Since ancient times, magicians and sorcerers have used additional objects in their work. Depending on the direction in which the specialist works, the magical attribute, which is partly the source of power, may vary. For some it will be a ring, for others a knife, for herbalists - a bottle of seeds. Some warlocks use skulls and bones in rituals. Witches often wear beads and bracelets made from natural stones. However, there are several items in the everyday life of magicians that are familiar to us.

We are talking about a magic wand or wand. It is worth understanding that this item can be either a gift from the Higher Powers or a personally made amulet. The entire production process is a mystery and requires maximum concentration. On the other hand, after you make a rod or wand, a series of manipulations with the “object of power” will be required to fill it with energy.

Do not forget that you can start making a wand only after receiving a blessing from the Force with which you are working. A blessing is required both before and after production. Filling a magical object with power must be carried out on a pre-selected day that corresponds to all the canons of the Teaching within which you practice magic.

There are four standard sizes of magic wands, made of wood and serving as an aid to concentrate and enhance one's own power.

Staff - approximately tall

Large staff - two or three cubits

Small staff - one or two cubits

The smaller the wand, the more powerful it is, and the more careful processing it requires. Wands can also be made of metal or stone, but since the labor intensity is significantly higher, I did not even try to find out anything about it. Before you start, you need to perform a cleansing ritual that matches your ideas. During processing, you should observe what you call fasting. Any psychotics are strictly excluded; even tobacco or coffee can disrupt your work. For any wooden wand, “its own” tree is selected (in my case it could be oak or hawthorn); in general, preference is given to a harder species. A young tree of suitable thickness is selected. For everything except the staff, a part of the main trunk is suitable only without knots. The tree is cut down with a feeling of regret for the ruined plant, and confidence that your need is worth it. A minimum of tools is used, ideally one knife forged with one’s own hands. Since in modern conditions it is difficult to get hold of a knife forged with your own hands, you can use an ordinary medical scalpel purchased specifically for this work. When working, it is necessary to eliminate the feeling of triumph, haste or anticipation. A magic wand, on the contrary, is made from the most clumsy and gnarled rhizome of a tree, or, for example, the stem of a Karelian birch. If a part of a tree was taken to make a magic wand, if you are completely confident in yourself, it makes sense to “gift” the tree - rub a drop of blood into a cut in its bark. The cut trunk is transferred to the place where it will be processed and is not moved to other places until the work is completed. The waste is collected and, after finishing the work, sacrificed to the forest spirits (buried under the turf in the forest with a feeling of gratitude). All processing is carried out in a state of permanent meditation on the material. Hurry, distraction by random things, attempts to speed up work at the risk of spoiling the material are categorically excluded (not even the attempts themselves, but reflections on this topic, that is, if something can be scraped off or cut off, but accuracy in the latter case cannot be guaranteed, then it should not there may even be doubts about what should be scraped). It is best to work in the forest or in the country. Exactly as much work is done in one go as is fun. Whenever there is a desire to work, you need to do it, even if this work consists of two movements.

The bark and cambium are cleared from the trunk; in the case of a staff, knots are cut and scraped off (not until smooth), and defects are cut out. The staff can be finished at any time after this, but it is recommended to at least scrape it thoroughly and lovingly. For the remaining wands, the upper end (according to the height of the tree) is pointed, the lower end is rounded. The lower part of the rod (by which you then hold it) is scraped across the grain. At this stage, the workpiece should no longer have any corners or cuts. By this time, the workpiece may crack lengthwise due to drying, this is normal. On a magic wand, both ends are rounded.

