An Humble Analysis of Feond

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Important Notice(s): In my free time, I have been reading/studying with my very limited knowledge, the new text called ‘Feond’. I admit that I have been quite passionate about this new compendium since it seems to add details to certain topics that I had previously studied in the past. I tried to delve deeper with the clues that the ‘Wyrdsisters’  (Or Rachael Stirling) left for us to study and perhaps, discover something essentially important about the Greco-Roman Weltanschauung of the Order of Nine Angles. This article will go over some points to which I will add my discoveries or my thoughts, noting less and nothing more. I want to thank the ‘Wyrdsisters’ for uploading this document and thank whoever compiled it together. Perhaps in the future, my latest effusions on this blog, will be added to a more complete edition of ‘An Unfolding of Physis’ but considering how much time I spend on such matters, it is very doubtful.

The Fable of the Nine Muses

Very early in the compendium, we are given a fascinating origin to the term ‘Labyrinthos Mythologicus’:

“The term is a combination of (i) a transliteration of the Greek λαβύρινθος –
whence the Latin labyrinthus – and (ii) the post-classical Latin mythologicus, the
former word giving rise to the English terms labyrinth {1} and labyrinthine, and
the latter word having been used in the book Mythologiae by the post-Roman
grammarian Fabius Fulgentius (c. 6th century CE, a modern edition of whose
works was included in the Bibliotheca Teubneriana of 1898 published in
Leipzig), and used by him to suggest “myth-making; creating or concerned with
mythology or myths; a mythical narrative.”

-Feond, Page 25.

Interestingly, I researched a bit about this man called ‘Fulgentius the Mytographer’ and discovered some interesting elements that echo to certain Greco-Roman myths that might have influenced the Order of Nine Angles. While most fables are quite interesting and beautiful, I was particularly absorbed by the Fable of the Nine Muses which I could not help but associate to the Nine Angles of the tradition or the Seven Spheres plus the Two Immortal Realms:

“The seven of the hebdomad, plus the one of the ‘ogdoadic physis’ mentioned here, plus the one (also mentioned here) of what is beyond even this ‘ogdoadic physis’.

This ‘becoming united with theos’, however, does not mean that mortals ‘become god’ or become ‘a living god’. Instead, as Pœmandres has made clear (for example in section 26) it means transcending, beyond mortal death, to the two immortal realms that exist beyond the seven spheres, one of which is that of the ‘ogdoadic physis’, and both of which are described in terms of emanations of theos.”

-Perusing The Seven Fold Way: Historical Origins Of The Septenary System Of The Order of Nine Angles. 

In Greek mythology, the word ‘Mousa’ is associated with art, history, literature, inspiration and all those avenues that are explored by scholars and poets. The muses are ruled by Apollo who is also ruling over music, poetry, light and prophecy. Interestingly, the concept of memory and knowledge is central to the muses since they are born out of the union of Zeus & Mnemosyne. Fulgentius has the following thing to say about them in his allegory:

“They also assign to Apollo the nine Muses and add him to the Muses as a tenth one, for the reason that there are ten organs of articulation for the human voice, whence Apollo is also depicted with a lyre of ten strings. Also Holy Scripture speaks of a psaltery of ten strings. Speech is produced with the four teeth, that is, the ones placed in front, against which the tongue strikes; and if one of them were missing it would necessarily give forth a whistle rather than speech; two lips like cymbals, suitably modulating the words; the tongue, like a plectrum as with some pliancy it shapes the breathing of the voice; the palate, the dome of which projects the sound; the throat tube, which provides a track for the breath as it is expelled; and the lungs, like a sack of air, exhaling and reinhaling what is articulated. There you have the explanation of the nine Muses and Apollo himself as given by Anaximander of Lampsacenum and Zenophanes of Heraclea. Others, like Pisander, the teacher of medicine, and Euximenes in his book Theologumena, confirm this explanation. But I also say that the nine Muses are the stages of learning and knowledge, as follows:

