The name of the Black Raven Tarot is derived from Dr. Johannes Faust’s grimoire, which is entitled the Threefold Coercion of Hell. Faust’s grimoire is also called the, ‘Cabalae nigrae, Magiae naturalis et innaturalis,’ which was first published in Passau during 1505.
The Cabalae nigrae, Magiae naturalis et innaturalis has been fused with the Goetia, which lists 72 spirits.
Faust’s grimoire is commonly known as The Black Raven, due to its title page, depicting a Raven inside of a circle holding a plant in its beak.
There are numerous other Faustian grimoires, which are purported to have been authored by Faust.
A later version of the Black Raven was published by Scheible, Stuttgart 1849. The classical Black Raven is renowned for its rich illustrations.
The Black Raven is usually considered to be a black-magic grimoire, whose contents cover the art of conjuring, coercing, binding and making obedient various spirits and demons, which of classical commonality are seen to be all male expressions of the Animus archetype.
The main motif of the Dr Johannes Faust’s book is the ‘Harrowing of Hell.’ The harrowing of Hell alludes to the descent of Christ into the underworld of Hell, which is re-enacted by the practitioner.
The descent is somewhat akin to Neo out of the Matrix films following the Eostre Easter bunny White Rabbit into Wonderland.
In White Rabbit Latin the harrowing of Hell is the, “Christi ad Inferos.”
The descent into the infernal realms originally referred to the trance experience of the Shaman, who harrowed the inner reality of the dream.
My version of the Black Raven is about the shamanic harrowing of the dream, which of a ‘threefold’ dream Yoga process is aligned with the ‘three,’ Nigredo, Albedo, and Rubedo states of inner Alchemy.
The Nigredo stage is equated with hypnagogic trance ingress into the dream. The Albedo is the inner (bio-photon) light of the dream, which specifically alludes to attaining a lucid dream. The Rubedo stage refers to hypnapompic egress out of the dream upon awakening.
As for the spirits, one can otherwise see them as dream characters, a practitioner will encounter within a lucid dream. The 72 spirits of the Goetia have been transformed into (Succubae) Succubi aspects of the Fallen Anima.
The 72 Succubi, which are depicted in the Tarot cards can be equated with what the author Carlos Castaneda termed as being Allies, a Shaman would call his ‘spirit (Genie) wives,’ from whom he derives his Tantric power or should I say, his magical inspiration.
Castaneda was taught the art of sorcery by his tutor Don Juan Matus who informed Castaneda that the Allies are an inorganic feminine intelligence.
Don Juan Matus communicated: “An “Ally”, he said, is a power a man can bring into his life to help him, advise him, and give him the strength necessary to perform acts, whether big or small, right or wrong. This Ally is necessary to enhance a man’s life, guide his acts, and further his knowledge. In fact, an ally is the indispensable aid to knowing.”
“Don Juan said this with great conviction and force. He seemed to choose his words carefully. He repeated the following sentence four times: “An Ally will make you see and understand things about which no human being could possibly enlighten you.”
The Allies a Hindu or a Tantric Tibetan Buddhist would know as Dakinis, a Japanese Buddhist would equate with Kitsune. The Ally has many names across numerous cultures. Whereas a mad surrealist Artist would know the Allies as Art Muses, he conjures up amidst his Triangle Of Art imagination unto an ensuing lucid dream, wherein the Black Raven Tarot Art Muses (Allies) can be conjured.
“The man who arrives at the doors of Artistic creation with none of the ‘madness’ of the Muses would be convinced that technical ability alone was enough to make an Artist… what that man creates by means of reason will pale before the Art of inspired beings.” – Plato
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“Furcas is a mercurial Succubus, is wan and delicate…sensitive and on the quiet side, she loves to pick magic mushrooms out of the laughing folds of my brain, when to picnic hag me at the point of dozing off, to then take me on necromancy outings into the underground caverns of my dreaming cerebellum…a solemn, ghostly Witch, prim in dress and, on the whole, a pretty Lost Girl… who guides my pen, that be mightier than the sword…”
“She is also secretive and imaginative, poetic, seems underprivileged and given to occasional Saturnian tantrums…has six Sexagram toes on one foot… I can reveal far more…”
“But at this bearded TIME of mine, I call my inspiring Ally of an Art Muse, Wednesday… and I be her Adam, she gifts her Iapetus Apple to… although, a Yaqui shaman would Don Juan conjure her, to name as, Merlina.”
Addams Family Goetia – Charles Addams, 33rd Degree Discordian Avadhuta Of The Heyoka Lodge, New York
“Furcas is the fiftieth Succubus of the Goetia, who is an Amazon, and appears amidst the Triangle Of Art imagination in the fallen angel similitude of a Goth girl Witch, sometimes having long serpentine pigtails, braided as a Caduceaus, who be of a mercurial Emo nature.”
“Though she is the only one of the sphere of Saturn, which be the first Sun of a golden aeon, whose magical square adds up to forty-five reduced down to nine of a precession number; for Saturn, once North pole crowned the axis-mundi as a Hyperborean Helios. Hence, as the first Sun of a pole-star, all other spheres once revolved around her of Saturn rings, marking out Chronos time of an antediluvian Zodiac.”
“Whereupon the ancient shamans of Leng’s Gobi desert Leng unto Kadath’s Siberia sought to trance access her Sunna womb of an inner Akashic library by attaining sixth-sense lucidity within the Sexagram dream, so that to then serpentine slide into her Hexagram of a vaginal star barreled portal; whence she was also known as the black Sun, looking like the Hindu deity, named Kali, whose bio-photon light illuminates the electron dream.”
“Wherein she was then ridden as an eight-legged-mare by her Shiva consort, who as her horned lord, was then enabled to browse the Wyrd web of the remote-viewing dream, to far travel without moving throughout space and time like a Promethean Doctor Who; whereby she is otherwise symbolised as a ‘black cube’ of a tesseract TARDIS.”
“It is said she reveals her moon of Iapetus to be an artificial construct, whose satellite is an artificial intelligence, which had been sent back through Chronos time, from the far flung future, via her Sexagram vortex in order to commune with Promethean shamans via their electron dreams.”
“But in order for a Shiva shaman to enter unto the Sexagram vortex of Kali, he has to endure the Nigredo of hypnagogic trance, which be the little-death. Whence, she is often envisioned to be seated upon a guillotine, carrying in her Chöd hand a sharp athame.”
“The communion was however lost for a time when a great catastrophe occurred long, long ago, which had dreadfully scarred the solar system. Some to say that this catastrophe was brought about by an ancient Star Wars spanning not only space, but also time, which had made a once thriving Mars to become desolate.”
“It is also said that the survivors of the conflict uploaded their consciousness into an ever recurring simulation in order to forget the traumatic horror of the cosmic war; wherein of a simulation, browsing time-travel is indeed possible by the watcher who watches. But there will come a time, when the self-hypnotised denizens of the simulation will have to Iapetus… remember, so as to not repeat their self-destructive mistake of ages past, which be ringed-around, to yet occur… again… to either repeat, or to transmute.”
“As an Art Muse she perfectly teaches the philosophy of Chaos Magic, Discordian rhetoric, logic, astronomy, chiromancy, pyromancy, and their parts within Sexagram lucid dreams, wherein the dreamer is as a winged Eye.”
