by John Lamb Lash
The Sigil of Lucifer/Satan
Disclosure of the Organic Light
Parzival by Wolfram von Eschenbach (c. 1220 CE) is the story of a
warrior's mystic quest to find the Holy Grail.
He attains that goal
by direct encounter with the
Organic Light, the living luminosity of
the earth. The Grail quest is not some never-ending journey to
fathom the nature of one's self, as many pretenders have claimed.
Attainment of the Grail is the same for everyone: that encounter is
universal and invariable for the human species.
The story of Parzival (Germanic spelling) is an historical legend:
that is, it comes down to today in the genre of legend and medieval
poetry, but the legend is not merely invented, it reflects and
represents actual persons, places, and events, things that really
The "Company of the Grail" who live in seclusion in the
midst of the Wasteland represents the historical reality of the diaspora of the Mysteries,
as fully explained in
History of the Grail.
So, the point is, Lucifer can be recognized in his true character
through the narrative of the Grail Quest. Learning the story of
Parzival by heart is therefore a requirement for joining the Grail
Company or Grail Community living on the planet today.
Secondly, the true identity of Lucifer "comes to light", to use an
apt cliché, in the disclosure of the action and properties of the
On JLL's life-long adventure of encountering the
Organic Light, beginning with the Cambodian girl in October 1964,
The explicit disclosure of how the Light behaves, its texture, its
optical and acoustic properties, the chambered depths, its
theriomorphic action, the nose drop, and other details were never
before disclosed to the public before this account was written.
the Mysteries, initiates observed a vow of silence regarding these
vivid properties of the planetary luminosity, due to their
well-founded opinion that disclosing the properties of the Light
previous to direct encounter with it would queer or bias the human
capacity for that encounter.
In Arques, France, in May 2000, JLL stabilized perception of the OL,
so that he could consistently and deliberately access it, and on
Infinity Ridge in Andalucia in 2004, forty years after the incident
with the Cambodian girl, he confirmed that it was a substantial
opalescent luminosity of infinity density and zero mass pouring from
the material body of the earth - hence, locally sourced in the
planet but not limited to it.
Not in His Image (November 2006),
The secret luminosity [of the earth] might be called the primary
substance body of the Goddess, as distinguished from her planetary
body, the earth.
The Sophia mythos of the Gnostics describes how a
goddess from the Pleroma (cosmic or galactic center) turned into the
planet earth, but it does not explain how she remained what she
originally was, a torrential current of living luminosity.
To understand the dual status of the earth goddess, it is helpful to
look to the teachings of Hindu Tantra. In Shakti and Shakta, Sir
John Woodroffe, the main exponent of Hindu Tantra Vidya to the West,
compared the Pagan religion of nature worship to,
"the path of the
Gnostic Telestai, the initiates of the Mysteries."
Shakti is a name
for the Goddess as the matrix of generative forces that produce and
sustain the natural world.
The Sanskrit root shak-,
powerful," also occurs in the Shekinah, a Hebrew name for the
presence of the female divinity who was textually excised from
It is the root of words such as sacred, sacerdotal,
sacrament, and sacrifice.
The compounds Gaia-Shakti and Shakti-Sophia can be useful in
asserting the clear and consistent parallels between Goddess
mysticism in the West and in Asia.
Participants in the Western
Mysteries learned that the human species is equipped to live in
reciprocity with the emotional body of the Goddess, as other,
nonhuman species already do.
"All things exist in Her who is of the
nature of feeling in a homogeneous mass."
Such is the teaching of
Hindu Tantra, fully compatible with Europan and Levantine Gnosis.
But Tantric teachings add an additional point, explaining how Shakti-Sophia
could turn into the earth and still remain what she is in cosmic
"When moved to create, the Great Power of Megale Dynamis of
the Gnostics issues from the depths of Being and becomes Mind and
Matter whilst remaining what She ever was."
epitomizes the Sophia mythos and confirms that Shakti-Sophia is the
Godhead of Nature.
She is both the Mother of Nature (primary
substance body) and Nature itself (planetary body).
Sophia turns into the earth, morphing into the physical elements of
the solid planet, secreting the solid, fluid, and aerial elements of
the atmosphere from her own substance, the Mystery Light.
primal Power (Adya-Shakti), as object of worship, is the Great
Mother (Magna Mater) of all natural things (Natura Naturans) and is
Nature itself (Natura Naturata)."
(Citations from Woodroffe)
In September 2015, John felt imperatively that it was time to take a
shot at correcting the "corrupt file" on Lucifer. He withdrew that
attempt but restored it in October 2016.
Disclosure of the Organic Light to the world at large is an
on-ongoing revelation of the Aeonic Mother to those who would be her
witnesses, and ultimately, her accomplices.
"The True Lucifer is
Sophia" is an essential phase of that revelation.
September 01, 2015
Welcome to the investigation of an implex.
Implex: Intricate; entangled;
complicated; complex. "The fable of every poem is... simple or
implex. It is called simple when there is no change of fortune
in it; implex, when the fortune of the chief actor changes from
bad to good, or from good to bad."
Q Joseph Addison (1672 -
British essayist and poet of the
In this first installment of the
three-part series on Lucifer/Sophia, I cover references to the
"fallen angel" motif universally applied to Lucifer, and show how
they actually describe the Aeon Sophia, the Pleromic goddess who
fell from the heights of heaven (galactic center), according to the
Gnostic star myth, the Fallen Goddess Scenario (FGS).
I first encountered the word "implex" in
Hamlet's Mill by Santillana
and von Dechend, in reference to certain astronomical motifs
found in the lore of sidereal mythology, i.e., myth and legend
associated with the starry constellations and individual stars.
I understand it to be an adjective,
"The story is implex," as well as a
noun, "The figure of Lucifer presents an implex of uncertain,
diverse, and conflicting components."
I list six components of the implex as
initial talking points for the Lucifer/Sophia identity:
1 - Bible - "The Morning Star", one allusion in the Book of Isaiah
12 "How you are fallen from heaven,
O Lucifer,[a] son of the morning! How you are cut down to the
ground, You who weakened the nations!
13 For you have said in your heart: ‘I will ascend into heaven,
I will exalt my throne above the stars of God; I will also sit
on the mount of the congregation On the farthest sides of the
14 I will ascend above the heights of the clouds, I will be like
the Most High.'
15 Yet you shall be brought down to Sheol, To the lowest depths
of the Pit.
16 "Those who see you will gaze at you, And consider you,
saying: ‘Is this the man who made the earth tremble, Who shook
17 Who made the world as a wilderness And destroyed its cities,
Who did not open the house of his prisoners?'
This verse presents the sole occurrence
of the name Lucifer in the Bible.
The Hebrew of the Old Testament (OT) does not
use any equivalent to Lucifer: it says merely, "the son of dawn."
Neither does that name appear in the Septuagint, the Greek-language
version of the OT.
The name Lucifer shows up only in
English-language versions where Christian-indoctrinated translators
saw fit to insert it! Nevertheless, the passage clearly attributes
to that "fallen angel" the motive to equal or excel the Most High
God. Hence, Luciferian pride, hubris, the attempt to be equal to
Later in the essay I will show how this
theme appears on Gnostic material on the Wisdom Goddess Sophia,
whose fall from heaven - her "transgression" - is attributed in some
texts to the same motive: to equal or excel the supreme creator
(Gnostic Originator), or to act on her own volition independent of
higher cosmic powers.
The passage in Isaiah also clearly states the consequence of that
so-called act of transgression: to be cast down into Hell.
Curiously, it does not specify that
Lucifer is an angel but rather uses the Greek word for "man":
anthropos. Note that anthropos in Greek denotes humanity, the human
species, by contrast to androu, "male, man," denoting the male
gender of the species.
Textually, the language of the
Septuagint (Greek translation of the Hebrew OT) associates the fall
of Lucifer with the fall of humanity.
This association makes no sense
whatsoever if Lucifer is considered to be a mightily celestial being
of light in the company of the supreme deity. It does however make
perfect sense in the Gnostic perspective which relates the fall of
Sophia to her overweening love and fascination for the human
species, the anthropos.
Thus, the first instance of textual exegesis - looking exactly at
what is written in "scripture" and disregarding first-, second-, and
third-hand speculation ad nauseum about textual sources - clearly
proves that the identification of Sophia with the supposed "fallen
angel" merits close consideration.
