I am quite glad that I spend such time practicing Ignem in the caldera, for I believe I'd have frozen had I not been attempting to warm the air itself. Winter was rather bitter this year. Then again, I've never been atop this mountain range before, so I should not be so quick to condemn the weather without condemning myself.
Insight is close at hand, I feel. I have a much better intuitive understanding of the early chapters, and the flame ridges is within my grasp now, I think. The nest might not be fully understood, but I am confident that I can divine the author's reasons for explaining the inhabitants of the ridge in such exquisite detail. I believe the smith to be the key, due to the Law of Similarity. We shall see.
I have found it. The small boy who wishes to fly is an allegory to the author. Why I did not see it earlier mystifies me. I'm certain my pater would roll his eyes at my incompetence and force me to hop across hot coals in order to drive the point home. The unnamed magus should not have continued on his quest so quickly, for it was obvious that the boy had the Gift. Knowledge is sacred, and preservation thereof even more so. Indeed, the boy has need of teaching, and the short exposition the author writes shortly after meeting the boy is merely a summary of what has already been taught in the text. I had wondered upon this, and now I know. The flame ridges are quite clear now. But what of the nest....
I must say that Cara Aeysha was of significant help in puzzling out this mystery. I asked her several questions at the council meeting that she was able to answer with but trivial thought. She is very much superior to me in her knowledge of these matters. She dismissed the blacksmith with a wave of her hand, talking for some minutes on the differences between the flame of a blacksmith's forge and the flame of the phoenix. Quite useful....
The nest appears to be something of an allegory to the phoenix's dormant state, although I'm unclear what the author might mean. It is clear that the rest state is akin to the magus not practicing his art, but the protagonist is constantly casting divination magics upon the thatching in order that he might divine the location of the fabled bird. It is obvious that this indicates constant reexamination of ones knowledge, but in what manner? It is no matter. I have learned what I may for this season, and I must practice this knowledge for the remaining two weeks that I might more readily divine the intricacies of Pilum of Flame. It seems quite odd having penned that sentence. I never thought I would do such a thing.
I have just returned from the Gauntlet, and I am quite disappointed. Those who designed the device are shortsighted to say the least. For they who created such to have had such insight into the mystical arts and so little understanding of the importance of artworks in the world. If it be true that they would condemn me for my actions, or for my lack of actions, then a thousand times might I be proud to be so condemned.
The first guardians - the cyclopes - have left me with something to think on, but only just. I was transported to a great hippodrome, where I was upon a chariot in but a loincloth. A great noise around from the crowd, and the chariots about me sped up. I, thinking this to be something of the test, whipped my horses forward. I could not steer them, unfortunately, and they did not turn from the wall of their own accord as I had hoped. The chariot crashed, and six centurions approached. I slew the dying horses, for they did not deserve to suffer overmuch for my lack of knowledge and then ran away, toward the next door where I might escape. I was not fit enough, as one might suspect, and I fell easily to them.
When I awoke, I was chained in a cell, hanging from the ceiling amidst blood, filth, and vermin. Shortly thereafter, Tobias was thrown in with me. He was bloodied and battered - obviously tortured. He would not awake without medical attention, and I had none to give. I needed to free us. But a little magic on the shackles dropped me to the ground, and a brief spell cleared most of the muck from my soldales. I opened the door with a few more magics and dragged him from the room. With that, I stepped from the first gauntlet.
The mosaics were extraordinarily interesting, and it was only with Tobias's expressed urgency that I followed him to the next gauntlet. I am quite interested at the joining in these mosaics, for they are rather better crafted than several that I saw in Constantinople in my youth. The tiles are much closer with but small traces of the cementing. Their depictions of valor and honor were quite intricate and impressive. I would wish to have seen those which lie deeper in the gauntlet. Alas, the second guardian prevented me.