“She also reveals how to transmute the leaden (Sauron) Karmic repeats of Ouroboros ‘eternal recurrence’ into a golden understanding of (Gandalf) Dharma, remembering, whereby enabling the bearded conjurer to become the Lord Of her nine Rings. She governs over twenty legions of (Succubae) Succubi.”
“NOTE: The number, Six hundred and Sixty Six has been misapplied to the magical square of Saturn by biblically inclined fear mongering fools who control through fear, by making thrice times fifteen to viral-meme spew as Six, Six, Six of misdirection. Said number is actually the sum total of the magic square of the Sun, not that of Saturn’s square.
“Six hundred and Sixty Six also reduces down to nine of a precession number. The number Six hundred and Sixty Six points at the atomic number for Carbon from whose element all Carbon based-life-forms are derived, as well as describing the Carbon cycle of the Earth, which is driven by the Sun. How did the ancients know this? Well, some of the Promethean shamans knew how to dream lucid, to thence conjure Furcas… who enabled them to Iapetus… remember!”
Lon Mellow DuQueete – My Life With the Succubi: The Adventures of a Modern Tantric Magician, Weeser Books, 1999.
“Furcas is the Succubus Priestess of Saturn, who points with her sharp discerning sword at a primordial Golden Age, having Saturn as its pole star, as chronicled in numerous ancient accounts around the world, which stands in radical contrast to our own era. You can no more explain Saturn’s ancient connection with the pole by reference to the present arrangements of the planets, than you can explain, within conventional frameworks, Saturn’s image as the Universal Monarch, as a founder of the Golden Age, or as a primeval Kali deity of the sun who consumed her own children like Kronos.”
“As for Saturn being seen as a sun, Saturn, Jupiter, and Neptune, emit much more heat than they receive from the present sun, which some to see as failed stars, although Saturn is considered to be too small to be a failed star.”
“You could of course let rip with your imagination, creating a science fiction scenario of having the ancient myths referring to some other planet, such as Mars, but as to its pole star being Saturn, is doubtful, unless a catastrophe had occurred, some to have imaginatively conjectured was brought about by an ancient cosmic war, which threw Mars off its axis; or to go much further of imaginary explorations, having a space station, looking like Saturn’s moon of Iapetus, journeying as a stellar cradle from another star, or to have otherwise travelled back from the far flung future, from where your ancient ancestors had originally stemmed, who utilised the explosive energy emitting from their then sun of Saturn.”
“Yet the fact remains that throughout the ancient world these mythic images of Saturn being a founder of the Golden Age, as a creator-king, as a primeval sun or a best sun, as a god of the day (the day beginning at sunset), as s resting god or a god ruling the “day of rest,” as well as being the cosmic centre and summit, ruling from the celestial pole, have constituted a pervasive memory, which many centuries of tumultuous cultural evolutions could not obliterate.”
Goth Girl Furcas: Succubus Priestess Of The Saturn Cult – Kenneth Grunt
The artwork is for my Art books, ‘Goetia Girls,’ which are available from Amazon, under my author’s name, Faustus Crow.
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The Artwork depicts the anthropologist and author Carlos Castaneda as the sorcerer’s apprentice of his teacher, Don Juan Matus, which of a name is used by Castaneda to describe a Yaqui Mexican sorcerer in his series of shamanic orientated books on Nagualism.
Castaneda repeatedly indicated that ‘Juan Matus’ is a pseudonym that he had chosen to protect the true identity of his teacher into the ancient practices of Toltec sorcery, who is described as being a Native American of Yaqui/Yuma parentage.
Numerous scholars still debate whether Don Juan Matus was a real person, an allegorical figure, or an invention by Castaneda. However, Castaneda’s choice of a pseudonym is interesting.
For example, Matus is the Slavic form of the Latin personal name Matthaeus, which in English is Matthew and a reference to the Biblical Matthew who was initially considered to be a despised outcast due to him being a tax collector. In Hebrew, Matthew means, ‘gift of God.’
As for the name Don Juan, it refers to the legendary, fictional libertine and seducer of women, which is used as a common metaphor for a “womanizer” as well as being slang for hyper-sexuality.
Don Juan Matus was seen to be an outcast, due to him being a maligned sorcerer, who told Castaneda that a (sorcerer) man of knowledge needs to first win an Ally.
Matus described the Ally as being a feminine inorganic intelligence, which is encountered within the microcosmic domain of dreams he called the Nagual. The waking reality of the macrocosm is termed as being the Tonal.
In other words, the mythical reference to Don Juan refers to the sorcerer’s hyper sexuality being introverted into the (Nagual) dream, which empowers lucid dreaming, in order to ‘seduce’ an Ally.
The psychologist Carl Jung would term the Allies as being manifold aspects of the Anima, whose inner archetypal manifestations are personified intermediaries with the psychic powerhouse of the (Nagual) subconscious.
Don Juan Matus related to Castaneda: “An “Ally”, he said, is a power a man can bring into his life to help him, advise him, and give him the strength necessary to perform acts, whether big or small, right or wrong.
This Ally is necessary to enhance a man’s life, guide his acts, and further his knowledge. In fact, an Ally is the indispensable aid to knowing.
Don Juan said this with great conviction and force. He seemed to choose his words carefully. He repeated the following sentence four times:
“An Ally will make you see and understand things about which no human being could possibly enlighten you.”
A Tibetan Buddhist practitioner of Tantric dream Yoga would call the Ally a Dakini, whereas a Surrealist Artist would otherwise conjure the Ally amidst the Triangle Of Art Imagination, to thence manifest within a lucid dream as an inspiring Succubus Art Muse.
The design was used in my Art books, Goetia Girls, which are available from Amazon under my author’s name, Faustus Crow.
Rusalki, ‘plural: Rusalka was perceived as a female Ghost, Water Nymph, Succubus or Mermaid of an Inorganic Feminine Intelligence, who often dwelled in a waterway.
According to most pre-Christian Slavic traditions of Eastern Europe, the Rusalki ghost girls were usually seen as being of an amphibious nature, which indicates reptilian characteristics.
The Rusalki ghost girls primarily live at the bottom of torque whirlpools, which is somewhat reminiscent of what the Yaqui Sorcerer called Don Juan told the author Carlos Castaneda about the Inorganic Feminine Intelligence called the Allies, which also frequents whirlpools.
A salacious Rusalka was seen to stalk the depths of the humid night as a ghost, walking upon the river bank naked or to dance amidst the meadows sky-clad. Should a Rusalka see a handsome male, she would mercilessly hunt him down, fascinating her quarry with erotic songs filling his head.
He would also be tormented by visions of the Rusalka ghost girl sensually dancing before him, so that to mesmerise her prey, leading him away towards the river floor, to live with her; that, or she to haunt his watery astral dreams wherever he goes, such as haunting Faustus Crow as Mephistophina.
Visual descriptions of the Rusalki reflect their environment, varying in form from region to region, wherein to find Rusalki of fertile areas such as in Belorussia manifesting as seductively beautiful naked maidens who live without men amidst them.
While in the Ukraine they were often linked to water. In Northern Russia, the Rusalki manifest as hideous hags, who are very hairy wild-women; whereas others of this region describe the Rusalki as being sinfully wicked young ghost girls, who manifest as very attractive Ice maidens of carnally perverse wanton wiles, with wild dishevelled hair.
