Author Topic: Ars Anima Gladius  (Read 10357 times)

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July 14, 2004, 01:25:32 PM
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Ars Anima Gladius


Introduction
Welcome to Ars Anima Gladius(Art of the Spirit Sword), quite possibly only the second essay ever written on the Internet to exclusively deal with the concept of sword magic, coined by Fenwick Rysen as Occult Swordplay, as well as its fundamental skills which are in turn needed to enact its operation.  The information relayed here is the culmination of my own training in the area.  The study of magic's practical application to the Way of the Sword, brought about by my own studies in both areas.  
     
It is best that you be informed now that if you are a beginning magician, this paper is completely useless to you.  The information is above your level, and to you my words will be as the text of a chemistry book to the elementary school child.  You will read my words and believe they make sense, only to discover that the sword you wield bites you of its own authority.  By relaying this information, which has been kept very secret by various orders, one of which I was once affiliated with, I am not handing a gun to children.  No, I am handing you a sword that is encased in a box of explosives, and you must first know how to diffuse the bombs before the sword can be safely grasped.

      This art, Ars Anima Gladius, is my own, having been conceived by the womb of my studies and given form by my practice.  As such, keep in mind venturing students of The Arts, that all views herein are none but mine own.  I stress not to take any of it as the paramount truth, nor to take any magical operations mentioned therein as ritualistically unchangeable.  By all means, when you have read this site through and through, throw out whatever information you do not wish to keep.  Get rid of its pages within your mind that you do not believe will fit your path.  If you print its pages out, then when you have read them out, burn the pages you do not need.  As the Chinese say, "When you have becocome wise, take all of your favorite books, and slice them in half with your sword.  Keep in mind, however, that all information herein mentioned and confided to you is done so with a reason.  I would not have taken the time to type it if I deemed it worthless, and this should be considered before disregarding any of its content.  To throw away blatantly will only result in your own condemnation.  Therefore, when you read this, do not think to yourself(you critical minds), "This is not the way to do it."  This is my system, and all the information I give concerning its operation is precisely accurate therein.  There are an almost infinitely different ways to throw a punch, and yet every system of martial arts uses specific ways.  So it is here, that while there are an almost infinite number of ways to obtain skill in occult swordplay, this system has specific ways.  

      As a final note, I would like to give my respects to a fellow brother on the path, Fenwick Rysen, who was the first to openly write about Occult Swordplay online, which in turn led me to write about it.  Those experienced enough to understand what I have written, though I made sure to write it in a simple tongue, venture fowarth.  But those of you to whom talismanic magic is unheard of, the art of the sword is foreign, and the knowledge of the universal forces are unknown, you may also venture fowarth into this site, as I can not stop you, but do not fret when you discover nothing is working for you.  In time this site will be complete enough to teach even a novice on the path of magic how to wield the magical sword, but in the mean time, that is not so.  It should also be noted on that on this site you will only find practical information pertaining to the magical side of this art, simply one part of the whole.  To fully know this art one must study swordsmanship, which I can not teach over the Internet.  

That being said, remember one thing:
The strongest blade is forged in the flames of your soul.

My blessings upon your path, brothers and sisters.


Beginning Ars Anima Gladius
 Before I begin going into the actual concepts of the system itself, I believe I should give you an idea how to go about beginning the study of sword magic.
     
Sword magic is a system of enchantments and their applications.  As such, picking up a sword and deciding to start using it in conjunction with magic will probably get you nowhere if you do not have in your resume a history in magic study.  This is true in most cases because of the underlying facets involved within the rather intricate system.

      To be an efficient magic swordsman, you need to have at least basic knowledge in elementalism, enchantments, talismans, virtuous correspondence of the elements, synergy between forces in one item, application of enchantments, working knowledge of the life force, and a working knowledge of how the energy systems within the body can be manipulated, blocked, enhanced, and deteriorated.  Also keep in mind that elements of Eastern thought and philosophy were also applied into the creation of this style.  Sounds like a lot of work, though if you are learned in any of those areas you will have seen that they begin to intersect at many points, and through learning one you can advance in your progress of a few of the others.  As mentioned before, this site is not for the novice of the arts.

      So then, there is one part of the coin?  What of the other?  As I mentioned on the home page, it is simply impossible to learn the entire way of the spirit sword just by acknowledging its magical side.  There is a very physical side, the Way of the Sword.  I can not teach you swordsmanship, and so therefor this site is intended more for those already somewhat learned in wielding a sword, as opposed to someone who has never picked one up.  To the swordsman, the knowledge on this site will prove most precious when put to the test, but to the child who does not know the sword, this site may as well be written in a different language.  So my advice, for those of you who fit that latter description, is to go out and learn to some extent how to wield a sword.  Kendo schools are fairly common, and there many books on the sword's proper use.  Once that is accomplished, come back to this site.  The fool runs into war without a sword.  The militant runs back and grabs his sword from his tent and returns to battle better armed.  The warrior brings his sword with him, as he would never forget it or leave it behind.  The master walks into battle with no sword, but then again, he doesn't need one to slice your soul into pieces.  

     This having been said, you may continue to read(as I can't force you to do otherwise), though remember that you should study a little in at least one of the aforementioned subjects before attempting sword magic.  This is not as much a safety precaution as it is simply informing you that your operations might not work if you aren't already an adept.  Some people don't realize this, and become thoroughly disappointed when they can't enchant a sword, or don't understand how.  This sometimes leads people to drop any study of the arts altogether, which is a true shame.

      Remember when approaching this path and any articles you will ever read concerning magic: Magicians' ideas often contradict each other.  No magical law or code of instruction has ever been etched in stone concerning what the truths are of any magical system.  Magicians approach magic from many different angles, and these angles are sometimes on complete opposite sides of view.  As such, no magician will ever completely agree with another on everything.  It is a matter of finding the truth as it is revealed to you.   Magic is a matter of what works best for you, not what seems to work for everyone else.


What is Ars Anima Gladius?
Ars Anima Gladius roughly translates from Latin as The Art of the Soul Sword.  It is my own system of sword magic, put together after years of study and practice in the area. It is primarily the concepts and dynamics of this system that I will discuss in this document. So what about Blessed Steel? Many of the concepts to be found within Ars Anima Gladius can be traced back to Ars Sanctus Adamas, The Art of the Holy(or Blessed) Steel. My knowledge in that system I combined with outside knowledge concerning how to project energy and thought into a weapon, my studies in elemental magic and enchantments, how to project energy from the sword, my own experience with the sword, and how to merge with the weapon, thus making it  an extension of your own body and soul.
     
