I’ve started to work through the second of the three seals. Pacing has been a key element of this process. I had an idea of how the remaining seals should go ever since I finished drafting a version of the first, but the idea and the reality have differed in some essential ways. Had I tried to jump into the second seal before letting the dust settle from the first, I would have carried too much intellectual expectation in and botched it. As it is, I am just now starting to receive the dreams and intuitions that allow me to set to work on the second.
There is a grammar of sorts to the process, specific elements which must be included and the sort of places where they ought to appear. Those elements are the three Mothers, the seven Doubles, a Name, and an element from the Tetragrammeton. There needs to be a Star of David inscribed in a circle, and a boundary that encompasses the circle. If a name includes the Doubles, then those letters don’t need to be duplicated elsewhere in the seal.
Discovering that grammar is what allows me to undertake the work with the seal, to develop my intuitive sense of how things ought to unfold alongside a set of rules that structure the expression of those intuitions. This is grammar in a somewhat different sense than it was used in the era of the grimoires (yes, grimoires and grammar school again), this is grammar as a generative system rather than grammar as rote indoctrination. If you are familiar with Bakhtin and his quibbles with structuralism, I would say this is dialogical grammar rather than a structuralist grammar.
While I’m using it to explore and deepen my connection with specific, already known spirits, I suspect it could be used as a means of introduction, too. In other words, that it could be used to construct the sort of seals that populate grimoires, albeit more strictly and, possibly, with less noise in the signal. Maybe.