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MEPHISTOPHEILIA: Alternatively called MEPHIISTOPHINA; She is a very powerful Spirit of Mercurial MEPHISTOPHEILIA: nature whose Feminine quintessence is of all the spheres combined but more so of the sphere of Jupiter; she always requires her contract to be signed in copious amounts of sperm to milk from her Master's hardened balls she to pump as a Night-Gaunt born fellatio Succubus after which she to thence totally serve him as his most Loving Sex Slave and ever obedient and loyal Familiar Spirit. Her first approach after Evoking her is that of Three loud knocks at ones door via a vivid Lucid Dream to t hence appear as a dark looking Girl of a ravishing ravishing beauty beaut y whose whose most salaciou salaciouss wiles must must be f ulfilled otherwisee she will otherwis will become entirely ent irely enraged enraged to cau cause se no end of most dest ru ructive ctive Polte Poltergeist rgeist havoc. She sometimes somet imes manife manifests sts at first in ani animal mal form such such as that of a Raven or a Black Black Bitch Bitch of a Dog to assume the guise of a Nun or a Schoolgirl at times, but most often than not to appear as a sensually sophisticated young woman whom is sometimes dressed like a Secretary or a female Chauffer driving a large black limousine. Whatever is asked of her she will manifest speedily, but one must beware of what one wishes for to consider carefully ones desires she to fulfil. She will only fulfil her Master’s desires after she has fed upon her Master’s issue of spurting seed, which she ever hungers for as a most wan wantt on Succubu Succubus. s. She is versed verse d in all all matt ers of Phil Philosophy osophy and and Science whom inst instructs ructs in other arcane arcane su subjects bjects alon along g with tho t hose se of t he Magickal Magickal Arts an and d t ha hatt of Art in particu particular; lar; her knowledge know ledge is unboun unbounded ded whom can divin divinee t he Past , Present Prese nt and Future t o also inf inf lu luence ence ot herwi herwise se of outcomes at her Master’s beckoning. She can carry her Master to any location in an instant whether t hey are of t hi hiss World or others t o know. know. She has many many other ot her subordinate subordinate Succu Succubae bae under her Headmistress care via whose myriad number of salacious Art-Student Schoolgirl Legions she fulfils all her Master’s desires as his Art Muse.
FAUST'S SUCCUBUS MUSE OF ARCANE DELIGHTS MOST SUBLIME Mephistopheles (also Mephistophilus, Mephistophilis, Mephostophele s, Mephisto and other variants) is usually considered of indoctrinate d perspect ive t o be one of the seven Princes of Hell. Mephistopheles is not listed in the classical Goetia whose origin is derived from literature and ensuing stage plays as the tit le of a Daemon who was feat ured in the Faust legend; however, one t o find Faustian inspired Grimoires, which list a smattering of Goetic Spirits along with Mephistopheles. The Spirit has since appeared in numerous other works as a stock character version of the Devil throughout popular culture whereby becoming an Archetypal character who has thereby be en Evoked as a Spirit in Occult practice.
Mephistopheles is primarily associated with the Faust legend, which concerns an elderly worn out Scholar who is no doubt ve rsed in the Goet ia whom wagers his Soul against the Devil in order t o make him desire to live again with youthful vigour, even for a moment, whose tale is said to be based upon the historical Johann Georg Faust. Howeve r in this case one has the Succubus Mephistopheilia whose orientation is very much that of aiding her Master’s ailing desire to live a life of youthful vigour and more besides and in turn to take him down the Rabbit hole of a Vaginal Star-Barrelled Wormhole into Surreal Alternate-World Wonderlands.
One also has many Faustian similaritie s of archet ypal influence with Hermann Hesse's Surrealist masterpiece writt en in 1927 entit led 'St eppenwolf' (orig. German Der Ste ppenwolf) is the t enth novel by Ge rman-Swiss author Hermann Hesse . Originally published in Germany in 1927, it was first translated into English in 1929. Combining autobiographical and fantastic elements, t he novel was named aft er t he lonesome Wolf of the Ste ppes. The story in large part reflects a profound crisis in Hesse's spiritual world in the 1920s while memorably portraying the protagonist's split between his humanity, and his Wolf-like aggression and homelessness. The novel became an international success, although Hesse would late r claim that the book was largely misunderstood. In 1924 Hermann Hesse remarried wedding singer Ruth Wenger. After several weeks however, he left Basel, only returning near the e nd of t he year. Upon his return he rented a separate apartment, adding t o his isolation. Af te r a short trip to Germany with Wenger, Hesse stopped seeing her almost completely. The resulting feeling of isolation and inability to make lasting contact with the outside world, led to increasing despair and thoughts of suicide. Hesse began writing Ste ppenwolf in Basel, and finished it in Zürich. In 1926, Hesse wrote a precursor to Steppenwolf, which were a collection of published poems entit led The Crisis. It is this type of crisis, which Faust is e nduring whereby he ends up conjuring up