Because of my additions to the original system, as well as my own experience in system construction and magical concepts, I believe it to be a superior system than that of Blessed Steel. However, because of this, it is also a proportionally more complex system in many ways. For this reason only basic theories, applications and concepts within Anima Gladius will be mentioned here. When a more complex idea is introduced, I will try my best to make it understandable without needing full background knowledge of my system. I will admit however that you need at least a fundamental knowledge of magic to understand anything I am going to say. As such, this site is not for the novice adept.  In some areas I may only be understood by the more advanced and well learned magicians, but I will try to make those sections few.

      I promise that what you will learn from the concepts of  Anima Gladius will be mostly outside the scope of anything you've ever read concerning sword magic and its applications. While I am certain that Fenwick and I's ideas will cross in certain areas, it will mostly only be when I am discussing basic fundamental criteria. I will try my best to give you a complete range of fresh, new ideas concerning the system, as well as an experienced approach to it. You will be learning some of the most well-kept secrets of Sanctus Adamas in conjunction with aspects I have probably only taught a handful in my years of teaching. Enjoy it, and approach it with no previously bias ideas on the subject to fully benefit from it.

      So we know what it is the result of and from whence it came, what is it as an actual art?  Ars Anima Gladius is the composition of not the previously mentioned studies, but also revolves around the philosophies of AIkido, The Way of the Sword, the thoughts of Musashi, Zen Buddhism, Naiki, The Art of War, and elements of Kendo.  Allow me to give a brief idea of how each of these is associated with something such as a sword system based on magic:

      Aikido itself is the result of Morihei Ueshiba's practices with the spear and the sword, and any student of that art will find movements of the sword inexplicably woven into the techniques that Ueshiba transfered from the sword into the body's movements.  The excellent addition, however, is that Ueshiba taught the correlating internal actions in proportion to the outside actions.  He showed how internal energy, called chi, can be applied in a battle situation to bring advantage into the hands of the AIkido student.  This same information can in turn be reverted back to the sword, taking Ueshiba's genius and adding his constructed energy dynamics back to the movements of the sword, where in many schools they are now lacking.  However, the application of Aikido does not stop there, but also goes into the philosophies of the system.  Being very fond of Ueshiba's way of thinking and his philosophies about both life and the martial arts, I believe that to understand and successfully wield the secrets of Ars Anima Gladius, one must first know the philosophies behind Aikido.  Themes such as univeral love, the plurality of the one, the dual and nondual nature of the universe, were all in mind when I constructed this system.  As such, to understand the mindset with which this system reaches its maximum effectiveness, such understanding must also be in the mind of the student.

      It should be no wonder that a system based around the use of the sword is inexplicably woven into the Way of the Sword.  In this context, this applies to not only the Eastern cultivation of the sword and its wielder, but also the implied codes of chivalry found not only in the East, but also among the medieval knights of Europe.  However, in specific, the code of ethics I follow correlate to the seven principles of Bushido, the aptly named Way of the Warrior.  To see how it applies to life is to be not only a good man, but a good warrior.

      I greatly respect the authority of the greatest swordsman of all time, Shenmin Musashi no Kami Fujiwara no Genshin,  more commonly known as Miyamoto Musashi.  He devoted his entire life to discipline and learning the Way of the Sword, governing himself as a Samurai along the way.  The culmination of his life's work was his eventual self enlightenment, after which he retreated to the mountains where he spent the last four years of his life painting, composing poetry, praying, and writing his well known and invaluable book, Go Rin No Sho, or in english, The Book of Five Rings.  It is only natural that his writings had an effect on my way of thinking, and therein the mindset with which I composed this system of sword magic.  Find his book, read it, and meditate upon it, to understand the most fundamental concepts of swordsmanship.

      Musashi also wrote well of one of the most mystical elements in existence: the concept of the void.  To achieve the void awareness is to be in the ultimate state of no-mind gnosis.  A state in which it seems nothing exists, when in fact you are only seeing the most refined aspects of all living things, and therefor do not recognize them as existent.  In this state of "empty mind," not only can powerful magic be cast, but also the most excellent martial skill can be exhibited.  It is no wonder that the concept of the void would tie into Ars Anima Gladius.

      I do not believe it takes much to see how Zen Buddhism effects almost any martial art.  No matter which system to take, your Sensei probably understands at least its most basic principles.  It teaches you to live now, at this moment, irrelevant of what yesterday bore and what tomorrow may bring.  It is the mind set of a warrior, not much of which type.  Samurai, knight, priest, magician, anyone that can be seen as a spiritual or physical warrior can learn from the teachings of Zen Buddhism.  You can learn all the magic you want.  Its only one side of the coin that is occult swordplay.

      The Art of War does as well tigh into the Way of the Sword.  Both are ways of strategy, and therefor a neccessity in any system of wielding a sword.  There is a reason that while the master of the spear was called a spearman, and the master of the pike a pikeman, and yet the master of the sword was called a strategist.  Anyone who has ever sparred or battled me in psychic or magical warfare will have seen first hand how strategy can play into even magic.  It is the essence of knowing what to use, and when to employ it.

      And of course there are elements of Kendo and Kenjutsu, though you will not find this on the site.  Why?  Because actually swordsmanship can not be taught via the internet.  I can teach you only the magical aspect of this system, and the underlying philosophies.  From there you must yourself learn the elements of true swordsmanship, and apply them to what you have learned here.

      And so there you have the basic principles of what Ars Anima Gladius really is.  Some I can teach you, some must be learnt on your own.  Only those who I teach face to face will learn it from me in its entirety.  However, though the internet can seem a limitation, I still plan to provide the adept with more than enough information to make an occult swordsman out of him yet.  I can only ask you bear with me as I try to teach something that has never been taught in this manner, and partake of the knowledge I have to offer.  Then you may go off and understand occult swordplay on your own, developing your own views and techniques.


Finding a Sword
 The first step in practicing sword magic is most obviously finding a sword.  While this within itself seems a simple enough process to anyone with an ID and some extra cash to spend, an avid magician would be more precise and careful than to simply grab an interestingly designed sword from a shelf.  
      So why is this?  What makes one sword different from the other?  Well, if you have ever read anything concerning the smithing of swords, you will know the answer is 100+ things.  There is the smith, his style of creation, the tempering, the ore used, how that ore was refined, where the ore came from, the lacing used to merge the iron and sustaining ores on the blade, the Tang(if it has one), the ridge lines, surface elevation, length, width, weight, edge, cultural origin, if it was man made or machine made, if there are any designs, what substance was used to create the handle, how were the designs created, if created by acid-what type, if etched before hardening-with what, and many other things.  That small list is simply the aspects that go into a sword regardless of whatever magical properties you assign to them.  A professional sword collector would care about all of these and more(such as time created).  And whether the average Joe who was just looking for a sword to practice with would care about them or not, they would still all affect his practice with it in some small way.  Occasionally too small to even matter.