2 - Red Dragon
in Sky - The Book of Revelation Ch 12
Greek interlinear translation:
1 Now a great sign appeared in
heaven: a woman clothed with the sun, with the moon under her
feet, and on her head a garland of twelve stars.
2 Then being
with child, she cried out in labor and in pain to give birth.
And another sign appeared in heaven: behold, a great, fiery red
dragon having seven heads and ten horns, and seven diadems on
4 His tail drew a third of the stars of heaven and threw them to
the earth. And the dragon stood before the woman who was ready
to give birth, to devour her Child as soon as it was born.
bore a male Child who was to rule all nations with a rod of
iron. And her Child was caught up to God and His throne.
the woman fled into the wilderness, where she has a place
prepared by God, that they should feed her there one thousand
two hundred and sixty days.
7 And war broke out in heaven: Michael and his angels fought
with the dragon; and the dragon and his angels fought,
they did not prevail, nor was a place found for them[a] in
heaven any longer.
9 So the great dragon was cast out, that
serpent of old, called the Devil and Satan, who deceives the
whole world; he was cast to the earth, and his angels were cast
out with him.
the great dragon MEGAS DRAKON, that old
serpent: OPHIS ARCHAIOS, called the Devil: DIABOLOS, and Satan:
SATANAS. Four metonyms in sequence. Over-determination often occurs
when the exact definition of a subject is uncertain.
Note that Lucifer is not named here, hence no textual identification
of Lucifer the light-bearer with the dragon/serpent of Revelation.
the great red dragon: DRAKON MEGAS
PYRROS, having seven heads and ten horns: KEPHALAS HEPTA KAI KERATA
The morphology of the red dragon in the
sky of Ch. 12, v.3 is identical with that of the "Great Beast" TO
MEGA THERION that arises from the sea in Ch 13, v 1. (These
parallels are elucidated at length in the series,
Gnostic Sabotage -
three remaining talks in development.)
At no point does the text directly
equate this "reptilian" figure to Lucifer, nor does it make any
allusion that would support such an identification.
Lucifer, considered as the
lightning-like luminous angel who was cast down from heaven, is
entirely absent from Revelation.
So is the Antichrist, as noted in the
talks on Gnostic Sabotage. Christians who babble about Revelation
and include these two figures go against scripture. They show
complete ignorance of
their own 'tradition.'
3 - The Koran
It is We Who created you and gave
you shape; then We bade the angels prostrate to Adam, and they
prostrated; not so Iblis; He refused to be of those who
"What prevented thee from
prostrating when I commanded thee?" He said: "I am better
than he: Thou didst create me from fire, and him from clay."
Quran, sura 7
The angel Iblis shows immense pride,
declaring himself superior to Adam.
For refusing to worship Adam, God
(Allah, presumably) cursed Iblis to Jahannam, Hell/Purgatory, for
eternity, but gave him a kind of reprieve until the Day of Judgment.
Iblis was complicit with God in the role of a satanic agent, an
adversary who would use this time to lead men and women astray, and
eventually into Hell.
In the logic of the Islamic mind, Iblis
would in this way prove humanity's inferiority and so justify his
act of defiance, his refusal to worship Adam. For refusing to abide
by the will of God, Iblis was cast out of Heaven, and thereafter he
was called "Shaytan" (Satan).
I would argue on Gnostic sources that Iblis in the Islamic narrative
to Yaldabaoth, the lord archon, than to Lucifer. Far
Apocryphon of John (NHLE, p.
115-116, passages 19-21) describes the preterrestrial scene of
the archons and the image of humanity.
are difficult and puzzling features in this episode that require a
penetrating exegesis with reference to some occult terms such as "plasmic
double" and the "five-light array."
Setting those problems aside, the
components in this text that apply to the legend of Iblis are as
"The archontic powers became
jealous... and [they saw] that his intelligence (of Adam: Anthropos) was greater than the lord archon.
The archons recognized that [the
first man] was luminous, that he [Adam/Anthropos] could think
better than they could, and that he was radiant by design. And
when they looked upward to his image, the archons saw that the
intelligence of the human was superior to theirs.
And the epinoia of the light was in
him [the human creature], the power by which he was to awaken
The gist of these lines is clear:
Anthropos is superior to the Archons, as Adam is superior to Iblis.
Hence, the identification of Iblis goes
to the archon overlord, the Demiurge, and not to Lucifer. The Iblis
passage in the Koran is not about Lucifer. Like all the other
material in the Koran, it is highly derivative, reflecting themes
and fragments appropriated from Near Eastern mythologies.
Appropriated without understanding, I
4 - The
Valentinian Spin NHC XI, 2
See NHLE, p 481 ff.
NHC with a Roman numeral refers to the tractate
in the Gnostic Coptic Library. NHLE refers to the
Nag Hammadi Library in English, the
This text is so heavily damaged and obscurely written that no exact
and explicit language concerning the reason for Sophia's separation
from the Pleroma can be drawn from it.
No problem for scholars, though. In
their commentaries, the experts routinely state what cannot be found
in the actual text, but is merely implied - if that - and back it up
by citing other sources on
Valentinian doctrine, mainly from the heresiologists, the first Christian ideologues who argued against
For example, Ireneaus:
This passion (enthumesis) of Sophia,
they say, consisted in a desire to search into the nature of the
Father; for she wished, according to them, to comprehend his
By extrapolation, Sophia wanted in some
manner to equal the level of the Father (Propater), the
Originator, source of all the Aeons.
Or to comprehend his nature so that she
could imitate it, or compete with it, something along those lines.
Such is the Luciferian quality of hubris, prideful excess or
striving beyond one's station. By some accounts, this striving
resulted in expelling the Aeon Sophia out of the Pleroma.
But was the expulsion due to an act of transgression for which she
was rejected, cast out of the celestial company?
This interpretation implies a moral
fault on the part of the Wisdom Goddess. Valentinus engaged
in compromising views with the Christians he wished to influence and
even lead. Guilt and punishment are inherent to the Judeo-Christian
worldview but entirely lacking in the Gnostic perspective.
My extrapolation of the FGS - developed
in detail in some briefings of the
Gaian Navigation Experiment - does
not attribute Sophia's plunge to a fault of any kind, for which she
would be punished, but to the extremity of her passion.
Moreover, there is not the slightest
indication in the Gnostic materials that the supreme deity beyond
the Aeons, the Originator, would punish anyone, human or divine, for
A Valentinian Exposition states explicitly what is often regarded as
another key factor in Sophia's Luciferian hubris:
she acted unilaterally, without a
consort. Doing so, she defied the wish or will of the Originator
"not to allow anything to happen in the Pleroma except by a
(passage 36, NHLE)
Fine, that is clear enough.
But nowhere do Gnostic writings give the
slightest suggestion that the Originator would punish or expel any
Aeon who did not abide by that principle, dyadic emanation.
At this point, the textual exegesis establishes a clear distinction
between the FGS and the standard Lucifer mythologies, which all
assume a factor or punishment, chastisement, expulsion.
Such factors merely reveal the
Judeo-Christian spin that has been given to the received materials
that adumbrate the fall of the Wisdom Goddess.
5 - Didymus
the Blind - Sophia's "Fall"
Conventional legends about Lucifer always state that the "fallen
angel" was "cast out of heaven."
The Fallen Goddess scenario says that
Sophia plunged due to her enthusiasm, enthumysis. Her bold,
overweening passion for the human experiment caused her to become
enmeshed in it.
This point is unique to Gnostic
cosmology and represents the singular element in the FGS that
invites the empathy of humans. The power of that narrative convinces
by its scope and its astonishing detail, but it compels by the call
to empathy for the Wisdom Goddess. Thus it captures the minds and
hearts of human animals in the way no other story can.
So what remains for textual evidence pertinent to the theme of
Sophia's so-called transgression?
A book privately published by the Hermetic Library in Amsterdam,
From Poimandres to Jacob Bohme: Gnosis, Hermetism, and the Christian
Tradition (Pelikan, 2000) cites an extremely rare source:
commentary of the Alexandrian theologian Dydymus the Blind
(ca. 313 - 398), in De Trinitate III, 42:
Valentinus taught that the last of
the thirty Aeons is androgyne and that is Sophia. She wanted to
see the highest god and was repelled by his Splendor; (hence)
she fell out of the heavens (pleroma).