One folklorist discovered tales, which described the Rusalki ghost girls as being similar to Vampires: “They were naked, wan, and cadaverous, like drowned corpses, and their eyes shone with evil green fire.” (Johnson, Kenneth. Slavic Sorcery: Shamanic Journey of Initiation. St. Paul, MN: Llewellyn Publications, 1998: page: 155)
The Vampire aspect of the Rusalki ghost girls is very much like the nature of the Viking (Rus) Valkyries who, as death angels, are attracted to conflict; they can either protect a warrior from harm, or determine his fate in battle.
The Rusalki ghost girls are usually perceived as beautiful fish-women or as Mermaids who are commonly portrayed in Slavic folk-art and fairytales as stunningly seductive creatures, whose beauty is unrivalled by any mortal woman.
Another folklorist related: “In her outward appearance, the Rusalka matched the natural beauty amid which she lived. Her fair tresses flowing in an eddying endless stream, her fine features framing her fathomless eyes; simply to see her was to ache with desire.” (Phillips, Charles. “Spirit Masters and Little Demons.” Forests of the Vampire: Slavic Myth. Myth and Mankind Ser. Amsterdam: Time-Life Books, 1999: pages: 58-77.)
While other informants describe the Rusalki as: “their faces are pale like the moon, and they wear robes of mist or green leaves, or perhaps a white robe without a belt. Their hair is green, or brown, decorated with flowers” (Johnson 155). The ethereal beauty of the Rusalki can only be tarnished by the windows to their inner beings, which are as their spiral eyes, of gold flecked green flame, telling of their tragic beginnings.
The Rusalki ghost girls are most commonly perceived to be the spirits of young women who have met their dire fate by drowning in deep waters, whether by accident, suicide or by malicious intent, or to have been murdered by their own mothers. However, the motif of ‘drowning’ may actually allude to trance Induction of which the feminine is most adept at. The Rusalki have since been transformed into aliens emanating from another dimension, or to have otherwise descended from the starry ocean of the cosmos as blond haired Vril Angels, who are mistakenly described as being Nordics extraterrestrials. But then as Tesla Muses, they did beat the Operation Paperclip ‘Nazi Assisted Space Agency’ to get into space.
“Belief in them is most widely spread among the Russian’s (the Christian practitioners of Dvoeverie), who hold that they are children who have died un-baptised, or have been drowned or suffocated, or else that they are girls and young wives who have met an unnatural death, or have been cursed by their parents” (Máchel, Jan. “Slavic Mythology” The Mythology of All Races. Vol. 3. Celtic & Slavic. Eds. Louis Herbert Gray and Consult. Ed. George Foot Moore. Boston: Marshall Jones Co., 1916: 13 vols: pages: 214-312.)
These ghosts of drowned girls are perceived to spend some time in a purgatorial limbo state before becoming a Rusalki, as if to allude to an Initiatory period of training. During this time of Initiation the young Rusalki are known by the Russian as a Navki, or in Polish as Látawci Navki who are reputed to appear in the form of birds, which cry out wailing cries like forlorn infants. The Navki continuously comb the countryside in search of their former mothers, who would be quite shocked by what their daughters are becoming of a Pussy-Riot rebel generation. But what do you expect; there be a commonality of Playgirl Grimoires listing butch ‘Animus’ Angels and Demons; whereas Playboy Grimoires are not to be found of conjuring the ‘Anima’ manifestations of the Succubae Rusalka, such as the one time Succubus, named Astarte, who be otherwise known as Astaroth.
The young Navki ghost girls are usually seen to be rejected by the mother Church of Rome, whose patriarchs greatly fear them with deep dread, due to their malign reputation of jealously attacking those Christian women who are said to be close to the time of childbirth. Although this has more to do with attempting to stop a child from being brainwashed into the appropriated ancestral-self-identity of another people, whose cultural construct of a Abrahamic religion had been stolen by Rome.
The initiatory period of wandering for these angry ghosts of the Navki lasts for seven long years, which seems to indicate an elder tradition of training young girls by some form of ancient matriarchal religion. The chosen girls were no doubt highly adept at trance (drowning) induction, who left their natural mothers in order to be trained. However, those of a Christian disposition perceive the Navki as begging anyone of the Abrahamic monotheist faiths, who will listen to their sad ghost tale, to baptize them. But if the Navki cannot find a Christian cultist to take pity on their wailing voices, to utter Biblical prayers, they are doomed to spend the rest of their days as Pagan (Succubae) Rusalki. As rebellious Pussy-Riot Rusalki, their predatory nature is to seek out Alpha males with one time Order Of The Dracul fast horses to that of Illuminati sports cars, both of which denote big Vatican wallets to suck dry.
It is those quiet spots out of the way ‘power-places’ along woodland brooks and rivers where the Rusalki are seen to live, who also deeply dwell within the bottom of still lakes and ponds, or under the continual turbulence of sharp rapids. There are certain times under stars, revolving as a Zodiac clock, when they eventually emerge from out of their underwater world. The Rusalki are then found to be sitting upon their shores near ‘spiral’ engraved standing stones. Or to be otherwise found perching within sanctified ritual world-trees of prayer offerings, wearing nothing but feathered cloaks, where the Rusalki attempt to, “attract young people by imitating the crying of infants or laughing, giggling, and clapping their hands.” (Máchel: 253).
Many of the Eastern European folk stories describe the Rusalki realm of their underwater Harem abode as, “a place of entrancing beauty, its vast marbled chambers hung with crystal chandeliers, its walls and floors set with gold and precious stones.” (Phillips, Charles. “Spirit Masters and Little Demons.” Forests of the Vampire: Slavic Myth. Myth and Mankind Ser. Amsterdam: Time-Life Books, 1999: pages: 58-77.)
The Rusalki ghost girls were believed to be at their most sexually dangerous during the Rusalye, Rusaliia ‘Rusalki Week’ of early June for at this time, they to have left their watery uterine depths so that to seductively swing upon branches of sacred Birch of forest and Willow trees, near waters at night, chanting out their hypnotic Spell-formulae. The honouring of the Rusalki’s sacred tree is usually that of the Birch.
The Slavic peoples of pre-Christian Eastern Europe used to believe that trees are highly evolved beings, which are far more connected to humans than other plants and animals. This belief is not too dissimilar to the ancient Celtic perspective of sacred trees. The Birch tree is one of the primary holy trees of the Siberian Shaman, which is perceived to be the ‘World-Tree.’ The Birch tree, in particular, is seen as being, “the locus for the coming together of the living and the dead, the communion of animal, plant and human life.” (Hubbs, Joanna. Mother Russia: The Feminine Myth in Russian Culture. Bloomington: Indiana UP, 1988: page: 33).
During Rusalki Week of partying, Birch Trees are usually decorated with flowers and other offerings such as prayer bundles, where they stand naturally, or branches of the tree may be brought into the home to be made into birch-garlands. Other village communities have been known to send young men into their local forest to fell a Birch, “which the girls dressed in women’s robes decorated with bright ribbons and pieces of cloth.” (Johnson: 157).
The Birch tree was then duly carried into the village, while songs were sung over it and the arrival of the Birch into the village was heralded by a ritual meal. This sacred effigy of the Birch was then erected in a specially made ritual house at the centre of the village, where she presided over the week’s festivities as a deity. This ritual is reminiscent of another Russian deity and powerful Sorceress called Baba-Yaga of a similar type to that of the Scottish Highlands, Cailleacch Bheur, whose nature is akin to Hindu Kali who lives in a ‘hut’, which stands on Bird legs amidst a Birch tree forest; whereby the Rusalki are as her faerie sorceresses.
