Faust decided to engage himself in an active imagination exercise, which led to him entering betwixt the Werewolf and Vampire pylons of hypnagogic trance, via which he accessed a twilight lit lucid dream.
He duly found that he had taken on the form of a Bat to fly of astral journeying towards Transylvania where he then howled of conjuring up Mephistophelia (Mephistophina) within a toppled abbey as a Nun.
Her dream domain is set amidst a Baba Yaga birch wood forest, bathed by the bio-photon light of the mitochondrial DNA Moon.
However, there was once a large Germanic colony of Runic Saxon’s in Transylvania at one time. It is said Transylvanian women are very… hot bloodied.
Faust to have surmised that it might be the subconscious reasoning of associative correspondences for the Transylvanian Coitus Pactum union with a sexy Valkyrie vamp.
Subsemnatul (a)…………………. sunt de acord cu urmatoarea tranzactie: imi vand atat trupul cat si sufletul lui Mephistopheilia.
Clauzele contractuale:
1: Mephistopheilia va i subalternul meu si va indeplini tot ce li voi cere, inclusiv intinerirea mea.
2: Sunt de acord ca, dupa un terman de 100 de ani, timp incare clauza nr. 1 va fi respectata ad litteram, Mephistopheilia sa ma transporte in integralitate, trup si suflet, carne si sange, in teritoriul lui, oricare ar fi acesta si oriunde s-ar afla acesta.
Scris de mana mo (loc de semnatura)
Consummatun est!
ENGLISH TRANSLATION:
The undersigned (a)………………….
Agrees with the following transaction: sell both my body and soul to Mephistopheilia.
The contractual clauses:
1: Mephistopheilia will be responsible for fulfilling all that I am going to ask, including the rejuvenation of me.
2: I agree that, after a term of a 100 years, clause no: 1 ends.
I agree that after a term of a 100 years, clause no: 1 will be observed literally, Mephistopheilia will carry my entire, body and soul, flesh and blood, to its territory, wherever, whatever it be.
Crow’s Coitus Pactum does does not involve the selling of souls, or having an indulgence in self-defeating brain-dead acts of imbecilic evil, etc.
Such is just for Holy-wood fare shock entertainment of an ongoing biblical brainwash, which enamours the monotheistic worshippers of the deified ‘Animus.’
The deified ‘Animus’ has been made as their Jehovah/God-Christ/Allah, and a Satan/Lucifer-Devil/Shaitan, of Orwellian Big-Brother politics.
Anyway, should you become a Faustian rebel, seeking to free your soul from an ensnaring brainwash, rather than selling it down the baptismal river, you might just find yourself being tarred and feathered as a blasphemer by Nuns, Priests, and even by the Pope himself, who are all wedded to their deified ‘Animus,’ made as a God/Devil, wearing wedding rings of Coitus Pactum matrimony.
You might even get into bother with Rabbis and Mullahs, as well. If so, just Howl out; “there is a perpetual Sex War in heaven; I’ve decided to side with the Great Old Ones, who be the Fallen ‘Anima’ fluctuations of the politically incorrect Succubae, to whom I be wedded to of a Coitus Pactum!” That should confuse the Hell out of them!
NOTE:Most psychologists of varying psychological disciplines are very much aware of the Animus and Anima, which were scientifically investigated and clarified of a psychological function by the psychologist Carl Jung.
However, said psychologists, and even Jung, himself usually describe the Animus and Anima in very convoluted language, which of labyrinthine intellectualisations, lose any applied practicality. The following has been simplified for the layperson.
But then it is all very simple of nature anyway. Hence, without thinking about it, an everyday psycho-biological process is easily taken for granted, and thereby entirely missed. Wherefore, the likes of religious/politically motivated social engineers utilise what is habitually not self-observed in order to influence and ultimately have total control over the quite oblivious masses.
