By Jon G. Hughes

A realistic consultant to making plant extracts, essences, and complexes to be used in Druidic intercourse magic rituals

• Explores the id, harvesting, and magical homes of greater than 70 vegetation and bushes
• info the cautious and meticulous spagyric guidance of plant extracts and complexes
• Demonstrates how plant compounds are utilized in Druidic intercourse magic rituals through either and teams

In this functional consultant to Druidic plant magic, Jon G. Hughes finds the mild alchemy of changing plant essences into powerful compounds for operating intercourse magic rituals. studying the id, harvesting, and magical homes of greater than 70 plants and timber, he information the cautious and meticulous spagyric practise of plant extracts and complexes in addition to the method of acquiring or developing compatible alcoholic spirits for the bottom of those arrangements. He comprises directions to make all helpful instruments and explores how one can organize your self to paintings with plant essences and correctly use the mystical compounds you create.

Hughes explains tips to unlock the energies, therapeutic attributes, and magical capacities of vegetation and bushes throughout the respectful seduction of a plant’s advantage and the 3-step spagyric technique of separation, purification, and reunification. He indicates how the spagyric approach maximizes the ability of the got essence in education for its use in magical ritual. Detailing Druidic intercourse rituals for either a pair and a gaggle, Hughes demonstrates how plant compounds are utilized in particular magical rituals and practices in addition to the function of the plant complicated in sexual efficiency. Exploring the underlying accord among alchemy and Druidic practices, Hughes offers a helpful guide for somebody wishing to harness the paranormal capability of plant power.

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Additional info for A Druid's Handbook to the Spiritual Power of Plants: Spagyrics in Magical and Sexual Rituals

Sample text

Time alone will tell. But still I know that writing this diary can perhaps provide the answer; it may even help produce the right future. When I made this garden, I felt like a magician because the finished work had no connection with the precise movements that produced it. My magic depended on this: I had to concentrate on each part, on the difficult task of planting each flower and aligning it with the preceding one. As I worked, the garden appeared to be either a disorderly conglomeration of flowers or a woman.

I wanted to read it because I was intrigued by the name Belidor, and I wondered whether the Moulin Perse would help me understand the mill I saw in the lowlands of this island. I examined the shelves in vain, hoping to find some books that would be useful for a research project I began before the trial. (I believe we lose immortality because we have not conquered our opposition to death; we keep insisting on the primary, rudimentary idea: that the whole body should be kept alive. ) The large room, a kind of assembly hall, has walls of rose- colored marble, with greenish streaks that resemble sunken columns.

It was. I returned to the basement and after some difficulty I got my bearings and found, from the inside, the place that corresponded to the skylight's position. I looked for cracks, secret doors. The search was to no avail, for the wall was smooth and very solid. I thought that the wall must surely conceal a hidden treasure; but when I decided to break the wall to see what was behind it I was motivated by the hope of finding, not machine guns and munitions, but the food I needed so desperately.

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