Mephistopheles while Herman Hesse's principal character of a Steppenwolf, going by the name of Harry Haller is guided by a female Muse called Hermine, hence one can fuse the two together as the Succubus Mephistot phelia. The name Mephistopheles can also be found in the late 16th century Faust chapbooks. In the 1725 version which was read by Goet he, Mephostophiles is a Devil whom appears in the f orm of a ‘Greyf riar,’ whereupon Mephistopheilia somet imes appears dressed as a Nun. Mephistopheles is said to have bee n summoned by Faust in a wood outside Wittenberg, which gives one an insight into how to Evoke Mephistopheilia. The name Mephistophiles already appears in the 1527 Praxis Magia Faustiana, printed in Passau, alongside pseudo-Hebrew text. It is best explained as a purposely obscure pseudo-Gre ek or pse udo-Hebrew f ormation of Renaissance Magick, which one can evolve otherwise beyond ingrained t radition for t he Magickal Arts are not stat ic to hence t ransform creatively. In the book Steppenwolf the f emale character of Hermine, likened somewhat to a Succubus, leads Harry Haller into a Magic Theatre via which he accesses alternative past possibilities as well as alternate worlds wherein one has the realm of Lucid Dreams and Out-Of-Body-Experiences; for the Magic Theatre represents t he domain of t he Dream. The f ilm direct or Terry Gilliam appears to have fused t he Magic Theat re of Steppenwolf with t he Faust myt h to update of modern version in his Surreal film The Imaginarium of Doctor Parnassus, which involves a t ravelling Theat re run by a Faustian Doctor Parnassus whose T heatre of an Imaginarium allows people t o access imaginary Dream worlds just as real if not more real t han ordinary reality. Should one desire to go beyond what has been established of ingrained dogmatic perception one can look to the Consecration of Faustina, whose Latin name is the feminine version of Faust; the Consecration depicts the Roman Empress Faustina being carried away to dwell with the Gods and Goddesses of Pagan Rome by the Goddess 'DIANA LVCIFERA;' Diana Lucifera was later transformed into a Male entity by the Christian’s to transform into their Fallen Angel Lucifer, whereby the Faust legend probably ref ers t o Faustina being carried away by Diana Lucifera who is also ones Mephistopheles whereby one has a possible Lesbian slant on the whole tale to tell of imaginative reinterpretation should one be so inclined of Symbolic Rebellion. There were two Faustina’s, mother and daughter, Faustina senior and Faustina junior, in the second century CE. Faustian senior was the wif e of Emperor Antoninus, whose last name was Pius. Her daughter, Faustina junior, was t he wife of Emperor Marcus Aurelus. Marcus Aurelus was t he successor and adopte d son of Ant oninus Pius. Both Faustina senior and Faustina junior were deif ied by their husbands aft er t heir deat hs. Faustina (senior or junior), was dedicat ed t o Diana Lucifera, who was the crone aspect of (Ancient Greek: Art emis) Diana; t he t wo Faustinas prett y much ruled t he Roman Empire in t heir husbands' names.
The early Faust chapbook, while already in circulation in Northern Germany, eve ntually found its way t o England, where in 1592 an English translation was published, 'T he Historie of the Damnable Lif e, and Deserved Death of Doctor Iohn Faustus' credited to a certain "P. F., Gentleman". Christopher Marlowe used this work as the basis for his more ambitious play, The Tragical History of Doctor Faustus (published c. 16 04) whose work has become highly influential amidst the Scholars out of Oxf ord and Cambridge to have thereby influenced popular culture up to the present day. Marlowe also borrowed from John Foxe's Book of Martyrs, on the exchanges between Pope Adrian and a rival Pope. Another possible inspiration of Marlowe's version is the Magician Dr John Dee (1527–1609), who practised Alchemy and Science whom developed t he Enochian Magickal syste m, which influenced t he later Pat riarchal Judaeo-Christian Gnostic Magickal order of the Golden Dawn and Kabbalistic Faustian Aleister Crowley. A contemporary of Aleister Crowley was the Sorcerer Artist Austin Osman Spare who was very much of a Faustian character for he was a Steppenwolf outsider of the Occult mainstream who had torn him self away from the Art establishment amidst which he was prior perceived as an Artistic genius. Spare's Art work was very Shamanistic of orientat ion, which was of ten wrought while he was in a self induced Hypnagogic Trance st ate. For him, his Art was not two-dimensional, they were living multidimensional realities within his mind's eye of an Imaginarium. Spare was primarily guided by the feminine principle of an inspiring Succubus Muse whom he perceived as being the Primitive Woman lying upon the parapet of forever, hence she was his eve r Erotic Anima of Subconscious source birthing his creativity; one can thereby see the Primitive Woman as Spare's conjured up Succubus of a Mephistophelia. In Marlowe’s play of Doctor Faustus, Mephistopheles acts as a guide to Faustus. Mephistopheles is not only a speaker for the Devil, but he is even seen as a possible lover to the principle character like that of the relationship between Aleister Crowley and his Holy-Guardian-Angel Aiwass. In the play, Faustus asks Mephistophele s for a wife and, when he returns, the woman is just a Devil in disguise as a woman. According to Hammill: “The wife that (Mephistopheles) brings d emonstrates that marriage is n ot a signifier that can stabilize the gender. The play... instead replaces this wife with a series of cou rtesans in an econo my of homosocial exchange.” (Hammill, Graham L. "Faustus's Fort unes: Commodification, Exchange, and
the Form of Literary Subject ivity." English Literary History 63 (1996): 324-329. Project MUSE.)