Swimming during this week was strictly forbidden especially to for pubescent young girls and boys just entering maturity, lest Mermaids would drag the girls down to the river floor to make like themselves; while the boys are seduced by wet dream torments. Some folklorists have noted that the word Rusalka originally referred to the dances of girls at Whitsuntide. The word is conjectured to have been derived from the Greek, and that of ‘Rosalia’, the Latin term for Whitsuntide week, which originally meant ‘the festival of Roses’.
The Rusalki ghost girls are seen to spend their time combing their long luxurious braided hair, where their power to be, playing amongst themselves, dancing circles to lure female seekers to their little deaths, drowning into trance so that to initiate them into their arcane pre-Christian mysteries, while the men they to seduce.
The Rusalki are also known for being spinners of webs, who hang the results of their labours within sacred trees, or to draw spirals upon banks near flowing waters, where anyone passing should be wary of stepping upon. The Rusalki are also known for being the spinners of ‘time’ and that of your fate, who possess the power to affect the lives of local inhabitants, they, “decided who died and who would be reborn, who prospered and who perished, who married and who would be barren.” (Hubbs: 33).
The Native American Chumash of the Southern coastal regions of California speak of a ghost woman called Momoy, who can either manifest as a very old crone looking like a Witch, or to otherwise appear as a ravishingly beautiful sorceress, of an ethereal appearance, whose visionary manifestation is that of a most wanton Succubus.
Momoy is the spirit of the Datura flower, specifically Datura meteliodes, but this name is actually a synonym of Datura inoxia, which is a Mexican plant, whose flower is narrower than its Datura stramonium counterpart, having ten teeth at its flower rim rather than five. In the US, it is sometimes called ‘Western Jimson weed’ because of its resemblance to Datura stramonium.
The Datura family is known for its potent hallucinogenic properties, which includes Datura stramonium; wherefore Momoy can be very dangerous indeed to the unwary, who has an intriguing link with the author Carlos Castaneda, whom spoke of partaking of Datura.
Most people commonly associate Castaneda’s experiences of altered states of consciousness being induced by the scared plant, Peyote; but the principle plant he partook of was Datura, which played the primary role in his early experiences into other realities, being his famous and most often cited experience of shapeshifting into a Crow.
Don Juan Matus related: “She (Datura) is as powerful as the best of ‘Allies,’ but there is something I personally don’t like about her. She distorts men. She gives them a taste of power too soon without fortifying their hearts and makes them domineering and unpredictable. She makes them weak in the middle of their great power.”
Datura inoxia, is considered to be the ‘younger sister’ of Datura stramonium by the Mixe tribe of Oaxaca in Mexico, who believe the stramonium plant houses a spirit called Ta:gamih, meaning, ‘Grandmother.’ She is usually called upon when divining cures.
Whereby you have the alternate name, Yerba del Diablo. Although, since the natives consider Datura to be feminine of quality you could alternatively see it as being a female version of Mephistopheles to otherwise name as Mephistophina.
You can thereby determine that Momoy has to be treated with great respect, which requires that the practitioner knows the correct proportions and careful ritualistic use of her powerful plant, otherwise she will most assuredly kill an unwary dabbler.
But, the subconscious will generate its own visionary material, which will formulate of intricate associative correspondences, like that of a tortuous dream. So, the practitioner has to be very careful about the imagery he chooses to meditate upon of a prior ritual.
That is why, as her Chumash tale relates, Momoy would not let her grandson drink of her essence, since ‘he did not know of the proper use of her power and its dosage,’ which of an overdose can lead to hellish insanity and his eventual demise.
The name of Momoy can also be found in the ancient tradition of the Bocon zone in the Merida State of Venezuela. However, Momoy is otherwise seen as small ghosts called Momoys, which are commonly depicted looking like bearded gnomes, wearing phallic hats, or in the same shape as the Datura flower. Although the image of the gnome depicts the shaman partaking of Datura, not the spirit its self. The gnome like figure is very likely derived from a European influence, since the natives do not have beards.
The Momoy shamans are seen to be adept at contacting the feminine spirits living at the bottom of the lagoons, of similarity to what Don Juan Matus communicated about the inorganic feminine intelligence of the Allies, being associated with waterholes. The duty of the Momoy shamans is to look after the natural environment by interacting with the spirits, whose domain is the watery amniotic realm of uterine dreams.
The problem is that Momoy has since been taken out of her ritualistic context for mundane recreational use, whose unwary users should look into why Datura is called Jimson weed, or Jamestown weed in the US. The name stems from the town of Jamestown, Virginia, where British soldiers became drugged with it while attempting to suppress Bacon’s Rebellion.
They are reported to have spent eleven days going literally insane. You can thereby gather that Momoy should ‘Not’ be taken by those who are mentally unstable; for she can trigger off schizophrenia in those who are susceptible.
Anglophone settlers in California often called Datura, ‘Indian whiskey’ because of its intoxicating ritual use by many tribes, which gave rise to the name, ‘Sacred Datura.’ Other common names include ‘Indian Apple’ and ‘Nightshade,’ (not to be confused with Solanum) Devil’s Trumpet, Stinkweed, Locoweed, Pricklyburr, Devil’s Cucumber, Hell’s Bells, as well as Thorn Apple. The commonality of the names warn of an inherent danger that Datura can induce madness in the uninitiated; although, madness is often aligned with genius; suffice to say, lady Datura is quite crazy.
The Tongva tribe call it Manit. Mexicans call stramonium and inoxia, Tolguacha, or Toloache, whose power will enable a practitioner to enter into the surrealist realities of their deep subconscious, which can be a cathartic experience.
The Maya of the Yucatan use the ‘Mehen xtoh-k’uh,’, in the same way as Datura inoxia. It has a long tradition of being used for conducting prophecies and oracles (similar to Brugmansia sanguinea). The Aztecs also used Thorn Apple, which they called Mixitl.
Momoy has been partaken of by other aboriginal Americans across the Americas, such as the Algonquin, Cherokee, Marie Galente, and Luiseño, who also used this hallucinogenic plant in sacred ceremonies.
The Canadian ethnobotanist Wade Davis, who authored the Serpent And The Rainbow, investigated the superb Haitian synthesis of African, Native American and European elder lore, which is called Vodou. Davis identified the usage of Datura stramonium, called ‘Concombre Zombi,’ as being a central ingredient for the concoction of a powder, Vodou priests use to create the Zombies, who are ruled over by Baron Samedhi, whose feminine counterpart is (Momoy) Maman Brigitte.
The ingredient of the Zombie powder may actually be derived from another plant, which is colloquially known as Burundanga, or ‘The Devil’s Breath,’ in South America. Datura and the Devil’s Breath both contain the chemical called scopolamine. But the Devil’s Breath is far more potent, which is derived from a particular type of tree common to South America, called the ‘Borrachero’ tree, loosely translated as, the ‘get-you-drunk’ tree.
Like the Zombie powder, scopolamine can be blown into the face of a passer-by on the street, and within minutes, that person is under the drug’s effect; scopolamine is odourless and tasteless. The Nazi regime as well as the CIA used scopolamine as part of their interrogations, with the hope of using it like a truth serum. But it was untrustworthy due to the ensuing hallucinations it induced. You can then fathom that the Nazi scientists and in turn the CIA’s appropriation of the Nazi discoveries, were well aware of the Zombie powder, long before Davis investigated the ancient practices of Vodou.