The second barrier, that of love, was quite trying. I found myself deep beneath the mountain, amidst a great cavern of the most intricate pieces of artwork I had ever seen, and somehow, I knew that these formed a grander magical construct which would either spell the doom of the Aerie's Breath or save the entirety of the world from some great fate. Countless treasures: portraits, sacred carvings, mosaics, cushioned chairs, great tapestries, woodcarvings from the whole of the world, ivory-inlaid musical instruments with precious gems studding their handles. Amazing. Would that I had a season in such a place. Nay... a lifetime.
Nonetheless, my soldales were there, and they were discussing the destruction of the cavern where these treasures lay. I was mute with rage, but I knew that I could not ask my fellows to compromise their safety. They needed to be given a choice in the matter, but I could not bear to live with myself just standing implacably by without attempting to foil their plans. At the least, I needed them to reconsider.
I finally realized that I would share the arts' fate. Were the items in that cavern to be buried forever, I would join them. If they were to save the world, I would join them. I told my fellows this. They didn't take kindly to my decision, calling my a fool. Eventually, in order to save time, I would suspect, Constantine turned into a bear and knocked me unconscious. It was an unforgivable breach of the code, and I must extract a promise from him that he will never do such a thing in real life.
Regardless, I found myself once again between the first and the second guardians. A failed attempt to find some small piece of the enlightenment that those who came before me and fashioned this gauntlet possessed. I have resigned myself to their misunderstanding of my intentions. If this is as far as I shall be allowed to go in this construct, then so be it. I shall not bend to their wishes and betray myself.
Day 1
I sit here before these mosaics, and I am mightily impressed with the
complexity of the scenery. The wall which holds my interest most closely
is that which depicts the time before the Titanomachia. Intricate
patterns of very carefully chosen stones cover the entire wall, and I have
given myself the season to discern their meaning and their utility.
Indeed, the artist was greatly skilled; young Zeus seems ready to stand
and try his wobbly legs, which will soon carry him against his father.
The Cyclopes appear to be readying his armament even as his father and
mother take their place upon Olympus. For all the artist's skill in
rendering the figures, the placement and symbolism used is indeed a
masterful stroke. I have divined only a fraction of the meaning of this
mosaic, and yet I have stood here for hours. A truly worthy riddle if I
have seen one; its meaning is obvious, yet its implications are deep; its
insight great, but its secrets are parted with grudgingly. I have chosen
my seasonal study well, for I know this mosaic to hold secrets which shall
be of use to us. I shall take detailed notes of my suppositions.
Day 14
Astounding work indeed. I have found at least three different, somewhat
contradictory meanings to these patterns and placements, yet I see hints
at many more. Were I able to produce such a work myself, I would die
happily, for I would know that I would have brought enlightenment and
beauty to the world in a manner very close to perfection. Hereafter, I
scribe the most salient points of the meanings I have divined....
Day 22
I awoke late last night as something brushed against my parma magica. I
have investigated the source, and it would appear to be the mosaic which I
stand before! Upon searching with Intellego Vim spells, I have discovered
that the mosaic seems to use some non-Hermetic magic which approximates
Creo Mentem.
This, of course, explains the dreams that I have been having; many a night I have spent beneath this mosaic, dreaming of the figures coming to life and moving about, interacting; each taking its own place in the great cosmological system. Then, upon waking, I would invariably have come to some conclusion regarding the symbolism which acts as the key which opens more mysteries. It would seem that the artist was a mage of no small skill as well, and his work is working upon my mind. I shall take stricter measures to curb the potential of this thing to insert suppositions in my mind. I cannot afford the possibility that there might be a malicious magic within the mosaic as well....
Day 29
I have spent the last week attempting to continue my work while keeping up
various magics about my person in order to discourage further tampering
with my mind. It seems to be working, yet there seems to be a problem: I
am not learning the meanings of the symbolism as quickly. What would have
taken me a day to discern has taken three, and I am more and more tempted
to simply lower my parma and allow the magic to work, for I suspect no
foul influences.