      So what about the magician?  To a magician, there is a profound effect on every aspect of the sword.  Not how it physically came to be, but its aetheric correspondences and how they would affect your spell casting, your energy flow, your form of thought, the environment around them, etc.  

      At the most basic levels, the energies and thoughts of the smith were put into that sword wholly.  At the most precise levels, the very correspondences of the acid used to carve any markings into the blade had its own effect on the aetheric composition of the sword.  Suddenly everything has become a little more complicated.  In most cases, it is impossible to receive a third of the information concerning the creation of the desired blade if forged by a man.  If forged by a machine, maybe about half if you spend a lot of time looking.  However, I would not want you to spend a year looking into a poorly produced factory sword.  

      There are several saving factors here.  You do not need to know everything about the sword.  Just realize everything about it affects you in some way.  Ultimately, the decision making is extremely simple.  Chose whichever sword seems to sing out to you.  Which one calls your name?  Which one gives you flashes of it being wielded through the air on a cool day?  If you are actually standing in a store looking at a selection, reach out and hold a few.  Grab each sword firmly by the handle and hold it out straight.  Does it seem just right?  If the energies of the sword ultimately correspond to your own energies in a positive way, it will call out to you.  That stands out from all the rest.

      That is one of two approaches to choosing a sword.  The second is to pick one that seems to have almost no energy of its own, banish the energies completely, then fill it with your own.  This would seem to be a more reasonable path to many, but in truth it is not.  By banishing all energies in the blade you remove all positive effects it would have had on your magic workings.  Granted you will also remove all negative ones, but those are often few, and can be explored later by the magician and banished independently.  I would suggest finding one that sings out to you, then banishing accurately only those energies which seem to repel or work against your own.

      One may also note an interesting concept concerning the first method, which entails the rather complicated means of identifying and feeling out all correspondences that have been linked to that sword via thought connection.  It is quite simply that if you do not acknowledge the existence of such influences within the sword, and in turn, within your magic, those influences shall not affect you on a larger scale.  Why?  You will not mentally invoke their sphere of existence with the sword.  However, this will become a problem if the sword is left unbanished as it is, for even though you are not in conscious use of the connected energies and correspondences, the energy employed in your enchantments shall be subjective to them on one level or another, being as they exist within the same realm of reality.


An Extension of the Self
 If you are a martial artist who has ever studied in a weapon's art such as Jodo or Kenjitsu you will be familiar with the term "The weapon is only an extension of one's self."  If you have in turn used this principle in practice, you will know that this could not be more true.  In fact it is that underlying principle of particularly swordsmanship that separates the sword masters from the aspirants.  Having studied Kenjitsu and Kendo for some time I can vouch for this claim.  
     
So we have an old Chinese Idiom.  How do we convert it from a martial arts application to a magical one?  In sword magic, this is incredibly simple.

      If you are in the practice of sword magic, you will no doubt realize that the enchantments involved have no use if you do not know how to apply them through fighting. As such, the adept of sword magic is also a skilled swordsman within himself.  Making the sword an extension of yourself is something you can benefit from immediately in sword battles.  It applies directly to the powerful Zen state of mind.  As such, the sword magician will gain an upper hand from this principle through melee fighting in addition to his superior position attained through magic.

      Making the sword an extension of your being also connects to the sword on a
super-physical level.  This is where masters of the sword arts learn to project their own soul's essence through the blade.  Literally a chi projection that carries the blade with unmatched strength.  This bond is established through the mind set that you and the blade are one and the
same, and the blade only exists because you sustain it and it is a part of you.  The sword becomes moved as you would move any extension of your body.

      The connection is made at this point of realization.  Is there some great technique for doing this?  No.  Just a mind set that allows you to work your magic easier.  The more control you believe you have over something, the more control you realistically do.  Quite a common concept in magic.

      I can, however, provide a simple visualization to help you in this process that actually comes from a staff enchantment I learned some time ago.  Relatively simple visualization.  Hold the sword in which ever hand is comfortable, however you wish it to be done, and visualize your soul as a comfortable color(I use white mist) extending from your hand into the blade.  Let your soul climb up it, wrap around it, and infuse it.  When done, there should be no difference between the skin on your hand and the metal on the blade(to your mind).  If you are familiar with energy arts, you can even go as far as to tie the blade's essence into your meridians, giving the blade metaphorical meridians of its own.  This can be done by seeing your meridians as roots that have planted themselves into the grip of the sword and climb upwards, rooting themselves into what essentially becomes an entire system of roots, all interconnected.  Either way, it is from extending
your soul that the blade develops an aura of its own.

      Note that the blade would develop an aura of its own in 95% of all cases when wielded by a mage even if you did not do this process of visualization.

      Regardless of whether you did or not, your will and energy shall be gradually tied into the blade on its own accord due to the simple prolonged exposure of the blade to your magic operations.  Even if the wielder is not a mage, the blade will still tie into your aura if it's wielder is consistent in practice, skilled, and strong willed.  I have personally never seen a blade owned by a mage that did not have some type of sustaining energy circulating within and radiating from it, but I have not seen every sword wielded by every mage.


Making the Sword Yours
This chapter deals directly with the following one, and elaborates a way of becoming bonded to your sword, thus enabling you to master it.
     
      In the previous chapter I explained how to project yourself into the sword.  This is the first step in owning your sword on both a physical, mental, and metaphysical level.  Connecting it to you, and making its value surpass just a simple alloy.  However, as mentioned in "Finding a Sword," there are many energies interacting with your sword despite whatever connection you have to it.  
     
      Now realize that you can not remove the inherent properties of the sword itself on a simple level.  You can not remove the virtues of the metals and ores put into the smithing of that sword, because they are universally attached on far too many levels.  It can be done, but is of too much trouble and too little ultimate value.  These energies, luckily, will not interact with your will, goals, and operations  of thought.  If anything, they will enhance them.
     
      What you don't want being left in your sword is the will of its past owners, shipping executives, holders, and smith(if it was hand made).  The will and intent of all these people was poured into the sword you now possess.  As such, it will affect your own wishes according to its use.  For example, you don't want the thought "Hmm, I'm hungry" attached to your blade, nor the
emotions of whowever last held it.  These will greatly distort your operations with the blade, and affect you in many small ways.  
     