First is Clio, standing for the first conception of learning, for cleos is the Greek for fame, whence Homer: “We heard only a rumor”; and elsewhere, “He heard the mighty rumor from afar in Cyprus.” Since no one seeks knowledge except that by which he may advance the honor of his reputation, Clio is named first, that is the conception of the search for knowledge. Second is Euterpe, whom in Greek we call well pleasing, because it is the first step to seek knowledge, the second to delight in what you seek. Third is Melpomene, for melenpieomene, that is, applying persistent thought, as it is the first step to find the need; the second, to delight in what you find needful; the third, to pursue the study of what you delight in. Fourth is Thalia, that is, growth, as if she were called tithonlia, that is, putting forth shoots, whence Epicharmus, the writer of comedies, says in his comedy Dipholus: “When he doesn’t see the shoots appear he is consumed with hunger.” Fifth is Polyhymnia, for polymnemen, as we say, making much memory, because memory is necessary after growth. Sixth is Erato, that is, euronchomoeon, which in Latin we call finding the same, because after knowledge and memory it is right hat one should find something similar about oneself. Seventh is Terpsichore, that is pleasant filling, whence Hermes in his book Opimandra says: “Both from a fill of food and an empty body” – since after finding you must also discriminate and judge what you have found. Eighth is Urania, that is, heavenly, for after judging, you select what to say and what to reject: to choose the useful and reject the inferior is a heavenly ability. Ninth is Calliope, that is, she of the excellent voice, whence Homer also says: “The voice of the goddess speaking.” This then is to be the order: first, to find the need for instruction; second, to delight in what you find needful; third, to pursue what you delight in; fourth, to grasp what you pursue; fifth, to remember what you grasp; sixth, to discover in yourself something resembling what you remember; seventh, to judge what you discover; eighth, to discriminate in what you judge; ninth, to make known in attractive form what you select.”

-Fulgentius the Mytographer, Translated by Leslie George Whitbread, Book I.

Interestingly, the influence(s) of these nine goddesses are quite causal in nature and I would even dare say that they influence matters related directly to the ego and how it processes knowledge from a very human standpoint. Perhaps Apollo is the ‘tenth’ because he is the bringer of light or rather, the synthesis of this ascension toward a more numinous form of knowledge or inspiration. Without a doubt, it is easy for any serious student of the Seven-Fold-Way to make connexions here, especially considering the feminine/muliberal archetypes that are displayed. Those goddesses are the pathway to knowledge and inspiration and act in a suble way to lead men toward certain realizations when it comes to their experiences/creations. If anything, this once again prooves how deeply important classical Greco-Roman texts are, especially in the light of the Order of Nine Angles.

My hyptohesis is reinforced by the following statement about the Nine Angles:

“From the 1970s on the O9A also used the term ‘angle’ as a synonym for
emanations (of the acausal in the causal), that is, as a protrusion or projection
of the acausal into the causal (cf. the Armenian ankiwn). The term angle as a
protrusion or projection is etymologically valid.
Thus the term angle even in ordinary usage meant and implied more than some
simple Euclidean intersection of two or more lines. The term angle – ἀγκών
(bend, nook) – occurs in Iamblichus in relation to the character, and
characteristics, of various gods, and is contrasted with the monad signifying
Apollo. Interestingly, in Latin the term – angulus – is, metaphorically, a “hiding or
lurking place”.

-Feond, Page 46.

There is thus, an obvious Nexion, a fluxion, a flow or rather an intrusion of something acausal (the influences of certain forces) into our causal capacities (perception, empathy, feelings & leanings. If Apollo is the monad, then in the context of the ‘Fable of the Nine Muses’, he perhaps represents the Ogdoadic Physis or what lies beyond it. Considering how important art, sculpture, poetry and speech craft was to the Greco-Roman culture, it is only right to assume that a beautiful poem, a mathematically crafted sculpture or a pleasant discourse could tap into some sort of numinous bridge that elevates the mind to something divine or truthful. That is what is described here by Fulgentius. The Nine Muses are the nine stages of knowledge and much like the seven spheres with the two additional immortal realms, there is an ascension there that leads to something more divine.