The processing should be interrupted and play with the resulting object. You need to feel it as yours, find a comfortable position for it in your hand, love it, become attached to it. From this moment on, the workpiece should be kept with you at all times, at least in the area of ​​attention. The feeling should be such that you are introducing him to yourself, to your life, to your habits, emotions. Further processing is the main difficulty. Part of the wand, except for the place where you hold on and the tip, is covered with a pattern. There is no meaning to the emerging feeling of “this is what they want.” some of them may be small, some will “require” a recess, sometimes up to a quarter of the radius (I, however, did not have this). Scratches are caused by holding the tip of a knife between your fingers (by the way, you only need to sharpen it by hand), and require a steady hand. When working, there should be a feeling of conversation, conversation with the rod. A small wand requires a pattern that is several times thicker and finer than a large one, but sections of the initial surface must remain on it as part of the pattern (then, probably, the magic wand should be entirely carved). If a crack has formed on the rod, then annealed copper, or even better silver, should be hammered into it with the same knife (just not very hard, otherwise it will crack) to the very surface. For a magic wand, another type of pattern is preferable - a continuous, non-self-intersecting, open line covering the largest possible area of ​​the magic wand. If you manage to apply it in one motion from start to finish... However, I doubt that you will succeed. There is no need to demand European accuracy from the rod, it should have in its shape a reference to the original shape of the barrel, it should not be perfectly smooth or perfectly round, the metal hammered into the gap does not have to look like a filling, it is simply stored there, although if it is not will look tacky, then that’s correct. Unfortunately, I cannot describe the pattern covering in more detail, as it occurs in deep meditation. The work should have the internal impression of a valuable process in itself; one should not feel concerned about the result; even some nostalgic pity that another part of the work has been done is allowed. At the same time, he needs to be introduced to the world, that is, shown to the sun, moon, stars, trees, while intensely feeling his attitude towards the objects shown. There is no need to show EVERYTHING or name names. Only the attitude toward which you consider worthy of being noted. The pattern is applied until you are confident that you cannot add a single stroke. By the way, the pattern may well contain various symbols that you might have seen before; it is absolutely necessary to accurately determine whether it is your subconscious that is playing around, or whether the scratches just happened that way. The first is not good, the second is normal. There are so many symbols that they can be found in anything, there is no need to be afraid of them or strive for them, they are always secondary when interpreted by a person. After applying the pattern, you need to polish the rod with a cloth and river sand. For those who have never done this, I warn you, do not press, otherwise you will scratch it. By the way, it is better to sift and/or wash the sand. Only the pattern is polished, by this time the handle has already been processed with a knife, and the tip should be smoothed with a knife. Polishing should come in a joyful (but not violently hysterical) mood, and this should not make the movements abrupt.

By this time, the rod will make you feel the need for initialization, which consists of completely emotionless immersion of the tip into something. In my case it was night water, but it could be earth, wine, milk, a living body (God forbid, human), and sewage. If necessary, the next day the tip is wiped with the same cloth that was used to polish the rod (by the way, didn’t I say that it should be natural fabric from your old clothes?), which can be buried along with bark and sawdust, or can be thrown away or destroyed, at your discretion.

Initializing the magic wand looks a little more complicated. First, one end of it is immersed in something, then (the period of time does not matter and is unpredictable in advance) its other end is immersed in something else, the opposite in properties to the first. At first glance, the phrase is somewhat clumsy, but if you start making a magic wand, then at this stage everything will be clear to you.

The knife must be sharpened at the end of the work, and... that’s it.

“There are four types of magical wands, made of wood and serving as an aid to concentrate and enhance one’s own power.

Staff - approximately tall
Large rod - two or three cubits
Small rod - one or two cubits
"Magic wand" - about half an elbow.

