to make court decisions in favour of her servitors. She also precipitates the arrival of the Ghedes, by opening the path before them.

She is a harsh Loa, but a fair one, meting out her decisions in favour of those who deserve it. Approach her with respect and she will listen carefully and give your requests heavy consideration. Maman Brigitte and Baron Samedi are the mother and father who reclaim the souls of the dead and transform them into Loa Ghede, removing them from the mystic waters where they were without cognizance of their own identity and naming them.

The Loa Ghede are an enormous family of Loa, who are many of varied colourful character as were the souls from which they had originated. Since they are all members of the same family, spiritual children of Baron Samedi and Maman Brigitte, they all have the same last name, La Croix, the cross. No matter what other name they have, their signature is always La Croix.

Some of the Ghede's names include the following: Ghede Arapice la Croix, Brav Ghede de la Croix, Ghede Secretaire de la Croix, Ghede Ti-Charles la Croix, Makaya Moscosso de la Croix; as well as sad and degraded sounding names such as Ghede Ti-Mopyon Deye la Croix (Ghede Little Crab Louse Behind the Cross), Ghede Fatra de la Croix (Garbage Ghede of the Cross), Ghede Gwo Zozo nan Crek Tone de la Croix (Ghede Big Cock in Pussy by Thunder of the Cross) and so on ad infinitum.

The vast majority of Ghedes tend to be male, but there is at least one female Ghede called "Ghedelia," there are no doubt others, with room for more. Ghedelia's name is often found emblazoned on a few buses bustling through Port-au-Prince. There may be a curious link here in regards to the practice of Siberian Shamanism; It has been noticed by anthropologists that there are many names for a male Shaman in Siberian Shamanism while there is only one name for a female Shaman; perhaps the same motif applies in relation to the Ghede's of Vodou.

A Ghede may possess anyone, anytime, even devout Christian's are not immune from the often comical possessions by Ghede, much to their enormous embarassment and displeasure. The Ghede's are transitional figures whom stand between the living and the finality of death and betwixt the ancestors in Guinea and the living men and women of Haiti. Perhaps this is the reason why the Ghede are honoured midway through the full orthodox Vodou ceremony, after the Rada (primarily Dahomean and Yoruban) and before the Petro (primarily Western Hemisphere).

The Ghede's dress of similar recognisable style as their father Baron Samedi, black or purple clothes, elaborate hats, dark glasses, sometimes missing a lens, a walking stick or baton. There is the distinct possibility that the dark glasses missing a lens could refer to a singular eyed Norse Shamanic deity called Odin (Odqan) who was considered to be the Lord of the dead for one also has the Vodou Loa of sexual Love and Feminine sexuality called Erzulie Freda Dahomey whom is based upon the Norse Love Goddess Freyja (Freda) to fuse with the African, Dahomey. The Ghede also dance the banda, however, while doing so they retain more of the individual personality belonging to the person from whom they had originated. For example, the Spanish-speaking Ghede twists his baton around wielding it like an air guitar to strum as he sings love songs to una mujer. One will also find many a Ghede whom usually proclaims their geographic origins, "I come from Thomazeau", "I'm a Port-au-Prince guy".

The Ghede family, including their father and mother, Baron Samedi and Maman Brigitte, are absolutely notorious for their use of obscene profanity and other the top sexual innuendo. There is a profound psychological reason for this, the Ghede are of the dead, whence they are beyond all punishment. Nothing further can be done to them, so the use of profanity among the normally somewhat formal Haitians is a way of saying, "I do not care! I have passed beyond all suffering, so I cannot be hurt anymore." In a country where disrespect for authority figures was until recently punished by torture or death, this is a powerful message. However, the utilisation of profanity by the Ghede is never used in a vicious or abusive fashion, to "curse someone out". It is always humorous, even when there is a pointed message involved, such as one should enjoy life.

Some Vodou practitioners also associate St Theresa with Maman Brigitte, nowadays, Brigitte is usually considered to be the wife of Baron Samedi, Master of the Cemetery and chief of all the departed ancestors whom are collectively known as Loa Ghede. The grave of the first woman buried in any cemetery in Haiti is consecrated to Maman Brigitte, and it is there that her ceremonial cross is erected. She, as well as Baron Samedi, are invoked to "raise the dead", meaning to cure and save those who are on the point of death from illness caused by malign Magick, wherefore Maman Brigitte is very much associated with the art of Necronomancy.