This is an extremely rare instance where
the Aeon is actually, literally said to fall. I submit this passage
as textual evidence for my rock-solid restoration of the Fallen
Consider the syntax here, introducing the fall or betrayal meme, and
stating that Sophia fell from inability to behold the splendour of
Well, that is one opinion.
Was she in consequence repelled,
But how can the Divine Source
reject anything to which it gives rise?
And what does it mean, in any
case, to be repelled by divine splendor?
Is this language not yet another
clue to the spin of Judeo-Christian theology, attributing
unworthiness and guilt to transactions among divine beings?
I argue that no Aeonic divinity was ever
cast out of heaven for offending the supreme source, the Originator.
Rumor has it that Lucifer was "cast down
from heaven" and did a lot of evil things, presumably trying to
prove he was equal to the highest god. (See ahead, Part 2 on the
Nephilim.) This spin makes Lucifer an evil-doer who leads humans
into sinful ways.
But the Gnostic materials state shows
that it is the archons and not Lucifer who did these evil things, or
tried to do them, or claimed to have done them when they in fact did
The Lucifer story covers and conceals
the evil influence of the archons who propagate that story in the
minds of those who do not look at it critically and lack the gnostic
intel to deconstruct or decode it, while at the same time it
conceals the true identity of the light-bearer.
See how the implex grows:
"when the fortune of the chief actor
changes from bad to good, or from good to bad."
The citation above exemplifies one of
dozens of examples that any responsible scholar has to find and
scrutinize before pronouncing a view of Lucifer.
Janice Barcelo and countless
others fail to come close to such investigation, and do not even
pretend to try:
There is no Luciferian evil
The true Lucifer is Sophia.
Her story is slandered and
distorted in the popular legend of Lucifer.
Lucifer, the light-bringer, was
originally a name for the Aeon Sophia herself.
She brings the Organic Light to
the natural world, and she brings enlightenment to the human
mind when human animals encounter her using the telestic
method of questioning.
The Organic Light is the
luminosity of the earth itself, where Sophia abides in
6 - The Presence of
Popular versions of the Lucifer myth present a distortion and cover
for the Valentinian teaching about the fall of the Wisdom Goddess.
In this version, the Aeon Sophia sought
to be equal to the Originator, the power beyond all the Aeons.
far, so good, but now consider a motif from the Iblis legend of
Lucifer refused to prostrate himself
before Allah's human creation, Adam.
Even though this legend portrays the
archon overload, Yaldabaoth, the
motif of prostrating before Adam links Lucifer in heaven to the
Anthropos, the human archetype, and this link in turn points back to
the Gnostic narrative.
Several cosmological texts in the NHC describe the presence of the
Anthropos observed by the Pleromic Aeons, even before the earth
forms and the human species emerges upon it.
The Aeons behold the
image (ikon) of the anthropos from their seat at the galactic core,
and Sophia herself beholds it, and converses with it, when she finds
herself stranded in the galactic arms (Kenoma).
She shames the lord
archon by declaring that "at the consummation of your works" (archontic
deception) "that luminous child" will defeat the alien powers.
Recall that the OT Greek in Isaiah uses the word anthropos for the
fallen angel: as if to say, not that it was a man, a single member
of the male gender, but it was humanity itself. But clearly mankind
is not the fallen angel. In Gnostic teaching, humanity does not fall
from heaven or from grace.
Sophia does. Yes, but in doing so she
carries with her the image of humanity she held in divine conception
when she and Thelete designed the human genome.
It is as if the Aeon
is an architect who holds in mind the complete, detailed image of a
building to be constructed, or a composer, like Mozart or Scriabin,
who could hold the entirety of a symphony in mind, note for note,
before composing it on paper.
The presence of the anthropos is a mytheme associated with Lucifer
even in the distorted and appropriated materials such as the Koran.
With the FGS, Sophia and the anthropos are always associated,
sharing the same fate - here and now, the same planet.
that elucidation of the Sophia/Lucifer identity would be attained in
close parallel to the identity of the Anthropos, PETELIOS RHOME in
Coptic, "ultimate humanity".
To conclude, I cite from
The Gnostic Avenger, a long essay
consisting in part of a refutation of Karen King's Christian spin on
The Gospel of Mary of Magdala, a study of a brief, fragmentary
Gnostic text attributed to Mary Magdalene.
(You can find it in the NHLE, pp 523 - 527, tucked in at the end.)
"The image of the true Human within" is not, and has never been,
copyrighted to Christianity.
I would argue that the term "true
Human" (Coptic PETELEIOS RHOME) in King's translation of the Gospel
of Mary is an expression of the Anthropos doctrine of the Gnostics,
the Mystery teaching on the pre-terrestrial origin of humanity, not
the divine redeemer.
"Scholars who use Gnostic material to revisit and revalorize
Christian doctrines rarely acknowledge the originality of their
sources. Marvin Meyer fares a little better than King in attempting
to put Gnostic writings "into language that is meant to be
inclusive… [using] non-sexist terms and phrases."
Meyer uses "Child
of Humanity" rather than the familiar "Son of Man." The consequent
shift of language can be startling.
For instance, The Secret Book of
James says, "Blessed are those who have spread abroad the good news
of the Son before he descended to Earth." Meyer renders it: "Blessed
three times over are those who were proclaimed by the Child before
they came into being."
This language comes close to denoting the Anthropos, the numinous genetic template of the human species
projected from the galactic core of the Pleroma, thus giving some
idea of what Magdalene would really have been teaching.
also incorporates Mystery jargon, "three times over," referring to
the status of hierophant, e.g., Hermes Trismegistos; hence he
implies that the identity of the Child or authentic humanity is a
matter of initiated knowledge.)
"But Meyer almost loses the genuine non-Christian message he wants
to capture. "The Son before he descended to Earth" is the Anthropos
projected from the Pleroma before the Earth emerged, understood in
Gnostic terms, but sounds dangerously like the Incarnation in
The substitution of Child for Son humanizes the
language of the text but verges away from the Mystery teaching on
In their time and setting, the telestai of the Mysteries were not
allowed to bring forth to the world at large the true
pre-terrestrial identity of humanity.
They were suppressed,
murdered, and driven into exile before they even had a chance to do
Perhaps now, in our time and setting, in this crucial moment
(September 2015: Venus Lucifer rising in the east), that identity
will emerge as the image of Lucifer is recognized, restored, and -
at long last - liberated.
The Satanic Distortion
September 02, 2015
To delve further into the Sophia/Lucifer
implex, let's consider two instances of alleged evil entities often
associated the fallen angel motif:
Enter the Nephilim
Septuagint, Greek-language Old Testament: Genesis 6:4.
4 Now the giants were upon the earth in those days; and after that
when the sons of God were wont to go in to the daughters of men,
they bore children to them, those were the giants of old, the men of
The Greek word is
gigantes, "giants." In the Hebrew the word is Naphil, thought to be a derivative of Hebrew verbal root n-ph-l,
"fall". Hence, fallen ones, gigantic fallen entities.
Enoch these entities are called the Watchers, or have been
identified as such by many scholars.
VI, v 1-2 And it came to pass when the children of men had
multiplied that in those days were born unto them beautiful and
comely daughters - And the angels, the children of the heaven, saw
and lusted after them, and said to one another:
'Come, let us choose
us wives from among the children of men and beget us children.'
Note the derivation for "angels, children of heaven":
plural IYRIM. Theodotian trans: ir; from the root of Heb. 'er,
"awake, watchful"; Greek egregoroi. Slavic transliteration, Grigori,
"Watchers", "those who are awake, who observe or guard", "Watcher"
is a term used in connection with biblical angels alleged to have
fallen from heaven.
the Watchers are said to have
intercourse with terrestrial women.
I will return to that theme
The Book of Enoch was discovered in Ethiopia in 1773 by the Scottish
explorer, James Bruce.
It is written in a mish-mash of Aramaic and
Hebrew. Subsequently, two other versions were found. Interestingly,
James Bruce is also the man who four years earlier discovered a
manuscript of 78 papyrus leaves in Coptic, Arabic, and Ethiopic,
called "The Books of Jeu and the Untitled Text."
I have worked
extensively on that material during studies I made at the
theological library of the Catholic University of Louvain, Belgium.
I used the translation of Violet MacDermot, author of a book called
The Fall of Sophia which is preserved in the Ambergane archives.
