The above artwork depicts Mephistopheles as being a female (Daemon) spirit, who is primarily associated with the Faust (Dr Faustus) legend of a Sorcerer (scholar) based on the historical Johann Georg Faust, who wagers his soul against the Devil. Mephistopheles first appeared in the late 16th century Faust chapbooks.
In the 1725 version, which was read by Goethe, Mephistopheles is a Devil in the form of a grey friar summoned by Faust in a wood outside Wittenberg; whereas, a female Devil would manifest as a Nun. A sexual female Devil (Lucifer/Satan) and her legions of Succubae would have made more sense symbolically, considering that the Devil rebels against the celibate Abrahamic God of an all male patriarchal fixation. Alas, such symbolic logic was never utilised of a rebellion within any of the so called banned Devil tomes.
The name Mephistopheles already appears in the 1527 Praxis Magia Faustiana, printed in Passau, alongside pseudo-Hebrew text. It is best explained as a purposely obscure pseudo-Greek or pseudo-Hebrew formation of Renaissance Magick. From the chapbook, the name enters Faustian Occultism and literature as well as being used by authors from Marlowe down to Goethe, whom envisaged Faust being carried away by the Goetic spirits of Mephistopheles.
In the 1616 edition of The Tragical History of Doctor Faustus, Mephistopheles became Mephistophilis.
The word derives from the Hebrew mephitz, meaning ‘destroyer,’ and tophel, meaning ‘liar;’ tophel, is short for tophel shequer, the literal translation of which is ‘falsehood plasterer.’
However, the name can be otherwise interpreted as the ‘Destroyer’ of Maya; for Maya is an illusion of a (Matrix) lie, you can equate with a computer simulation, over which Mephistopheles has power to reveal. In other words, the computer simulation within your head can be manipulated via your indoctrinated beliefs, which determines your perception of reality.
It is a case of choosing between the ‘Red’ or the blue pill; whether you want to wake up from the Matrix or to stay asleep. It is your choice. But be prepared for the rollercoaster ride into Wonderland after conjuring up the ‘Red’ pill.
Mephistopheles in later treatments of the Faust material frequently figures as a title character: in Meyer Lutz’ Mephistopheles, or Faust and Marguerite (1855), Arrigo Boito’s Mefistofele (1868), Klaus Mann’s Mephisto, and Franz Liszt’s Mephisto Waltzes.
Shakespeare mentions “Mephistophilus” in the Merry Wives of Windsor (Act1, Sc1, line 128). By the 17th century the name became independent of the Faust legend, like that of a Tulpa assuming a life of its own.
According to the American historian and religious scholar Burton Russell: “That the name is a purely modern invention of uncertain origins makes it an elegant symbol of the modern Devil with his many novel and diverse forms.” So, spoke the patriarch empowering his viral-meme egregore!
However, the term, Devil is originally derived from the (Sanskrit) Hindu name for a Goddess called Devi, which is in turn associated with the word Deva, whose term describes deities made out of (bio-photon) light. Whereas Maya (holographic universe) is seen by the Hindu’s as being female of source, and like Salome of the seven rainbow veiled seals, she will only dance naked for the one whose pirate Skull ‘lights’ up crystalline, of a ‘fire’ in the head, when he attains the seventh secret of a Coitus Pactum (Gebo) Rune: X.
Overall, Mephistopheles has had quite an influence upon popular culture as well as the Occult Arts, which is primarily that of an on going all Male fixation; whereby the design rebelliously reinterprets Mephistopheles as being a female Spirit of a most salacious Succubus, who is otherwise called Mephistopheilia or Mephistophina, whom is a Genie of an Occult Art Muse. She inspires a rebel Faustus to thereby enter into a Coitus Pactum with her.
The design of the above artwork also utilises the pact, which the inquisitional monks to have said was allegedly signed between Urbain Grandier and the Devil. It was also said to have been stolen from the Devil’s cabinet of pacts by the Demon Asmodeus. It is used as a background behind Mephistophina; she is also accompanied by Seals and Sigils, which are the personal symbols of Mephistopheles.
As for the Seals and Sigils, they are derived from Medieval Grimiores, which were supposedly written by Faust; the Seals and Sigils were used by Sorcerers in order to Evoke Mephistopheles. However, you now have Mephistophina to Evoke instead.
The name of Mephistophina has thirteen letters, which in numerology adds up to the precession (Goetia) number 72, reduced down to 9. Her name in Runic numerology equates with the 13th Rune of Eihwaz. The thirteenth Rune represents the Multiverse ‘World’-Tree of nine worlds called Yggdrassill, upon which the shaman deity of the ancient Norse called Odin (Saxon: Woden) hangs into trance, whom as a magician, is equated with Faustus. Wherefore, you can deduce that the name of Mephistophina is symbolically powerful.
The font of the above depictiction of Mephistophina as a rebel Angel, and that of her Coitus Pactum is derived from 15th-16th century Grimoires, which was utilised for the Grimoire called the ‘Nine Gates‘ that was featured in Polanski’s film entitled: ‘The Ninth Gate,’ in which Diana-Lucifera entered into a Coitus Pactum with her Faustus.
Suffice to say, Mephistophina is somewhat of a ‘Discordian’ Art Muse of Monty ‘Python’ Heyoka wisdom. So, if you are an avid traditionalist, to have entwined your so called magical practice with an indoctrinated religious perspective, you had better keep taking your medicated Communion wafers, drinking fluoridated Wine. The practice of magic is no different to art; if you believe otherwise, you are practicing religion, not magic.
Wherefore, it be best that you stay well away from ‘Red’ pill Mephistophina, to otherwise live in fear of your blue pill phallic Devil of a Mephistopheles; it will be far safer for you to live in brainwashed continuance of being upended by your Abrahamic trinity of NWO death-metal Illuminati cults out of Ur. Mephistophina ‘takes no prisoners,’ she prefers the freedom of the unshackled imagination… no symbolic ‘Matrix’ limits of religious prison bars; whereby her Faustus is an Avadhuta rebel. You have been duly warned!