Necromancy is a form of Magic in which the practitioner seeks to summon "operative Spirits" or "Spirits of Divination", for multiple reasons, from Spiritual protection to the attainment of Wisdom. The word Necromancy is derived from the Greek Nekrós, "dead", and Manteía, "prophecy".

However, since the Renaissance, Necromancy (or Nigromancy) has come to be associated more broadly with Black Magick and Demon summoning in general, whereby losing its earlier, far more specialized meaning. By popular etymology, Nekromantia became Nigromancy "Black Arts," with its accompanying black Cats of association, while Johannes Hartlieb (1456) lists Demonology in general under the same heading of Necromancy.

Eliphas Levi, in his book Dogma et Ritual, states that Necromancy is the evoking of aerial bodies (Aeromancy).

Early Necromancy is very similar to the practices of Shamanism, which calls upon Spirits such as the Ghosts of the ancestors. Classical Necromancers addressed the dead in "a mixture of high-pitch squeaking and low droning", comparable to the trance-state mutterings of Shamans whereupon one has the Greek word of 'Goetia,' which means to ‘Howl’ or ‘Howling,’ of ancient Greek Shamanistic practice whose Shamans were called 'Goetes.'

Strabo refers to Necromancy as the principal form of Divination amongst the people of Persia (as communicated by Strabo), and it is believed to also have been widespread amongst the peoples of Chaldea (particularly amongst the Sabians or Star-Worshipers), Etruria, and Babylonia. The Babylonian Necromancers were called Manzazuu or Sha'etemmu, and the Spirits they raised were called Etemmu.

Necromancy was widespread in Western antiquity with records of practice in Babylon, Egypt, Greece, and Rome. The oldest literary account of Necromancy, which is probably one of Wednesday Addams favourite bedtime stories is Homer’s Odyssey (ca. 700 BC). In the Odyssey (XI, Nekyia), Odysseus under the tutelage of Circe, a powerful Sorceress, makes a voyage to Hades, the Underworld, in an effort to raise the Spirits of the dead using spells which Circe has instructed him to use. His intention is to invoke and ask questions of the shade of Tiresias, in order to gain insight on the impending voyage home. Alas, he is unable to summon the Spirit without the assistance of others. In Homer's passage, there are many references to specific rituals associated with Necromancy; the rites must be done during nocturnal hours, and based around a pit, amidst which is a fire. In addition, Odysseus has to follow a specific recipe, which included using sacrificial animals' blood for Ghosts to drink, while he recites prayers to both the Ghosts and deities of the Underworld.

Rituals, such as these, were common practices associated with Necromancy, and varied from the mundane to the more grotesque. Rituals in Necromancy involved Magic Circles, Wands, Talismans, Bells, and Incantations. Also, the Necromancer would surround himself with morbid aspects of death, which often included wearing the deceased's clothing, consumption of unsalted, unleavened black bread and unfermented grape juice, which symbolized decay and lifelessness. It is said that some Necromancers even went as far as taking part in the mutilation and consumption of corpses; however such acts would invariably lead to the demise of the practitioners themselves due to partaking of rotting flesh, which in turn would infect them with the deceased disease. suffice to say many of the reports of cannibalising the dead were often concocted of smear campaign to castigate ancestor worship. Necronomancy only works when due respect is accorded to the dead whereupon its use of rituals could carry on for hours, days, even weeks leading up the summoning of their Spirits. Often these practices took part in graveyards or in other melancholy venues that suited specific guidelines of the Necromancer. Additionally, Necromancers preferred summoning the recently departed, citing that their revelations were spoken more clearly; this timeframe usually consisted of 12 months following the death of the body. Once this time period lapsed, Necromancers would summon the deceased’s Ghostly Spirit to appear instead.

Although some cultures may have considered the knowledge of the dead to be unlimited, to the ancient Greeks and Romans, there is an indication that individual shades knew only certain things. The apparent value of their counsel may have been a result of things they had only known during their physical lifetime such as Pig herding, or to have knowledge, which they had acquired after their death: Ovid writes of a marketplace in the underworld, where the dead could exchange interesting tit-bits of news to engage in ribald and rowdy gossip.

