The Sixteenth Name is AGAKU.
This Power can give live to what is already dead, but for a short time only. He is the Lord of the AMULET and the TALISMAN. His word is MASHGARZANNA.
Some explanation is necessary to understand the full implications of AGAKU. The bestowing of life into dead objects is a specialty of those magicians who deal in TALISMANIC magick. In this ART, a drawing or engraving is made of some occult symbol that represents a goal to be achieved (to make an extreme case, drawing a dollar sign on a piece of paper to represent money or wealth). This ‘talisman’ must then be consecrated and given ‘life’, which is the life-force and True Will of the magician transmitted to the Talisman. AGAKU can assist the budding magician by expediting this transfer of life-force to the talisman.
“The Signs and Powers may be summoned after the Priest has ascended to that step on the Ladder of Lights and gained entrance to that Sacred City. The Signs should be engraved on parchment or sealed in clay and placed upon the altar at the Calling. And in the perfumes should be of cedar, and strong, sweet-smelling resins. And the Calling be to the North.”
According to Sumerian mythology, Marduk was the God who defeated the Ancient Ones long before the creation of matter as we know it.
Against him in battle were the fierce TIAMAT, KINGU, and AZAG-THOTH. Once he had destroyed these demons, he created the universe from the flesh of TIAMAT, and humanity from the blood of KINGU mixed with his own breath.
You will come across these names in the description of the Fifty Names, which were titles given to Marduk by the Elder Gods after he had helped them to defeat the Ancient Ones.
- Pagan Calendar – Marduk’s Feast Day
- The Powers That Be – Marduk The God
- Widdershins – Marduk Legends and Stories, the original translation of the Enûma Eliš, and the Fifty Names of Marduk as originally given in the ancient tablets.
The Cox Mound, or Woodpecker, gorget style is a particularly beautiful and enduring symbol of Tennessee’s prehistoric inhabitants. A gorget was a pendant, or personal adornment, worn around the neck as a badge of rank or insignia of status and was thought to be symbolic of both earthly and supernatural powers. A variety of gorget styles, or designs, are known. As a class of artistic expression, this type of artifact falls within the Southeastern Ceremonial Complex, formerly known as the Southern Cult.
Just over thirty Cox Mound-style gorgets have been found since the late nineteenth century, primarily from prehistoric Mississippian stone box graves and villages along the lower Tennessee, Cumberland, Duck, Harpeth, and Buffalo Rivers of Middle Tennessee, and the middle Tennessee River valley of northern Alabama. As a result of the frequent mortuary association of Cox Mound gorgets with certain pottery types, namely Matthews Incised, as well as other artifacts, it has been postulated that Cox Mound gorgets date to the period A.D. 1250-1450. One rich grave from the famous burial mound at the Castalian Springs site in Sumner County produced two Cox Mound gorgets.
Typically, Cox Mound gorgets were manufactured on exotic marine shell and were white in color. Other materials, such as black slate in Putnam County and human skull fragments in Hardin County, were used rarely. Engraving the intricate design on the hard shell or slate without metal tools took many hours of skilled labor and is thought to have been a winter activity.
A Cox Mound gorget has three important iconographic elements. In the center is a cross inside a rayed circle or sun motif. The cross is symbolic of the sacred, or council, fire. The sun represents the sky deity and/or mythical ancestors. Surrounding the cross and sun is a scroll-like design element known as the looped square. This feature may represent wind, or possibly the litter on which subordinates carried a chief.
Typically the looped square is composed of four lines, but in some cases only three lines are used. Four crested bird heads, which most scholars interpret as woodpeckers, are found on the outer edge. The woodpecker heads always are oriented in a counterclockwise direction, suggestive of the prehistoric Native American swastika.
The woodpecker, like the falcon, was probably a symbol of war to the prehistoric Mississippian Indians. The war symbolism of the bird probably derived from the red head of the bird, which resembled a bloodied scalping victim. The Cherokees associated the red-headed woodpecker with danger and war, and the woodpecker was always invoked for aid by the ball game players. The bird’s pecking is similar to an Indian warrior striking the war post at the Victory dance. For the Cherokees, the color red is associated with male attractiveness and fertility, as well as bravery and war. Groups of woodpeckers are thought to be a sign of war to the Creeks and Seminoles. While war is typically associated with males in Native American society, it is important to note that Cox Mound gorgets have been found in both male and female burials.
Other interpretations include the identification of the four woodpeckers as the four thunders at the world quarters, and a folklorist has speculated recently that the Cox Mound gorget style is a prehistoric expression of the Yuchi myth of the Winds. Cox Mound gorgets are displayed by the Tennessee State Museum and Pinson Mounds State Archaeological Area.
Source: Tennessee Encyclopedia