There appear no magics within the mosaic which would actually change my mind; rather, the magic of the artwork appears to be directed at enhancing my understanding and augmenting my knowledge with the knowledge of the artist. Perhaps I shall sleep before the wall without my parma for one night and explore the effects upon my mind in the morning....
Day 31
I spent the night before last asleep before the mosaic, and I have spent
the last two days investigating my mind for foul influences with various
Intellego Mentem magics, and I must say that the magic of the mosaic
appears completely benign. The only effects I have noticed (and I went so
far as to ask my sodales to examine me for any residual spells) appear to be
ones which increase understanding and convey information.
I shall try for the next week to sleep without and magical barriers between me and the mosaic. We shall see what comes of that.
Day 38
I am glad of my decision. Insights flow like water; I understand how the
entire system of the mosaic interacts, now; at least that is my belief.
Perhaps I can use this knowledge in application to other systems. I shall
try to list them and see what I might understand of them....
Day 57
Much progress have I made. I have familiarized myself with the mosaic
quite well, and I now understand the underlying pattern which allows one
to know the major ties which a supernatural entity must observe. I must
admit that I recall only vaguely the metaphysics which are traditionally
taught scholars in this age, but I have drawn deeply upon the Enigma, for
through it, even the most difficult questions can be posed in such a
manner that you might understand them, even if you do not understand the
answers which lie beyond them.
The pattern involves many of the same bonds which Hermetic theory observes, such as the Laws of Similarity and Contagion, but there are many other bonds and implied rules which seem to govern entities which are not of the mundane world; at least according to the mosaic. Deeper implications of Similarity; more intricate nuances of Contagion. Undertones of Names; subtexts of Forms. They all tie together to define the very essence of the being's nature. To know one is to know the echoes of the others, and to know them all is to understand the creature. With understanding, of course, comes power, but the understanding is so much more important than mere rulership....
Day 73
I believe that I am almost done with the mosaic. I no longer have flashes
of inspiration regarding the symbolism upon the wall, although I will
frequently surprise myself at the intuitive leaps I have taken regarding
beings of Magic, beings of Faerie, and the Djinn these last few days. The
more I ponder these insights, the more I realize that Hermetic magic has
been blind to certain aspects of the world of supernatural creatures in
the same fashion that they have neglected artwork. Perhaps with time and
research, this might be addressed, but I think that the dry nature of
Bonasagus's theories might prevent true enlightenment. Perhaps not.
Regardless, I shall stay here for another week or so and ponder the
implications of these insights on Theory Arcane.
Day 78
I return to my quarters, for I believe that there is little left to learn
from the mosaic. The Titanomachia has little symbolism of use, and Lethe
is not as talkative to me as with the others.
Even as I scribe these words, I understand that much of what I experienced these last two and a half months is almost impossible to put into words. My understanding cannot be explained in a series of statements. Rather, I have been opened to a greater framework of magic, which Perditus had not conveyed to me. Although quite useful, the theories of Bonasagus are not all-inclusive, and no matter how many times Perditus had told me that in apprenticeship, never have I believed it as fully as I do now. I have seen a small fraction of a greater celestial model, which must have been used at some point to great effect, and I know that my knowledge shall never completely surpass that of the artist, for it never shall know the same path.
Another few days of pondering these matters, and I think I shall spend some of my time reading the works of Hesiod. I believe that it is appropriate reading, given my recent experiences, and it has been quite a while since their content has been explained me. I actually am uncertain if I have ever read the Theogony or Works and Days in their entirety. Perhaps it shall be refreshing.
Day 85
I have finished Theogony and Works and Days, and I have come to the
conclusion that my previous experience had been almost completely
second-hand. I must admit that Hesiod is perhaps one of the most lucid
poets I have read in a goodly while, and I think that I shall spend the
last few days of this season in quiet contemplation of the other works of
the poet which we have in our library. They are quite entertaining, and I
have the suspicion that I shall find further evidence that the man was
either a mage himself, or that he was a close companion of one or many.