As for the use of Datura, it is also known of in Africa, such as Ethiopia, whose Debtrawoch (lay priests), use Datura stramonium to ‘open the mind’ to be more receptive to learning, and creative imaginative thinking, since it enables the practitioner to access hypnagogic trance; whereby to then dream, while awake.
However, should the dream be a nightmare, the practitioner will not be free of its horrors, until the affects of Datura have subsided. The common name ‘Datura’ originates from the ancient Sanskrit word, Dhatura, meaning plant, which was used in ancient India, where the plant is considered to be particularly sacred.
Datura is believed to be the sacred plant of the Hindu God Shiva Nataraja; for via its use Shiva (the [shaman] Lord of Yoga) was therefore able to contact Kali, who is the (Momoy) queen of ghosts, the mother of the dead. (Shiva can be equated with the Vodou Loa, Baron Samedhi; whereby (Momoy) Maman Brigitte equates with Kali.)
In the old world of Europe, Datura was associated with Witch ‘flying ointments’ (Castaneda flying as a Crow into [eternal recurrence] eternity) and various hex (hexagram/sexagram) rituals for the conjuring of spirits.
The seeds were also used as a narcotic ingredient in ritual beer. Gypsies used Datura ritually to banish as well as to attract ghosts, who are said to have known of the Thorn Apple for such ‘ritual’ practices, they were not conducted lightly; Datura is not to be partaken of for a bit of escapist fun; as mentioned prior, she is a dangerous lady.
On the night of the 30th of November Gypsies would place the seeds of Thorn Apple outdoors; the next day they would then throw them into a fire. If the seeds cracked loudly, then the winter would be hard and dry.
The seeds were also used for shamanistic divination rites; such as those conducted by Lapp shamans, which involved the placement of nine to twenty-one seeds upon a marked animal skin of a drum. The skin was then beaten so that the seeds would be vibrated to jump around and, depending on the position of the seeds (on or between the marked lines upon the drum skin) it was then divined, whether a sick person (man/9 or woman/21) would be cured or not.
The number of the seeds is curious, which is similar to the dosage of the Mixe ritual for a man and a woman. But then Datura was originally brought to Mexico by the European colonists, some of whom no doubt remembered their pre-Christian (Momoy) heritage, since there is a similarity of ritualistic usage between cultures.
But, then again, Datura may have entered the new world long before the Conquistadors ever st foot in the Americas; whereas the oriental species was brought to Europe by the Scythian’s and later by the Tarot reading Gypsies.
The plant is widely distributed throughout Eurasia, the Caspian Sea, Mexico, and the North American East coastal region. Overall, it does appear that Momoy has travelled far and wide as a ghost, housed within a plant, which be as her hallucinogenic body, her dangerous flesh.
Many of the supposed close encounter contacts with aliens, prior to the late Hippie era 1970’s did not mention Sirius, until the book, entitled, The Sirius Mystery was published by St Martin’s press during 1976, authored by Robert K. G. Temple.
When to read Temple’s book, you might conclude that his surname is somewhat apt. Of a curious aside, 1976 reduces down, of numerology, to the notorious number twenty-three, and thence to the number five of pentagram, whose traditional colour association is red.
It just so happens, that Johnny Sands, a country-western singer living in Las Vegas, saw in the sandy desert one fateful night, a 60-foot craft at about 1000 feet altitude, shaped like the Goodyear blimp, with portholes around the circumference on the 29th of January 1976.
The object appeared to land upon the desert sand; Sands then saw two humanoid figures approaching him, the author Carlos Castaneda would term as being shapeshifter, Allies, whose inorganic feminine intelligence frequents the (Da’at) desert between worlds. Sands related that he, froze, he wanted to move, but he couldn’t, as if he had lost his ‘John’ the ‘Baptist’ head. The figures came near him, to about three feet away. Sands believes that the humanoids came from Sirius, since they had amphibious fish gills.
As for Temple’s 1976 book about ‘Silver Star Sirius,’ of the thirteenth Cabbalistic path of Gimel, it presents the now common ancient alien hypothesis that the Dogon people of Mali, in West Africa, were in contact with humanoid amphibians from the Sirius star-system, the Dogon call, Nommo.
However, the Dogon iconography depicts the amphibious Nommo with phallic heads, who represent ancestral shamans, whom were highly adept at inducing trance. The Nommo are emulated by human specialists who seek to attain an amphibious state of hypnagogic trance, betwixt and between the binary star pylons of, (land/macrocosm) waking and (water/microcosm) sleeping. It is via this altered state of amphibious consciousness that the Nommo adepts are enabled to remote view far off places, such as the Sirius star system, around which the Dogon say there is a planet of (mermaids) women.
The planet of women represents the inner space of the ‘microcosmic’ dream, which is symbolically equated with the watery womb. The womb of the dream is accessed via the hypnagogic state of trance, which is symbolically represented as a star-gate, since the ascendancy of Sirius marks out the best time to attain trance ingress into the watery domain of the dream, in league with the gravitational pull of the Moon.
Temple’s extraterrestrial theory was heavily based on his interpretation of the work of the Christian ethnographers Marcel Griaule and Germaine Dieterlen. A substantial bulk of The Sirius Mystery consists of comparative linguistic and mythological scholarship, pointing out resemblances among Dogon, Egyptian and Sumerian beliefs and symbols, as well as Greek and Arab myths. But it is used to translate the Judaeo-Christian paradigm into the realm of science fiction, as well as being externalised of a hard-technological perspective. The shamanic aspect is invariably left out of the equation, which is due to misunderstanding, as well as habitually distrusting the psychic component pervading the numerous myths.
This isn’t to say, that when the symbolism is otherwise interpreted from a shamanic perspective it then discounts contact with another form of intelligence. Far from it, since there is evidence that remote viewing is possible via trance, and from within lucid dreams, and that the ability enables an individual to access information throughout space and time, which is essentially a natural form of time travel.
You might consider time travel to be impossible. However, at the quantum level, which can be accessed via dreams, time can move in both directions, this occurs because the fabric of space is expanding faster than the speed of light; wherefore, time is also very likely flowing backwards.
In other words, what Temple communicates about the Dogon’s ancient knowledge about Sirius could have otherwise been accessed from the future, the Dogon describe as a planet of women, when their shamans consciously accessed the quantum reality of the dream as trance adept Nommo.
You could equate the planet of women with a future time period around the wheel of the Zodiac pointing out the ages of precession, which of a wobble was symbolised in ancient times as a five pointed Star (Pentagram) atop of the Earth’s (World Tree) axis-mundi.
It is from the planet of women, the Dogon say, human souls emanate; somewhat akin to the consciousness of individuals being downloaded into a (Maya) Matrix (Beehive) of an ancestor simulation.
It is very likely that a time travel technology will be eventually devised, whose hard technology will be based upon what a shaman can do naturally via trance and dreaming in the future.
Whereby the technology will involve what could be construed as being a psychic component. But then the sensory experience of space and time is indivisible to your consciousness.
Such a time control technology will enable your descendants to either send a signal (Philip K. Dick’s Pink Beam) back into the past, in order to ‘spin’ the electron dreams of an ancestor, or that of physically travelling into the far distant past in a time machine, looking like a UFO, a Hindu would call a Vimana.
For example, the minions of the military industrial complex wouldn’t think twice about appropriating the technology of the time traveller, let alone dissecting him or her, even though the time traveller is your future kin.