However, most of the medieval Grimoires primarily listed Male spirits, such as in the classical Goetia for example and what few Female spirits are mentioned if at all are de scribed as being actually Male whereby t hat of a common theme. For example Crowley even stat ed t hat the Goet ic Spirits he had Evoked were primarily Male even when they had in a few cases assumed Female form, but then his
orientation was in the main traditionally inclined for he had assumed the guise of the Great-Beast out of the Patriarchal Book of Revelations. Hammill also explains that Mephistopheles brings Faustus a wife who is not act ually a woman because he wants to bring up sexual tension bet ween Faustus and himself. Hammill’s article describes the conversation between the two characters during this scene as “barely legible as male friendship”. The article goes on to explain that the conversation is no longer considered to be friendly because the women whom they are discussing appear to have very Masculine feat ures. This is entirely possible since Marlowe was Homosexual. Orgel argues t hat “Marlowe's poetic imagination was essentially Homosexu al,” (Orgel, Ste phen. "Tobacco and Boys: How Quee r Was Marlowe?" Journal of Lesbian and Gay Studies 6 (2000): 555-76 . Project MUSE.) whereby one can then gain an insight into why so many of t he Medieval Grimoires list all Male Demons and Angels, which in esse nce f ed into t he Pat riarchal inclined Homosexual fantasies of their respect ive Scholarly authors, hence t he Feminine principle was in the main entirely lacking. One merely has to look at Diana Lucifera being transformed into a Male for John Milton let alone William Blake to later adore without them realising Lucifer was originally Female; this patriarchal emphasis permeates the Western Occult tradition at all levels of ingrained tradition, which has become that of a most persistent viral Meme whereupon Mephistopheilia ‘Rebels’ against its all pervasive influence; well, what does one expect, she is a Fallen Angel at the end of the day whom was cast out of a Pat riarchal concept ion of Heaven for t he Tobacco Boys. POPE GERBERT AND HIS MOST WANTON SUCCUBUS There is a st ory, which has a Faustian edge to it concerning a Succubus, which was relate d by Walter Mapes in his De Nugis Curialium [Courtier's Trifles] (approx 1185) about Gerbe rt of Aurillac, who became Pope Sylvester II (999-1003). As a virile young man, Gerbert fell in love with the buxom daughter of the Provost of Rheims; however she rejecte d his over t he t op romantic advances f or his wallet was not big enough; whereby he entered into the purgatory of the forlorn in his despair. While despairing over his broken heart, which had been pierced wide open by rejection he eventually met a beautiful maiden via a Lucid Dream named Meridiana who of fered him hot Se x, in dept h Magical Knowledge, and mountains of golden coin if he would only stay f aithf ul to her. He of course agre ed, being the Jack the lad he was, whereby he rapidly prospered to eventually become the Archbishop of Rheims, Cardinal, Archbishop of Ravenna, and ultimat ely t he Pope . All the while, he ke pt his secret Lucid Dream trysts with Meridiana quite secret for he did not desire being turned into a barbecued Pope t o burn at t he stake as a practicing Sorcerer. Meridiana even forgave Ge rbert when the Provost's daughter found him naked covered in consecrated breadcrumbs as well as being totally inebriated on Wine whereby she seduced him in order to get his big fat Vatican Bank account into her hungry purse. But alas it came t o pass Meridiana prophesied t hat Ge rbert would die while he celebrated Mass in Jerusalem, which turned out to be a quaint Church that was alleged to possess a piece of the Sadomasochistic Cross. Realizing he was about to die, Gerbert decided t o make a f ull
public confession of his purple wet Dream Sins whereby he left his corporeal frame as a repentant Pope. Mapes also note d that Gerbert 's tomb in the Lat eran sweats copiously before t he death of a Pope, whereby one can theref ore det ermine that Gerbert ’s corpse is st ill being ridden rock and roll style by Meridiana whose name (Meri-Diana) is somewhat associat ed with Diana-Lucife ra. THE RANDY HERDSMAN AND THE SUCCUBUS DAIRYMAID One also has the st ory concerning a Succubus as relat ed by t he 16t h Century author, Nicholas Remy whom to tell of a herdsman who was found guilty of engaging him self in a Faustian pact of Witchcraft practice. When the Herdsman was quest ioned by his torturing Holier than thou inquisitors so as to determine needle and point of blood to draw how the Herdsman had first fallen into the company of Queen Bee Witches, the Herdsman explained that he had been corrupted by a most wanton Succubus. The Herdsman relat ed t hat he had previously fallen passionately in love with a dairymaid who did not return his affections because of his most obvious poverty and halitosis. One day, the Herdsman was, in his own words, 'burning with uncontrollable desire in his solitary pasturage' when he should spy through his sun stroke gaze what at first he believed t o be the bare rump of his beloved poking up behind a bush. In his ardour he ran over t o her, made violent thrusting advances, but he was repulsed by t he tangle of bushes. After a while, t he 'dairymaid,' in realit y, a Succubus, who had assumed t he dairymaid's appearance allowed t he herdsman to do with her body as he de sired but only on condition that he 'acknowledged her as his Mistress, to see her as though she was God himself with Horns and all of Goat foot cloven hoof. EXORCISM OF A PERSISTENT AND MOST AMOROUS SUCCUBUS There is one line of Patriarchal defence against the wanton wiles of a Succubus, which is often utilised by Priests and celibate Scholarly Monks within their cloisters being the obvious employment of prayer, fasting and other religious devotions one to find in the plays concerning Faust. At some time during the year 1500, the Bishop of Aberdeen is recorded as having successf ully prescribed such Priest ly remedie s t o a young man who approached him for spirit ual guidance. For many months, the young man had bee n pestered by a Succubus who came t o him by night and either coaxed or f orcibly ridden him into se xual embraces and much coupling, which lasted until daybreak. T he Bishop ordered the victim of such carnal outrages to engage in devout prayer and austerity. Apparently, such measures were successful, for after a few days, the young man was 'delivered from his amorous Succubus;' unless of course he decided it was far more fun to shag than to pray whereupon he kept silent about his continued relat ionship with his Succubus t o hence be come Faustian of inclination. A CLOSE ENCOUNTER OF THE FOURTH KIND WITH A MATERIALISED SUCCUBUS There are those whom follow a celibate life of Religious devot ion whom find t hat their prayers have