There are also many references to Necromancers, called "Bone-Conjurers", in the Bible. The Book of Deuteronomy (XVIII 9–12) explicitly warns the Israelites against the Canaanite practice of divination from the dead. This warning was not always heeded: King Saul implores the Witch of Endor to invoke the shade of Samuel using a Magical amulet, for example. Later Christian writers rejected the idea that mere humans could bring back the Spirits of the dead, and interpreted such shades as disguised Demons, thus associating Necromancy with the summoning of malign Demons.

Caesarius of Arles entreats his audience to put no stock in any Demons, or "Gods" other than the Christian God, even if the working of spells appears to provide benefit. Caesarius states that Demons only act with divine permission and are utilised by God to test the faith of Christian people. Caesarius does not neccessarily condemn the practice of Necromancers; he only states that the art of Necromancy exists, although it is prohibited by the Bible and in turn the prior Torah and later by the Koran.

Many Medieval writers believed resurrection was impossible without the assistance of their All-Father Christian God. The Church fathers interpreted the practice of Divination as conjuring their fallen Angels all as machismo Demons who took on the appearance of various Spirits in order to beguile and entrap the Souls of Christian's. The practice became explicitly known as Demonic Magic or Demonology, which was roundly condemned by the Roman Catholic Church. Though the practitioners of Necromancy were linked by many common ancient pre-Christian threads, there is no definite evidence that these Necromancers were ever organized as a group.

Medieval Necromancy is believed to be a synthesis of Astral Magic, which was derived from Arabic influences, while Exorcism had originated from Christian and Jewish teachings. Arabic influences are evident within those rituals, which involve Moon phases, Sun placement, day and time. Fumigation and the act of burying images are also found in both Astral Magic and Necromancy. Christian and Jewish influences are usually found in the Symbols and conjuration formulas utilised in rituals of Evocation.

Practitioners were often members of the Christian clergy, though some non-clerical practitioners are recorded. In some instances, mere apprentices or those ordained to lower orders dabbled in the practice. They were connected by a belief in the manipulation of Spiritual beings, (esp. Demons), and Magical practices. These practitioners were almost always literate and well educated. Most possessed basic knowledge of Exorcism and had access to texts of Astrology and Demonology. Clerical training was informal and admission to universities was rare. Most were trained under apprenticeships and were expected to have a basic knowledge of Latin, ritual and doctrine. This education was not always linked to Spiritual guidance and seminaries were almost nonexistent. This absence allowed some aspiring clerics to combine Christian rites with Occult practices despite its condemnation within Christian doctrine.

Medieval practitioners believed they could accomplish three things with Necromancy: will manipulation, illusions, and knowledge. Will manipulation affects the mind and will of another person, animal, or Spirit. Demons are summoned to cause various afflictions on others "to drive them mad, to inflame them to love or hatred, to gain their favour, or to constrain them to do or not do some deed." Illusions involve reanimation of the dead, food and entertainment, or conjuring a mode of transportation. Knowledge is discovered through Demons. Demons provide information on various things including identifying a criminal, finding items, or revealing future events.

The act of performing Medieval Necromancy usually involved the casting of Magic Circles, Conjurations, and Sacrifices as shown within the Munich Handbook. Circles were usually traced on the ground, though cloth and parchment were sometimes implemented. Various objects, shapes, symbols, and letters may be drawn or placed within that represent a mixture of Judaeo-Christian and Occult ideas. Circles were believed to empower and protect what was contained within, including protecting the Necromancer from the conjured Demons. Conjuration is the method of communicating with the Demons to enter the physical world. It usually employs the power of special words and stances to call upon the Demons and often incorporated the use of Christian prayers or Biblical verses. These conjurations may be repeated in succession or repeated to different directions until the summoning is complete. Sacrifice was the payment for summoning. Though it may involve the flesh of a human being, but most often than not it was that of a blood token derived from the Necromancer him self or that of an animal to later be eaten for a snack. However the most common sacrifice was that of a simple offering of a certain object of importance such as money or food for example. Instructions for obtaining these items were usually specific. The time, location, and method of gathering items for sacrifice could also play an important role in the ritual.