      So what you'll have to do is banish those energies.  A pretty simple task.  I'm not going to provide the Lesser or Greater Banishing Rituals of the Pentagram here, as they can both be found all over the internet from fairley reliable views.  However, I will give you a simple outline for an easy yet effective banishing and claiming of the sword:
-Take the sword in your hands and extend yourself into it.  Connect with the blade on this level.
-Pour your own thoughts and energy into the blade, and let them fill the sword.
-Let your thoughts and energy force and push the unwanted thoughts and their attached energies out of the blade until only yours seem to be left.
-Put the Pentagram on the sword with a visible yet washable substance.
-Hold the sword so that the pentagram faces you, then go about whatever banishing method you desire(meant to be used with a form of the LBRP).  I've found it effective to use the sword to trace the pentagrams made in the LBRP.
-When completed, repeat the second step once more, filling the sword with your own energy.  This time, visualize your energy being woven into the actual material blade and becoming a true part of it.

*** If you have a Mark, inscribing it upon the sword helps incredibly***
     
      For those of you who don't know what a Mark is, it's a symbol that represents the magician. Basically the virtuic representation of the mage's name.  In older times, especially in the Shamanic and Celtic tribes, magician's had a mark that they would leave in places where they retreated
and practiced their arts.  For example if a wondering magus stopped in the heart of a forest to meditate for a full day, he would often leave his mark on the tree he meditated under.  This was done as a territorial measure saying basically "(name) was here," or to show a magician who happened to come across that same area that it was magically significant.  Today some
magicians still create marks as a powerful sigil to mark their tools or training area with.  
     
      Note that I am not saying you need one for your sword magic by any means.  Just giving those who have created a mark for themselves a further option for claiming the sword.


Mastering the Sword
This is a hard concept to understand for some people, even those who have practiced with swords in the past.  However, if you've been using a sword proficiently for over a year, you'll understand at least to an extent the
concept of understanding your sword.
     
      All swords have a different feel.  As explained in "Finding a Sword," they all have various properties(factory made swords have matching properties).  This plays a part in the control of your sword on a super-physical level.  
However, there are also the very real yet very fine adjustments of the sword on a physical level that affect how you wield it.  These are things like weight, center of weight, blade balance, aerodynamics, grip and length.   Even if you don't realize it, these all affect you on a subliminal and physiological level when using that particular sword.  Ever watch an experienced swordsman swing around his sword like a baton?  Always catching it right, always knowing where the blade will go, never failing in setting the sword's projected path.  Why is this?  Of course experience plays a part in how effectively you wield the sword.  However, take a swordsman and hand him your sword instead of his.  I'll guarantee you that if he tries the same lavish stunts with an unfamiliar sword, they will either not work all together, or lack the once beautiful form the swordsman possessed previously.  
 
      This is because even if you don't finely examine your sword, through constant practice your actions will become attuned to how the sword will react.  On a subliminal level your mind and thus your muscles will react reflexively according to the sword.  This is called "knowing the sword."
Through constant practice your entire body in some way will adjust to the demands needed to be met in order to efficiently wield the sword.  You'll never even notice these subtle changes, but they will occur all the same.  
On a mystical level, the sword will recognize you(metaphorically) as its master.  A very interesting thing.  If a magician who wields a sword proficiently lets another person hold and swing his sword, it will 9 out of 10 times always seem to slip out of the person's hand.  Why is this?  The magician's will is bent into the sword through holding it often and wielding it.  Not only has the magician's mind and body adjusted reflexively to mastering the sword's dynamics, but the sword has almost developed a reflexive aetheric connection to its owner.  
     
      This is particularly true with any enchanted sword.  It will develop its energy to the extent that it is only capable of proficiently interacting with its master's aura and energy flow. If held by anyone else and used, the sword's energy will not recognize the new user's energy, and thus react against this.  A common effect is that the sword will almost seem to jump out of the person's hand, or always seem to slide out if held too long.  The most extreme effects I've ever witnessed were an actual pulling connection to the master, and a violent "defense mechanism" against an unrecognized holder.  In the first instance, the magician could extend his hand, and the sword would actually pull away from the holder towards the magician(a feat he could only do with his sword).  This particular individual also had the same connection with his staff.  
In the latter example the sword actually began to burn the hands of the holder(though when dropped, there were no signs of burns).
     
      To close this section, remember to use your sword often.  Swing it around, throw it from hand to hand.  The more you use it the more you will adjust to how best use the sword.  And if enchanted and/or filled with your own energy, the sword will recognize you on a super-physical level as its master as well.  In extreme circumstances, this connection between the sword and the master is not plainly metaphorical.  However, this deals with binding an entity to the sword, thus giving it a consciousness of its own, which will be dealt with later on in this document.


Dynamics of Enchantments
Learning to enchant items is the core of any magic battle weapon system.  As such, enchantments are a large part of sword magic, and if you wish to excel in this system you need to study about, learn, and practice enchantments from the smallest to the most grand of effects.  If you are already a skilled talismanic magician then you are that much further ahead of each of your peers, and thus this particular chapter is not directed at you.  If not, then this section of the article is for you.
     
     The realm of enchantments is mind boggling vast.  You can use runes, sigils, ancient scripts, simple words, complex barbaric tongues, significant symbols, names, directions, zodiac signs, you can even bind spirits to items to imbue them with power.  Which ever way you chose, remember that your will
power alone enacts the ultimate initiation of the spell's cast.
     
     I will not go too deep into the subject of "will and words" to describe the significance of why certain languages or symbols work better than others, or why they're even useful at all.  If you are interested in learning the exact concepts behind this, then you can consult my PDF article Introduction to Magic.  You will eventually need to understand these things if you wish to become my definition, the traditional definition, of a true magician, however that is not within the scope of this article.  
   
      When enchanting anything, you need to construct within your mind and the object a blue-print of what exactly you wish to happen.  If you are familiar with Psi Constructs and their programming, then this will help you out greatly as it has some of the same underlying basics.  After going through the enchantment process, which I will go over briefly in the next chapter, this blue print is what stabilizes your wish.  It's the foundation upon which the rest of the enchantment shall operate from.  The more perfect and exact your blue print is, the more perfect and exact your enchantment will be.