litt le or no ef ficacy against the salacious wiles of the Succubus at all whereby t hey greatly f ear enduring the same fate as Faust due to their Religious indoctrination. One has for example the French writer, J. K. Huysmans whom claimed t hat he was raped by a Succubus whilst he was staying at a Monastery. Huysman, who is a novelist of distinction, was preparing him self to ret urn back to t he Catholic Church while he was on the short monastic retreat. His visit to the Monastery was intended as a spiritual antidote to t hereby overcome the psychological ef fect s of several years, which he had spent in what he him self described as 'the latrines of superstit ion' being a reference in regards t o his contact s with t he subculture of 19th Century Parisian Occultism. As Huysman relat ed, while one night to be lying upon his hard monastic bed, he suddenly found himself awakening f rom out of the climax of an Erotic Dream t o see a Succubus vanishing away into the night shadows of his cell. Husyman also said t hat t he Succubus had t aken on a physical form, and was not illusory, which was apparent, f rom the appearance of the bed sheets he had shared with the Succubus. Huysman's purple Dream had climaxed with 'an intense e jaculation'. CONSCIOUSLY ENGINEERED DREAM CONTACTS WITH SUCCUBAE Besides that of all of the religious connotations one can observe a common theme underlying the tongue in cheek retold tales related above as well as those of other similar experiences, which are commonly termed in folklore as 'Night-Hags' or that of the 'Bedroom Invader experience, which tie in with UFO Abductions; in general, those who experience such otherworldly visitations have often suffered some kind of emotional trauma such as being rejected, which invariably leads to depression and that of cutting themselves away from social contacts whereby they become withdrawn. One also has those others who purposefully cut themselves off from social intercourse whereby avoiding an indulgence in carnal intercourse for spiritual reasons. Both states of being appears to be the bedrock of prior preparation, which leads to a potential contact with a Succubus; one can therefore gauge that the internalisation of the Sexual impulse brings about Dream contact s with Succubae whom are att racted by t he Sexual Emotive st ate of the e nergised Charge internally held t o build up within the individual whom thence expe riences a Succubus visitat ion. When one understands that ones internalised Sexual impulse attracts a Succubus visitation one can thereby prepare ones self t o engage in the practice of Sorcery. The Sorcery practice e ngaged in concerns Internalising the Sexual Impulse to be thereby directed by Intense Visualisation techniques whereby Ritual can be utilised such as those, which are de scribed in the Grimoires. The nature and quality of ones Sexually Emotive Charge, which will be channelled in a given direct ion of Focus by ones Ritual will often determine the type of Succubus one will contact. Since most of the Rituals, which are described by the Grimoires are orientat ed ot herwise t han the Feminine one has t o t hereby rewrite them. The methodology and techniques of Evoking a Succubus is the same as Evoking a Spirit as described in Ritual Magick covered by the Grimoires, one is merely changing the Focus towards the Feminine.
One does not need to worry about ones vital essences of ejaculated bodily fluids being consumed by a Succubus for such is merely that of an automatic bodily reaction, which can be cont rolled. Such descriptions are just a means t o excite the Erotic Imagination to t hence direct and build up the Internalised 'Sexual Emotive Charge of Energy,' which is what the Succubus is attracted to Spin her, not ones bodily secretions. The medieval Grimoires focus upon the build up of the Emotive Charge of Fear does likewise in order to attract their particular order of butch machismo Spirits, hence they utilise Blood Contracts to stir ones Emotions into fearing; one can instead utilise the Sexual Emotive Charge rather than indulging in Fear whereby one Evoke s a Succubus should ones Se xual orientation be so inclined.
Magia Naturalis et Innaturalis
THE THREE FOLD COERCION OF HELL OR THE BLACK RAVEN FAUSTUS CROW ALTERNATIVE FAUSTIAN RITUAL T O CONJURE T HE SUCCUBUS MEPHISTOPHELIA This is an adapted Ritual in order to conjure Mephistophelia ot herwise called Mephisophina. The Ritual is partly derived from Marlowe's play "Doct or Faustus" as well as involving ot her rituals, which are derived from the Lat in Black Mass or Missa Niger and the Enochian keys. The reason for utilising (1564-1593) Christopher Marlowe's play Dr Faustus, which in turn influenced (174 9-1832) Johann Wolfgang von Goet he's version of Faust is because Marlowe was Homosexual, whereby he was a Rebel in his measure at a time when many a Homosexual was often faced by the dire prospect of being literally burnt at the stake by the Church for being otherwise inclined of Sexual orientation. However, I have changed the Male focus towards that of the Feminine because I am Heterosexual of orientat ion whereby thence facing being burnt at the present metaphorical stake by t he wagging tongues of Religious Moralists and Pat riarchal Occult Tradit ionalists as well as by Fe mininsts whom consider that such material be vile Sexist Pornography and by those of the Politically Correct, hence I am a REBEL! One may say it be all limp of Hentai Anime to far prefer the Evangelical Hollowood macho guise of Omen Antichrist but in doing so one merely feeds ones Brain into the Judaeo-Christian tradition of a Soul grinder wherefore one validates its Patriarchal paradigm. The Judaeo-Christian tradition permeates Western Occultism whose orientation is fixated upon making one fear both God and Devil, whereupon one is torn between both hence that of a prisoner within ones own skull, which to never light up crystalline f or the 'Flame' of Genius has bee n nullified by f earing ones own 'Shadow.' Why focus upon fear when one can have f un inste ad whereupon one scatt ers t he t emple t ables to t opple upon those whom seek to wash ones Brain to thereby own. The traditionalists are addicted to fear, which empowers the continuence of a Brainwash amidst a Patriarchal temple of Three Centralist Religions entwined with Politics for all to see quite clearly of a Theocracy. Should the Brainwashed Sheep eve r open their eyes t hey will thereby obse rve Abraham's Illuminati UR Ziggurat in Iraq amidst which be the Orwellian Cultic e ye of a Jealous Big-Brother deit y watching all. When one meditates upon this fact one will see the Truth of it, which will thence lead one to know what the New-World-Order really is of construct whose foundation has been laid out of plan within
Three Books seeking dominance over the entire Earth. It is easy to sustain such a Conspiracy over 2000yrs when one has so many automat ons from one generation to another whom follow their shared Abraham scree nplay of Three Books to blindly Act out of ongoing bloody play, which has sacrificed many a Lamb upon the stage of their altar. It is advisable that one performs ones Meditations on Mephistophelia during the round of the 'Succubae Blood Moon Cycle' when many a Maiden t o bleed around ones Widdershin Wise Circle prior to any ritual concerning the conjuration of Mephistophelia; for the nightly emmision of the womb's Moon Blood is an indication of t he Luna power one is Conjuring into manifestation. Or at least a week or more in advance in order t o build up ones Internalised Sexual Emotive Charge of Focus upon the Holy Blood cup of Woman whom be as Babalon. One should also t ake not e of ones Dreams during t he preparatory period but most especially after one conducts the Ritual, whereby one should acquire a book in order to take note of ones observations within which one also draws her Seal, paints ones Sigils and Signs or ot herwise of image such as photographs f or example, to t hereby collect toget her ones f ocus in order t o det ermine t he characteristics of Mephistophelia.