NOTE: Coitus Pactum is Latin for, ‘Sex Pact.’ This does not mean that the sexual aspect is merely hedonistic of nature, nor does the ‘Pact’ allude to a practitioner selling his soul. The ‘Coitus Pactum’ sums up a Sorcery technique of internalising the sexual impulse in order to empower a lucid dream conjuration of a ‘Tulpa’ some will term as being a ‘Mind-Doll.’
The technique initially involves an ‘active imagination’ conjuration of an imagined (Tulpa) character, which is none too different to what many an Artist does when ‘vividly visualising’ a chosen character to draw, paint, sculpt or write about, etc.
When engaged in creating a character the Artist is entering into a ‘Pact’ with himself, to complete an Artistic project. If the Artist is a Surrealist, he might take the technique further by internalising his ‘Sexual’ impulse, while creating an Artwork featuring an erotic female character.
Should the act of a creative (hypnagogic trance) meditation be sustained of a ‘Pact,’ which leads to finishing the Artwork, featuring a meditated upon female character, it will initially engender ‘Sexually’ charged trigger-dreams and then an eventual lucid dream encounter with the focused upon female character, a Surrealist Artist will see as an Art Muse.
It is within a lucid dream that a two-dimensional image of female character will become an interactive three-dimensional reality of an Art Muse, who is an aspect of the male Artist’s ‘Anima.’ The experienced lucid dream encounter will then inspire the Artist to create further Artworks of a ‘Pact.’
But the Artist is not bound to a particular conjured Art Muse aspect of his ‘Anima;’ for he has many an Art Muse to conjure amidst his Triangle Of Art imagination within his Art Studio of a Magic Circle Harem. In other words, Sorcery is Art, Art is Sorcery, they are indivisible from each other of (shamanic/occult) practice. The first Shaman was also an Artist!
Some practitioners will tend to externalise their internal reality, which leads to seeing the ‘Coitus Pactum’ as an actual marriage to a particular ‘Anima’ or ‘Animus’ projection. This will be due to the practitioner feeling that he/she needs to be in a monogamous relationship, which, if none to physically exist, it is otherwise imagined, which validates the practitioner’s Inner Self-Image of himself/herself as being a partner who is committed to a relationship.
When exploring shamanic orientated cultures, you will find numerous examples of male Shamans who often describe female characters they encounter within their hypnagogictrance visions unto lucid dreams as being their ‘Spirit-Wives’ to whom they are married, as well as having spirit children with them. These ‘Spirit-Wives’ are Harem aspects of the male Shamans ‘Anima.’
In some shamanistic societies elaborate wedding ceremonies are ritualistically performed when a Shaman marries a ‘Spirit-Wife.’ These weddings will often involve an effigy of the ‘Spirit-Wife,’ or a drum, wherein she is seen to reside, likened to a Genie in a bottle.
This then overlaps into the domain of the religious where a priest is marrying a (Anima archetype) Goddess. Such examples one will find when looking into animist Hinduism. The marriage symbolically represents the priests life-long commitment to worshiping a particular (Anima archetype) Goddess (bride) as their priestly (husband) vocation.
Female shamans likewise have ‘Spirit Husbands,’ who are archetypal aspects of their ‘Animus.’ Hence you have Catholic Nuns who are seen to be married to their ‘deified Animus,’ made as a God/Devil.
The religious sentiment is difficult for some to let go of, which of an external projection can potentially lead to psychological problems. And what is more, when one honestly looks at nature, the female is primarily attracted to a male because he is the one who usually protects and provides, while she gives birth. It is the obvious reason why a woman requires a man to be monogamouslycommitted to a relationship with her.
Wherefore, the ‘Anima,’ will reflect back this biological reality within the male psyche, just as the ‘Animus’ does within the female psyche. Hence one has an overriding symbolic fixation upon the ‘deified Animus,’ because Nuns/Witches seek out an Alpha-MaleGod/Devil to protect and provide for them, otherwise he’ll end up being crucified as a Beta-Male.