     The great thing about enchantments is that you generally don't need to check up on them.  Once the enchantment has been programmed into the object, it acts of its own accord in proportion to your will in order to accomplish your desire.  The only time from that point you will need to do anything extra with the object(which has now become a talisman) is if you feel it is not powerful enough, or if you feel the enchantment is not needed and/or interfering with other operations.  For example if you've enchanted your sword with the aggressive oncoming property of the fire element, then when you try to execute a fluid, heavy maneuver of the water tactic then the sword's programming and your desire will clash.  Information regarding how best to avoid this circumstance will be given later in this article.

     One thing to remember about an enchantment is that once it has been cast, you are not its master.  If this were so, then the aforementioned circumstance would not exist because the clashing fire elemental virtues would automatically blend to your will.  No, this is certainly not the case.  Once an item is enchanted, it becomes detached from you.  In this since you have as much control over an enchanted item as you gave it.  For this reason it is always important to lie down within the enchantment's blue print that you are indeed its master and all its programming bends accordingly to your will if desired.

     Now you may be wondering after reading this last paragraph, why exactly do you not have control over it.  Many magicians, some skilled in enchantments, most not, may argue that through enchantment you create a link between yourself and the item on a metaphysical level.  I have not found this to be true.  Linking and enchanting are two completely different facets(while both imperative in this field of Sword Magic)of corporeal interaction.  Enchanting an item is not within itself a joining or merging process.  What actually happens is that the enchanted item is often used by the enchanter, thus gradually creating an involuntary link.  You can create a ring designed specifically to call forth the North Wind, Boreas, but if you don't use it often the ring and the enchanter will become strange unto each other, and its bond with you will be no superior than its bond to any person who happened to come by it on the side of the road and pick it up.  Indeed if that same person takes a liking to the ring and wears it often, then the ring will develop a stronger connection to its possessor than its creator.

     That last example brings another point to the front.  It should be known that if a sword be enchanted, unless the wielder knows of its enchantment and inlaying virtues and powers, such magical power will not be able to be conjured.  Why?  Quite simple.  How can you call upon the fire power of a sword if you are unaware of its presence?  You see, acknowledgement of the swords power is what ultimately disposes it to the will of its holder.  This is particularly true in occult swordplay, being as most weapons are enchanted with powers that must be called upon and directed by means of the magician's will.  For you see, all the magical virtues of the sword that are not inherent within its very makeup and stored solely on the astral level.  Acknowledgement of the sword's magic is the link that channels those powers assigned and attached to the sword into its active use.  Its metaphysical properties can then be called upon and directed by the magician who is aware of them.*  This fact makes the presence of such phenomena as "Excalliber" mostly impossible(though not completely).

     As a last statement for this section, remember that an enchanted item is an item unto its own, completely absent of any similarity to its previous, less refined form as a typical every-day item.  Learning to use it is the equivalent of learning to ride a bike, learning to wield a strange weapon, or learning to maneuver in a manual transmission after always driving an automatic.  You may be quite a skilled swordsman, but this by no means automatically qualifies you as an equally good sword magician.  On the other end, you may be an excellent magician, but that does not mean the occult swordplay will be simple.  These two aspects of Occult Swordplay must be fused together to make an occult swordsman.  For to be a magician and poorly wield a sword is not the way of Ars Anima Gladius, nor is to be a swordsman but only treat magic as a game.  


Effects of an Attack
  Assault with a magical weapon is infinitely more layered than assault with a mundane one.  Why?  A sword can cut your skin, but the sword wielded by the magician can slice your soul in half.  A cut from a sword might get infected, but a cut from the sword of a magician can act as a hole in your energy system, letting your life force pour out.  
     
      On a basic level, there are several approaches to making your attack more than physical, each with varying results and effects on the victim.  You can attack them from a distance, make the essence of the attack vampiric, manipulate your chi to explode into the sword, project entropic forces, even use the contact of the sword with the skin as an instant psychic link with which your sword can deliver a  previously programmed psychic attack.
     
      A common skill is to make your attack vampiric in nature.  That is, to draw energy from the opponent at a point of contact, either by clashing swords or meeting flesh.  The sought for effect is that with each contact the opponent loses energy as you gain energy.  The opponent loses his fighting spirit and grows weak, whereas your spirit is fierce and your attacks grow stronger.  This is an almost foolproof way to win against one who can not keep his energy focused, assuming that your sword skill is at the same level as the opponent's.  Keep in mind that all it takes is one well-placed swing with the sword, and your magic won't be able to save you.  
     
      For those experienced in the eastern mysticisms of chi, you may be familiar with Hsing Yi's "exploding force" skill, which is also one of the Gates of Pu Men in Taichi Chuan.  This same skill, usually exhibited by the mystic as a outward shrug of the shoulders or good use of the symmetrical Fa Jin, can be applied to your sword skills.  The effect of this technique is very similar to Musashi's "Red Falling Leaves" technique, usually causing the opponent to lose his grip on the sword due to a violent vibration within the blade.  A good way to disarm the opponent.  If focused, this same attack can be projected down the blade of the opponent into the center of the body, and then exploding outward.  Requires much more skill on the swordsman's part,  but it can cause the opponent to go into a state of nausea, assuming his energy channels were disrupted enough.
     
      Another skill with a advantageous result is to project some type of entropic force into the opponent.  Some have called this the "Infectious Blade" because the effect is almost similar, on an aetheral level, to infecting the opponent with a flesh-eating virus.  The destructive energy can seep into the opponent's aura and energy systems, causing some painful results.  A common result of such an attack is that the muscle cut by the magician will begin to get cold around the area of the cut, then grow warm, and spread outwards into the entire muscle, then eventually spread into the entire muscle group(if the magician is powerful enough).  The size of the cut plays no part in this.  I am no master of this persona of energy, however I hear that TomeKeeper from The Library of Knowledge(in link section) has learned how to manipulate it quite well under the name of "Death Essence."  Perhaps you could find a good article or two about the subject by browsing around that site.
     
      For the psychic out there, this is a technique you may enjoy.  If you question its efficiency or possibility, I can vouch for it, as it has been executed on me in the past.  The concept of this attack is that upon contact a psychic link is made, simultaneously projecting a psychic attack at the opponent.  The only real difference between this and any other psychic attack is that the blade, by means of some enchantment or pure psychic skill, is acting as the medium for your connection.  The effects can therein be any effect the psychic can create in such warfare.  Some can induce illusions, some can eat away at your mind, while others are simply pings and relatively harmless projections.
     