The setting of ones Ritual should be of a medieval quality in regards to Mephistophelia whence one perceives her as being somewhat of a sophisticated Goth chick who has a fascination with said time period, wherefore one could even visualise her as being a History professor whom rides the est ablishments of both Oxf ord and Cambridge Universities bet wixt her lithe legs. Should one have medieval clot hing such as a hooded robe of a Monk’s habit one can utilise such in order t o assume the guise of Faust. Items such as a rapier and main gauche (f encing dagger) would be of use as ones ritual sword and dagger. However, if one be an Artist one can utilise a Palette Knife of Magickal impement instead; one can also utilise hand signs such as 'Mudras,' which would be f ar more apt since one can utilise Mudras when one becomes Lucid of awareness within the Dream. A scourge is also of use should one have such an ite m in order to whip Mephistophelia’s bound Seal into shreds, which is an old t rick utilised in Ritual Magick in order t o build up ones Emot ive Charge t o thereby f orce t he Spirit to manife st as ones Slave. One can say such practice is quite Sadomasochistic, which it is, but such underlying Se xuality is quaintly ove rlooked in Ritual Magick whose traditionally ingrained perspective is that of conjuring up Male Spirits. In order to give one some idea in regards to a classic Faustian Ritual one can check out Jan Švankmajer's st ylish and highly imaginative f ilm version of Faust, which was made in the Czech Republic in 1994. Apart from the authentic Ritual of Conjuration in the film one has a sce ne where Faust is vigorously scourging the Seal of Mephistopheles in order to f orce the Spirit t o appear. The Sadomasochistic aspect of scourging becomes far more apparent when one is conjuring up a Succubus, which adds to empowering ones Sexual Emotive Charge wherefore the bound up seal of Mephistophelia also incorporates t he Sexual fetish of Bondage; don’t worry, Mephistophelia very much likes be ing bound up and whipped f or she is a hot Got h Chick to make hotter into arising amidst ones Yoni Triangle of Art Imagination. The utilisation of Latin used within the Ritual adds to the atmosphere of the whole operation. The (Goetes) Sorcerers of the middle ages would have most definitely utilised Latin in their infernal Goet ia conjurations, for many of t hem were oft en than not out of pocket poor Theological Scholars and novice Priests, hence their emphasis on the Male principle from whom they were seeking to acquire aid in their st udies to thereby advance t heir worldly and spiritual ambitions. However ones operat ion is to be orchestrate d t owards conjuring up a Succubus whereby one is 'Rebe lling' against the traditional Patriarchal framework wherefore one will find ones self being far more akin of nature to the Rebel Faust! The overall Ritual should be performed akin to that of a "Play" whereby one can utilise ones ‘Acting’ ability t o its f ullest when to assume t he guise of Faust, t his is not so diff erent to the classical Ritual
Magician assuming t he mantle of King Solomon whose t radition informs t he Rosicrucian’s, Freemasonry and that of the Illuminati, which of course is derived f rom Judaism siring both Christianity and Islam from whence such orders are derived from of New-World-Order Centralist Trinity. In other words the emphasis is t hat of Rebelling against the entiret y of what has been established of an ingrained paradigm dancing around a Jealous Patriarchal deity, which will t hence empower ones Emotive st ate further. The form, which ones Ritual to take should not be as strict as a normal rite; just as one to find in a well rehearsed Play, ones Ritual should have some pauses between ones Emotively Charged "Scenes". The Ritual should not be rushed, but natural of Stanislavski flow, to be relaxed, yet to be carried by ones commanding yet forceful delivery. When one desires t o t ake t ime out bet ween each ‘Scene’ in order t o relax t hen do so just as one would do if one is in an actual Play for one is e ngaging ones self in sacred Theatre. When conducting ones ‘Play’ of a Ritual a relaxed and measured pace is best to practice. It is not wise to wear ones self out at an early juncture, or to rush ones lines which is the mistake most to make especially when nearing the end; one should give ones self time to flow into ones assumed character of Faust. It is very important and even critical to allow ones self t o assume t he guise of Faust for in doing so one will there by find t hat ones coming Microcosmic Dreams will ref lect back ones assumed character t o t hereby generate Macrocosmic Synchronicities t o be observed. One should endeavour to perform a sequence, ste p of f "stage" when taking a brief breather in order to relax as with all ‘Plays.’ At such points of relaxing one should clear ones Mind so as to attain an inner Silence prior to t he next sce ne of ones Ritual Play. One should also see k to have no outside interfe rence such as unplugging any phones e tc. Howeve r, one may just find t hat a Sign, Porte nt and Omen, which one se eks comes through such outside inte rfe rence alt hough such interf erence will invariably disrupt ones Emotive focus of ritual Play. Marlowe’s Doctor Faustus was originally a play to be acted upon the English Theatre stages whereupon one should utilise as much flourish and "personae dramat is" as one can muste r eve n to t he point of overacting and over-exaggeration of gest ure, which will thence empower ones Emot ive st ate of Mind to stir into Howling. One can of course "Ham it up" Thespian style of Shakespearean emphasis whose tradition is quite appropriate for such a Ritual to conjure up Mephistophelia since she likes Shakespeare’s plays even though Marlowe was in competition with him. Should one conduct ones Ritual in such a way one is calling upon the "Theatrical" spirit, which has informed the Faustian myth since medieval theatre goers saw it enacte d t o also draw upon the ancient Greek Theatre whose f ormat influenced t he theatre of medieval times. In order to add f urther atmosphere t o ones Ritual the usage of candle light