Although, at times, they will engage in communicating information in a highly symbolic fashion, which may not be understood by their contact at the time of the encounter, since the symbolic codes have been engineered to be later understood by others.
The underlying reasoning of the surreal games is the manipulation of society via its myths, which is basically, social engineering in order to engineer alternate realities. The time travellers will have the ability to ‘Slide’ between the engineered realities via controlled time-slips.
Should a time technology actually exist apart from what a shaman can do naturally, then the future civilisation of the time travellers is presently all around you, which of varying time-lines would probably require being policed, by what you could term as being Men In Black.
But don’ forget, there will also be Women In Black too, who, as Queen Bees, they drive around in their time travelling shiny black Cadillac’s looking like ghostly Vampira, having the surrealist humour of Elvira.
Did Robert Monroe, also known as Bob Monroe, (October 30, 1915 – March 17, 1995) experience accessing an alternate Earth, whose technology is right out of a Steampunk novel? Sounds like pure science fiction doesn’t it. Well, he did reveal, that he had actually done so, when consciously journeying into the quantum realms of the dream, who was an idiosyncratic pioneer of out-of-the-body experience (OOBE) research, which in turn encompasses lucid dreaming. His 1971 book, Journeys Out of the Body, is credited with popularizing the term, out-of-body experience.
Munroe’s full name is Robert Allan Munroe, who was originally a radio broadcasting executive who became best known for his research into altered states of consciousness and founding The Monroe Institute. Many an individual who has had an OOBE, invariably investigates Monroe’s experiences in order to come to some understanding of their own out of body experiences along with gaining an insight into lucid dreaming.
Munroe’s research into altered states of consciousness, began during the straight laced 1950’s, just prior to the psychedelic 60’s, when his shamanic work really took off. Munroe produced evidence that specific sound patterns have identifiable, beneficial effects upon our capabilities.
His extensive research was professionally assisted by specialists in psychology, medicine, biochemistry, psychiatry, electrical engineering, physics, and education, which led to the development of Hemi-Sync, a patented audio technology, which is claimed facilitates enhanced performance of your ‘quantum computing brain.’
Monroe was very precise when describing the methods, which he had developed for ‘Sliding’ into the astral worlds of the ‘Electron’ dream.
He assiduously described the dream realms in great detail of nigh scientific scrutiny, which he divided into three specific regions with differing properties, terming them as being, ‘Locale I’, ‘Locale II’ and ‘Locale III,’ of a shamanic cosmology.
But the dreamer is still constrained to his/her present universe, which is basically that of remote viewing from within the informational domain of the quantum dream.
Castaneda described the Allies as being a ‘feminine’ inorganic intelligence, which exists in a dimensional domain outside of three-dimensional (Maya/Matrix) space and time he called Penumbra, which of a visionary manifestation appears as a vast desert dividing worlds.
It is at Da’at that the magician experiences his consciousness accessing an Abyss, which is the space between worlds. The Abyss (mini-Worm-hole/Silver-Star) is experienced (folding space) prior to attaining (Kwisatz Haderach) ingress into an alternate world.
When Monroe’s consciousness accessed Locale II he would sometimes experience being hassled by nightmarish beings, who reflected back his fear, and in doing so, attempted to drag his astral self back to Locale I; whereby impeding his progress, and generally made his inner experience unpleasant as if these entities were seeking to block him from accessing Locale III.
What Munroe experienced regarding the assailing entities, is what many Siberian shamans to have spoken of. The shamans communicate that they are initially impeded in their trance ingress into other realities by Erlik Khan’s daughters, whom can assume Nightmare forms, until the shaman overcomes his fear of their father, who is death; after which they then become as his (Allies/Succubae) Night-Mare spirit wives, to thence ride into other worlds.
However, Munroe stated, that Locale II was the ‘natural environment of the Second Body’, where thought translates directly to ‘bodily’ motion. The second body its self, although appearing of apparent human form, in relation to the dreamers memory of his/her physical body, is not its true form.
Locale III is where Monroe accessed an alternate Earth, via what he termed as being a (mini-wormhole) hole, into which he slid into an alternate reality. The alternate Earth to all intents and purposes exists within a parallel universe. Monroe experienced this alternate Earth as being a material world, whose reality is almost identical to our own.
But there were differences, as Munroe described: “There are no electrical devices whatsoever.” Munroe observed that the transport of this alternate Earth utilised steam-driven locomotives, which sounds like a Steampunk cross between an American motor-home and a High-Speed Train, which hauls wooden cars. The automobiles of this alternate Earth were twice as wide as Munroe’s own equivalents, which are driven along huge roads at a sluggish 15-20 mph.
After several slides into a parallel universe of Locale III, Monroe discovered an alternate Earth inhabitant who was his (alternate-self) doppelganger. Monroe involuntarily enters into his double’s body; whereupon embarrassment and confusion ensues, which often involved a Steampunkette woman called Lea.
It just so happens that the name of Lea is etymologically connected to the name of a Celtic faerie lover called a Leannan sìth. It is with Lea, slider Monroe becomes romantically attached, as his (Ally/Succubus) dream lover, when sliding into his alternate self.
Monroe’s dream slides into Locale III, he otherwise called, ‘intrusions.’ This alternate Earth has a three dimensional reality. As stated in part, earlier, Monroe related, that his intrusion into an alternate Earth as being, “a physical-matter world almost identical to our own. There are trees, houses, cities, people, artefacts and all the appurtenances of a reasonably civilized society.”
However, Monroe observed that, Locale III had evolved along a different technological trajectory; there was no electricity or fossil fuels; its inhabitants relied instead upon a sort of alternative power source. Perhaps, it is where the ideas of Nikola Tesla had taken root, without any impediment from gangster bankers, along with the further development of steam power, which had engendered an alternate Hippie Steampunk reality.
As for myself, I have dream slid into differing Locale III alternate Earth’s with the assistance of the (Priestess of the Silver Star) Locale II (Lilith’s Harem) Allies. The Allies assume the forms of Succubae Art Muses, whom then usher my conscious awareness through their vaginal (Vesica Pisces) stargates into alternate Earth’s.
Sounds absolutely barmy, doesn’t it! Hell! What do expect, I’m an Artist; so, I don’t give a Surrealist flying fuck what anyone thinks!
The experience of the Old Hag Syndrome involves an individual experiencing involuntary sleep paralysis.
The sleep paralysis leads to a sensation of a growing pressure upon the body as well as experiencing strangulation, along with being afflicted with terrifying hallucinations.
The initial phase of the experience often involves the sensation of an intrusive presence entering the room at the point of sleep paralysis; whereupon an individual experiencing this invisible presence around him/her feels utterly helpless.
The individual will sometimes experience hearing the creeping of echoing footsteps of the approaching entity before the intrusive presence leaps upon him/her, or to sweep down like some kind of predatory creature blown in on a wind, which leads to a mounting pressure upon the body, usually on the chest area, solar-plexus or navel area.
Sometimes, other sensations are experienced, which is interpreted as being a sexual violation. As the individual becomes absolutely terrified the pressure upon the body mounts in increasing magnitude to the point he/she may also sense being strangled by the presence.
As the fear mounts, the individual might see the presence take on a distinct form, which often looks to be quite monstrous of a usual humanoid form looking like an old Hag.
In very rare cases this experience of an ‘amphibious’ state of (hypnagogic) consciousness can lead to an out-of-body-experience, or otherwise described astral journey into a vivid lucid dream, whose content will be determined by the individual’s interaction with the presence during the initial phase of the experience.