The smaller the wand, the more powerful it is, and the more careful processing it requires.
Wands can also be made of metal or stone, but since the labor intensity is significantly higher, I did not even try to find out anything about it. Before you begin, you need to perform a cleansing ritual that matches your ideas. During processing, you should observe what you call fasting. Any psychotics are strictly excluded; even tobacco or coffee can disrupt your work.
For any wooden wand, “its own” tree is selected (in my case it could be oak or hawthorn); in general, preference is given to a harder species. A young tree of suitable thickness is selected. For everything except the staff, a part of the main trunk is suitable only without knots. The tree is cut down with a feeling of regret for the ruined plant, and confidence that your need is worth it. A minimum of tools is used, ideally one knife, forged with one’s own hands. Since in modern conditions it is difficult to get hold of a knife forged with your own hands, you can use an ordinary medical scalpel purchased specifically for this work.
When working, it is necessary to avoid feelings of triumph, haste or
anticipation.
A magic wand, on the contrary, is made from the most clumsy and gnarled (but in no case cracked or rotten!) part of the tree. The rhizome of a tree, or, for example, the stem of a Karelian birch, is very good for such purposes. If a part of a tree was taken to make a magic wand, if you have full self-confidence, it makes sense to “gift” the tree - rub a drop of blood into a cut in its bark.
The cut trunk is transferred to the place where it will be processed and is not moved to other places until the work is completed. The waste is collected and, after finishing the work, sacrificed to the forest spirits (buried under the turf in the forest with a feeling of gratitude).
All processing is carried out in a state of permanent meditation on the material. Hurry, distraction by random things, attempts to speed up work at the risk of spoiling the material are categorically excluded (not even the attempts themselves, but reflections on this topic, that is, if something can be scraped off or cut off, but accuracy in the latter case cannot be guaranteed, then there should not even be any doubt about what should be scraped). It is best to work in the forest or in the country. Exactly as much work is done in one go as is fun. Whenever there is a desire to work, you need to do it, even if this work consists of two movements. The bark and cambium are cleared from the trunk; in the case of a staff, knots are cut and scraped off (not until smooth), and defects are cut out. The staff can be finished at any time after this, but it is recommended to at least scrape it thoroughly and lovingly. For the remaining wands, the upper (according to the height of the tree) end is pointed, the lower
rounds off. The lower part of the rod (by which you then hold it) is scraped across the grain. At this stage, the workpiece should no longer have any corners or cuts. By this time, the workpiece may crack lengthwise due to drying, this is normal. On a magic wand, both ends are rounded. The processing should be interrupted and play with the resulting object. Need to
feel it as yours, find a comfortable position for it in your hand, love it,
get attached to him. From this point on, the workpiece should be constantly kept at
to yourself, at least in the area of ​​attention. The feeling should be such that you are introducing him to yourself, to your life, to your habits, emotions. Further processing is the main difficulty. Part of the wand, except for the place where you hold on and the tip, is covered with a pattern. It makes no sense to “cover” the rod with a pattern. Scratches are applied to it in those places that, according to the feeling that appears, “they want it.” Some of them may be small, some will “require” a recess, sometimes up to a quarter of the radius (I, however, did not have this). Scratches are caused by holding the tip of a knife between your fingers (by the way, you only need to sharpen it by hand), and require a steady hand. When working, there should be a feeling of conversation, conversation with the rod. A small wand requires a pattern that is several times thicker and finer than a large one, but sections of the initial surface must remain on it as part of the pattern (then, probably, the magic wand should be entirely carved). If a crack has formed on the rod, then annealed copper, or even better silver, should be hammered into it with the same knife (just not very hard, otherwise it will crack) to the very surface. For a magic wand, another type of pattern is preferable - a continuous, non-self-intersecting, open line covering the largest possible area of ​​the magic wand. If you manage to apply it in one motion from start to finish... However, I doubt that you will succeed. There is no need to demand European accuracy from the rod, it should have in its shape a reference to the original shape of the barrel, it should not be perfectly smooth or perfectly round, the metal hammered into the gap does not have to look like a filling, it is simply stored there, although if it is not will look tacky, then that’s correct. Unfortunately, I cannot describe the pattern covering in more detail, since it occurs in deep meditation. The work should have the internal impression of a valuable process in itself; one should not feel concerned about the result; even some nostalgic pity that another part of the work has been done is allowed. At the same time, he needs to be introduced to the world, that is, shown to the sun, moon, stars, trees, while intensely feeling his attitude towards the objects shown. There is no need to show EVERYTHING or name names. Only the attitude toward which you consider worthy of being noted. The pattern is applied until you are confident that you cannot add a single stroke. By the way, the pattern may well contain various symbols that you might have seen before; it is absolutely necessary to accurately determine whether it is your subconscious that is playing around, or whether the scratches just happened that way. The first is not good, the second is normal. There are so many symbols that they can be found in anything, there is no need to be afraid of them or strive for them, they are always secondary when interpreted by a person. After applying the pattern, you need to polish the rod with a cloth and river sand. For those who have never done this, I warn you, don’t press, otherwise you will scratch it. By the way, it is better to sift and/or wash the sand. Only the pattern is polished, by this time the handle has already been processed with a knife, and the tip should be smoothed with a knife. Polishing should take place in a joyful (but not violently hysterical) mood, and this should not make the movements abrupt. By this time, the rod will make you feel the need for initialization (activation? consecration? I’ve been having a bad time with the thesaurus lately), which consists of completely unemotionally plunging the tip into something. In my case it was night water, but it could be earth, wine, milk, a living body (God forbid, human), and sewage. If necessary, the next day the tip is wiped with the same cloth that was used to polish the rod (by the way, didn’t I say that it should be natural fabric from your old clothes?), which can be buried along with bark and sawdust, or can be thrown away or destroyed, at your discretion.
Initializing the magic wand looks a little more complicated. First, one end of it is immersed in something, then (the period of time does not matter and is unpredictable in advance) its other end is immersed in something else, something opposite in properties to the first. At first glance, the phrase is somewhat clumsy, but if you start making a magic wand, then at this stage everything will be clear to you. The knife needs to be sharpened at the end of the work, and... that's it. If by then you don’t know what to do next with the wand, then I obviously explained something wrong.”