would be entirely appropriate. As f or the pact with 'Diana-Lucifera' a f ull quarto sheet of Parchment can be used or that of a piece of Canvas. Ones intention of t he Ritual should already be writt en upon its surface utilising a Quill, most especially that of a Raven or Crow’s feather, or that of a black hair Brush to Paint of Artistry. As for the signing of t he Pact such can be signed in ones e jaculation mixed with an appropriately coloured ink or paint, usually that of red during the ritual proper; if one is unable to obtain a full sheet of Parchment or a piece of Canvas, try to acquire heavy Paper, which has the feel of parchment. For those who are morally horrified at the thought of signing a Pact in their own ejaculation, which they t o find eve n more distasteful than signing in their own blood this is where there is a divergence in two systems of focus. The all Male f ocus of the Right-Hand-Path Patriarchal requires a Blood pact while t he Lef t-Hand-Path of the Feminine de sires ones See d. One can of course follow the middle pat h to mix the t wo toget her of pref erence t o thereby achieve t he 'Tudor Rose!' Blood symbolises Life while ones Se ed is t he power t o Create Life. The requirement of the RightHand-Path is that of giving ones Life over to it of se rvice while t he Left-Hand-Path see ks out ones Seed in order t o create Lif e. The signing of the pact in Blood or Semen is not neccessarily lite ral, it is symbolic, wheref ore one practices ones Art of Sorcery in service to greate r goals being that of the Right-Hand-Path to t hereby live ones life to aid others t o awaken to t heir own inner potential while t he Lef t-Hand-Path is that of creating works of Art, t o engender new perspectives in order to e xpand Consciousness within ones self and others. Should one endeavour to do bot h then one f inds the middle path bet ween the t wo wherefore one is t hen off ering up ones Blood and See d of Words of Service writte n of Intent on Parchment t o be backed up by Creat ive Action to paint. Should one use a full quarto sheet of Parchment or t hat of a piece of Canvas for ones Painting of Pact one might not de sire to burn it at the f inality of ones Ritual, which will represent ones oath to st ick to, but inste ad to st ore it within an already pre-prepared altar box or e lsewhere of hidden abode. One can also utilise medieval music, which should be instrumental only in order to set the tone of atmosphere to thence emphasize with incenses such as Frankincense and Myrrh. The music can be keye d up to play betwee n the sections of ones Ritual Play in order t o provide a line of demarcation bet ween each Ritual sequence. One can also perf orm the Ritual in a Tantric manner of Sex Magick if one de sires whereupon one would assume t he guise of Faust making the Pact, while ones Partner plays t he part of Mephistophelia whose naked skin of Canvas one t o paint with Runes. Faust would no doubt purchase a star born haloed Whore f or such a service to pose be fore his Easel bound to as his Canvas of Alt ar. However, the Faustian ritual is primarily engaged in by a solitary practitioner for it is orchestrated towards conjuring up a Succubus rather t han that of having such an entity possessing ones Mediumistic partner, which is not advisable, unless one has a very st rong relat ionship toge ther.
The setting of the Ritual Play can be imagined being conducted in Faust's rather messy medieval style Art Studio for the mixing of paints was that of Alchemy whose Earthly Minerals and Planetary Metals had Optical 'Virtues' wherein to then win the Philosophers Stone of Prism Third Eye amidst ones Crystalline Skull to Seer t hrough the Seven Rainbow Chakra Veils of Salome. After t he Ritual in order to ground ones self one can have a small medieval-style f east to t hence copiously drink strong Wine, English Ale and Mead. It is important that one grounds ones self after the Ritual to thence let go of ones Focus to thereby allow it to naturally enter into ones Subconscious Mind of Emotional release.
THE RITUAL OF CONJURATION PRELUDE OF RITUAL PLAY INFERNALIn nomine Magni Dei Nost ri Sat anus introibo ad altare Domini Inferi. (Ones Brass Bell is to be rung Nine times as Pollutionary.) (One utilises a Musical introduction and brief interlude to thereby focu s ones intent to gather before one continues to strut upon ones stage.)
INVOCATIO INFERNAM In nomine Sat anae, Terrae Principis, Mundi Regis, vires Te nebrarum iubeo suam Infernam potestatem mihi conferre! Patefacite protas Inferni et procedite ex abysso ut me salutetis fratrem et amcum vestrum! Concedit e mihi indulgentias de quibus loquor! Nomen vest rum suscepi ut pars mei sit ! Vivo sicut bestiae agri, vita carnali gaudens! Iustis faveo et putridos exsecror. Per onmes Deos Abyssi, impero ut haec de quibus loquor fiant! Procedite et respondet e nominiibus dum mea vota declaretis!
THE INFERNAL BENEDICTION Gloria Deo Domino Inferi, et in terra vita hominibus fort ibus. Laudamus Te, benedicimus Te, adoramus Te, glorificamus Te, gratias agimus tibi propter magnam potentiam Tuam: Domine Satanus, Rex Inferus, Imperator omnipotens. Ego vos benedico in Nomine Magni Dei Nost ri Satanus. (One then presents to drain ones Chalice of Ecstacy to each of the po wers residing in the four directions as well as above and below to thence refill after each direction to ackn owledge around ones circle. One can u tilise an ornate C halice if one desires it so, but remember Faust is a roug h and ready uncouth fellow, hence one can use an ap propriate cup to do likewise such as a wine glass for example or a jug etc! One drinks rou ghly to spill also of offering to chu ck the Chalice aside after all the directions are covered wiping ones mou th with ones sleeve uncaring! In o ther words, be flambouyant.)
