Guidon, Magic Secrets, Society of Esoteric Endeavour 2011,
Numbered limited edition of 180 copies. Translated from Norman French by
Philippe Pissier. Paperback 88pp Illustrated (some coloured) 16.5cm x 9.5cm.
The Nature of the Text.
This text first appeared as an appendix to the first edition of
the Grimoire of Pope Honorius in 1670. It was reproduced with some additions in
the second edition of that title in 1760, and elsewhere. Its significance has
been overlooked. It preserves the voice of a 17th Century
practitioner of folk magic of a truly remarkable kind. In Europe generally,
about 80% of those persecuted for witchcraft were women. However, in Normandy,
France about 90% were men and most were shepherds with horsemen and blacksmiths
also persecuted. Most part of this work deals with the magic of shepherds and
horsemen, including reference to toad magic, which the shepherds were
particularly suspected of practising. Whilst much of the magical workings are
overtly Christian, some are specifically demonic and some utilises an otherwise
unknown system of names of power (that include Satan) to provide the
practitioner with magical familiars. Guidon notes that this system is quite
different to that found in the Key of Solomon or Agrippa. The illustrations
(some coloured) provide contemporary images of a practitioner practising his
craft and also a talisman that came to be adapted for stopping horses,
representing a tradition esoteric horsemanship where horses are treated as
familiar or spirits to be controlled, very different to the Society of the
Horseman’s Word, but which also operated in Britain. This talisman is realised
as per the instructions, and tipped in. Some spells are explicitly
blasphemous, and indicate either the survival of pre-Christian belief or the
emergence of very early neo-paganism. This blasphemy was a secret from most,
being framed in Latin. It required expert, professional translation to uncover
it. One spell is very obscene. The correct literal translation of this into
English makes this publication the first occult book (to my knowledge – I am
happy to be corrected!) to use the four letter “C” word since Crowley, and then
he, rather demurely, disguised it with acrostics! The Commentary discusses the
magical use of obscenity and blasphemy.
The anonymous Commentary also discusses
the general significance of the text and how it intersects with academic
knowledge concerning the persecution of witches in Normandy and how the Guidon,
in some of the practices being described, attempted to stay within the letter
of the law, but also how other parts are clearly demonic and how mere
possession of the text might have got one into a lot of trouble. As mentioned
the text is most certainly practitioner generated. The first few pages applaud
the work of Guidon. His, at times pedantic, description of his technique, and
how it varies from others, signals that he was a practitioner amongst other
practitioners, rather than a commentator. He is certainly not condemnatory,
except to the authors of the malevolent spells from which he seeks to protect
livestock. The practices are by no means confined to Normandy. He gives the
detailed ritual by which the person who curses an animal to may be tortured
into submission or killed, the Commentary explains that the traces left behind
by the working have been found many times in the British Isles too.
The physical form of the book.
Most books, at that time, were issued with temporary paper wraps
to be discarded when the gentleman purchaser commissioned a bookbinder to trim
and bind the book in leather to match the rest of his library. However, the
original publication of this text was not posh. It was of the genre of more
down market publications, the chapbooks, which were effectively leaflets. This
work was of that nature, with a printed paper cover featuring large eye
catching text and a striking talismanic design. This is referred to in the text
of 1760 edition – so it was clearly not meant to be rebound. This early
incarnation of what is often taken to be the 20th Century phenomena,
a paperback book, is reproduced as a paperback now, being given a “yap” binding
(where the covers extend beyond the bookblock) with clipped corners. Modern
paperback covers are laminated with plastic to make them impervious. The covers
of this edition have been waterproofed in the traditional manner, being rubbed
with beeswax that is then polished with a smooth stone. The rough charm of the
original production has been recaptured. The paper (Hahnemahle Medieval Laid
130 gsm) was selected as that most like 17th Century paper, with its
texture a natural result of the traditional mould-made production method, which
also gives it natural decal edges, here carefully retained. Lead type was
expensive, and so was used long after it had started to wear. A typeface is
here used which duplicates the appearance that wear gave to the printed page.
The (occasionally erratic) use of italics and arrangement of the text is
exactly reproduced, as are the sometimes-irregular borders. The book is
supplied untrimmed and most (ie copy number 1 to 154 inclusive) are, at least
partly, uncut. This means that, in order to read the book the purchaser must
use a knife to slit connected pages. Occasionally, old books come down to us
“uncut”, and therefore unread. However, I am not aware of another modern book
supplied thus (but happy to be corrected!). For those who wish to avoid this
experience copy numbers 155 to 180 are supplied as if neatly cut, but with
suitably irregular edges. The books dimensions are the same as the original
publication. The intent is
to give the book the look and feel of being contemporary to the original date
and nature of the text. Needless to say, the book is hand sewn and hand bound.
Books are ready to ship, and at the present moment, all numbers
are available. All orders dealt with in strict sequence of receipt.
I regret this item has sold out.