Typically, she gives the Sophia myth a Christian redemptive spin.
Bruce Codex as it is called is a major work of pre-NHC Coptic
literature, but extremely dense and confusing, loaded with
indecipherable metaphysical jargon. In some passages, however, it
describes the activity of the paralemptors ("receivers") upon which
I have commented here and there.
I take the paralemptors to be archons who defected to the side of
Sophia and the mother sun, Sabaoth.
I actually met one once in a
lucid dream. They are female archontic forms complete with something
like a genital slit. The one I met was as sleek and elegant as a
Brancusi sculpture and smelled deliciously of nutmeg. Gaian sorcery
is such a kick.
So, the gigantes - egregores - "Sons of God" - fallen angels, what
have you, are said to have copulated with the daughters of men,
Either the progeny of these fallen angels, or the
angels themselves, or both, were said to be "the giants of old, men
of renown." Read this to say that the fallen angels became men. If
they were not men in the first place.
They became mighty hunters
like Nimrod, magicians, and leaders of nations.
This ancient plot-factor points to a key episode in the prehistory
of the prehistory of the human species, which I have called the
You may read the
Commentaries on the Translations
from the Andromedan at length to get this narrative, but you will
have to plow through the poetry to get to the commentaries.
One and Two are particularly pertinent to
the Nephilim or Watchers.
Note there is more than one file URL for the commentaries. Below I
cite from this material, but first, a comment on the word Nephilim,
from the Hebrew root n-p-hl, "fall, descent".
I propose a conflation
with the Greek word, nephele, "cloud, vapor", and the Latin word
nebula, as well as the Proto-Indo-European (PIE) root, nebh-,
"cloud, nebulous form."
By this conflation, Nephilim can be taken to
mean "cloud men, nebulous men who descend from above." The
Commentaries describe at length the origin and actions of these
Commentary on Sloka Three:
The chthonian romance of the Sidhe with
the Orion Men, the Watchers
and Nephilim of Biblical legend, spawned grotesque mutations,
arrogant macho demons at first, then a long lineage of
somatic-plasmatic hybrids (Zeus, the older and younger Dionysos,
Orpheus, Tantalus, Sisyphus and many, many more).
generations the Orion Men were absurdly arrogant in their tyrannical
assertions of power and their presumption of god-like stature.
intercourse of the Sons of God with the daughters of men devolved
for eons before their intercourse hardened into the death-lock of
procreation and the initial thrill, the primal attraction, was lost.
Commentary on Sloka One:
The Men from Orion were stalkers attracted to the hunting magic
found uniquely in the Gaian system, cradle of myriad species.
anatomical type was A-form, Alpha variant of the Anthropos, the
Aeonic template for homo sapiens. (Hence, perhaps, the off-putting
Their body-form was originally plasmatic, later
to co-mutate with somatic doubles in the Gaian habitat and finally
to fossilize in the fully somatic, physical, organ-bound body of the
hapless lummox, Australopithicus.
The Men first appeared as odd
roiling clouds in the upper atmosphere, gaseous blotches menacing
the ivory-domed pavilions of the Gaian menageries, fog-like
monstrosities, turbulent Earth Divers of the Maidu, copycat avatars
of the Vishnavaite Boar of Heaven, Nainema to the Uitoto of
Columbia, Lightning Brothers of the Kakadu,
"They-who-are-appearance-only" with acca-threads like succulent
Hawaiian finger-pulp, inchoate Nephilim Dads, Mist Men of the
Icelandic Eddas, engorged nebula-males who coupled with the
daughters of earth according to the quaint taint of Biblical idiom.
In Tibetan lore derived from indigenous
Bon Po shamanism the
expression "opening the door of the sky" (nam mkha' sgo ‘byed),
"designates ascent into the celestial sphere by means of a magical
rainbow light cord (dmu)... The dmu cord is the symbol of
communication between earth and sky: this word is also found in
divinatory rites, in which it connotes ‘the cord for ascending to
the sky.' "
(Orofino, Tantra in Practice)
The ascent is possible
because it had been preceded by a descent: the Orion Men descended
from M42 on a streamer of the Aeonic template for the human species.
Their bodies were huge emulsions that stained the skies, produced
violent weather and engendered stunning displays of thunder and
lightning. They were remembered as "storm-gods."
"According to ancient narratives, the dmu cord was used by the early
kings to descend to earth and then re-ascend to heaven after their
In Egyptian religion, rituals of sacred kingship were
associated uniquely with Orion, Asar, the Skywalker.
and pharaohs, all ancient theocrats, were descendants of
hunter-shamans who were in turn late plasmic-somatic hybrids of the
Nefhilim, the nebula-men.
They were universally identified with
Orion because they came from there, not from the stars in the belt
but from Trapezium in the "sword," the phallic detail.
"And kingship descended from heaven," says
the Enuma Elish, but the
text is corrupt, or it has been read corruptly.
The institution of
kingship did not descend from heaven, the candidates for it did.
"And the royal lines descended from heaven" is closer to the true
meaning of this famous quote.
"Royal lines" came to signify
biological inheritance, but originally it indicated the plasmatic
So, call them the Nephilim Dads.
Over many eons, they introduced or
induced biological reproduction with the exclusively female
population of the earth. They founded the theocratic lines, as
evidenced by solid evidence in myth and folk-lore.
I rest my case
that the Nephilim were the gigantic nebulous plasma-bodies of the
male component of the Anthropos template deposited in Orion Nebula,
which was sheared in the final stage of Sophia's terrification, her
metamorphosis into the material planet.
Fallen Angel Magic
Before departing from this topic, two short observations.
First, the desire of off-planet entities to copulate with the
"daughters of men," represented in the myth of the Watchers, occurs
as a theme in the Gnostic Coptic material where the archons are
shown lusting after Eve.
The Hypostasis of the Archons:
And the Archons became attracted to Eve, the primal woman. They said
to one another, "Come, let us sow our seed in her," and they pursued
And she laughed at them for their witlessness, and their
blindness; and within reach of their clutches, she turned into a
tree, and left before them a shadowy reflection of herself.
The archons who lusted after Eve, primal woman or the example of the
Gaian Sidhe (Shuh-HEE), but she escaped their embrace.
did not escape the embrace of the Orion Men. Moreoever, the life of
the Gaian women was profoundly altered by the magical arts taught to
them by their nebular counterparts.
Arts of cosmetic disguise,
make-up, herbal magic, seduction techniques (stalking).
Book of Enoch:
VII. 1-2. And all the others together with them took unto themselves
wives, and each chose for himself one, and they began to go in unto
them and to defile themselves with them, and they taught them charms
and enchantments, and the cutting of roots, and made them acquainted
with plants. - And they became pregnant, and they bare great giants,
whose height was three thousand ells.
Consider for a moment a wonderful lesson embedded in the narrative:
The hunters from Orion collected trophies and indicators, and often
disguised themselves as plants or animals.
The Sidhe knew nothing of
such arts and did not need them.
But the Orion men applied their
stalking and disguising arts to entice and entertain the women.
"They taught them charms and enchantments."
They, the Orion men, not
the archons or the Watchers - but then the O-Men were the Watchers,
They taught women cosmetic adornments and seduction magic, and when
the men, under archontic influence, finally introduced theocracy as
a system of authority and male domination, the women used those
tools of enchantment and seduction against them, and against the
archons, in order to maintain their sovereign power and uphold a
balance of power in the social order.
When the cults of sacred
sexuality were destroyed - remember Marianthe Diopthrides, the Great
Whore of Babylon - that balance was lost. And has yet to be
The correction and truthful telling of this vast tableau of events
in the prehistory of the prehistory of the human species is a
responsibility I place upon my students. Learn the true story by
heart and work out how to tell it.
Baphomet = Sophia
As you consider and compare these themes, bear in mind the
particular spin of the term implex, as distinct from complex. The
latter is a mix or conflation of various elements, some of which may
be narrative - the Oedipus Complex, for example.
But an implex
involves the "satanic" factor of distortion, playing one thing
against another and even making something into its opposite so that,
"the fortune of the chief actor changes from bad to good, or from
good to bad."
Such has been the case with the mythic image of the Aeon Sophia.
Once that image was almost totally eradicated with the suppression
of the Mysteries, remnants of it came to be encrusted in various
myths and legends, but always in such a way that the residual clue
to the identity of Sophia was distorted and inverted, making her
look like the opposite of what she is.