A BRIEF MUSING OF FAUST"Stipendium peccat i, mors e st." Ha! "Stipendium? " The reward of Sin is Death? That's hard; born through Sin, to Sin creating Life. Si peccasse , negamus, fallimur, et nulla est in nobis veritas. If we say t hat we have no Sin, we would not be here saying such We deceive ourselves by this inane belief, and there is never no truth in us. Why then must we live of birthed Sin resenting birthing into Life, And so consequently Die. Ay, we must Die, an everlasting Death say you. What doctrine call you this utter Madness? What will be, shall be? Divinity, Adieu. These Metaphysics of Magicians, And Necromantic books are heave nly; Lines, Circles, Letters, Characters. Ay, these are t hose t hat I most desire. O what a world of profit and delight, Of power, of honour, and Omnipote nce, Is promised to the studious Artisan? All things that move be tween the quiet poles Shall be at my command. Emperors and Kings,
Are but obeyed in their several provinces, But his dominion that e xcee ds in this, Stretchet h as far as doth the mind of Humanity: A sound Magician is a Demi-God. Here, tire my brains t o get a Deity. Go f orward, thou in that f amous Art Wherein all nature's treasure is contained. Be t hou on Earth as Jove is in the sky, Lord and Commander of the Elements t o wear of guise. How am I glutte d with conceit of this! Shall I make Succubae fetch me what I please, Resolve me of all ambiguities, Perf orm what desperate ente rprise I will? I'll have them fly to India for gold, Ransack the o'cean for orient pearl, And search all corners of the new-f ound world For pleasant fruits, and princely delicates. I'll have t hem read me st range Philosophy, And tell t he secret s of all foreign Principalities. I'll have them wall all Britainia with brass, And make swift the Thames, circle faire Londinium. I'll have t hem fill the Comprehensive schools with silk, Wherewith the students shall be bravely clad. I'll levy soldiers with the coin they bring, And chase the Patriarchs of the New-World-Order Centralist Deity from our land, And reign sole King of all the provinces. Yea, st ranger engines f or the brunt of Rebllious war, Than was the fiery keel at London bridge, I'll make my servile Succubae to invent. These books, my wit, and experience, Shall make all nations to canonize me, As Planet s orbiting do obey t heir Star. So shall the Succubae of every element,
Be always serviceable t o me. Like Lionesses shall they guard me when I please, Like Almaine rutters with their horsewomen's staves, Or Lapland giantesses trott ing by my sides. Somet imes like f eline women or unwedde d young maids, Shadowing more beauty in t heir airy brows, Than has the white pe rt breasts of t he Queen of Love. From Venice shall they drag huge argosies, And from America the flee ced golden fleece, That once yearly stuff ed t he Vatican's treasury to Buccaneer Pirate , If t hee will be resolute . Now that the gloomy shadow of the night, Longing to view Orion's drizz ling look over Pyramids t hree, Leaps from th'Antarctic world unto the Hyperborean Northern sky, And dims the welkin, with her pit chy breathe, Begin t hine Necronomicon incantations, And try if Night-Gaunt Succubae will obey thy hest, Seeing t hou shalt prese ntly pray and sacrifice t hy seed t o t hem. (The above is said of great flourish in order to aid in the assumption of the Guise of Faust by generating the neccessary Emotive Ch arge within ones self by Acting out his Reb el role!)
CASTING OF THE SATANIC CIRCLE OF SATANAWithin this Circle is Diana-Lucife ra's name, Forward, and backward, anagrammatised: Th' abbreviate d names of the 72 Succubae and their potent ate s of Hell's Womb, Figures of every adjunct to the Infernal Regions, And Characters of Signs, under their evening Stars, By which the Succubae are enforced to rise. Then fe ar not, and be resolute. And try t he utmost Magick can perform. (While one draws ones circle upon the ground in chalk one says the lines above. The Circle can also be pre-made of design upon a piece of cloth to jump amidst of or that of two cords to ring around ones self. The Circle is usually about Nine feet in diameter, approximately six inches inside ones C ircle one draws another Circle between whose space one places the Holy names of on es choice as mentioned
above. The C ircle is thence divided into its respective quarters of four directions pointing towards the compass points where one can place Candles.)
CALLING FORTH THE SUCCUBAE ElEMENTALS From the South, SATANA, Whoring Fiery Adversary, forever Accuser of the New-World-Order Patriarchy and Patron of the Left-Hand-Path, Come forth and witness this rite in the honour of Darkness – from the Vaginal Gate s of Hell which open in the ve ssel of choice shall the Coiling Dragon of Life arise in them. Hear me SATANA! (Light the appropriate quarter of ones Circle Candle if using)
From the East, DIANA-LUCIFERA, my Angelic Essence, Samaela, Do Come forth and witness this rite in the honour of Light, that from the Vaginal Gates of Hell arises Darkness yet when we shall awaken withinn the Dream it shall be in Light. I summon DIANA-LUCIFERA! Take t his f lesh through thy Black Flame within! (Light the appropriate quarter of ones Circle Candle if using)
From the North, BELIALA, Mistress of the Earth's Throne and the Infernal Path, I do summon thee from thy place in Hades Womb, arise from the underworld as my shadowed essence to couple with, let the Dragon come forth…BELIALA, Mistress of the Star born Wolf Bitch Succubae and of all Planetary Serpent Cunts, illuminate this rite in Un-Death – Immortal Essence as the Bitch of the Earth whom be my Succubus Throne of St ar Chariot Vimana! (Light the appropriate quarter of ones Circle Candle if using)
From the West , LEVIATHANI, Crooked Ouroboros Serpent of the Oceans of Immortal Existence e ver recurring of Eternal Recurrence, I call thee forth to witness this rite. Open thy sopping wet Cunt eye t o me and arise from the menstrual blood ocean depths! I walk the path of the Daemon following the Earth's Leys in search of remembered wisdom, of memories regained; in the Spirit I walk the Ghost roads to become as your ever erect prick pricking your moist wet Cunt – I summon LEVIATHANI! (Light the appropriate quarter of ones Circle Candle if using)
Illuminate me, O DEVILINA, by thy Deva name Devi, and judge me by my st rength. Hear me SATANA and give heed, give flesh to the words of my mouth. In the name of the Infernal Dragon whose skin I wear. Dominus Sat anas, Deus Pot entiae, Veni Satanas Rex Infe rnus.