The rare confessions of those accused of Necromancy suggest that there was a range of spell casting and the related Magical experimentation. It is difficult to determine if these details were due to their practices, as opposed to the whims of their inquisitional religious interrogators. John of Salisbury is one of the first examples related by Kieckhefer, but as a Parisian ecclesiastical court record of 1323 shows, a "group who were plotting to invoke the demon Berich from inside a circle made from strips of cat skin," were obviously participating in the church’s definition of "Necromancy," which most often than not led to being tortured or being burnt at the stake or both.

Pre-Christian Norse mythology also contains examples of Necromancy (Ruickbie, 2004:48), such as the scene in the Völuspá in which the Shaman Odin summons a Seeress from the dead to tell him of the future. In Grógaldr, the first part of Svipdagsmál, the hero Svipdag summons his dead Völva mother, Gróa, to cast spells for him. In Hrólf Kraki's saga, the half-Elven princess Skuld was very skilled in Witchcraft (Seiðr), and this to the point that she was almost invincible in battle. When her warriors fell, she made them rise again to continue fighting.

Herbert Stanley Redgrove claims that Necromancy was one of three chief branches of Medieval Ceremonial Magic, the others being Black Magic and White Magic. This does not correspond to contemporary classifications, which use Nigromancy and Black-Arts synonymously, which is primarily due to Christian indoctrination.

In the wake of inconsistencies of judgment, Necromancers, Sorcerers and Witches were able to utilize spells with holy names with impunity, as Biblical references in such rituals could be construed as prayers as opposed to spells. As a result, the Necromancy discussed in the Munich Manual is an evolution of these understandings. It has even been suggested that the authors of the Munich Manual knowingly designed this book to be in discord with understood ecclesiastical law. The main recipe employed throughout the Necromancy manual used the same religious language and names of power alongside Demonic names. The understanding of the names of God from apocryphal texts and the Hebrew Torah demand that the author of such rites have at least a casual familiarity of these texts. Within the tales related in Occult manuals, we also find connections with other stories in similar cultural literature (Kieckhefer, 43). The ceremony for conjuring a horse closely relates to the Arabic ‘The Thousand and One Nights,’ and the French romances. Chaucer’s The Squire's Tale also has marked similarities. This becomes a parallel evolution of spells to foreign Gods or Demons that were once acceptable, and framing them into a new Christian context, albeit Demonic and forbidden. As the source material for these manuals is apparently derived from scholarly Magical and religious texts from a variety of sources in many languages, it is easy to conclude that the scholars that studied these texts manufactured their own aggregate sourcebook and manual with which to work spells or Magic. In the notebooks of Leonardo da Vinci, it is stated that: "Of all human opinions that is to be reputed the most foolish which deals with the belief in Necromancy, the sister of Alchemy, which gives birth to simple and natural things."

However, one can perceive Necronomancy in another way by perceiving a Spirit as an Archetype of a Symbol to Evoke; A Symbol encapsulates Information, which at the level of the Quantum Dream can be pre-orchestrated of design like that of a Programme. The Symbol is introduced into ones Quantum Dreams by ones focus upon it, which will then act as a Trigger-Symbol. The Trigger-Symbol will then facilitate the generation of a Lucid Dream when one recognises the Symbol while one is Dreaming. The Symbol of pre-orchestrated designed Programme will then set up Associative Correspondences of Information in relation to ones 'Input' of Desire. It has been noted on many an occassion that Precognitive Information tends to be accessed via Dreams in the main, whereby a pre-orchestrated designed Symbol will initiate a process of Informational-Associative-Retrieval, whose 'Output' will be that of Precognitive Information in relation to ones Desire. The Symbol its self becomes Sentient as a consequence due to its retrieval of Information, hence that of a Spirit, more so if one has pre-orchestrated the design of the Symbol to communicate back information to one in a certain way, for when one is within a Lucid Dream it is somewhat like being in a Virtual-Reality whose denizens are Sentient Programmes; wherfore one can design ones Spirits, but the most powerful ones are those based upon cultural Archetypal Symbols. Should one thence take such a perspective, Necronomacy and that of the Goetia can be aligned with the principles of Cybernetics and Information Theory as well as other Scientific paradigms of exploration.