Part 2. "Combat Energy"

Chapter 1. “Why not magic? »

Introduction

It is no coincidence that the title of this book mentions the word “energy” and not “Magic”, for there is a significant difference between Combat Magic (BM) and Combat Energy (BE). Now I will try to explain what it is.
BE, unlike BM, implies the combat use of only personal energy reserves and, to some extent, so-called “atmospheric electricity”, which has nothing in common with real electricity, except that it is also a form of energy. BE does not require a large theoretical base, so it is taught at junior levels.
By decision of the Council of the Order of the Eye, all techniques that could lead to serious damage or death have been removed from this version of the book. Knowledge of the techniques given in this book cannot cause much harm to others, but in some cases it can be dangerous.

(ARJEIZ) This is a very difficult stage, the main thing is to evaluate your strengths and choose what suits you.

Note

“There are four types of magical wands, made of wood and serving as an aid to concentrate and enhance one’s own power.

Staff - approximately tall

Large staff - Two or three cubits

Small Rod - One or two cubits

"Magic wand" - about half an elbow.

The smaller the wand, the more powerful it is, and the more careful processing it requires.

Wands can also be made of metal or stone, but since the labor intensity is significantly higher, I did not even try to find out anything about it. Before you begin, you need to perform a cleansing ritual that matches your ideas. During processing, you should observe what you call fasting. Any psychotics are strictly excluded; even tobacco or coffee can disrupt your work.

For any wooden wand, “its own” tree is selected (in my case it could be oak or hawthorn); in general, preference is given to a harder species. A young tree of suitable thickness is selected. For everything except the staff, a part of the main trunk is suitable only without knots. The tree is cut down with a feeling of regret for the ruined plant, and confidence that your need is worth it. A minimum of tools is used, ideally one knife, forged with one’s own hands. Since in modern conditions it is difficult to get hold of a knife forged with your own hands, you can use an ordinary medical scalpel purchased specifically for this work.

When working, it is necessary to eliminate the feeling of triumph, haste or anticipation.

A magic wand, on the contrary, is made from the most clumsy and gnarled (but in no case cracked or rotten!) part of the tree. The rhizome of a tree, or, for example, the stem of a Karelian birch, is very good for such purposes. If a part of a tree was taken to make a magic wand, if you have full self-confidence, it makes sense to “gift” the tree - rub a drop of blood into a cut in its bark.

The cut trunk is transferred to the place where it will be processed and is not moved to other places until the work is completed. The waste is collected and, after finishing the work, sacrificed to the forest spirits (buried under the turf in the forest with a feeling of gratitude).

All processing is carried out in a state of permanent meditation on the material. Hurry, distraction by random things, attempts to speed up work at the risk of spoiling the material are categorically excluded (not even the attempts themselves, but reflections on this topic, that is, if something can be scraped off or cut off, but accuracy in the latter case cannot be guaranteed, then there should not even be any doubt about what should be scraped). It is best to work in the forest or in the country. Exactly as much work is done in one go as is fun. Whenever there is a desire to work, you need to do it, even if this work consists of two movements.

The bark and cambium are cleared from the trunk; in the case of a staff, knots are cut and scraped off (not until smooth), and defects are cut out. The staff can be finished at any time after this, but it is recommended to at least scrape it thoroughly and lovingly. For the remaining wands, the upper end (according to the height of the tree) is pointed, the lower end is rounded. The lower part of the rod (by which you then hold it) is scraped across the grain. At this stage, the workpiece should no longer have any corners or cuts. By this time, the workpiece may crack lengthwise due to drying, this is normal.

On a magic wand, both ends are rounded.

The processing should be interrupted and play with the resulting object. You need to feel it as yours, find a comfortable position for it in your hand, love it, become attached to it. From this moment on, the workpiece should be kept with you at all times, at least in the area of ​​attention. The feeling should be such that you are introducing him to yourself, to your life, to your habits, emotions.

Further processing is the main difficulty. Part of the wand, except for the place where you hold on and the tip, is covered with a pattern. It makes no sense to “cover” the rod with a pattern. Scratches are applied to it in those places that, according to the feeling that appears, “they want it.” Some of them may be small, some will “require” a recess, sometimes up to a quarter of the radius (I, however, did not have this). Scratches are caused by holding the tip of a knife between your fingers (by the way, you only need to sharpen it by hand), and require a steady hand. When working, there should be a feeling of conversation, conversation with the rod.

A small wand requires a pattern that is several times thicker and finer than a large one, but sections of the initial surface must remain on it as part of the pattern (then, probably, the magic wand should be entirely carved). If a crack has formed on the rod, then annealed copper, or even better silver, should be hammered into it with the same knife (just not very hard, otherwise it will crack) to the very surface.