So, when a male Artist conjures up an Art Muse aspect of his ‘Anima,‘ amidst his Triangle Of Art imagination he will have to make sure he assumes the Inner Self-Image of a Fifty-Shades Of Greybillionaire Artist as his Avatar, otherwise a conjured Art Muse will not pose for him.
Morgana le Fay is considered to be a powerful enchantress in the Arthurian legend. She is otherwise known as Morgan, whose name is very likely derived from Old Welsh or Old Breton name: Morgen, meaning: Sea-born, which is derived from the Common Brittonic: Mori-gena.
A cognate form of the Morgana’s name in Old Irish is Muirgein, which is also a name of a shape-shifting fairy or Witch who was associated with the sea; she was later transformed into a Christian saint.
This leads you to Morgana’s epithet ‘le Fay,’ which is derived from the French: la fée, meaning, the (Succubus) fairy.
Morgana’s counterpart is the wizard, Merlin, whose original Welsh name is Myrddin. The name of Myrddin means sea-fort or sea-hill.
You then have Morgana who is a spirit of the sea and Myrddin who is a fort/hill amidst the sea of Morgana, and she to relentlessly lap his shores, desiring him to enter her depths.
The symbolism of which is reminiscent of Hindu belief concerning the cosmic mountain of Mt Meru at the centre of the milk (mother) ocean, which is churned by Mt Meru into creating Maya.
The electrons of the dream are spun by the emotive charge of the dreamer; somewhat like a charged signal spinning the electrons within an electron tube of a TV set brain, when to remember the landlords Witch daughter.
Such is alluded to by Mt Meru being twisted by a tug of war between the Asuras and the Devas, who represent the Moon and Sun, Ida and Pingala (Autonomic-Nervous-System) nerve channels running along either side of the spinal column, of an aerial, tuning into ’emotively charged’ possibilities.
Then again, the subconsciously tuned into possibilities, may actually be memories of of an eternally recurring Ouroboros, of a life.
You also find similar symbolism in ancient Egyptian mythology, in which the principle God called Atum, from whose name, Atom is derived, is sometimes depicted as a pyramid of light, around whom is the primordial (mother) ocean of Nun. However, Atum is the master of light, but the source of the light is Nun.
The God Atum is equated with the ancient Greek God, Zeus and in turn the Roman God, Jupiter; these deities are associated with the heavens. This then leads you to Myrddin forging the round table, which alludes to the round table of the Zodiac, being that of the starry heavens, under whose revolving stars, lovers do gather around the dancing stones.
It appears that Morgana and Myrddin were not historical personages, they are instead ancient deities. But it is more likely that they represent a shamanic practice. In other words, the name of Morgan may have been a title for female shaman; whereas male shamans were called Myrddin’s.
This becomes more apparent when to look at an early name for Great Britain as stated in the Third Series of the Welsh Triads, being, Clas Myrddin, or Merlin’s Enclosure, which is surrounded by the shape-shifting sea of Morgana. Ancient Britain was once known as a school for Druids.
The name of Merlin is also a name for a small hunting Hawk, which is specifically flown from a ladies hand; this seems somewhat apt, since the ocean of Morgana surrounds the island of Clas Myrddin.
As for Arthur Pendragon of a Dragon motif you have the star (α Draconis) Thuban, which was the Northern pole star from 3942 BC, when it moved farther North than Theta Boötis, until 1793 BC, due to the Ouroboros precession around the Zodiac ages.
The traditional name of Alpha Draconis, Thuban, means ‘Head Of The Serpent,’ which is associated with the (Myrddin) Druids, who were also known as ‘Adder Heads.’
The symbolism of the Adder Head could be associated with the term Camelot, which may be a composite word, comprising of the Hebrew letter of ‘Gimel,’ giving rise to name of Camel, ending in the Germanic word for wealth, being ‘Ot.’
The Hebrew letter Gimel, is associated with the thirteenth path of the Cabbala. The thirteenth path penetrates the hidden sephiroth of Da’at, which is termed as the abyss or desert, which can be otherwise seen as an ocean between worlds.
