Charm
PREVIEW from 100 spells book
Charm
The idea of a charm comes from the Old French of “Charme” for a song, incantation or chant. When a man is charming, he is perceived from the ancient perception of ritualistic song used in a spiritual ceremony. A song that conjures the minds of the listeners into being carried away which makes them forget themselves. This is likened to a lure that baits others to leave themselves which is “allure.” The one who is charming inspires others to leave themselves and to enter the frame of the charmer. This is what it means to be a snake charmer. The use of the pungi before the snake charms the serpent into reactionary movements as if hypnotized. To be charming is to be a hypnotist to the desire of others to surrender the authority of their own minds. They exit their own minds and are grasped by the charm before them. When a woman is charmed by a man, she pleasantly places herself into the grasp of the man and forgets not only herself but all separations between that self and the charmer.
The active authority of the mind is based on the capacity to question self, others and objects in our perception. The capacity to question is the capacity to doubt. A doubt that allows and preserves a separation between ourselves and others. A song, chant or hypnotic rhythm is a means of acceptance and surrender of the state of questioning. The acceptance of the charm is not a conscious decision but rather can only be understood after it is dispelled. This is when the mind awakes to its natural state of questioning doubt over perception. For example, a man on a date with a woman who is nervous will inspire more questions, not less. The woman will wonder why the man is behaving in a state of anxiety and fear which will bring her closer to her own conscious hold over her perception. This man becomes a doctor feelgood to the woman’s worrying mind. The one who charms removes the worry from other’s minds because he removes the questioning doubt from their minds. This is a portal effect where they enter his frame, lose sense of time and space until they exit the frame after the charm effect ends.
In the sexual selection of certain birds, there is the mating dance that entrances and hypnotizes with plumage display. This display creates a portal where the female bird loses sense of separation where the “oneness” of mind precedes the temporary joining of flesh in the procreative act. The charmer dissolves the perception of separation and lures into a state of oneness. The self is surrendered for a momentary time which creates a state of suggestion.
A charm is an understanding of rhythm based on the unconscious understanding of the hidden breath inside all living things. The inhale and the exhale. And just as there are countless variations of breath, there are countless variations of charm. This is not just a purely auditory sense of charm based on the etymological roots of the word “charme” or song but rather an understanding of rhythm which can be sensed though multiple senses. For example, a melody can not only be understood as sound but also can be felt on the skin from vibration or can be viewed from dancing objects, shadow and lights. We can sense rhythm not just through sound but through touch and sight as well. This is why a auditorily deaf cobra before a snake charmer becomes hypnotized. It is through the movement which ensnares and lures the eyes into the rhythm of a charm.
The sense of rhythm from all living creatures is based on a rise, fall and pause. This is in harmony with the seven days of creation as it becomes the rhythm of not just the rise and fall but also the pause before the cycle or rhythm repeats. A word can be spoken high in tone or loud (rise) and it can be spoke low in tone or soft (fall) and these notes are separated with pauses of relief or rest. This is not just speech which is a melody to the ears but also with the gestures of the body and the movements of touch. All of these can transmit rhythm which charms those under the influence. There cannot be charm without rhythm because rhythm is the charm. When a man is “charming,” he behaves in a hypnotic rhythm that relieves doubt in those around him and answers questions before they can form in their minds. If a question can be answered before it can form in the mind, it is never asked which relieves the mind of doubt and surrenders the consciousness of separation that the question would provoke. Remember, the serpent in the garden of Eden before Eve not only introduced the lie but introduced a question which created a form of conscious disobedience to established order.
Our use of written and spoken language grows, sheds and pauses in a rhythm under the influence of those who challenge and provoke its usage. Just as we can hear a “song” of birds that sing to us, we can hear a song to the language of mankind as grammatical formations shape themselves around a melody based on a hidden rhythm. The man who uses his speech, gestures and touch in ordered patterns shaped by a sense of music will carry the same influence of charm or song. It is not just the content of a story that entrances the listeners into losing sense of time and space but in how the story is told. Emphasis, tone and relief creates a rhythmic patterning that is a more ancient means of communication than the articulated conception of our modern understanding of speech.
One of the least understood and least discussed means of communication of mankind is the rhythmic enchantments that creates introspection. Why would a man want to listen to a “catchy melody” and why do we call some things catchy with their hooks and other things less catchy? What it is catching? Why can a melody conjure within us a memory or feeling? This goes beyond our usage of communication for merely transmitting articulated concepts with speech alone. A melody can articulate a feeling or experience without need of articulated speech. What we call “catchy” or “beautiful” music is merely a means of understanding something long dormant and ancient within us. A means of becoming aware of the rhythm that undergirds all our means of communication and expression of life. Not just the inhale and exhale of our lung but the articulated flow of the exhale to create infinite possibilities. The body used as a musical instrument to give shape to the rhythm or feeling that exists within ourselves.
We use speech to ask questions and to answer questions. This is a conscious means of understanding the rhythm of ourselves, others and the rhythm of our environment. A woman who is using her feminine intuition will ask a man what is wrong when she senses something wrong with his pattern or rhythm. She is asking him why his rhythm is off because she sensed a vibrational difference in his body and spirit. Tiny signals from bodily gesture to strained breathing and eye movement all give a rhythm or dance that projects the inner singer. When two people become familiar with each other, they begin to become comfortable in silence with less speech only because they have become attuned to their own communicative rhythms. This can be understood by how a dog adjusts itself to the communication of its owner. It is not the conceptional understanding of a word that truly influence a dog in understanding its master but rather the tone and pitch that transmit the feeling. A dog when it trusts its master’s frame will need less words in obeying the master’s wishes because it follows its master’s rhythm closely. It reads the movement of the face and follows closely the understanding of simple gestures. This is a more ancient way of communication than the articulated conceptional means of our vocal speech with words. The desire and feelings are transmitted from one to the other through vibrational patterns that we attach in purpose.