Perhaps; perhaps not....
Day 90
I have surprised myself. I didn't think myself capable of reading as much
as I have these past two weeks, but I have read most, if not all, of the
great poet's works. Several of them I will need to re-read, but I was
able to spend well over fifteen hours a day reading without cessation.
The words held me in their grasp, and I knew well that the man had been
blessed by the Muses, just as I have been so cursed.
No matter; in any case, I have decided that I shall visit the Hall of Melampus before I continue with my work next season. I would see the room devoted to one of the great seers who battled in the bard's prose. Likewise, Astronomy has convinced me to sleep in the caldera this evening, beneath the stars. The air is crisp and clear now, and I think that I shall see within the depths of the sky some meager reflection of the inspiration that Hesiod found.
As to the Theogony, I can only say that I understand it as I would never had before.
The first step in a journey is the most significant, for it allows the body to begin its motion. It is also the least step, for it is but the beginning. Paradox allows for knowledge while knowledge leads only to paradoxes. I begin.
I have, with the notes in the marginalia, managed to piece together the major aspects of the spell. It would seem that the author had a rather indirect manner of scribing his spells. Nonetheless, I feel confident that I can divine the most pertinent aspects of the formula. I have already located the key invocations, and I feel that I would be able to cast the spell straight from the page, but I feel this would be unwise until I have understood all of the notes. Especially the information regarding targeting....
I have memorized the various incantations and the gestures. A day of practice, and I believe that I would be able to mock the casting as if daydreaming. The key difficulties involve the meaning of the invocation. Further, the difficulties in targeting have still as yet eluded me. I can cause a jet of flame to launch from my palms, but the dissipation is much greater than what the spell describes. Further, I have found that the jet of flame is wider than expected. My immediate intuition begs me to draw the flame into a more concentrated pillar, but I know that this would exceed the spell energies. The aesthetics would suffer as well, I fear, and that cannot be allowed. Magic should be beautiful, just as the knowledge of that most intricate beauty, the Enigma.
There must be some subtle aspect of the spell that I am missing. I have progressed quickly to this point, but my incomplete understanding has failed me. Perhaps if I molded the colors of the flame, it would conform to my wishes. Red is so commonplace; there are far more interesting hues in the rainbow.
I believe that I have managed to tighten the spell to its requisite manifestation. The flame is the correct heat, the circumference of the pilum is appropriate, and the length of the jet is serviceable. I have mastered the most important of the theories, although some of the notes at the end of the spell seem to hint at some degree of mastery beyond that which I have. Practice is the key, I believe. It has worked before, and I am certain that it shall work now. I know now that the gestures described in the book did not include the final inflections of Rego, such that the flame was wild and free. I have caged the raw beauty and I now make her dance for me. It is quite exhilarating, actually.
I still believe that I might change the color to blue without redeveloping the spell with an Imagenem requisite. Cara Aeysha mentioned that it was possible to create white, red, and blue flames within the same theoretical framework. Perhaps if I reexamined the Ignem summa.
I have done it. The final notes make sense, finally, and I believe that I have the formula firmly in mind. The final touches required some amount of mental gymnastics, but they did not surpass my theoretical knowledge. I have managed to redefine the spell slightly to allow for much more pleasing flames of a blue color. Further, I have managed to change the nature of the growth of the flames from my palm. While the edges of the pilum shift slower than normal flame as the jet extends, the inner flames dance far faster and more fancifully. I must show this to my colleagues; I am disappointed that I was unable to accomplish the virtual stasis on the edges of the pilum that I desired, I have developed the basic spell to this point, and I am at least pleased with its form. I could certainly be improved. I shall endeavor to do so in the future, assuming that I survive the conjunction.