The figure of Lucifer warps before your eyes, at times morphing into
Satan, the Devil, represented by Baphomet, but Baphomet is a satanic
distortion of Sophia.
In this unique case, the memory of the Eonic Mother that inheres in
the human psyche has also been distorted in a way that recalls the
implantation of false memories in trauma-based mind control.
has been done to humans in that way, through religious
indoctrination, the treat of hellfire and damnation (remember the
Puritans), and more.
But in the larger picture, humans have done it
to themselves. They have turned away from the Wisdom Goddess out of
their inability to surrender to her immediate awesome presence, and
due to an endemic toxic reaction to that presence, biophobia. In
other words, human animals are afraid to face the naked power of
life in full revelation at its source, the presence of the planet
itself. I shall return to this comment later in these essays.
In evidence of this twisty process, I present the image of Baphomet.
You need to know that although it is based on that psychotic fiction
of Judeo-Christian indocrination, originating with the evil goat-man
(Pan demonized), this massively displayed image is a late production
from the hand of the Alphonse Constant, aka Eliphas Levi (1810 -
Constant was a charlatan, defrocked priest, and
child-molester who set himself up as one of the leading lights of
the Occult Revival in the 19th Century. The image of Baphomet
currently taken for a hideous portrait of Lucifer-Satan comes from
his book, Transcendental Magic.
And what an insufferable crock of
bloated nonsense that is.
Here I provide a link to the work of Hugh Schonfield, a Gnostic
scholar upon whom I relied in writing Not in His Image: 'Baphomet:
The Atbash Cipher Theory.'
In short, Schonfield showed that the name Baphomet encodes the name
of Sophia. Bear in mind that when this encoding was done, the image
you see of Baphomet in Levi's rendering did not exist.
It comes very
late in European history. Nevertheless, medieval depictions and
narratives presenting the Devil/Lucifer/Satan implex in the image of
a goat-man wth cloven feet, horns, and bat-like wings (fallen angel
gear) were in circulation since around the 7th Century.
The works of
Jeffrey Burton Russell are unexcelled on this topic.
He proves that
Christians invented the Devil by inverting the Pagan nature god Pan
and adding the wings. In that way, they enforced their psychotic
belief that the natural world is evil and throbbing with demons who
want to torture human animals, or seduce them into committing sin -
mainly, sexual pleasure.
Again, I submit that this attitude, which is to this day massively
subscribed and enforced at the global level, belies biophobia which
itself is due to the inability to surrender to the beauty and power
of "Mother Nature," the Aeon Sophia in material immanence. She, the
greatest witch of all.
But that deceit is over, and there is an emergent force of
revelation operating on the planet and breaking into the social
mind, the exopsyche, due to the eruptive force of Sophia's
 And I beheld another beast coming up out of the
earth; and he had two horns like a lamb, and he spake as a dragon.
 And he exerciseth all the power of the first beast before him,
and causeth the earth and them which dwell therein to worship the
first beast, whose deadly wound was healed.
 And he doeth great
wonders, so that he maketh fire come down from heaven on the earth
in the sight of men.
 And deceiveth them that dwell on the earth
by the means of those miracles which he had power to do in the sight
of the beast; saying to them that dwell on the earth, that they
should make an image to the beast, which had the wound by a sword,
and did live.
 And he had power to give life unto the image of
the beast, that the image of the beast should both speak, and cause
that as many as would not worship the image of the beast should be
You see, Revelation itself says that those who do not worship the
Great Beast - Matrix of Animal Powers, whose image (ikon) is the
Shakti Cluster - should be killed.
That assertion stands writ large
in holy scripture.
"Eros is a mighty daemon."
"But who then, Diotima," Socrates said, "are the lovers of wisdom,
if they are neither the wise nor the foolish?" "A child may answer
that question," she replied; "They are those who are in a mean
between the two; Eros is one of them.
For wisdom (sophia) is a most
beautiful thing, and Eros is of the beautiful; and therefore Eros is
also in the nature of a philosopher: or lover of wisdom, and being a
lover of wisdom is in a mean between the wise and the ignorant...
Such, my dear Socrates, is the nature of authentic Eros."
Diotima to Socrates, in The Symposium
In conclusion, consider the following terms:
Lucifer: light bearer. Another name for the Aeon Sophia who brings
Pleromic luminosity to the earth and who endowed the Anthropos with
the luminous epinoia.
Devil: any radiant entity, related to deva, Sanskrit dyaus
Diabolos: adversary, opponent. A title or role, not an entity.
Satan: adversary, opponent - a role, not an entity: i.e., lawyer
demon: according to Christians, an infernal supernatural creature in
the service of Lucifer/Satan/Devil, thought to inhabit the interior
of the material planet
daemon or daimon: in the Pagan classic world, a guiding spirit, one
who inspires and advises, as the daemon of Socrates. comparable to a
tutelary deity in Tibetan Buddhism, i.e., dakini.
Finally, consider the etymology of the word worship: literally, to
acquire worth or value. Worthship.
Old English worðscip, wurðscip (Anglian), weorðscipe (West Saxon)
"condition of being worthy, dignity, glory, distinction, honor,
renown," from weorð "worthy" (see worth) + -scipe (see -ship). Sense
of "reverence paid to a supernatural or divine being" is first
recorded c. 1300.
To worship is to derive a sense of value for oneself by subjection
to a power considered superior to oneself, and holding authority
which can in some cases be transferred to the worshipper.
Worshipping makes people feel worthy, it enhances their self-worth.
Such is the great deceit of worship. Those who already feel their
own worth (self-love) do not need to worship anything. I would say
they abhor the notion of any kind of religious worship.
Now compare the term reverence.
To revere: From French
Latin infinitive of vereor ("to fear").
So to revere is also to
fear. Back to biophobia.
But can there be reverence without fear? Sure, call it adoration. To
adore: late Middle English: via Old French from Latin adorare ‘to
worship', from ad- ‘to' + orare ‘speak, pray'. Hence, to express
praise and awe, to openly vocalize it - the proper and natural
attitude of a sane person toward the planet earth.
And he [the handler] exerciseth all the power of the first beast
before him, and causeth the earth and them which dwell therein to
ADORE the first beast, whose deadly wound was healed.
You are wondering what the wound is, right? Coming in Part Three
In Planetary Tantra you worship no one, not even the Planetary
Animal Mother. But you revere the maternal terrestrial Aeon in all
her forms and ways. Such an act of reverence has to be expressed,
articulated, spoken and stated in an open manner, every day in every
Not to persuade or convert anyone, but to
demonstrate the very great fact that the adoration you direct to the
local cosmic source of life vitally upholds your life. And it does
something else as well.
By that adoring reverence each human animal
comes into the strength to accept a singular and supreme
to enact the role of the lesser beast, the lamb from
More specifically, this is the opportunity to handle the
power of the Great Beast, the Animal Mother. Handle it.
"They worship Lucifer."
"Hollywood is run by Satanists."
"They are Luciferian Jews who
etc, ad nauseum...
How many times have you heard such
accusations and claims?
This talk is the blather of ignorant dupes
who merely hype and mystify that they purport to expose. They never
present tangible proof for these accusations. They are like Puritans
in Salem making false and hysterical allegations of witchcraft.
Those who expound in this manner, declaring that they will expose
the evil predators among us, swamp the reasoning mind with
circumstantial evidence, guilt by association, symbolic-associative
fugues, and implausible testimonies. Behind these accusations lurks
the ever-present fear that the satanic entity pictured as Baphomet
does actually, literally, physically exist.
What a con. I invite him
to show himself! I call the Devil to appear to me! I advise you to
do the same.
But before you do, be sure to listen to my DISCLAIMER in the oral
The Devil is commonly lumped with Satan and Lucifer, pictured as a
hideous figure who presides over Hell. The horned goat man was Pan,
the Pagan nature god. Judeo-Christianity turned nature evil and made
Pan into the Devil by inversion. Lucifer is often pictured as
bat-winged with horns.
The wings give the game away. Pan did not
have wings, except perhaps metaphorically speaking, when he was
cavorting with a nymph.
The wings of pleasure,
Claude Michele Clodion
Satyr and Nymph, 1780
By the mere act of adding wings to Pan, that figure of daemonic
delight becomes the image of evil, deceit, corruption, a malicious
fiend fallen from a higher station.