When crossed, it allows an adept to converse with his (Succubus) Holy Guardian Angel.
The sephiroth of Da’at is associated with the reptilian (Dragon/Adder) brainstem of the ‘throat area,’ which governs over the depth of (abyss/ocean) trance and (‘Apple’ Isle) dream states.
The symbolism of the (Adder/Dragon) serpent was utilised in varied shamanic cultures across the globe to represent trance adepts, who were able to attain an amphibious state of consciousness in order to consciously access the spirit world of the dream, which is symbolically equated with the sea.
You then have a shamanic adept of trance, being the Druid Myrddin who can become (lucid) conscious within the watery shape-shifting domain of Morgana, whose realm is the quantum dream.
Myrddin’s Adder-Head (hypnagogic trance) intercourse into the Vesica Pisces of Morgana is attained of conscious dreaming at certain key-times around the (circadian rhythm) star-clock, marked out by circled stones, of a round table, ever re-turning, Ouroboros.
When Myrddin becomes conscious within Morgana’s watery reality of the dream he becomes as the sea-hill, symbolised as the Apple Isle (Avalon) of Glastonbury Tor, of similarity to Mt Meru, the ancient Egyptian’s otherwise depicted as a pyramid of light.
In Siberian shamanic practice, the cosmic mountain is intersected by the world tree, the ancient Norse called Yggdrassill, which is remembered as the May-Pole, the Saxon’s had prior known as the Irminnsul.
Yggdrassill was also transformed into the Christmas tree, whose elder symbolism represents the ‘spinal column’ of the (Odin/Myrddin) shaman, upon which he ‘hangs’ into self-sacrificial ‘trance.’ As an aside, there was once a ‘gallows’ atop of Glastonbury Tor, which is now occupied by a ‘fort’ of a tower, as well as an associated ‘serpent’ stone of an egg.
It is along the spinal column that the Kundalini Shakti (Fire Snake/Dragon) is aroused in Yoga practice, which is experienced as a feminine energy, the Kalahari Bushmen of South Africa also know of as Num. The arousal of the Num initiates the experience of trance they call Kia, a Siberian shaman knows as the fire in the head; whereby you have the term (Kundalini Shakti/Fire Snake) Adder-Head.
Wherefore the cosmic mountain of a sea-hill symbolises Myrddin’s body out of which he can (OOBE) spirit fly as a disembodied Merlin into the inner space ocean of the dream. But only when flown by (Kundalini Shakti/Fire Snake) Morgana’s loving (Succubus) hand, who to set Myrddin’s head aflame as her ‘Wicker-Man.’
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 Golem of Jewish folklore, is an animated anthropomorphic creature like that of a Dr Frankenstein’s creature, which of a Gynoid female version could be termed a Frankenhooker.
A Golem is usually described as being magically created entirely from inanimate matter, you could easily equate with an A.I. robot. The earliest stories of Golems date to early Judaism.
These early tales of Golems are found in the Talmud (Tractate Sanhedrin 38b), where Adam was initially created as a Golem when his dust had been, ‘kneaded into a shapeless husk.’ Like Adam his first wife Lilith was also created as a Golem.
All Golems are created from sculpted mud. This mud is otherwise called the prima materia by the alchemists, which alludes to a symbolic code; but more on this later.
The most well known story of a Golem introduces us to Judah Loew ben Bezalel, who is a late 16th century rabbi of Prague. He is also known as the Maharal, whom reportedly created a Golem to defend the Prague ghetto against anti-Semitic attacks and bloody pogroms meted out by the irate Christian’s.
Depending on what version of this Golem story you come across, the Jews in Prague were facing expulsion from the ghetto or being exterminated under the tyranny of the then Holy Roman Emperor Rudolf II, who was later copied by the right-wing Christian Nazi’s.