      The final basic way to attack is using the sword in an almost ritualistic manner to attack the opponent.  That is, using magic to begin the battle, as opposed to a clashing of swords.  This is often done simply be the magician carving some properly charged sigil into the air with his sword, directing it at the opponent from a distance.  The effects are as wide as any effect that could ever be created in the realm of magic, dark or light.  However, to enact the sigil's power with speed applicable to the oncoming match requires a very honed magical prowess.  I have heard of a man who, in a duel with another magician, carved a symbol into the air and said a few intent-filled words.  His opponent, unaware of his true skill, took a few steps to advance into attack, then suddenly hurled over and started vomiting.  Now the magicians who can do this are few in a many, but I still thought it would be interesting to contemplate.
     
      The effects of attacks in this system are as wide as the effects of any mystical attack possibly conceivable, from any path of study.  Play around with ways to apply some of the things you've learned this way.  Also keep in mind that if you are sparring with a friend, do not come out and destroy them.  The person is kind enough to lend his/her body to you for the purpose of skill perfection, and should be treated as such.  Do not curse the name of his house and drain the life essence from his very blood.


Elemental Enchantments
 Elemental enchantments are likely the most common, and in my studies have proven the easiest within the realm of enchantments.  The great thing about the elements is that they exist on three levels: Celestial, Virtuous/Symbolic, and Manifest.  These three levels have been listed here in their purest to impure forms.  
     
      The celestial form of the element is considered the purest form of it.  Indeed the celestial form can be seen as the purest of all things in creation.  What makes the celestial form so pure is that the celestial body of the element is neither a manifestation nor a correspondence, but instead the source from which those two are derived.  From the celestial source it can manifest, and from the celestial properties come the virtues of the
element.  For example, fire as we see it with our eyes is only the product of the celestial fire being present strongly in that place within our realm of existence.  When you light a match, the celestial body of fire is immediately connected to the manifestation of it.  It is the root to the tree, the sea to the river, the log to the flame and the waves to the air.  It is the celestial level of existence that the Pure and Direct magicians seek to manipulate with their magic.  It is the simple driving concept that if you call the celestial existence of the element, its other two manifestations will be present.  For this reason calling out to the celestial existence of the air will cause wind to come forward.

      The Virtuous existence of each element is probably the most well known to most magicians.  These are the symbolic properties of each element, invoked when the element is present or called upon.  This is seen as the second purest form of the element, still needing no catalyst or union with another mixture to exist.  It is this level of existence that we will use most, while calling upon the celestial existence of the desired element to embrace its virtuous manifestation.    Fire for aggression, relentlessness, and energy;  Earth for strength, center and invulnerability;  Air for swiftness, lightness, and embrace; Water for fluidity, gracefulness, and overwhelming.  Of course there are many more correspondences, but they are explained in many places throughout the net and in books.  If you don't already know a few of the correspondences, go quickly to learn them before endeavoring sword magic.
     
      The last existence of an element is its most impure form, the physical manifestation and representation of it.  When worked with in magic, the manifestation of the element is usually only used as a representation of its
purer forms, in hope that a direct connection can be made through the manifestation straight to the Virtuous and Celestial existences of it.  Because of the great distance between the celestial and manifest forms of an
element, it is incredibly difficult to call forward enough without an already existing catalyst to create the energy needed to form the element.  Indeed those who can are the magi of renown, who have often times deserted
the common life to live a life of spirituality.  Do not get your hopes up with dreams of igniting your sword on fire or causing it to shoot forward sparks of lightning.  Such things are best reserved for games.
     
      Now then, the enchantments I have here are very loosely ritualistic.  About as ritual as they get is finding a glass of water, candle and a spot on the ground.  A few chants are involved, but they are only guidelines to give you an idea concerning what your own verbal affirmation should be close to.   We'll start with calling forward the energy of each element into the blade, one at a time.
 
The Conjuration of Fire-
      I will go into most detail with this particular enchantment.  Why is that?  Most of the basic four elemental enchantments are very, very similar.  As such, when this enchantment is read, such detail will not be needed for the following enchantments of water, earth and air.
     
      In this enchantment we are focusing on the very basic celestial level of fire.  We are not invoking a virtue, but instead the energy itself behind the physical element to aid in the energy flow within the sword, enhance it,
strengthen it, and ultimately increase the swords effectiveness against an opponent or target.  This is the underlying goal in invoking any form of energy by itself into the sword, with no virtuous attachments.  Provided
here is a ritual for someone who has never enchanted a sword before --  It is quite easy to understand for a beginner, however it is significantly longer than the time any descent enchanter would have to spend on an item to get the same effect.
     
      Take your sword (or imitation) with you to a place where you can be alone for a sum of about 15-30 minutes.  This can be your bedroom or other private quarters inside your house, or even better a small patch of forest or a well hidden backyard outside.  Either way you will need a set of three candles.   These candles will represent the creative number of fire, and the colors are to be red, orange or white.  Set these candles about 2 feet in front of where you will be seated during the enchantment.  Kneel down to them, and
proceed to light the candles, going from left to right.  The arrangement of the candles should be as follows:
 
      There should be two candles in the front, and one in the center about 6 inches behind them.  What this will do, if done correctly, will form a triangle, the most commonly accepted symbol of fire.  As you light each candle a small prayer/invocation will be given to the surrounding spirits of fire near enough to hear your signal.  You are inviting lesser fire elementals into your presence by doing this.  It's these spirits which will ultimately bless your sword with the celestial energy of fire.  I have provided a sample prayer just below.  Take note that this is not exactly what needs to be said.  I am simply providing you with an idea as to what you may wish your prayer to sound like, if you even wish to use on.  The best prayer you can give is one from your own heart and soul.
 
Hear me, spirits of the flame.
Come unto me now as I come before you,
Bless me with your presence,
That I may come to feel your power here and now.
I do not order, nor command,
This is merely an invitation to those who would come
To help a magician along his path.
Hear me, sons of fire;
Hear me, daughters of jewels;
Come unto me at this time, those who would!
Come here unto me that we may in unison bless this item,
And with each lunge of this sword, may the glory of fire whistle through
the air.
     
      This is a very basic invocation.  Very impromptu, yet it delivers the wish of the magician just as effectively as a much longer invocation.  You are not trying to call forth The Guardians of The Eternal Flames, nor any of the 70 God-Djinis.  You're just inviting a small handful of curious spectators that will agree to bless an item with you.  
     
      Once something along these lines has been done, you may proceed to whatever basic method of invocation you desire, be it ritualistic or otherwise.  You may even disregard the previous method entirely, and use one you favor more, perhaps Levi's prayers to the elementals.  As mentioned before, this site is not for the beginning magician, and I am here assuming that if you are to take this approach to the enchantment, that you have a background in summoning.  Why do I not provide a different method of the enchantment for simplicity, or for those who have never dabbled in summoning but are still learned magicians?  Quite simple.  I am the creator of this system of occult swordplay, and I am a summoner.  As such it is only natural my enchantments would join my knowledge of the said art.
     