Feond purposefully leads us toward an interesting crossing between classical texts, Order of Nine Angles MSS & David Myatt translations. As I have always observed on this blog, all of these three different avenues, seems to be entwined on many regards and complete each others beautifully, especially considering the mystical, poetical and tragic life of David Myatt:

In the Numinous Metaphysics chapter of his 2017 monograph Tu Es Diaboli
Ianua, David Myatt iconoclastically wrote that in his view “the numinous is
primarily a manifestation of the muliebral and can be apprehended through a
personal, an interior, balance between masculous and muliebral.” {4}
He then asks the important and relevant question as how can the “numinous
balance between masculous and muliebral be metaphysically expressed, given
that the culture of pathei-mathos has moved us, or can move us, beyond anthropomorphic deities, whether male or female; beyond myths and legends;
beyond reliance on texts regarded as sacred and/or as divinely inspired; and
even beyond the need for denotatum and religion.”

If one accepts Myatt’s understanding of the numinous as “primarily a
manifestation of the muliebral” then it follows that all extant representations of
the numinous, from Christianity, to Islam, to Judaism, to Buddhism, to most
contemporary pagan revivals, as well as ancient Greco-Roman paganism, do not
or did not adequately presence the numinous.

For such a muliebral presencing would, according to Myatt, be manifest in “a
predominance of female deities; or in a dominant female deity; in legends and
myths which celebrate muliebral virtues, such as empathy.”
Hence a modern and metaphysical presencing of the numinous would be
“beyond the need for denotatum,” {5} whether the denotatum be a named
anthropomorphic divinity or named divinities, or whether such denotatum
involves texts, since it is manifest “in a personal weltanschauung and not in a
religion; has no hierarchy; no creed, no article or articles of faith; and no texts
whether written or aural.”

Thus the numinous is not and cannot be – as Rudolf Otto argued in his
Das Heilige – manifest in the Old and New Testaments of Christianity (Das
Heilige, chapters X, XI); nor is it manifest in the writings and sermons of
preachers such as Martin Luther (Das Heilige, chapters XII); nor in anything –
ancient or modern – which involves ‘worship’ (Das Heilige, chapter XIII ff). Nor
even in some philosophical theory and thence described by a term such as a
priori (Das Heilige, chapter XVII).

Which would seem to lead us back to Myatt’s understanding of empathy as a
human faculty which cannot exist beyond the personal horizon of the individual,
with the knowing gleaned by such a faculty limited to the immediacy-of-themoment
{6}. As a human faculty, it does not involve denotata, and is personal
and individual {7}. For empathy “reveals or can reveal the nature (the physis) –
sans abstractions/ideations/words – of Being, of beings, and of Time.” 

There is thus a pleasing symmetry here between Myatt’s metaphysics – as
manifest in his recent pagan monographs Tu Es Diaboli Ianua and Classical
Paganism And The Christian Ethos {10} – and the esotericism and praxis of the
essentially pagan O9A {11} and which symmetry might explain why some O9A
folk consider that Myatt as Rounwytha and Mage is now living the “final
apprehension” of The Unity beyond the abstractions of both sinister and
numinous having discovered, after fifty years on a Faustian quest, Lapis

-Feond, Page 37-38.