You could see Maharal as being a previous incarnation of the German artist Hans Bellmer (March 13, 1902 – February 23, 1975) who is best known for the life-sized pubescent female Golems, which he created as his Frankenhooker Mind-Dolls made manifest of Golem sculptures during the mid-1930s.
Bellmer created his girlish three-dimensional Golems, which he photographed in erotic poses in order to show his repudiation of Fascism and the Nazi aesthetic it propagated; he was certainly out to shock!
Bellmer’s Golems were purposefully created in order to disturb the politically-correct right-wing-Christian sensibilities at the time, when they were published at his own expense back in 1934.
Bellmer’s work still causes a stir, more so now, but for different reasons, when taken out of context of an Entartete Kunst concentration camp by the politically-correct mind-set of the Gestapo. Other works appeared in the Surrealist journal “Le Minotaure”, ensuring Bellmer’s importance among the Exquisite Corpses of the Parisian Surrealists.
Historians of art and photography also consider Bellmer to be a Surrealist photographer. Perhaps Maharal was a proto-Surrealist or that of a mind shock Dr Frankenstein?
Let’s say, both, fused into one singular character of a sorcerer who as a pre-Freudian psychologist knew how to create a viral-meme of a Golem; since, sorcery is art, art is sorcery, which are indivisible of practice; for both practices deal with the manipulation of symbolism, which stirs the subconscious mind of the collective dream.
Going by the subconscious symbolism of the Golem myth, in order to protect his Jewish community against the racial hatred of the church of Rome, Maharal, like a prior Hans Bellmer, created a most disturbing Golem out of clay, which, it is said, he had derived from the banks of the Vltava river. Maharal didn’t choose the Vltava river just because it was quaintly nearby.
The Vltava river has a symbolic importance. It turns out that the Vltava river is the longest river in the Czech Republic, running ‘North’ from its ‘source’ near the ‘German border’ in Šumava through Český Krumlov, České Budějovice, and Prague, merging with the Elbe at Mělník.
Both the Czech name Vltava and the German name Moldau are believed to originate from the old Germanic words wilt ahwa, meaning, wild/strong water. So, the wild/strong waters of the (ley-line) Vltava is rather symbolically apt to utilise for Maharal’s Hans Bellmer doll of a Golem; and what is more, Maharal’s Golem was probably female, which he had secretly created as his Exquisite Corpse of a Frankenhooker in his hidden away loft of a ritual-magic art studio.
According to a legend about the geographic locale in question, a ‘princess called Libuše,’ who was the sovereign of the Czech tribe, married a humble plowman by the name of Přemysl, whom founded the dynasty carrying the same name. “Aha!” A Crow-ley Maharal to say, “what better ‘spirit,’ evoked. To capture into molded clay. Most disturbing, yes, indeed… this, lovely Libuše out of a subconscious necropolis to recall, of a Hans Bellmer Golem doll girl to portray, who to thence haunt the Christian… neighborhood.”
The legendary princess made many prophecies as a prophetess from her castle Libusin, which was located in central Bohemia, whose land later inspired many a Bohemian artist, such as Hans Bellmer, who would have no doubt sculpted the princess in the likeness of his female cousin to put into his Exquisite Corpse suitcase.
In one of Libuše’s prophecies, it is said, that she predicted the glory of Prague: “I see a vast city, whose glory will touch the stars! I see a place in the middle of a forest where a steep cliff rises above the Vltava River. There is a man, who is chiseling the threshold (prah) for the house. A castle named Prague (Praha) will be built there. Just as the princes and the dukes stoop in front of a threshold, they will bow to the castle and to the city around it. It will be honoured, favoured with great repute, and praise will be bestowed upon it by the entire world.” Prague has indeed captured the collective focus of many a mind.
It looks as if Maharal was utilising the locale of the Vltava river because of its mythic importance to the Czech Christian’s, in order to empower his (wild/strong) construct of a Golem, via which he could perhaps ‘remote view’ their malign intentions.