In modern times Necromancy is used as a more general term to describe the pretence of manipulation of death, and generally has a Magical connotation; modern Séances, Channelling, Spiritism and Spiritualism verge on Necromancy when the supposedly invoked Spirits are asked to reveal 'Future events;' however, said Mediums and Channellers rarely reveal that they are attempting to foresee the winning Lottery Jackpot numbers via their 'Bone-Conjuring' divination. Necromancy may also be presented as Sciomancy, a branch of Theurgic Magic.

Necromancy is extensively practiced in Quimbanda and is sometimes seen in other African traditions such as Vodou and in Santería. In these religions, Spirits (called Egungun or Orishas) can be sent out to attack or heal a person or they can be asked to take possession of someone. Once a person is possessed by a Spirit in the Yoruba tradition he cannot rise to a higher Spiritual position such as that of a Babalawo tough, but this should not be regarded as a modern tradition, in fact it predates most medieval Necromantic practices.

An Encyclopedia of Occultism states:

"The art is of almost universal usage. Considerable difference of opinion exists among modern adepts as to the exact methods to be properly pursued in the necromantic art, and it must be borne in mind the necromancy, which in the Middle Ages was called sorcery, shades into modern spiritualistic practice. There is no doubt, however, that necromancy is the touchstone of occultism, for if, after careful preparation the adept can carry through to a successful issue, the raising of the soul from the other world, he has proved the value of his art."

When to Evoke Bunea of a Wednesday Addams Emily Strange within a Dream made Lucid she will bestow great riches upon her Master as well as to teach him in depth about the arcane art of Necronomancy, for it is through such divination of 'Bone-Conjuring' that she divines the winning Lottery Jackpot numbers, wherefore her eccentric oddball Aristocratic family are financially loaded of association. However, Bunea also inspires as an infernal Night-Gaunt of a Succubus Artists Muse the designing of Gothic merchandise and other twilight born Left-Hand path creations, which brings in a pretty penny, should her Master be of an Artistic inclination to go beyond the creation of Emily Strange.

Bunea will say of saying: "Become A God, Make Out With A Goetia Girl", or something to that affect, but no doubt she will prefer a subliminal expletive of 'FUK' to add, rather than, 'make out with,' of phrase to have printed on a black Tau-Shirt.

SYMBOLIC ASSOCIATIONS IN SUMMARY

In the classical Goetia the Twenty-Sixth Spirit is called Bune. The name of Bune (Bime/Bima/Buna) is derived from the Olde English, which means ‘Reeds,’ the word has an association with the Fifteenth Rune of the Elder Futhark 'Eolh-secg.' The Fifteenth Rune describes Reeds as being Elk-Sedge, which grows mostly in a marsh and is specifically associated with Odin’s/Woden’s handmaiden’s, whom are known as Valkyries/Waelkyrge, whose name means “Choosers of the Slain.”

Bune is also etymologically associated with the Olde English word ‘Boon,’ such as riches, wealth and fortune to bestow, which the Valkyries/Waelkyrge often bestowed upon those heroes they chose to protect as their Spirit-Wives like the Irish Morrigan. In other words, (Bune) Bunea is a Valkyrie hence the association with (Woden's-day) 'Wednesday' Addams whose middle name of Friday is derived from the name of the Norse Goddess Freyja who was known as the Mistress of the Valkyries.

Bune is also a Hebrew word that is otherwise spelt Bine, Buna. Bina or Binah, which is used as a feminine name meaning Wisdom and Intelligence. Binah is also utilised as a Hebrew form of the feminine name Sophia. The ancient Roman equivalent to 'Sophia' is the Goddess Minerva whom was originally derived from the ancient Greek Goddess Athena.

The Goddess Minerva is also the same as the Romano Celtic Goddess called Brigantia who is also Britainnia. The Goddess Brigantia/Britainia is otherwise known in the Irish as the Goddess Brigid. The Goddess Brigantia/Britainia/Brigid of strange turn of events became the death Loa Maman Brigitte in the Haitian Vodou pantheon whom represents Ancestral Wisdom as well as bestowing the boon of riches.