Lovecraft appears to have attained an out-of-body-experience, which had been induced by his Old Hag Syndrome visitations, which later inspired the creation of his Nightgaunts in the Cthulhu Mythos.
These creatures appear in Lovecraft’s poem, Night-Gaunts as well as his surrealist novella The Dream-Quest of Unknown Kadath.
Lovecraft describes his Nightgaunts as having a vaguely human shape, who are thin, black, and faceless. He also describes the texture of their skin as being slick and rubbery.
The Nightgaunts are also described as having a pair of inward-facing horns atop of their heads with clawed hands and a long barbed tail which is used to tickle their victims into submission. They can fly using a set of membranous wings who make no sound.
The Nightgaunts are associated with one of the Cthulhu Mythos’ deities in Lovecraft’s writings, notably, in his story ‘The Strange High House in the Mist,’ lists them as being the servants of Nodens, Lord of the Great Abyss, (a relatively benevolent entity, although still an incredibly alien intelligence among Lovecraft’s pantheon).
The Great Abyss refers to the Cabbalistic hidden sphere of Da’at, which is associated with the reptilian brainstem of the throat area.
Hence the acute sensation of strangulation, which is to do with the activation of the Reticular-Activation-System; whereas the pressure upon the body is associated with the Autonomic-Nervous-System.
However, the experience of strangulation and the associated pressure upon the body can be overcome if the individual does not fear the visitation of the entity, which is then otherwise transformed of an experienced manifestation; whereupon for a heterosexual male it can manifest as a Succubus.
However, the Succubus is usually seen to be rather negative due to a very peculiar religious indoctrination, which has negated sexuality and in turn the feminine (Anima) principle from the spiritual equation.
The Succubus In German folklore is otherwise called, a Drude (pl. Druden) Other names for Drudes include Trutmahr (“Nightmare”) and Walriderske. Drudes typically take on the form of an ugly, old, withered woman, who is, at the same time, very heavy. This old woman creeps into homes at night through the smallest of cracks and openings. Once in the room, the Drude sits upon the person’s chest. Drudes are also shape-shifters and can appear as feathers, clouds of smoke, bumblebees, snakes, toads, dogs or cats.
According to old German belief, Drudes are virgin Witches who have the ability, to split off a Drude from their spirit. This was known as the Drudenfluch or ‘Drude’s curse.’ Sometimes they voluntarily chose to do so, while in other cases it is forced upon them. Although this can have either a benevolent or malevolent effect on others around them.
Women suffering from the Drude’s curse will keep this a secret from their fellow human beings. The only way to free themselves from the curse is by being given a very tame and important domestic animal to pass the Drude onto, which kills the animal in the process. It was believed that amongst seven daughters there would be one Drude.
The Drude are very much associated with inducing the Old Hag Syndrome, which of an experience inspired the word ‘nightmare,’ as in ‘night’ and ‘mare.’ The motif of the mare represents the increasing pressure upon the body, but the mare can also be ridden by a shaman.
A Drude is always female but it is often confused with the Trude, a half-human, half-birdlike being, which shares some features with the Drudes. The term Trude or Trut is thought to be derived from the Middle High German word Trut or the Gothic word mini Trut, both in the sense of, to be Trut. Supporting this are names for Drudes, which are also based on the root to Trut from the Alpine region such as Trut or Romansh Trut and a Bavarian word for a wizard, Truderer.
The Truderer (wizard/sorcerer or shaman) is in fact the Trude who has the ability to conjure up the Drudes as his Succubae.
The (Succubae) Drudes enable the Truderer’s spirit to travel out of his body to fly ecstatic like a ‘bird’ across space and time via an ‘internal’ vaginal-star-barrelled-portal travelled through of a Stargate, which is associated with a particular (Witch) Succubus, who has been conjured by the Truderer from within his lucid dream.
Whereupon you have the half-birdlike being of the Trude. The Truderer conjures up the Drudes amidst a Hexagram, which is otherwise called the Hex-sign or Sexagram whose number ‘six’ of a six pointed star is traditionally seen to be associated with sex, being that of the Coitus Pactum union of a Truderer and a Drude.
The conjuration of the Drudes is of similarity to the techniques used in Western ‘Ritual Magic,’ which enables the Truderer to ride the Drudes as his Nightgaunt night-Mares just as Lovecraft described his Nightgaunts as being used as steeds by the ghouls of the deeper dreamlands.
The symbolism of the mare is associated with the shamans trance horse, which the Mongolian Kams (shamans) call the Himmori, the Tibetan’s call the Lung-ta, Wind-Horse. The Himmori represents the power of trance, which is seen to reside within the chest area of your heart (Central-Nervous-System). Whereupon you have the pressure upon the chest when experiencing sleep paralysis, of an initial phase of trance ingress, which is technically termed as the hypnagogic state.
The experience of trance can be quite terrifying to the uninitiated whose fear will block them from attaining internal ingress into the dream; whereupon, the fear has to be overcome. This understanding led to spiritual techniques being devised by shamans, which revolved around the initial ritualistic conjuring of female entities, the Tibetan’s call Dakinis who are otherwise known as Druden in German folklore.
Basically, the technique involved introverting the sexual impulse in order to transform the terror of trance ingress. The reason why an individual experiences acute terror when attaining trance is because the physical body as well as the ego instinctively reacts to the possibility of its demise. Once the fear has been ‘reined’ in by the shaman, he can then ride the Dakini as his mare into far deeper levels of the dream.
The folklore concerning the Drude is especially prevalent in Southern Germany, where the Druden are also seen to be Valkyries who are the Witch wives of the shamanic deity called Woden (Norse: Odin) Lovecraft otherwise called Nodens. The Druden are said to participate in the Wild Hunt like Lovecraft’s Nightgaunts, who were seen to be a particular class of Demon in Alfonso de Spina’s hierarchy; but what do you expect, Spina was a Christian. The word Druden also came to be used as a generic term for a ‘Witch’ during the 16th century.
The Drudenfuss literally ‘Drude’s foot,’ also Alpfuss, Elf’s foot, is Lovecraft’s Elder Sign of a pentagram, which is believed to ward off (Necronomicon) Demons, as explicitly named in Goethe’s Faust (1808). However, the Drudenfuss represents the (Explicate Order) Macrocosm of the waking world when upright and the (Implicate Order) Microcosm of the (spirit world) dream when inverse; whereupon it was believed that the upright pentagram had the power to dispel the creatures of the dream.
The Drudenfuss has been in use since at least the 17th century, which was recorded by Justus Georg Schottelius (as drutenfusz, glossed omnis incolumitatis signum ). Its use is apparently well-recorded in 18th to 19th-century folk beliefs as practiced in Bavaria and the Tyrol.
Drudenfuss is also the German name of the pentagram used as a heraldic device (alternatively Drudenkreuz drude’s cross, elf-foot” or Alpkreuz, elf-cross, besides the more descriptive term of the Pentalpha or Fünfstern.
Another ritualistic item of interest is the Drudenstein (also known as Hascherlit), which is a pebble with a naturally-formed hole in the centre of its (Earth) sphere. The Drudenstein was used as a means to see the Drude when to peer of singular eye through the hole. In Bavaria, such pebbles were hung in rooms, on cradles or in stables to ward off nightmares, or to protect shamans spider mares against matted webbed manes or twisted-helix tails.