The inversion of the implex is
massive, but equally so can be the re-inversion, setting the story
right and showing that Lucifer is Sophia, the fallen goddess of
Aeonic luminosity. It takes a "satanic conversion" within the sytax
of human imagination to produce Satan.
Without it, there is no
Satan, no agent of evil, literal or imaginary. The actual satanic
adversary working against humanity is the off-planet father god, the
Demiurge, Ialdabaoth, the lord archon.
It is impossible to humanity
to recognize and defeat this alien enemy as long as its identity
remains concealed behind the psychotic fiction of
Be certain on this point:
The power of that psychotic fiction
operates nefariously in the human mind in ways that can only be
overcome and reversed by a superior power, by true counter-magic, biophilia overcoming biophobia, pleasure and delight overcoming pain
and suffering, self-love overcoming guilt and shame.
"The rites of the devotees of the
Adya Kali are a pleasure to perform."
The Ascension of Lucifer
06 September 2014
Aztec War Goddess
An alternative title for this third and
concluding part of the three-part essay on the Sophia/Lucifer implex
could be: Lucifer Liberated.
This mythological theme (mytheme) now
factors critically into Sophia's Correction as it unfolds as an
imaginative event in the endopsyche of the human species.
By this I
mean, at the imaginative level Correction must find some kind of
definition that allows it to propagate with discernible force in the
human subconscious, such that it breaks into the exopsyche, the
realm of social discourse, that which can be spoken, defined, named,
So far - five seconds into Correction and counting - that is not the
case, due to a number of factors.
First, the identity of Sophia has
been kept from human imagination for centuries. Her story was
eradicated, almost to the point of total destruction of evidence or
Her figure as light-bearer to the earth inheres in the
narrative, central to the story:
She is a plume of Pleromic
luminosity in material immanence in the body of the earth.
annihilation of the Mysteries and the murder and exile of the telestai, that statement became transgressive, placed under a taboo.
It was forbidden to speak of it, or to speak of those who would have
known it to be so from direct experience. Indeed, it even became
taboo to mention that they, the telestai, had ever existed.
Historical note for the Annals of PT
In his first speech to the council of bishops, Pope
Francis made an
extraordinary digression from the subject matter and pronounced the
dreaded G-word, gnostico in Italian.
He even went so far to say that
the Gnostics were right, they had actually found the direct way to
experience the Divine. This speech was broadcast in forty languages
across the world.
The event happened shortly after the resignation
Benedict II (Ratzinger) which itself was
signaled by V-shaped
lightning striking the Vatican dome.
Benedict resigned at the very
moment that the Italian version of
Not in His Image appeared on the
bookstands in Italy.
"How you are fallen - like lightning - from heaven, O Lucifer, son
of the morning! Isaiah ."
The "fall" of Lucifer has often been compared to a lightning strike.
This analogy directs attention from the Lucifer material to the Sophianic narrative. The "lightning" is actually the plume of
Pleromic luminosity discharged from the galactic core due to
Sophia's impetuous plunge into the three-body experiment she dreamed
for the Anthropos -
the trimorphic protennoia.
Gnostic cosmological narrative confirms that certain analogies and
tropes traditionally associated with Lucifer - for instance, the
wish to equal the highest creative power, action taken contrary to
divine will, and the celestial spectacle of Adam/Anthropos - become
coherent and intelligible when applied to the narrative of Wisdom
The true Lucifer is Sophia. Her current
revealed with the Terma of Gaia Awakening in August 2008 is
Vajravilasi, "flirtatious lightning." That tacit identification came
into definition years before the terton was able to elucidate the
Note also that the precious material alluding to Lucifer in Parzival
of Wolfram von Eschenbach supports a direct equation of the Grail to
the radiance of fallen angel.
Trevrizent to Parzival in Chapter 9:
Those in the Company of the Grail:
live by a stone who nature is most pure. If you know nothing it
shall be named to you here: lapsit exillis... That stone is also
called the Grail.
Medieval legend, alluded but not specifically repeated in Wolfram's
Parzival, held the Grail/Stone to be a jewel that fell from the
crown of Lucifer when he was cast down from heaven.
is corrupt Latin that suggests "a stone fallen from heaven."
"stone" read: a luminosity of material immanence, dense as stone.
That pearly stream across the midnight floor
is radiance that casts no shade, where Mystery
remade time and again returns the world to wonder.
The healing thrill laid right into sensation, the rapture
of knowing how it's done: all that a mind can be
and still be mindful of what it's going under.
Suchness, on touch alone, porosity immense,
each organ and each sense
in radiant suspense, the immanence like stone.
"In the Organic Light" (All Souls' Night)
The Company of the Grail in Wolfram and other Medieval epics were
the diaspora of the Mysteries, the survivors who had direct access
to the epiphany of the Organic Light.
The Grail is most certainly
the jewel light from Lucifer's crown, that is to say, the primary
substance luminosity of the Aeonic Mother, not who fell to earth,
but who plunged from heavean and became the earth.
Another theme or trope associated with Lucifer is beauty.
Traditional accounts stress that "he" was a radiant angel of great
beauty. With the Satanic inversion of this figure, Lucifer becomes a
monstrous demon, often depicted in horror films.
One of countless
Depictions of Lucifer as Satan ruling over the torture of sinners in
Hell became widespread through the Middle Ages as a terror tactic of
the Catholic Church.
The inversion from Lucifer/celestial
angel/beautiful to Satan/infernal demon/horrible demonstrates the
tendency of the human psyche to create its own demons from what it
rejects, or is compelled to reject and fear under psychological
There is no basis in scripture to identify the fallen
Lucifer with Satan in Hell. None at all. It comes about this way in
part due to Christian ignorance and paranoid fabulation, but in a
greater measure, through the mental and emotional distortion that
must occur when the radiant beauty of the Divine Presence is shut
out, feared and rejected.
This rejection is an aspect of the biophobia that afflicts the human species. Indeed, the key aspect.
a nagual who directs shamanic journeys, I can attest to instances
when the altered state induced by psychoactive plants brings the
unitiated participant to a threshold state, a liminal zone. In that
state, the typical resistance of the ego is diminished and the power
of the Divine Presence begins to dawn...
At that moment, the
uninitiated participant typically senses the approach of an
unnamable force that gives the impression of intending to devour him
Such an impression arises immediately prior to the epiphany
of the Organic Light (OL). Fear of being consumed by some "demonic" power
drives the witnesses away. They shut out what they fear will consume
them. Often, they flee physically and try to hide somewhere.
Tragically, it turns out in some cases that those who wish to behold
the Organic Light, the most beautiful sight known to the human
species, cannot handle what comes to them announced by that vivid,
uncanny sensation of being devoured. The OL is alive and acts like
an animal. It feels animal-like in its approach to the human
People flee its presence as they would flee the approach of
Siberian tiger or a cobra. Shit, we gotta get outta here!
When the Mysteries operated as they were intended to do, the
initiates beheld and held the Divine Presence, the Organic Light of
the primary substance body of the Wisdom Goddess. They held it
within human reach.
The effect of doing so was felt by those who did
not reach the OL, or even knew nothing of its existence.
some human animals held the epiphany of the Light, others could be
kept close to it without necessarily knowing that they were.
Inhabitants of the classical world respected and revered the Gnostic
initiates for their service to society and for their character.
In his seminal work on Gnosticism, Fragments of a Faith Forgotten,
G.R.S. Mead stated that,
"a persistent tradition in connection with
all the great Mystery-institutions was that their several founders
were the introducers of all the arts of civilization; they were
either themselves gods or instructed in them by the gods...
were the teachers of the infant races."
The initiates, as they were
"taught the arts, the nature of the gods, the unseen worlds,
cosmology, anthropology, etc."
[Not in His Image]
The telestai were not only respected for their known achievements,
which were far-reaching, they were also respected for what those in
the world at large could not know, but did sense: their proximity to
the planetary animal mother.
Several Gnostic scholars have observed
that typical images of authority embodied in Pagan sculpture - such
an the Emperor Augustus standing in a noble or "august" posture in
flowing robes - derived from the actual body language of initiates
of the Mysteries.
Those who were known to carry the "divine
afflatus" were in reality, in the genuine cases, telestai who could
access and uphold the supernal beauty of the Organic Light. I have
said that standing in the presence of the Shakti Cluster feels like
standing in a wind tunnel.
