The Agga Sign (3): To Win the Love of a Woman


“But heed these words well, and remember! For remembering is the most potent magick, being the Rememberance of Things Past and the Rememberance of Things to Come, which is the same Memory.” (Simon Necronomicon page 153)

Earlier in our discussion, as found in the AGGA Sign Parts 1 & 2, we learned about the strong influence of the Sumerian deity, INANNA/ISHTAR had over the political, religious, and scientific worlds during ancient times. We were also able to get a glimpse of the Sumerian history that is buried in the Simon Necronomicon, which helped us to outline these few points from our previous discussions:

1)  The Ancient Kings of Sumer claimed their divine right of kingship as being bestowed upon them by INANNA/ISHTAR.

2)  The Sacred Marriage Rite was a vehicle used to transfer divine energy from INANNA’ISHTAR to the king through the act of sexual intercourse. The practices in the Simon Necronomicon are also vehicles to empower the priest or priestess with divine power, which is bestowed upon the practitioner by INANNA/ISHTAR.

3)  The wedding procession that took place during the Sacred Marriage Rite was symbolic of the penis entering the vagina. This symbolism also applies to the traditional wedding ceremonies and corresponds to the GateWalking initiations as found in the Simon Necronomicon.

4)  The three workings of the Sphere of LIBAT, as found in the Simon Necronomicon on pages 110-111, represent the three stages of the Sacred Marriage Rite that were enacted upon by the Ancient Sumerians. We discussed the first of the three workings, the Preliminary Purification Invocation, in the AGGA Sign Part 2. Now let us look at the second working, To Win the Love of a Woman.

The second working of the Sphere of LIBAT is entitled; “To Win the Love of a Woman.” This working evidently reflects the topic of alchemical sex that took place between the priestly-rulers of Sumeria and INANNA/ISHTAR, who was represented by a temple priestess. This act of alchemical sex is referred to in the Simon Necronomicon.

“Thou must abstain from spilling thy seed in any manner for like period of time, but thou mayest worship at the Temple of ISHTAR, provided thou lose not thine Essence. And this is a great secret.” (Simon Necronomicon page 37)

“She is similarly the Goddess of Love, and bestows a favorable bride upon any man who desires it, and who makes the proper sacrifice” (Simon Necronomicon page 24)

The Mad Arab properly refers to the worship of INANNA/ISHTAR as being a “Great Secret” and rightfully so. The inner workings of most religions are indeed parables describing the workings of tantric secret societies. I must state that the practices of spiritual-sexuality, is still a science that is difficult to translate to the western mind because of its indoctrination in contradictory social values, terms such as Tantra, have often been misunderstood to represent a way to maximize sexual pleasure rather than a spiritual path of devotion, which at times required a great deal of celibacy, especially among male practitioners. Although we have assigned such ignorance to modern culture in reference to this ancient tradition, this very same ignorance was prevalent in ancient times, which resulted in the persecution and the degradation of these practices by pseudo-cults trying to gain prestige while lacking the discipline. It was these pseudo-cults that some historians wrongfully attributed as being part of the workings of INANNA/ISHTAR’S temple.

The Simon Necronomicon speaks about the Priest being careful not to spill his seed. He must learn balance. In Freemasonry, it is the woman who is the ‘Grand Architect of the Universe.’ The Chaldean covenant, mentioned in the Simon Necronomicon, is based on the woman’s monthly cycle. Those who are initiated into the greater mysteries know that ones’ bondage to an orgasm is what prevents them from immortality. The orgasm is the ultimate sacrifice. It is what the King sacrificed to obtain enlightenment to rule a nation during the Sacred Marriage Rite. Therefore, the Mad Arab encourages us in the Simon Necronomicon not to waste our seed, for it is to be used as part of our worship to Ishtar. This is the Great Secret. Since a woman has to make a sacrifice once a month, male practitioners of the Simon Necronomicon should set aside time to sacrifice semen to Ishtar at least once a month. The principles of our tantric evolution, has been expressed in one ancient legend-INANNA’S Descent into The Underworld.

The meaning of this ancient legend has baffled anthropologists and scholars alike. One reason for this confusion is due to the practice of keeping the Ancient Sumerian epics as separate stories and not seeing each legend as an extension of one whole story. This would also apply to the legend of INANNA’S DESCENT. We are told in the Gilgamesh epics that INANNA tried to use the “Bull of Heaven” against Gilgamesh when he spurned her sexual advances, which was a sign of his disrespect for the Sacred Marriage rites. Later, we find that Gilgamesh and Enkidu have slain the “Bull of Heaven.” This would relate to the legend of Inanna’s Descent. When INANNA/ISHTAR was questioned as to why she felt the need to visit the Underworld, INANNA responded that her reason for coming to the Underworld was to mourn the death of her BROTHER-IN-LAW, Gulgalanna, “the Bull of Heaven.” Gugalanna was Ereshkigal’s husband before she married Nergal. It is also interesting to note that Inanna refers to Ereshkigal as her older sister, when in the Sumerian pantheon Ereshkigal is Enki’s twin sister. Evidently, Inanna’s reference to Ereshkigal as being her ‘sister’ must have some other meaning.

Enki is the Sumerian god of water and semen. Ereshkigal, being his twin sister, would represent the feminine aspect of the god of semen. Ereshkigal would then represent the menstruating woman, and since Inanna could see that in herself as well, she refers to her as a sister. Thus, we find that Inanna’s descent was a multi-layered journey. One aspect of the Descent was to resurrect the ancient Tantric rites of Sumer that Gilgamesh degraded in one way or another. This would also indicate why Inanna refers to Ereshkigal as being her older sister, since the use of menstrual blood reflected an older tantric rite, though it is still used today. Inanna’s Descent was also a way to raise the kundalini force after having misappropriated it during her encounter with Gilgamesh. The legend also established some parameters around the rite itself. We also discover why the number fifteen is sacred to INANNA/ISHTAR being that she passed into seven gates representing the seven planets that are understood through the eight phases of the moon.

In our second discussion concerning the AGGA sign, we mentioned that the wedding procession was a metaphor representing the penis moving deeper into the vagina, which also symbolizes our path of initiation as GateWalkers. Before reaching the last gate, being ADAR, as listed in the Simon Necronomicon, we must first descend into GANZIR. This is our orgasm. If we have remain true to the covenant, it is then that our true initiation occurs and we are transformed in ADAR, What lies ahead is only the Outside.


MUNUS     SIGSIGGA            AG             BARA      YE    INNIN


AGGISH        XASHXUR           GISHNU                          URMA


SHAZIGA        BARA        YE      ZIGASHUBBA      NA


AGSISHAMAZIGA                                              NAMZA


YE     INNIN     DURRE              ESH     AKKI               UGU


AGBA              ANDAGUB


We can see in the translation of this “spell” that it is more of a psalm to the Throne of Ishtar, than it is a spell. However, this does point out that we have been moving on the same track as the author was, when he put the three workings of LIBAT in the Book of Calling