His Golem, being probably female, would also afflict the shocked Christian’s with strangling nightmares as a bedroom invading Lilith, or to otherwise seduce away from their racialist blood lust by reminding them of their own ancestral self identity, which isn’t and never was Hebrew; for It be rather curious, that the converted Christian European’s and Muslim Arab’s make forever war over the ownership of a Hebrew self identity, personified as a cultural deity, which to a European pagan, or Arab, who still remember their own ancestral self identity, will rationally observe, when applying logic, is utter, insanity.
The Golem was then brought into existence through arcane rituals and Hebrew incantations. This involves in depth meditation and intense visualisations upon certain symbolic stimuli to thence implant into the subconscious mind, and in turn enabling lucid dreaming.
The Golem myth however mentions that it was given the (mantra) name of Josef, but more likely that of Yossele. The name Yossele is derived from the Hebrew for Josef, being yōsēf (may he add, God shall add). Wherefore many a mind would commonly point out that Maharal’s Golem was male, without looking any deeper into the matter, who be blinded by an occult blind, following the blinded.
The masculine name is borne in the Bible by a favourite son of Jacob and Rachel (GEN. 30), by the husband of the Virgin Mary and foster father of Jesus (MATT. 1).
You also have Joseph of Arimathea, a rich Jew and secret follower of Jesus, who helped take Jesus’ body from the (solar) cross to prepare it for burial, who supposedly took the Holy Grail (a female symbol, referring to the womb) to Glastonbury Tor (surrounded by a one time inland sea) in Wiltshire, England (JOHN 19).
It would initially appear of an occult blind that Maharal was creating a Golem of the father of Jesus in order to turn against the Christian’s of a symbolic reversal. However, Maharal’s Golem was very likely that of an alternate magical persona he had assumed of a Yossele Avatar, via trance ingress, which, if you allow your imagination to let rip, enabled him to access the dreaming mind of the so called ‘Holy’ Roman Emperor Rudolf II, to thereby torment as Jesus’s father.
This was further empowered by a conjured up female (Succubus) water sprite (Mary: Star Of The ‘Sea’) of the Vltava river, given form as a clay doll meditation focus.
It just so happens that the Vltava river has a female association concerning a statue found in Prague, although sculpted in 1916 by the commissioned artist J. V. Pekárek.
The sculpture is somewhat influenced by pre-Christian Slavic beliefs about female water spirits, of which Maharal was very likely aware, whose pagan existence of ancestral memory terrified the Christian cultists.
The statue is known as the ‘Charming Stone Girl,’ which is an allegory of the Vltava river. It is one of the most popular statues in Prague historic centre, which has a prominent location.
The sculpture is situated in the ‘Northern’ end of Dětský ostrov, literally Children’s Island, which is an island on the Vltava river. It lies in the Smíchov district of the city.
The stone girl of a (Golem) Vltava, is close to the lock chamber standing atop of an 8 metre high pedestal; while her statue is 2.8 m tall, you then have 10.8, which in numerology reduces down to 9 of a Cabbalistic focus upon the 9th sephira of Yesod. Under her (mitochondrial DNA bio-photon) Shekhinah form are plastics depicting four tributaries.
There is a girl with a (Yod/emotional charge) fish, who is called Sázava, a girl with a (Hey/hypnagogic ingress) bouquet named Lužnice.
Another girl washing (Vau/nailing a lucid dream) gold is Otava, and finally, a girl with (Hey/hypnapompic egress) cog wheel (symbol of mills and iron mills, also of circular time) is Berounka. The statue is perfectly visible from the Bridge of ‘Legions’ (Most Legií) or from Janácek Waterfront (Janáckovo nábreží).
Dětský ostrov is mentioned in texts as early as 1355. Until the 18th century, it was called Maltézský Island, after the owner of the Maltese monastery Panny Marie pod řetězem (Church Of Our [Mary/Star Of The Sea] Lady) in the Lesser Quarter.