I offered this description in 2008, years
before I discovered a comparable reference in the writings of the
Roman orator, Cicero.
Consider the classical definition of afflatus
coming from Cicero, who was a successful initiate:
Afflatus is a Latin term derived from Cicero (in
De Natura Deorum - The Nature of the Gods) that has been translated as "inspiration"...
Literally, the Latin "afflatus" means "to blow upon/toward". It
was originally spelt "adflatus," made up of "ad" (to) and "flatus"
(blowing/breathing), the noun form of "fl?re" (to blow).
It can be
taken to mean "to be blown upon" by a divine wind, not unlike its
English equivalent "inspiration," which comes from "inspire,"
meaning "to breathe/blow onto".
Late in the Pagan era, it became fashionable for emperors who sought
purely mundane renown to adopt the lofty air of the telestai.
they often underwent initiation, as attested by countless historical
examples down to Julian the Apostate. However, this tactic was
largely for outer show and did not prove success in beholding the
For many of the pretenders,
afflatus was merely
Even C.G. Jung suffered from the complex of
self-inflation is his hapless attempt to reckon with direct contact
with the Divine.
The guardians of the Mysteries always kept open the invitation for
others to come into the presence of that light. At Eleusis and other
sanctuaries of the Goddess around the Mediterranean Basis, they
continually received neophytes for the epiphany of supernal beauty.
Neophytes who succeeded in beholding the Organic Light were greeted
with the salutation,
"A kid, thou has fallen into milk."
The Luciferic Ray
Today, the supernal beauty of the fallen angel Lucifer is breaking
through into the human mind.
What is it, but the beauty of the
Wisdom Goddess herself?
Yes, it is that, or best considered to be a
specific beam or shaft of that beauty. The Luciferic ray, you could
say. (Leave "Luciferian" to those who claim to expose evil or
Satanic agencies they believe to exist behind the stage of world
The Luciferic ray can be compared to a narrow beam of light
that glints through a window or passageway and catches your
By "narrow beam" I mean that it affords a limited access
or a specific channel of access to the radiant presence of the Aeon
"How much beauty can you take?"
Apparently, in some cases I
have witnessed, not so much. Perhaps that beauty, concentrated in a
ray, will have a better chance breaking into the human mind.
The full epiphany of Sophia in Correction, breaking over the world,
would require the concomitant human capacity to receive it, and hold
it. That capacity is just not evident in a vast number of people. I
emphasize the word capacity.
Seeing the Organic Light is not a
question of worthiness.
In the Mysteries everyone was deemed worthy
of a chance to behold the Organic Light, except for three cases:
those who committed murder for a selfish reason, not out of duty or
those who constantly lied, and those who exhibited a
strong streak of envy in their character
Candidates were vetted on
the basis of those three factors.
So, today, there has to be a sort of ray that leaks the radiant
power of the Aeon Sophia into the human psyche in a manner
proportionate with the lowered capacity to receive it. Lucifer
provides that ray, perhaps. In any case, it is worth a try to see if
the Sophia/Lucifer parallel might indeed serve for that purpose.
In a recent talk, I distinguished the hard option and the soft
option for participation in Planetary Tantra.
The former involves
commitment to the five front ranks of the
Kalika War Party, the
bands that exercise morbido and the option to kill.
To review my
initial talk on morbido, go to nav briefing 91:
The latter, the soft option, requires a commitment to spread the
sacred narrative by outreach, introducing it whenever and wherever
I mentioned some tactics for outreach, how to get to people
and engage their attention in such a way that the disposition to
learn the story can be addressed - if such a disposition exists.
The two main tactics are:
activating the source prompt by the question, How would you
contact the source (remote or local) of your life?
Asking the trigger question, Is there ANY god capable of creating
this world who would also inflict cruelty and punishment upon its
To which you can add a third:
If you were an extra in a movie, and had a chance to take a
starring role, would you do it? How about a starring role in the
movie of life?
COMING SOON: Witchwave - The Movie that Happens in Your Life
I am sure you can come up with other sly tactics as well, but let's
admit, these three openers are pretty stunning.
Such are the tactics
that you would employ in your day-to-day life acting as members of
"The Sophia Cult" who advocate publicly for the message of the Cult
- not to recruit membership, but to spread the message. Remember, do
not persist with anyone who does not show the disposition to learn.
After a little probing you can generally determine if this
disposition exists or not.
Don't persist with deadbeats and
pretenders. Disregard social justice warriors, feminists, minority
rights champions, juemongers, liberals, progressives, and all
similar types of Marxist socialist dupes. They are Legion.
Terminally infected with the emotional plague.
To return to the notion of the Luciferic ray:
You can detect early
glimpses of the Luciferic ray breaking into the human mind already
at the time Sophia began to awake in her lucid dream.
trends can be detected in the Romantic Movement from the late 18th
century onward to its central moment around 1820.
First, the rise of
"Gothic" literature or the horror genre, signaled by British author
Ann Radcliffe (1764 - 1823), who single-handedly founded the genre.
The link of the horror genre with Sophia's awakening is extremely
tight and warrants close study.
When it is repressed, the supernatural both conceals and reveals
itself in a fascination with horror. (See Supernatural Horror in
Literature by H.P. Lovecraft.) The genre includes vampire stories
and fictional accounts of witchcraft.
The Romantic Agony by Mario Praz (pronounced Pratz), one of my favorites in the Romanticism
section of the Ambergane library, describes how the arch-Romantic
Goethe was responsible for feeding interest in the vampire genre,
including numerous works still read avidly to this day.
the amazing observation that Goethe,
"had been the first to give
literary form to the fearsome vampire legends," and "in the second
half of the 19th century, the vampire becomes a woman, as in
Behind the female vampire, vamps, succubi,
sirens, witches, and decadent femmes fatales of the 19th century
lurks the figure of Sophia, distorted by biophobia and religious
perversion of natural human instincts into sins.
Today, right now, it becomes plausible that the horror genre could
be commandeered to reveal the true Lucifer and the corresponding
image of the infernal, vampiric woman. Search "witchcraft films" on
YT and you find evidence of a possible revival of the genre of witch
Leading the movement is THE V V ITCH...
The second massive trend in Romanticism tracing back even earlier
than the end of 18th Century is the tendency to portray Lucifer or
Satan as a noble, heroic figure of great radiance and beauty. Many
volumes have been written about the portrayal of the satanic figure
in Paradise Lost of John Milton (1608 - 1674).
Milton, who was
blind, dictated the poem to his daughter who wrote it down.
Satan is the first major character introduced in the poem.
called Lucifer, he was the most beautiful of all angels in Heaven,
and is a tragic figure who describes himself with the now-famous
quote "Better to reign in Hell than serve in Heaven."
introduced to Hell after he leads a failed rebellion to wrest
control of Heaven from God.
Satan's desire to rebel against his
creator stems from his unwillingness to be subjugated by God and his
Son, claiming that angels are "self-begot, self-raised," and
thereby denying God's authority over them as their creator.
Satan is deeply arrogant, albeit powerful and charismatic. Satan's
persuasive powers are evident throughout the book; not only is he
cunning and deceptive, but he is also able to rally the fallen
angels to continue in the rebellion after their agonizing defeat in
the Angelic War.
He argues that God rules as a tyrant and that all
the angels ought to rule as gods.
Though commonly understood to
be the antagonizing force in Paradise Lost, Satan may be best
defined as a tragic or Hellenic hero.
The notion of rebellion against "God" permeates Romanticism.
Gnostic perspective, which the Romantics had no opportunity to
access, such rebellion can be regarded as the human will asserting
itself against the false creator god, the archontic pretender. The
true enemy of humanity and the earth is the Demiurge, not Lucifer or
The works of William Blake (1757-1827, corresponding to the
first phase of Sophia's dream fuge) also carry a powerful message of
revolt against the authoritarian god of Judeo-Christianity.
long poems, Blake pits the heroic figure of Albion against Urizen,
his name for the Demiurge. However, Blake is problematic due to his
imagination being infected by Biblical imagery, as well as his naive
attachment to the traditional profile of Jesus.