      You must remember, a spirit will typically not have a reason to turn down an invocation unless it deems itself above the caller.  As such, those who do come will see you as a curiosity, an adventure, and recognize a chance to reflexively help disperse their own energies.  Something which they do naturally anyways.  Do not think that you are in any way special simply because a few lesser elementals came to you.
     
      Once whichever method of invocation you used has been completed, sit down about two feet from the lit candles, focusing on the one in the rear-center of the trio. I assume a meditation position at this point, but it is not entirely needed.  The magician may take any position he or she deems comfortable, and that the magician can concentrate and wait in.  At this point, wait for the spirit if you did a prayer, or commense the enchantment if you used a more direct invocation, causing the spirit to appear within the circle, for example.
     
      When the desired spirit(s) appear, place your sword on the ground between yourself and the candles.  Take your index finger and trace a triangle on the blade of the sword if you wish for an added effect.  By tracing the elemental symbol of the present spirits, in this case those of fire, you will excite their energies, and in the process show your respect for them coming.  The spirits will often choose to use the area upon which you inscribed their symbol to focus their collective energies into, allowing for a much more concentrated energy flow.  When you believe the spirits are present, thank them with your blessings, and then proceed to state the reason of your invocation; which in this case should sound something like the following:
 
      "Spirits of the flame, I ask that you come before me and gaze upon this
sword.  A precious item forged by your flames.  I ask you humbly to unite
your powers with this item, so that it may become a brilliant representation
of your power.  Hither and imbue this mundane tool of my workings with the
spark of life, creation and destruction.  Lay upon and within it the glory
of fire, so that the celestial body of your element becomes weaved into the
fabric of this item.  Come and bless this item.  Enchant my sword with your
powers!"
     
      To any descent enchanter, this will indeed seem a very poor request to the spirits.  Indeed I will say it is, but keep in mind this is for the beginners, and to much lesser spirits of fire this will be quite effective.

      Now once again you sit and wait until you believe the spirits are done with their assigned duty.  After about five minutes grab your sword firmly and say:
"This is my sword, forged by the flame, blessed by the flame."
     
      You now come to a close in the enchantment.  Blow out each of the candles, giving thanks to the spirits who came and attended after the extinguishing of each one.  Once done, arise and give thanks one last time to the spirits, then send the ones present about their ways.  If you are sensitive to the energies and know that the spirits have not left, implore them to do so soon, otherwise you will be put in a position to force them out coldly.  If at this point you still don't believe the spirits have left, raise whatever means you usually employ to force them to go about their ways.  In the event that a serious crisis arises, there are many places online with in-depth information on how to rid yourself of invasive spirits, good or bad.   This, however, is not within the scope of this article.
     
      And so now you have a sword blessed with the celestial power of fire.  What is it good for?  Not as much as you may wish to believe.  Your sword will not combust, it won't light things on fire, etc, however it will still open the gateway to many more things within the realm of enchantments.
     
      More than anything, the celestial enchantments are designed to give an extra energy content to your blade, giving you a combatable advantage against an opponent with an opposing elemental enchantment.  If
not in combat with another magician, it will give you a large advantage from the energy enhancement.  On very extreme levels of expertise, you may be able to make the blade of your sword burning to the touch.  I have not
personally achieved this in my own practices, but I am in no position to say it can not be done.  Indeed, it seems realistically feasible if done by a near master of the arts.

Conjuration of Water
      The fire conjuration was extensive, but it had to be to get all the main points through.  The water, earth and air conjurations will not be quite as in depth, with reference back to the fire conjuration for instructions in
some parts.  Don't be intimidated by the contextual length of the last enchantment.  In actual practice, it won't take more than 30 minutes and is incredibly easy to do and remember.
     
      Find 3 candles once again, this time with a blue color.  The best alignment once again is two blue candles and one white candle. This time, however, the white candle should be placed in the center-front, making it the closest candle to the magician. Refer to the fire conjuration for a picture of the candle placements.  To explain the colors, the two blue candles are focused on exciting the natural elemental energies of the desired element in the environment around you, drawing attention to yourself from the spirits, and an almost magnetic pull to the corresponding elemental energy.  The one white candle represents the spiritual substance that the celestial power exists as.
     
      Before you light the candles, place a small bowl of water in the center of the three candles.  Extend your dominant hand over the bowl of water and recite something along the following lines to perform a lesser blessing to the substance:
 
      "This water here and now do I bless to the glory and power of the spirits
of water, to their masters, and their kings.  May the power of the celestial
element come hither and imbue this water with its glory."
*Keep in mind that this will only likely work well for an experienced enchanter*
     
      As you light each candle, say a prayer similar in structure to the one given in the latter conjuration as well as whatever summoning methods you use, interchanging fire with water, and altering any other words you deem necessary to emphasize water as opposed to fire.  Once done, lay the sword between yourself and the candles then proceed to the invocation of the element and its spirits.
     
      At this point place the fingers of your dominant hand into the bowl of water, then lead your hand over the sword so that the droplets fall upon the
blade.  Do this 3 times, each time saying something simple such as "spirits of water, bless my sword."
     
      At this point in the operation simply verbalize that you wish your sword to be blessed with the power of the water element, then patiently await the process to finish.  This concludes the invocation of water.

Conjuration of Air
      Set about 3 candles, this time in the same formation as mentioned in the fire conjuration(2 close to you, one in the center-rear).  This, once again, should form a triangle.  Go about lighting the candles while saying an air-stylized conjuration during the lighting of each one.  Lay your sword between yourself and the candles, perform an air spirit invocation, then relax and be patient, waiting for an arrival of some energy form  within the celestial winds.  Make known to the spirits how you wish the sword to be possessed by their powers and presences.  For more details concerning this enchantment, look at the fire conjuration.
 
Conjuration of Earth
     
      Set the three candles this time with the center candle closest to you, forming an upside-down triangle.  Light the candles using the invocation, replacing words when necessary to make it known you are addressing the earth element.  Take your sword and lay it between yourself and the candles.  At this point take a handful of dirt and let it slide slowly and gently out of your hand onto the blade of the sword.  As you do so, say something along the lines of "Spirits of the Earth, strengthen my blade, for it is you from which it came."