For a magic wand, another type of pattern is preferable - a continuous, non-self-intersecting, open line covering the largest possible area of ​​the magic wand. If you manage to apply it in one motion from start to finish... However, I doubt that you will succeed.

There is no need to demand European accuracy from the rod, it should have in its shape a reference to the original shape of the barrel, it should not be perfectly smooth or perfectly round, the metal hammered into the gap does not have to look like a filling, it is simply stored there, although if it is not will look tacky, then that’s correct.

Unfortunately, I cannot describe the pattern covering in more detail, since it occurs in deep meditation. The work should have the internal impression of a valuable process in itself; one should not feel concerned about the result; even some nostalgic pity that another part of the work has been done is allowed.

At the same time, he needs to be introduced to the world, that is, shown to the sun, moon, stars, trees, while intensely feeling his attitude towards the objects shown. There is no need to show EVERYTHING or name names. Only the attitude toward which you consider worthy of being noted.

The pattern is applied until you are confident that you cannot add a single stroke. By the way, the pattern may well contain various symbols that you might have seen before; it is absolutely necessary to accurately determine whether it is your subconscious that is playing around, or whether the scratches just happened that way. The first is not good, the second is normal.

There are so many symbols that they can be found in anything, there is no need to be afraid of them or strive for them, they are always secondary when interpreted by a person.

After applying the pattern, you need to polish the rod with a cloth and river sand. For those who have never done this, I warn you, don’t press, otherwise you will scratch it. By the way, it is better to sift and/or wash the sand. Only the pattern is polished, by this time the handle has already been processed with a knife, and the tip should be smoothed with a knife.

Polishing should take place in a joyful (but not violently hysterical) mood, and this should not make the movements abrupt.

By this time, the rod will make you feel the need for initialization (activation? consecration? I’ve been having a bad time with the thesaurus lately), which consists of completely unemotionally plunging the tip into something. In my case it was night water, but it could be earth, wine, milk, a living body (God forbid, human), and sewage. If necessary, the next day the tip is wiped with the same cloth that was used to polish the rod (by the way, didn’t I say that it should be natural fabric from your old clothes?), which can be buried along with bark and sawdust, or can be thrown away or destroyed, at your discretion.

Initializing the magic wand looks a little more complicated. First, one end of it is immersed in something, then (the period of time does not matter and is unpredictable in advance) its other end is immersed in something else, something opposite in properties to the first. At first glance, the phrase is somewhat clumsy, but if you start making a magic wand, then at this stage everything will be clear to you. The knife needs to be sharpened at the end of the work, and... that's it. If by then you don’t know what to do next with the wand, then I obviously explained something wrong.”

Part 2.

"Combat Energy"

Chapter 1.

“Why not magic? »

Introduction

It is no coincidence that the title of this book mentions the word “energy” and not “Magic”, for there is a significant difference between Combat Magic (BM) and Combat Energy (BE). Now I will try to explain what it is.

BE, unlike BM, implies the combat use of only personal energy reserves and, to some extent, so-called “atmospheric electricity”, which has nothing in common with real electricity, except that it is also a form of energy. BE does not require a large theoretical base, so it is taught at junior levels.

By decision of the Council of the Order of the Eye, all techniques that could lead to serious damage or death have been removed from this version of the book. Knowledge of the techniques given in this book cannot cause much harm to others, but in some cases it can be dangerous.

1.1 Place and time for training.

For training work with energy, you need to carefully select a place where no one except you (or your students, friends, colleagues) will go. In the future we will call it the Training Place (MT). There are not so many requirements for this place (when compared with a place for BM classes):

The MT should not be visited by outsiders.

The MT should be located at a sufficient distance from housing.

The MT should be cleaned after each workout. How to do this is discussed below (techniques “Network”, “Annihilation 1st level”).

All these requirements must be met in case you manage to independently develop to the level where these techniques begin to work. The first requirement ensures that your atmosphere, which will arise during the process of practicing techniques, is preserved on the MT. The second requirement ensures the safety of strangers. Third, it protects you from the consequences of your own work and from excessive attention from other magicians to your MT.

Now - a few words about training time. The most suitable time is considered to be the first three hours after dawn and the first two hours after sunset. Morning time is more suitable for cleansing, clearing channels and chakras. Evening - for practicing combat techniques.