Many other examples of the Luciferic hero of Romanticism could be
cited. The point here is, with only a few thousand people left
living on the planet who have the disposition to follow such a
crumb-trail of literary allusions, the heroic figure of the fallen
angel rebel has to be preserved in popular media such as film and
Literary material such as I cite is the rare and privileged
interest of the select few. The revival of the witchcraft genre is
films is a positive sign. Even such poor fare as "Salem" contains
clues pointing toward the ascension of Lucifer: by which I mean,
raising the figure of Lucifer to its true and proper status.
would happen by establishing Lucifer both in the identification with
Sophia, and in the valorization of the rebellious hero type.
the outrageous gambit I propose.
The Renaissance of Witchcraft
When the supernatural and irrational are banished from
consciousness, they are not destroyed, rather, they become
The victims held beliefs compatible with the major
features of the
hoax, and that made them vulnerable.
The Trickster and the Paranormal
In his excellent book, Hansen covers a wide range of hoaxes and
scares, including accusations of witchcraft.
The second citation
could well apply to the citizens of Salem, not to mention modern-day
Christians who believe they are exposing the Satanic and Luciferic
forces in the world. Due to disinformation, suppression, and
distortion, everything said about Lucifer is a hoax, or operates
What's worse, those who would expose the hoax don't know
it is one, and they themselves share the same beliefs held by those
who foster the hoax!
Years back, when I followed some YT channels, such as the one run by
evangelist Chris White, I noted that the Christian fanatics behind
such channels did an excellent job deconstructing the alleged
Satanic and Luciferian elements in, say, the New Age, precisely
because they, the Christians, shared the same belief system that
produced the psychotic fictions of Satan and Lucifer in the first
Indeed, they invented those demons and then hoaxed themselves
by taking them literally.
Images of Lucifer/Satan as a hideous demon with goat's feet and
horns, and bat wings, are all over the place in obks on occultism
and sites on the Internet. Baphomet, for instance.
Due to the way
that the human endo-psyche is cluttered with such images,
Concerning new images of Lucifer, I introduced one in the first part
of this long piece.
Unfortunately, it is computerized graphic art.
Still, it does portray the fallen angel with lace-like mycelium
wings of pristine whiteness, a clue to the Organic Light...
It would be nice to suppose that Lucifer appears as a "white witch"
if the renaissance of witchcraft does indeed happen.
But that is a
naive and sentimental conceit. S/Hee is no virgin angel. More likely
to be a tattooed wench of dangerous passions, or a Eurotrash babe
with a wicked reputation. She does indeed intend harm.
they say in Salem...
The game on this planet changes when some animals
who take up Gaian witchcraft really do succeed in being dangerous,
casting spells that actually work.
The weakness of the TV series Salem is twofold: first, they depict
the witches casting spells in a fairy tale manner, reciting dumb
rhymes over candles, brandishing animal bones, etc.
cannot depict the supernatural master of the witches in anything but
a ludicrous manner. He is glimpsed as a hideous fiend lurking in the
woods, or as black goat leaping up in lust.
The total failure to
present a convincing image of Lucifer points to the opportunity for
the Lucifer ray to break through...
Conclusion - Gaian Psychotronics
01 October 2015
Blood-drinking dakini, Vajrayogini,
compared to Itzpapalotl, "Obsidian Butterfly Goddess" of the Aztecs.
The motif of drinking blood from a skull-cup
can be found in its earlest surviving variant in
Buddhist lore on the Kapalikas,
Tantrikas who followed the forbidden
message of Shakyamuni.
For review, you might want to listen to
The Omen of War: nav
briefing 116, 15 March 2014:
The Sovereign Moment - 1
October 1, 2015
"I am a comparative mythologist, and now so are you."
Note: the Aztec-style iconographic rendering of the
resembles the branching of fractals in the Mandelbrot Set (below).
If you saw the nopal cactus plant in
an altered state induced by
psychoactive mushrooms, you would see it
fractally, no doubt. All
natural forms "go fractal" in ecstatic trance - clouds, the edge of
a tree line, rosebuds, etc.
But some more readily, and vividly, than
As for the eagle perched on the cactus:
10, the Toltec figure of the Eagle, a primary metaphor in Castaneda,
comparable to the same figure in the Nag Hammadi Codices where the
instructing voice of sacred mind, perhaps equivalent to Castaneda's
"voice of seeing," states:
"I appeared in the form of an Eagle on
the Tree of Knowledge, the primal knowing that arises in the pure
light, that I might teach them and awaken them out of the depth of
(The Apocryphon of John, 23.25-30)
As for the snake in the beak of the eagle, I propose to take it for
On this motif,
histone shift, and
The Cipher of Ollin, which you might find worth reviewing at
"Histone shift is what I make of the Ollin theme,
regardless of how the Aztecs understood it."
National Seal of Mexico
Ethics & Tactics
Indicated in NB 116, pertinent to the coming battle:
Ethics come from reflection on the Bhagavad Gita.
Tactics come from Aztec shamanism, cults of the Eagle (Dreamers) and
psychotronics a term coined in 1967 by Zdenk Rejdák for the study
of certain effects in parapsychology and mind control methods.
- On the Pattern of Electronics.
Also, a particular branch of parapsychology which supposes an energy
or force to emanate from living organisms and affect matter.
Again, psychotronics or psi warfare is the use of electronic
machines to send beams of energy or frequencies directly to people's
brains and bodies through the air. This is the new stealth warfare.
All right, you get the idea. You can find hundreds of articles on
the theory of psychotronics and its technological applications
through hardware (e.g., microwave guns and ELF waves) as well as
paranormal faculties (e.g., remote viewing).
I defy you to find one
article that presents a coherent action plan for using psychotronic
against those who use them in evil ways, attacking the human
species. You get the impression the human species has elaborately
developed psychotronic weapons to attack itself, and only for that
That is clearly insane.
But, wait a minute...
If humans have the skill and intelligence to
develop psychotronics for assault upon other humans, literally to
Why is there no equivalent development of psychotronic
weapons and faculties to be used in fighting back?
Where is the countermagic to use against the "black magic" of psychotronic mind
control and Flash Gordon ray-guns?
Hollywood celebrates super-powers
of super-heroes with paranormal capacities, and the Harry Potter
books portrayed all kinds of wizardry - totally fictional! How can
it be that using magic and paranormal skills in the defense of life
is fictional, but using mind control techniques to control, harm,
and kill is factual?
"Super-powers" = siddhis, occult or paranormal powers attributed to
yogis and accomplished masters of various Asian techniques. Taoist
masters are also said to possess such powers, but who ever heard of
them being used to fight against intra-species predators?
What if human animals in this moment of time could discover and put
into action a range of "super-powers" or paranormal skills capable
of defeating and destroying psychopaths, intra-species predators,
and the enemies of life?
How would such "countermagic" - call it
Gaian psychotronics - come to be defined, developed, and
This is a question to live with courageously and contemplate daily
as the omen of Venus Lucifer, the Morning Star, rises higher and
hither in the east.
As I conclude the material on Sophia/Lucifer, I
ask you to hold this distinction vividly in mind:
Turning around the current situation on the planet, so that events
align in syntropic feedback with Sophia's Correction, does not
depend on a magical factor, but may include one. MAY...
Correction is diorthotic: consisting of two solutions, two norms.
Neither of these two solutions alone can bring Correction to optimal
expression in the social order. It takes both together.
Svatantrya - The Sovereign Moment
Svatantrya (from the Sanskrit sva meaning self and
dependence - 'self-dependency', or free will) is the Kashmiri Shaivite concept of divine sovereignty.
Svatantrya is described as an energy that emanates from the Supreme
(Paramasiva), a wave of motion inside consciousness (spanda) that
acts as the fundament of the world, or in another view, the original
word (logos, vak).
It does not use any external instrument as it
itself is the first stage of creation. In antithesis with the Vedantic concept of Brahman, which is a mere conscious witness
without effective power, being inflicted with the illusion of the
world by an external force,
In the Kashmiri Shaivite viewpoint, creation is actively willed into
existence by the supreme consciousness by the means of his
irresistible will-force (Svatantrya). This is an important aspect of
the Pratyabhijna school of Kashmir Shaivism.
Svatantrya is a concept
that goes to the root of many spiritual matters in Kashmir Shaivism,
like, the divine sovereignty of Shiva (God), consciousness (caitanya),
creative power (vimarsa), mantra and kundalini
Svatantriya = self-determination, self-reliance = sovereignty =
conative latitude, risk-taking = Thelete = jupiter= freedom, reason,
and hate for all that opposes them.