Subsequently it was named after members of Prague’s Jewish community who owned the land, such as Hykyšův, Funkovský, and Židovský of a trinity.
Each year on All Souls’ Day (November 2), members of the association ‘Vltavan’ place a wreath at Vltava’s statue as a memorial to those who have drowned in the river, which of Slavic myth is very much tied up with discarnate females who have become Rusalka, who live under water, whose aquatic domain symbolises the amniotic (grail/cauldron/back of the head) womb dream.
But as mentioned prior, Yossele could actually be Maharal’s remote viewing Avatar, but it would require being empowered by a feminine source, just as an Adam needs a (Priestess Of The Silver Star) Lilith.
Some of the tales, concerning Golems, such as those of Chełm and Prague, as well as in Polish tales, and of a version covered by Brothers Grimm, involves the Golem being inscribed with Hebrew letters.
These letters spell out the word Emet, ‘truth’ in Hebrew, which is written on the Golem’s forehead.
The Golem could then be deactivated, when needed, by removing the Aleph in Emet, thus changing the inscription from a ‘truth’ to a ‘death,’ Met, meaning ‘dead.’
But, of course, the idea lives on as a viral-meme, when the idea takes up residence within the brains of individuals; this being more to the point concerning the creation of a haunting Golem, like a neuro-advertising tune, that you can’t get out of your head. Whereupon, the more shocking the idea, the more likely it will take on a mythic (Tulpa) life of its own.
Other versions of the Golem tale relate that after conjuring an entity into a clay receptacle of a meditation focus, it could be brought to life by placing a magical formula, known as a Shem into its mouth, which could be later immobilized by pulling out the Shem. This technique was also utilised by the ancient Egyptian’s by the way.
The immobilisation of a Golem could also be brought about by reversing the creative formula. Rabbi Jacob ben Shalom, who arrived at Barcelona from Germany in 1325, to have remarked: “the law of destruction is the reversal of the law of creation.”
Basically, after the thought construct of a (Tulpa) Golem is encountered within a lucid dream it can then be fixated into material form, such as a ‘stone girl’ upon which the sorcerer focuses upon, like that of a Voodoo doll; wherefore you have the motif of a Genie in a lamp/bottle.
This process of a (Tulpa) Golem creation can be reversed of dispersal, when to return back to the source. Or to otherwise transform a symbolic stimulus into another form of expression, by reversing its meaning.
The spirit repository of a statue is often broken so that it cannot be used by others, as well as its viral-meme influence being dispelled; likened to that of the sacred swastika of the Hindu’s, to break apart, by transforming it into a hated Nazi icon.
Back in 1625 Joseph Delmedigo relates that: “many legends of this sort are current, particularly in Germany.”
These German folktales invariably led to Mary Shelley creating her Germanic Golem of a Fankenstein, who may have come across the earliest known written account of how to create a Golem, which can be found in Sodei Razayya by Eleazar ben Judah of Worms (1165–1230).
The myth of the Olympia mechanical doll of a Golem, and Shelley’s Frankenstein has very much influenced the artificial intelligence movement.
Now, let us look at the Hebrew word for ‘truth,’ being Emet, which contains the first: Al-ef, middle: Nun, and the last letter of the Hebrew alphabet: Tav, indicating that the ultimate ‘truth’ is associated with, birth/beginning, your present life/existence and death/end.
Basically, Emet is associated with the process of ‘time,’ in particular, of an ‘abstract,’ which is inextricably linked to ‘space,’ as in space-time. However, ‘time’ is usually perceived to be linear by our nervous-systems, which Albert Einstein to have stressed is an illusion.
Time is actually happening simultaneously, because it is looped, should space be a sphere. What you then have is a sphere of time, which in two dimensions is described by a circle, the ancients symbolised as a snake eating its own tail, called an Ouroboros encircling an egg representing space.
The Ouroboros is also depicted as a Lemniscate, or that of a Moebius strip, which indicates that your existence endlessly repeats of Eternal Recurrence.