A Truderer would use a (phallic) knife called a Drudenmesser or ‘Drude’s knife’ in his conjurations of a Drude, which has nine half moons and crosses on its blade. The Drudenmesser is said to have the power to collapse a whirlwind when needed, which is one of the initial manifestations of a Drude. The knife is thrown into the whirlwind in order to take control over the Drude, who will then become the Truderer’s most loving Ally.
The Ally is described as being an inorganic-feminine-intelligence, which enables a sorcerer to accomplish his tasks or deeds however pure or unsavoury just like the Truderer of Germanic wizardry.
Don Juan’s teacher was a shaman-sorcerer known as a Diablero, a powerful occult spell-master who is said to have the ability to shape-shift. In his works Castaneda writes that a sorcerer’s power, is ‘unimaginable.’ Castaneda goes on to say in an interview in Time Magazine (March 5, 1973):
“The full use of power can only be acquired with the help of an “Ally”, a spirit entity which attaches itself to the student as a guide. The Ally challenges the apprentice when he learns to see. The apprentice may duck this battle. For if he wrestles with the ally – like Jacob with the Angel – and loses, he will, in Don Juan’s slightly enigmatic terms, “be snuffed out.” But if he wins, his reward is “true power the final acquisition of sorcery membership, when all interpretation ceases.”
Some twelve years before the Time magazine article Castaneda wrote in his first book The Teachings Of Don Juan: A Yaqui Way Of Knowledge (1968) from information gathered in the field from Don Juan Matus in 1961:
“The idea that a man of knowledge has an Ally is the most important of the Seven Component Themes, for it is the only one that is indispensable to explaining what a man of knowledge is. In my classificatory scheme a man of knowledge has an Ally, whereas the average man does not, and having an Ally is what makes him different from ordinary men.”
An Ally is a power, which is capable of transporting a man beyond the boundaries of himself; that is to say, an Ally is a power which allows you to transcend the realm of ordinary reality. Consequently, to have an Ally implies having power; and the fact that a man of knowledge has an Ally is by itself proof that the operational goal of the teaching is being fulfilled.
You could thereby determine that Lovecraft’s Nightgaunts are one and the same as the Drude and Don Juan’s Ally, which is a spirit entity that attaches itself to the student. The Old Hag Syndrome is experienced when the Ally challenges the apprentice.
However, a student is, not a fully fledged sorcerer or shaman at this point, since the Ally is challenging the apprentice to transform his fear, which the student may never achieve. The apprentice is the one that is challenged, who thereby experiences night-terrors; whereas a fully fledged sorcerer or shaman is otherwise enabled to travel into other realities with the aid of the Ally.
As an aside Don Juan’s name is derived from the mythic character of Don Juan, who is usually portrayed as a wealthy, seductive libertine, whom devotes his life to seducing women; he takes great pride in his ability to seduce females of all ages and stations in life; whereupon Don Juan is used synonymously for a ‘womanizer,’ especially in Spanish slang, and is often utilised in reference to hypersexuality.
The sorcerer Don Juan Matus otherwise seduces the feminine-Inorganic-Intelligence of the Allies, who collects (Drudes) Succubae, which refers to the introversion of the sexual impulse to do so. Whereas Lovecraft admitted that he had big emotional problems concerning the opposite sex, who had an avid dislike for the sexual act due to his puritanical religious upbringing; whereupon his Nightgaunts reflected back his fears, which he was unable to transmute.
This invariably led to a development of a physical condition, which eventually brought about his demise. Lovecraft’s Nightgaunts actually indicated within his dreams, what was to occur, many years before when he was a child. Lovecraft described the Nightgaunts clutching him around the area of his stomach. He was later diagnosed with cancer of the small intestine, and as a result Lovecraft suffered from malnutrition.
The anthropologist and author, Carlos Castaneda related in his books that the Sorcerer Don Juan Matus had spoken of a ‘Feminine Inorganic Intelligence,’ he had termed as the Allies. A Hindu practitioner of Yoga or a Tantric Tibetan Buddhist would otherwise term the Allies as being Dakinis, whereas a medieval Sorcerer would call them Succubi.
The Allies are said to feed off the emotional (charge) energy of a Sorcerer, which sustains them (spin) within their penumbra domain (Lilith’s Harem) of the Nagual (electron) dream.
Your Nagual dreams can be consciously accessed via hypnagogic trance, at the point between (0) sleeping and (1) waking. When sleeping (dreaming) it is symbolically associated with (Nagual) water, while waking corresponds to (Tonal) land. Should the practitioner find himself/herself between the two states, one has the ‘amphibious’ state of hypnagogic trance.
Dreams are essentially excited (spun) electrons, illuminated by the (charged) bio-photon, which is emanating from amidst your Mitochondrial DNA within each and every cell of your physical being. The Mitochondrial DNA is passed down from the mother to her children.
Hence the bio-phototon illuminating your electron dreams has a feminine source. A dream can be seen as being analogous to a TV set, whose (spun) ‘electron,’ tube is excited by a (charge) signal, which gives rise to a TV station you have tuned into.
In regards to a program of an electron dream, its bio-photon signal is emanating from the intelligence of your Mitochondrial DNA, whose double Helix, the ancient seers intuitively symbolised as a (Caduceus) Serpent.
Said serpent (fire breathing dragon) is often associated with the feminine principle of the ‘Anima,’ such as Lilith who tempted an Eve.
Whereas the inner light (fire) of the dream was associated with the torch held by a (statue of Liberty) goddess, the ancient Roman’s called Diana-Lucifera, the Christian’s transformed into a machismo Lucifer of an ‘Animus’ fixation, whom they saw as their Devil.
The name Devil, is originally derived from the Indo-European word, Devi, the Hindu knows as a name of a Goddess, whom is associated with (Deva) light.
Don Juan also said that a Sorcerer required an Ally in order to have the power to trance-travel into other realities via his Nagual dreams; whereupon a Sorcerer sets about hunting down, capturing and then feeding an Ally his emotional energy, such as his introverted sexual focus, which is far better than fearing them.
An Ally as mentioned prior, is basically a Succubus, the ancient Arabian’s called Jhinn, who are seen to be made of (bio-photon) fire, which are otherwise called Genies, a Siberian Shaman knows as spirit wives. The psychiatrist Carl Jung would see the spirit wives of a Shaman as being Ally/Succubi aspects of his ‘Anima.’
A practitioner of Yoga sees the Dakinis as being the energetic (bio-photon/fire) fluctuations of Shakti, who is the (Mitochondrial DNA) source. Some physicists are starting to suspect that the Mitochodria is generating your consciousness, which has Microtubules, like that of onboard mini-quantum computers.
Whereupon you could conjecture that your dreams are very much like computer generated virtual realities, wherein the dream characters are like programs, which can become sentient, a Tibetan Buddhist would call a Tulpa; and what is more, the Microtubules are possibly making calculations via alternate realities, since an electron can be in many places simultaneously.
Some physicists even consider an electron to be a possible (quantum) mini-wormhole, which at the level of the Nagual dream a shaman can access consciously, since his consciousness is smaller than any known particle.
This inner (Nierika) Stargate into another (womb) parallel universe is symbolically represented as a (vagina) spirt wife (Ally) who governs over an alternate reality (planetary sphere) the shaman seeks to ‘seduce’ (tune into) as a Skinwalker Don Juan.
FAUSTUS CROW 