Red, White, Black, Blue [and Green], The Fourfold Nature – The Asegi From Which All Things Arise
Of which the Norse call Wyrd, The Christians call the Logos, and Witches call the Crossroads.



Thee Pantheon, Of Essences whereby the stories of gods and men manifest.
As providences the four Thunderers are depicted as the four winged serpents, who are also the four forces that sustain creation. To understand this dynamic see Regardie’s “The Golden Dawn” pages 618-621”. This way, its truth and the balance of the four therein, is Duyugodv, the personification of which is Unelanvhiagatiya, the Thundering Ukten, green-plumed serpent of gnosis. When this way is understood, as realized by an observer whom themselves are many, both unified and plural in identity, it is called that which is Asegi, a state of being, and of seeing which in witchcraft is called Wyrd, a word of Norse origin, origin of weird and weord as in word, the logos. Wyrd is the weaving of causality and the force which shapes the story of all. The three-fold observation of Asegi gives rise to the storyteller, the fourfold observance to their story. The forces of Duyugodv are four, which through self reflection become eight. Inbetween, at their crossroads arises a filth part whose reflection and contemplative union therewith is the completion of the great work (10). While the stations of this reflection are dual, and the bridge between these two, which the forces of creation serve in the menagerie and play of form, is the resolution between the character and their story, a third identity of higher observation, Asegi. As fires, and spirits having no form the four are known as [color] nvdo, with “nvdo” indicating spiritual light, or noncorporeal form. As spirits or Dragons they may be called “ancient [color]”. In these sates they are both genders and neither -Asegi, however they also have gendered forms -Ageyv (woman) [color] and -Asgaya (man) [color]. These are essences which yield many forms, of gods and men, of beasts, derived out of each ceremonial color, which represents an alchemical process of pathworking.

Take for example the following songs:

John Henry – very much of Qayn and Kutani, a “Red Man/God figure”
Big Bad John – a “Black Man/God figure”
John Barely Corn/Little Sir John – Like Abel, a Green (and also White) Man/God figure.
A Boy named Sue – a Blue Man/God figure.

These figures are defined as such either by how they go through their pathworking or by how they lead you in your pathworking. These colors, as stated, refer to Alchemical processes. It should be noted here that all operations of Sol are operations of the self.

Black: Sorrow – Nigredo : “The Dark Night of the Soul”, the breaking apart into shades. This phase is depicted in the Tarot card “The Tower”, the tower being the constitution of self, psyche and ego which is destroyed to be re-built as a proper vessel. It could not withstand the lightning and thus was not properly suited for the work of communing with the thunderers. This also corresponds to the image of being put into the fires of hell, though the wyrd fire is both the beginning destruction and the Phoenix of attainment.

White: Innocence – Albedo: “Purification”, rebuilt, enflamed with prayer ready to receive communion. The light at the end of the tunnel, a new sense of self mastery though it is not the end phase.

Red: Victory – Rubedo: “The Reddening”, The integration of dual aspects of self, coming to a point. The Red God of Life and Death and the wielding of the Athame, the double edged sword.

Blue: Defeat – Caeredo: “The Walking Between Words”, This stage is never mentioned yet it is key to completing the round. This stage is all about owning the things that set you apart, those things which you are shunned for, that either shock people or leave them seeing you as broken or strange even though embracing that thing of your nature is healthy for you. It is the stage of social awkwardness and being outcasts. Walking the norm and also beyond the fringes. Between the current state of the word and the experiences beyond the resume of accepted “life”. Many people who identify as both genders or have transitioned in some way or find themselves in an inverse role are very much “Blue characters” Associated with the lame step, this stage is depicted classically as Jaunus in the aspect of two halves, or as two figures joined at one foot. The liminality that leads to finding the fire, victory. We see the cost of the journey of becoming a blacksmith- a Red God figure, here. He carries that lame step with him in this transition, as it defines that attainment.

Caeredo is the process of making Green Vitriol (CuS), a blue stone which transmutes the fire into the sacred green fire, the wyrd-fire of the witches. CuS is copper Sulfate, both Copper and Sulfur being extremely important in witchlore. Incidentally, the Cherokee worked extensively with copper for ceremonial reasons. Necklaces were made in the form of crescents, which is eerily telling in comparison.

Green: Rebirth – Viriditas: “Being thrown into fire”, The Blacksmith becomes one with the work, one with the pathworking. This can either be seen in right-hand terms as union with the divine, or in left-hand terms as union with the true fire and passion of self. Though there is no part of you that is not of the gods. Green is the color of Apotheosis.

There is also above-yellow-citrinitas and below-brown-fermentation

Pantheistic Hierarchy: The Unfolding expression of essences:
Thusly, does the pantheon of the Tsalagi, and indeed all pantheons, individual in their own right, arise out of these essences- living forces of the archetypal realm which weave all stories and characters, both gods and men.