In the Tarot, Al-ef/Aleph is the Fool: 0, Nun is Death: 13 and Tav/Tau is the World/Universe: 21. Al-ef (Fool) of a ‘0’ is your return (birth) back to a recurring cycle.
But you have forgotten what you have already experienced many times; hence that of a clean slate, driven, on automatic. Like that of a body, without a head.
The problem, is that you will end up repeating everything, like that of a pre-programmed (Golem) automaton, until you remember certain key memories, which will be initially experienced as déjà vu, and as precognitions. These trigger memories tend to be associated with emotionally charged sexual encounters; whence you have the motif of soul-mates.
But it will not be a case of remembering past-lives or seeing into the future, such a perspective is (foolishly) linear of a ‘fence;’ it will be more of a case that you are remembering the endless Ouroboros cycles of Eternal Recurrence; yet your initial realisation of this, will be that of an abstraction.
When you start to remember, to slowly conceptualise, your conscious mind will often not be able to handle the full impact of its experiential reality. Whereupon you either quickly forget, or your subconscious mind otherwise transforms your awakening into symbolic conceptualisations, which is most often interpreted as being past lives or as precognitions.
An analogy would be that a programmed (Golem) robot starts to become sentient; but only when it remembers of Knowledge, otherwise it stays as a blissfully ignorant programmed (Golem) robot in its repetitive Eden.
The middle letter of Nun (Death) equates with the head of the snake eating its own tail, where you are both alive and dead simultaneously, as indicated by Schröedinger’s cat experiment.
This can be personally experienced when you achieve (split screen) hypnagogic trance, where you are between (Land/Life) waking and (Water/Death) sleeping, wherefore the letter Nun means, ‘fish,’ describing (Mud/prima materia) an ‘amphibious’ state of consciousness. The hypnagogic (Mud) state is analogous to a (Golem) robot being able to hack into its own (Land) programming via the virtual reality of its (Watery) electron dreams.
Tav (World), it is here that you realise that your experiential reality is an illusion, which can be otherwise termed as being a ‘simulated reality,’ the Hindu’s call (Mother/Vesica Pisces/Vagina) Maya. An analogy would be that of an artificial intelligence (Golem) existing in a video game reality becoming aware of the (Emet) ‘truth’ of its simulated existence.
When you become aware of your simulated existence at ‘Tav,’ you also become aware that you can create (Tulpa/Golem) simulations when to access the (amphibious) hypnagogic (Mud) state out of which (Tulpa) thought-forms (Golems) can be created. These (Tulpa) thought-forms (Golems) can manifest into material existence over time; more so as viral-memes.
The initial embryonic existence of a Golem is within your amniotic (Watery) electron dreams, which after being (Land) programmed, is then activated via (Mud) hypnagogic (amphibious) trance. The Golem then starts to become more substantial, inducing pre-programmed (microcosmic) lucid dreams, which are illuminated by the bio-photon emanating from amidst your mitochondrial DNA.
This leads to concordant (macrocosmic) synchronistic feed-back-loops as well as instigating poltergeist phenomena and even physically manifesting at certain key-times as a ghost. Wherefore a Maharal can create a (Golem/Tulpa) ghost girl to (Skinwalker) haunt the (Tau/Morphogenetic field) locale of his antagonists, whose physical spirit repository would be that of ‘Charming Stone Girl.’ Like that of a ‘Wild/Strong’ Rusalka genie, being conjured out of a bottle as an Entartete Kunst Wilt-Ahwa Valkyrie, furiously riding an Ouroboros cycle of a cog wheel gold bicycle, holding onto a bouquet basket of fish. As mentioned prior, shocking ideas (Bellmer’s Doll/Golem) take on a Tulpa life of their own, which to thence spin the electron dreams of the collective, because they are empowered by the (prima materia) emotional charge of the shocked audience.
FAUSTUS CROW 