Naturally, the time of year plays a significant role. For example, the second half of spring, summer and early autumn are good for training, because... Most people at this time live at a high level of energy exchange. The rest of the time (especially winter) is a period of decline in the intensity of energy exchange. Therefore, if in the summer you can easily create an “exclusion zone,” then in the winter it is problematic for you to put up even a strong shield.

Chapter 2.

Cleansing techniques

2.1 "Energy exchange"

This technique of relieving accumulated negativity and gaining fresh strength is known from Proto-Slavic Rus' and is used everywhere. It consists of an exchange of forces with trees.

All trees are divided into vampires and donors. Vampire trees take away all the negativity from the environment, and donor trees release positive energy into the surrounding space.

Vampires include: aspen, maple, rowan.

To donors - Oak (Warrior tree), Pine (Mage tree), only in spring - White Birch (tree of female beauty. It is White, not Speckled!).

During morning class hours, choose sunny weather and go deeper into the forest. There, having chosen a vampire tree, lean against it with your naked back and mentally ask to take away all the nastiness, all the negative energy from you. In a minute, you will feel as if all the dirt that has accumulated in your body over the past time is being pulled out of you through your back. When the feeling of being sucked out subsides and pleasant weakness and slight drowsiness appear, thank the tree and move on to the donor tree.

By the way, you need to be more careful when choosing a donor. For you, as a magician (even if just a beginner), it will be more suitable spruce or pine. Naturally, the tree must be selected in advance, carefully examining it for its age and good health.

Just as with a vampire, lean your back against the tree, or hug it, pressing your whole body (this is done more often) and ask the tree for strength. After some time, you will feel new, fresh strength pouring into your body.

(ARJEIZ) It’s better to first communicate with the tree, appease it, in short, make friends.

2.2 "Four Elemental Techniques"

This technique performs not so much recharging as “running” energy exchange channels, increasing vitality and improving well-being. One, or maximum two, techniques from the following are more suitable for each person.

2.1.1 "Root"

The “Root” technique carries out a vertical sweep using the energy of the earth. Sometimes this method is confused with the “Tree” technique, but this is a mistake, because “Tree” belongs to other traditional techniques and covers only the final part of “Root”.

The technique is based on a rather complex (to begin with) thought form with identification. The arms are lowered along the body, the body itself is relaxed. Below is the formula itself:

“I am a small root that was stuck into the ground. I draw moisture from the cool soil. I start branching to get more moisture. Here, I look out of the ground, now I have a green body. I am growing the first branches. The buds swell and the first leaves appear. From underground comes a force that pushes my growth upward, feeding my branches and leaves. This power comes from my powerful roots, which make their way down to the aquifer. My body hardens and becomes covered with bark. The branches turn into branches, from which new branches appear. There are a lot of leaves on me. I'm covered in leaves. The greater the force coming from underground, the more leaves there are. My roots are so powerful that I am one with the earth.”

This concludes the exercise.

2.1.2 "Talking to the Wind"

This technique carries out a vortex sweep through horizontal encircling channels. The technique is performed without a formula.

Stand in an open place (in a field, clearing) and relax. Listen to the movement of the wind around you. Inhale slowly and deeply several times, feel the purity and elasticity of the air. Slowly, slowly begin to raise your arms to the sides and up. Feel how a whirlwind of air begins to move around you, how this wind sweeps away all the dirt from you, filling your entire body. At first the whirlwind is weak, but the higher the hands are raised, the stronger it becomes. Raising your hands, begin to make circular movements with them, as if spinning a vortex of air around you and above you even faster. When you feel that the wind has weakened or slight fatigue sets in, stop the exercise by slowly lowering your arms.

2.1.3 "A drop in the sea"

The reception carries out a smooth sweep in all directions. Performed without formula.

Choose a body of water with clean, still water. It could be a lake, creek, sea, etc. Lie down on the water so that you remain on the surface with your arms and legs spread out to the sides. Look to the sky or close your eyes. Regulate your breathing so that it is not intermittent and convulsive. Relax.

Feel the elasticity of the water that surrounds you. This elasticity decreases, as if water is gradually penetrating into your body. You begin to slowly dissolve into it. You feel how your body mixes with water and behold, you are consciousness, the soul of this reservoir. You are everywhere in it at the same time. You have access to the depths and shores, algae and all the living creatures that live on the bottom and in the water column.

Slowly gather your “I” in your body and smoothly dive under the water. After exhaling, float up just as smoothly. The exercise is over.

2.1.4 "Dance of the Salamanders"

It defies description.

(ARJEIZ) It's a pity, but this technique is not available here.

Chapter 3

"Defense Techniques"

3.1 “The concept and principle of operation of the Shield”

The simplest methods of energy protection are various types of shields. In this chapter we will consider only them.