The levels of the pantheon are understood thusly:
I. Gnosis, Nous and the supreme being. - The Ukten
II. Duality, division for the sake of union, lightbringers - Atsildihyegi and Atsildihyegv
III. The birth and kindling of the sacred fire. - Hilvhiyui Istesiyusdi / Atsila Galvkawetiyu
IV. The essences of pathworking - Gigage, Unegv, Gvhnage and Sagonige
V. The essences divided for the sake of union - The four Ageyv and four Asgaya
VI. The Gods - Kutani, Galoneda, Tsayi and Yvnwi Gunahita
VII. The stories and lives of men.- John Henry, Little Sir John, Big Bad John and Sue

The levels of reality- of realness, whether seen to be rooted from below or above, concerning anything of substance tangible or intangible, are as follows:
Essential (Atziluth) - the truth, virtue and nature of a thing.
Experiential (Briah) - the perception of the essence of a thing
Subjectiveness (Yetzirah) - the view, frame, locus or filter through which the essence of a thing is experienced.
Objectiveness (Assiah) - the 'ego' of a thing; observation of the conceptual identity of a thing as interpreted by the base senses. The equating of the identity with the observation of the thing, instead of its essence.

The Green Asgaya (Man) and Ageyv (Woman) as Kanat'i and Selu, Their Love, and halves of the Year
They are the synthesis of the other essences of their gender. as red, white, blue and black converge as one in the center, so do the colored men become green man and the colored women become the green woman.

Just as the four are the parts that make up us, who we are spiritually, mentally, emotionally and spiritually so does knowing the four ageyv and asgaya, the four ways in which they express and manifest themselves teach us about the nature of Ageyv and Asgaya Thunderer.

That a man may know and aspire to be a man as Kana'ti and a woman may know and aspire to be a women as Selu.

And for a man to be a true man he must seek what it means to be a woman, to make a way for her within him, and likewise for a woman to be a true woman she must seek what it means to be a man and make a way for him also.

Green Man and Green Woman are the man and women thunderer yet here they are distinguished as green is designated for center and not necessarily above, being reflection of the light, as it is within us.

At the center, in European traditional craft we have our representation of life, and sacrificial figures in the center, such as the green man of the wood. They are either represented as green fire or the “black in the green” shades within plants except they are greater than shades. Also the horned hunter as the hunted and lord of life and death is seen to be in the middle.

This is powerful, on the inner planes hers is the sacrifice, hers is the formula of the ceremonial wheel of red to white to black to blue round, (though when doing a traditional dance we mover counter-clockwise here.) She gives her life for her children, and Kana'ti still chases after her.

heir children, a calmly boy representing order, and a wild boy representing disorder, killed her.. such is life. In the story they see her sprouting corn from her body, proclaim that she is a witch and kill her. Before she dies, she tells them to drag her body on the ground, and where they did so corn sprouted. These boys are the figures depicted on either side of the Axis Mundi, on certain glyphs found at the Caddo mound. Thus we are talking about the way of things and when people are ignorant of their way, they kill their mother and inter the realm of duality.- as this, as we shall see led to the tides of things, of waxing and waning, where the power os the twins overpowered the equilibriated growth of the mother.]

Whereas on the outer from when we move clockwise, I have the colors corresponding to outward formula of airts with either air or fire. In that mythos it is the male figure who dies so that his love, and therefore all things shall thrive.

Cherokee medicine is of inverse perspective to gender attributions in most forms of paganism.
On the inner planes there is a swap, being a counter to expression of this plane.
Therefore, as we work inner, Sol is feminine and Lunae is masculine.
Grandmother Sun and Grandfather Moon

It is deeper still though, she knew death once yet she is between worlds and so does she remain, both in the land of the dead and awakening here as the corn (plant life). He dies each year to be with her and returns to be with her when her attention is here. He journeys westward to the darkening land to be with her, and her joy causes the world to bloom as she returns. These mysteries are very much of the Hellenic mysteries of Persephone

Thus do they kindle and nurture one another’s fire, being despite their non-disney story, the perfect couple. Together always, together and apart in the dance. When they come together one is not simply dancing, they are the dance. Apart he chases wonder, the experience that is creation, as she, and when he comes to be with her as an individual his love for her is still the love of life, and in kindling her fire he finds and kindles his own.

Ageyv Itseiyusdi is her fire.
Asgaya Itseiyudi is his fire.

He awakens and stirs that within her that is like him, and she does likewise for that like her which is in him- both otherwise being dormant and thus are they fulfilled in fulfilling eachother, yet though they are more for knowing eachother they are not incapable individually of commanding their fire, and thus complete within themselves. They do not move with eachother in only one quadrant of the wheel. Their rounds are complete and so they each can move throughout their circle, and move together on all levels, because they can go where the other goes, not being outside each-others comfort zones and because they have made a place for eachother within them they can walk together always, even when they need time apart, they lend the other their strength.

Thus through this relationship Kanat'i is like Baphomet in that way, Baphomet being a synthesis of the elements having a fith part, and also having embraced his femininity, he has achieved Tohi and his love is Agape.

In short, you can understand the story of Kanati and Selu by understanding it as a story about the waking self and the -Fetch spouse, and how they came to be in that paradigm. The two boys are as the Divine Twins in traditional craft, not old enough to understand their roles like the honorable Kanat'i, of whom his offspring are reflective of his own youth. Thus here, do we see the Cherokee version of the Beast and the Dame, and in so far as Kana'ti can be considered Deer clan, he is sometimes depicted antlered. The union of these children of course being the divine child.

Selu and Kana'ti united as one, is quintessential union and through eachother do they embrace and come to know the essence of gnosis