      Invoke the spirits of Earth, make known your desire that they bless your sword, then wait patiently for a few moments.  When you believe the process to be finished, take your sword up and swing it several times through the air to remove the dirt from it.
     
     These are the four elemental enchantments directed at conjuring a low level of celestial energy behind each of the said elements.  As noted before,
these four enchantments are by no means powerful within themselves(though
the wielder can make it so), nor do they have the composition and context of
a proper enchantment.  These four have simply been layed out show the experienced enchanters an approach to blessing their swords, should they not have already done so.  
     
      The Conjurations here, it should be noted, are not of immediate application.  The more important elemental invocations work with directing the element's energy through yourself, thus not only effecting how you hold and wield your sword, but also delivering direct energy through your body(thus filled with your intent) into the blade of the sword.  More analysis concerning the assimilation of the elemental manifestations for
means of movement in fighting shall be talked about in the following section.

*In the future I plan to add several in-depth additions to the site that will better look at how to use spirits for enchanting a blade, as well as provide a method for the magicians who do not work with spirits.


Assimilating Virtues
As mentioned several times previously, elemental energies can not only manifest and be controlled within the sword, but can also be conjured and channeled through the magician in such a way that the magician assimilates the desired virtues of the desired element.  If you have done talismanic magic or theurgic elemental magic, this concept should be familiar with you.
       
      The difference between the common theurgia applications and the virtuous correspondences as they apply in swordplay is that theurgia is a means of self betterment and empowerment.  In swordplay, the elemental correspondences are not used for self betterment, but instead are called upon so that the magician will take on certain traits applicable to battle from the desired element.  To illustrate this point better, let us say a theurgic magician calls upon the force of water, and a follower of the occult sword arts calls upon water as well.  The theurgic magician calls upon the force of water in hopes that he will embrace the virtues of water, and in turn also destroy some of his own vices.  As a common example, let us say that the magician desires in this instance to embrace water's purity and rejuvenation virtues.  The occult swordsman has also called the force of water, however the desire this time is not only to embrace its virtues.  Indeed the magician in this case also wishes the virtues of the element to
flow and act through him, so that he is not only gaining its virtues, but is also letting the virtuous manifestation of water flow freely through him.  
       
      Now in the case of the theurgic magician I said that the virtues he called upon were water's purity and rejuvenation to give an example of what the desired effect would be in that case. In the case of the swordsman, a completely different scope of virtues is being called upon.  The swordsman would call upon water not for its self betterment or spiritual progression capabilities, but instead to assimilate its characteristics as based on a physical perspective.  For water, some of these virtues may be fluidity of
motion, heaviness of swing, and quick adaptability.
       
      All three of those virtues are based on the water element through a physical perspective.  In this sense the virtues you are calling on when channeling the water element in sword magic are not entirely Intellectual/Virtuous(as coined by Agrippa), but because there is no physical manifestation occurring it is not Manifest either.  So you instead are working with a medium of change in between the levels of Virtue and Manifest.  This is the real difference between theurgic and physically influential uses of the elements, such as occult swordplay.
The following is a very basic list of some of the associated characteristics the magician may come to take on when under the influence of the elements:
 
Water: Heaviness, fluidity, adaptability, easy motion, assimilation of
force, graceful
 
Fire: Quick, aggressive, growing, overcoming, light in weight, ongoing,
energetic
 
Earth: Firm, still, over

October 28, 2004, 05:15:09 PM
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Nik Miller

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Thankyou for writing this artical,  while being remotley proficient with a sword,  i have very very little knowledge about magic,  So unless I can find enough time to study(I wouldn't try anything unless i knew what i was trying)  It doesnt look like I will actually be able to put any of this into practice, barring the bannishing and attuneing the sword to me that is.

take care,
Nik
Nik Miller

Hah, 10 lbs, thats a knife. My barbarian death killing torture broad sword made from pure titanio-dimondolium weighs 455 lbs!

"Those with wisdom loath the one forced to defend"  Johannes Liechtenauer

"...A dispondent heart will always be defeated regardless of all skill"Sigmund Ringeck

October 29, 2004, 04:17:31 AM
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martijn

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hmm... i won't try bound swords or anything, or at least not yet... but the elemental stuff was useful. i'm wondering something though...  a short while ago, i just has the urge to completely soak my own wooden sword, just before i went to bed, and just after i had been swinging it a while... i believe the sword felt better (to handle, for example) the next morning... could that be related in any way?

February 15, 2005, 03:40:20 PM
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the_flojo

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Fascinating.  I was looking into occultic swordplay recently.  I've recently acquired to be a bound sword, but I'm not 100% sure, although I'll see what I can do with it.  The information is extremely useful.  Keep up the great work.
When you describe a senseless act of destruction, such as building a catapult to launch a minivan through someone's livingroom window, to a group containing both males and females, you get these reactions:

Males:  Cool!
Females:  Why???

Thus, we see the fundamental difference between the sexe

May 19, 2009, 07:07:06 PM
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peter_pan

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the weird thing was i kinda had to force myself to read this. it  was actually hard to physically read and i found myself skimming but maybe thats because i took heed to the warning considering i know very little. But uhm being so young and unable to own a blade does a bokken work similarly? i know its wood and this might be a silly question but i figure better asked then not.
"...There is simply The Way, and he who follows it must know when to act and in what way to act.  Sometimes it is to the right, other times to the left.  An initiate acknowledges no difference...." Veos.

May 19, 2009, 07:10:03 PM
Reply #5

peter_pan

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its not that i didnt get some of the concepts granted i just have no information. it seems complicated but it can be learned.
i know this is the site to do it and i've grown a lot because of this site i just want to know, where can i learn all this ya know? im searching for books and i guess i could read online but those sites are hard to trust are there more articles on here that could prepare me for this style?
"...There is simply The Way, and he who follows it must know when to act and in what way to act.  Sometimes it is to the right, other times to the left.  An initiate acknowledges no difference...." Veos.

June 26, 2009, 09:30:28 AM
Reply #6

Raitaro

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Preperation is simple, but far from easy.

1) Read books. lots of books, buy them, read them and practice them
2) Through practice you gain various skills and lots of knowledge that you understand on a more profound level than just reading an article. This is a definet prerequisite for an art as advanced as the one described in this article
3) To become good at this specifically, you will also have to be an accomplished swordsman.

 That's, essentially, all there is to it.
The IneptInitiate
http://xkcd.com/303/
http://xkcd.com/123/

I got a hot girl and the coolest band I know. I gotta bad habbit of smoking before the show.
I got music I got friends I trust and love. I get into a lot of fights and now my knuckles are all fucked up.....