Shield concept: a shield is an energy structure formed by compacting an area of ​​the biofield in order to prevent the penetration of destructive energy impulses. I hope this is clear.

In fact, this definition includes both the concept and principle of operation of the shield. It is created within the biofield using the appropriate thought form. The shield can be reflective or scattering. Scattering shields are most often used due to their simplicity. When creating them, there is no need to trace the direction of the attack after it is reflected. On the other hand, reflective shields are the most effective because... can send a charge back to the enemy, hitting him with the same energy that he spent on you, and then add some from himself.

Below I will give several examples of reflective and scattering shields, and I will consider absorbing shields later, because they are considered master techniques.

Scattering Shields

3.2.1 "Wall"

Visualization: a brick wall with a thickness of 1 to ... (as long as you can stand) rows is created between you and the enemy. From the moment it is created, all enemy attacks will spend their strength on this wall without reaching you. Keep in mind - the shield works as long as you hold the visualization.

Advantages: The wall is the most common energy shield. It is built on a fairly simple mental image and consumes little energy.

Flaws: It opens up easily. It will not save you from an enemy stronger than you.

Note: For this and other techniques, it is necessary to perfectly master the visualization technique (see part 1).

3.2.2 "Cap"

Visualization: A silvery-white web envelops you, forming a dome in the shape of half an egg above you. The threads become thicker and thicker until they turn into a solid wall.

Pros: Quite a simple shield. Its advantages over a wall are that it cannot be opened unnoticed and it surrounds you on all sides. The main advantage is that you can easily move around with it.

Flaws: The same as at the “wall”.

3.2.3 "Wall of Fire"

Movements: The master waves his hand, as if drawing a line on the ground between himself and the enemy.

Visualization: The earth bursts along the drawn line and a flame bursts out of the crack, which fences off the master from the enemy with a wall. Periodically, when the wall begins to weaken, the master moves his hands upward, as if lifting something, and thereby causes a new wave of fire.

Advantages: Provides relatively reliable protection against any type of energy attacks and allows you to compact it at the desired point without unnecessary movements and effort.

Flaws: You cannot move with this shield and a lot of energy is spent on it. Another disadvantage is the difficulty of visualization.

3.2.4 "Gray Wall"

Visualization: Before my eyes there is a gray wall. Dull, rough and cold. A feeling of complete security and isolation from the outside world. Only the gray surface of the cement is visible and nothing else.

Advantages: This method is suitable for use in a crowd, when someone is trying to get under the “Dome” or cross the “Wall”... It is performed with eyes closed and does not require spatial visualizations.

Flaws: Your eyes are closed, so you cannot monitor what is happening around you.

3.2.5 "Crystal Dome"

Visualization: From the middle of the body, somewhere inside behind the solar plexus, a blue ball is formed, which inflates with a sharp exhalation, “squeezing” out all the negativity and forming a protective shell around the body, consisting of transparent “crystal material”.

Movements: With explosive expansion of the ball, arms sharply to the sides.

Advantages: Performs not only a protective, but also a cleansing function. Installs quickly.

Flaws: Doesn't last long.

Reflective Shields

3.3.1 "Wall with a mirror"

Visualization: The same brick wall, but on the outside there is a mirror. Thus, the enemy “sees” his reflection in it, which receives the entire attack directed at you.

Advantages: Reduces energy costs for a retaliatory attack, because all the force directed at you is reflected back.

Flaws: Difficulties in visualizing reflections.

3.3.2 "Shield of Perseus"

Shield from the “Mobile” series. That is, it allows you to repel a narrowly targeted attack, hitting the enemy with it, without covering your entire body.

Visualization: A round mirror shield appears on the left (right) hand, which reflects energy attacks by placing it in the path of the release.

Advantages: Mobility, quick installation, low installation costs.

Flaws: Low strength. Correct calculation of the angle of attack is required for effective reflection. Difficulties in visualizing reflections.

Chapter 4.

Attack Techniques

Balls

The simplest method of energy attack. The palms are folded into a praying position at chest level. After which they begin to slowly move apart, forming a glow between them, which gradually takes the shape of a ball. When the ball is stretched to the required size, it is “transferred” to the right (left) hand and thrown at the enemy with a whipping motion, trying to hit energy nodes (energy exchange points, chakras - you can call it whatever you like).

4.2 "Summoning the Sword"

Visualization: lower your right hand to your left thigh and feel the hilt of the sword. Then, with a smooth movement, you take it out and deliver a slashing blow. The main thing is not to lose visualization at the moment the sword plunges into the enemy’s field.