The Rounwytha option, seems to be quite faithful to what Mr Myatt & Mr Moult seems to have discovered over their exeatic and esoteric journey. I humbly believe that a restoration of muliebral virtues could lead to a more empathically correct approach to conflicts and a greater awareness of the magical layers that animates nature & beings. These virtues do not need to be associated to goddess or female deities necessarily, I believe they can be experienced through the power of love and human emotions, without the necessity to name them or associate them with any particular archetypes but there is definitely something about the ancient cults of the Greeks & the Roman that seemed more balanced and not as definitive as to what is the origin of creation. The magnificent library of classical Greek authors is a testament to those ancient cults & those ancients beliefs/values. Deities back then were neither ‘Numinous’ or ‘sinister’, they were an authentic affirmation of both. They could reward or punish at will and stories such as ‘Oedipus Tyrannus’ or ‘Antigone’ perfectly represents that. Those Greco-Roman roots are immensely important, not only because it gives credibility to the template of the Order of Nine Angles but most of all because it points to a more genuine form of witchraft that is not diluted in Christian principles. Witchcraft has to be authentic, without compromise, wordless, natural and intuitive to the cosmic powers.

“However, the dark reality is that the acausal allows for no such safety and no such mundane control. It cannot be disposed of if some urban git believes it is no longer useful for them or ceases “to believe in it”. It is, most importantly, not a creation of the human mind, of our consciousness. Not a matter of human perception. For, acausally, there is no subject distinct from, separate from, an object. For that distinction implies the separation of causality (between subject and object) and the linear movement of causality (some-thing passing from subject to object and vice versa) and also implies a perception (based on abstractions, such as categories) as to why the subject is or or may be different from the object. Thus, acausally, there is no perception of an object by a subject, such as ourselves. There is thus no “consciousness” to be individually aware of either such an object or of the subject itself (such as what causally we consider ourselves). There is not even any “change” – or progression or development – since there is no consciousness to perceive it and no causal linearality to measure such change.

For, acausally, there is no language as we currently understand language – because such language almost invariably (and especially Western languages) require or assume (imply) a copula , which itself implies the aforementioned distinction between some subject and some object, between subject and predicate. Between one existent and another existent, or between one subject and some object with some quality (or category) that has become to be associated with that object. How then can we know and understand the acausal? To be pedantic (or to be esoterically precise), “we” cannot – since there is no you or I or we to apprehend it. But, less esoterically, and thus somewhat exoterically, we can only currently (outside of such Esoteric Arts as dark-empathy) apprehend the acausal by its affects on our causal realm where we have our existence, and thus the most significant affect of the acausal in the causal is, as mentioned earlier, Life itself – the acausal energy presencing in our causal continuum that animates matter and makes that matter a living entity, from the microscopic cell to we human beings to Nature. Thus, we do not need “explanations” – or attempts at explanation – of the acausal by such causal things as “chaos”, or so-called chaos theory, quantum mechanics, particle physics, or by reference to any currently existing -isms such as some gnostic or Buddhist teaching or some exposition of some gnostic or Buddhist tenet, or even by some mathematical representation (given the current causal nature of maths).

All such explanations or interpretations or comparisons are irrelevant; unhelpful; unnecessary. To know and understand the acausal we just have to engage with it; experience it. No theories; no explanations. We have to cultivate, in ourselves, the faculties of acausal knowing and dark-empathy [6]. We have to thus come to know those causally-dwelling beings beyond our own individual being: the being of archetypes, the being of Nature and the beings that a part of, and not separate from, either Nature or that illusion of apprehension which is of our individual self. We have to become Adepts of The Dark Arts: practitioners of acausal sorcery. We have to evoke, invoke, to presence, those living beings who dwell in the acausal dimensions and who represent a type of Life beyond our causal living. In brief, we have to live our life in a different way from ordinary mortals. Which is why we are following The Sinister Way, to The Abyss and to The Acausal Beyond.”

-Feond, Page 52.

To live a life that is different, is the ultimate gift a human being can manifest for himself. As it is mentioned in the ‘internal Adept’ description of the compendium, it does not matter if your life takes you toward certain elements which might appear to be ‘mundane’ in nature such as becoming professional in a career of striving to have a healthy family’s life. What is important is simply the attempt to live a poetical life, a tragical life, a complete life. Whatever you do, keep listening to the whispers of the muses and have respect for the hidden powers of the universe. What matters is not what is written, what is expected or what is perceived. What matters is that you forge your very own path.

Only then can abstractions be shattered and Physis unfold.







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