4.3 "Thunder"

Raise your right hand up and visualize lightning striking from above into the center of your palm. After a while, you will feel that your hand begins to be penetrated by discharges that pass into the body. Smoothly lower your hand, collecting all the energy received from lightning in your palm into a small sparkling ball the color of lightning, and throw it at the enemy in the same way.

4.4 "Needles"

Hands are inserted into the armpits and pulled out with tension. After overcoming the pressing force, they bend at the elbows and rise up and back, making a swing. After this, the arms are sharply thrown forward, and (visualization) A small blue (or fiery, or black) needle comes off from each of the outstretched fingers.

4.5 "Fan"

It defies description.

(ARJEIZ) 25 again.

4.6 "Tulip"

The right hand is thrown forward. The moment she stops, a clot of energy resembling a tulip bud flies out of her open palm, as if by inertia. The clot is connected to the palm by a channel in the form of a tourniquet. The moment the “Tulip” hits (deepens) the target, it explodes due to the energy entering it through the channel.

4.7 "Glove"

Sharply raise your elbow bent to 90 degrees. right hand to the side so that the fist looks up. At the same time, you clearly hear a metallic clang. When your hand freezes in the upper position, you begin to feel the weight of the iron glove placed on your fist. When you feel its (gloves) presence confidently enough, you can strike either a regular blow (it will be several times stronger) or a blow to the enemy’s field.

4.8 "Bow"

Initial position: Feet shoulder-width apart, the toe of the left foot and the heel of the right are on the same line connecting you and the opponent. The left arm is extended forward at the level of the chin, but does not straighten completely, remaining slightly bent at the elbow. The hand is raised up 90 degrees, edge forward. The right palm covers the left.

Visualization: Your left hand is the bow, your right hand holds the string. You begin to pull back the string, spreading your hands as if you were holding a real bow. A glowing blue (black, red) arrow appears between the hands, which increases in length as the distance between the hands increases. At the moment when the tension reaches its maximum, that is, you understand that just a little more and visualization will be lost, the right hand releases the bowstring and the arrow instantly covers the distance to the enemy, hitting him.

Adviсe: After the arrow hits the target, imagine that the enemy reacts to your attack as if hit by a real arrow, this will enhance the effect.

Advantages: Penetrates almost any energy protection, because... is a targeted attack.

Flaws: Long preparation time for an attack.

Chapter 5.

Cleaning the workplace

After practicing BE exercises, you need to “clean up” your workplace. The following methods are used for this.

5.1 "Network"

The right hand is sharply thrown forward and upward, the fist unclenches, throwing out the net, which covers the “simulator” (a stump or some other target on which you practiced techniques). By slowly lowering your hand, you make the lines of the grid thicker, and the network itself seems to be pressed into the ground. When it is level with the surface, repeat cleaning one to two more times.

The principle of this method is based on the fact that the Earth is an infinite capacity. By driving a negative charge into it, you “ground” it.

5.2 "Annihilation by rupture"

Annihilations form a whole section in methods of neutralizing negative energy. Annihilation can be of varying depths, that is, it can neutralize at various levels - from simple destruction of the negative matrix, to causing a channel and pushing the matrix out of our reality.

Let us consider annihilation by “rupture”. This is exactly the case when the matrix of a negative accumulation is simply destroyed.

Starting position: You stand sideways to the target, palms folded in a praying position and raised in front of you, just above the frontal chakra.

Visualization: Slowly lowering your palms, you separate them, as if stroking the sides of a figure similar to the dome of a church. The moment your palms begin to descend, you form a black vortex between them, narrowing towards the centers of the palms and expanding towards the center. At the moment when the palms stop, small blue-white discharges appear from the centers of the palms, which “tear off” the vortex from the palms and form it into a ball, which appears, as it were, in a grid of these discharges.

The last step is to throw this ball at the target, using discharges like an elastic slingshot, and see how it bursts upon reaching the target. At the same time, a whirlwind breaks out, overcoming the holding force, and tears the target to shreds.

5.3 "Tree Seal"

The left hand is extended towards the place that needs to be sealed.

Finger position: the little finger and thumb are closed. The remaining three fingers are straightened and spread out.

Thought form: a discharge is released from the fingers, which, when it hits the target, gives rise to the growth of vines with sparse leaves, enveloping the place of the seal. The more effort expended, the thicker these vines become.

Advantages: This seal does not need to be fed. She is completely independent. Chapter 6

Techniques of the masters!!!

Related information.