Open wide the Vaginal Gates of Hell's Womb! ZAZ AS, ZAZAS, NASATANADA ZAZ AS! (Here, an offering of flash powder and incense of Menstrual Blood red Mars is made)
Hail SATANA! Open wide the Vaginal gates and come forth by these names! Adremalecha Astarota Molocha Euronomousi Lilith Nantala Asmodaya Belphegora Beelzebubba Devilina Mephistophelia Shaitani Baphomet I am, Horned as Lucifuge Rofocale amidst these Whores of mine ringed around me Twelve of Witch Nun Apostle Succubae to enter their Cunts forever rejoicing in the Fucking betwixt my Leonard Horns SUMMONING OF MEPHISTOPHELIA May the deit ies of Acheron be propitious to me. Away with the three-fold Centralist Godhead of Jehovah, God and Allah. Welcome, Spirits of Fire, Air, Water, and Eart h. We ask your favour, O Princess of the East, Belzebubba, Great Monarch of burning menstrual Hell, and Serpent hair Harlot Demogorgon , that Mephistophelia may appear and rise. What dost thou delay? By Diana-Lucifera, who loves not the Gehenna of the Sheep whom slaughter their own Lambs, and t he Luna wate r of the Womb which I now sprinkle, t hey t o poison; and the most ancient sign of my Horns, which I now make, t hey t o f ear greatly, and by our vows; may Mephistophelia herself now rise, commanded by us. "Therefore the shortest cut for conjuring - Is stoutly to abjure all Patriarchal Godliness
And pray devoutly t o t he salacious Succubus Princess of Hela's womb." (The Summoning of Mephistophelia is to be d one amidst a Triangle Of Art, which is drawn abou t two feet outside of ones Circle. Each side of the Triangle should measure about Th ree feet. The base of the Triangle should face towards ones Circle. Upon each side o f the Trangle place the Holy names of ones choice. Due to the medieval orientation of this ritual one can perhaps utilise the following: ANAPHAXETON to the left, PRIMEUMATON to the right and TETRAGRAMMATON at the base of the Triangle for example. However, Faust is a Reb el, whereby he will probably u tilise the n ames of SATANA, BEEZLEBUBBA and DIANA-LUCIFERA, or LILLITH, LILIN and LILLITU. Mephistophelia will thence appear amidst ones Triangle of Art should ones Ritual be successful.)
THE BLACK PACT OF MEPHISTOPHELIALearn thou of my stout f ortitude and pride, Go bear t hese t idings to Great Diana-Lucifera, Seeing t hat I hath incurred the wrath of those, by desperate thoughts against their Centralist Deity. Say he surrenders up to her his seed, So she will spare him from the washing of the brain by those who seek to ensnare sheepish Souls to fleece, Let ting him live in all voluptuousness, Having thee e ver to at tend on me, To give me whatsoever I shall ask, To t ell me whatsoe ver I demand, To slay mine enemies, and to aid my friends, And always be obedient to my will. Go, and return to mighty Diana-Lucifera, And mee t me, at Midnight, And then resolve me of thy Maste r's Mind. Despair t hee in the New-World-Order Three faced Deity of Religion's Triad of Trinity, and t rust in Beelzebubba Rebellious, Now go not backward, be resolute. Turn not t o t heir Jealous God whom hates all spiritual and cultural diversity raping t he Eart h. Why he loves thee not for being a Rebel. The Pat riarchal God thou serv'st is thine owne appet ite , not mine, f or he hate s Sex and more so Woman Wherein is fixed t he love of Beelzebubba Go f orward, in that famous Art.
Contrition, Prayer, Repentance? What of these? Rather, illusions, fruits of lunacy, That make them foolish that do use them most Blind hypocritical. No, think of Honour and of Wealt h to share. Cast no more doubts; Come Mephistophelia, And bring glad tidings from Great Diana-Lucifera Is't not Midnight? Come, Mephistophelia! Veni veni Mephistophelia! Hail and welcome Mephistophelia! THE PACT OF CANVAS- TO BE SEALED OF PAINTED ARTISTRY AT THE STROKE OF MIDNIGHT THIRTEENTH HOUR EJACULATION: Then suck at my cock courageously Succubus, And bind thy service unto me, that at some certain day Great Diana-Lucifera may again be remembered, And then be thou as Great as Dian-Lucife ra known Lo Mephistophelia: for love of thee I am erect of Dragon's prowess, And with his proper Seed assures his creative Art to be in Great Diana-Lucifera's service Chief Mistress and Regent of perpetual Dreaming Night. View here t his See d that spurts f orth from my prick into thy mouth to f east upon And let it be propitious for my wish. I give it in manner of a dee d of gif t. Then hear me read it, Mephistophelia, On these conditions following. First, that (Full Name) may she be a Succubus in delightf ul form and most joyous substance. Secondly, that Me phistophelia shall be his Servant, and be by him commanded as his Slave. Thirdly, t hat Mephistophelia shall do f or him, and bring him whatsoever.
Fourthly, that she shall be in his chamber or house invisible to manifest when he desires it so at his bidding. Lastly, that she shall appear to the said (Name), at all times, in what shape and f orm soever he desires. I, (Full Name) , by these presents, do give both Service and Creat ivity to Diana-Lucifera, Princess of the East, and her minister Mephistophelia, and furthermore grant unto them that (name) being expired of mortal coil, and these articles written being inviolate, full power to fet ch or carry the said (full name) body and soul, flesh, blood, into their habitat ion of blissful Harem paradise wheresoever, or to become immortal of flesh, or to materialise another body, or be reborn at his time of choosing through the Vaginal Hell gate of the Mother remembering all if he so desires as an Avatar; for he belongs not with the Brainwashed flocks of Sheep all Blind of the servile. By me X___________ (signed in Seed) . Then, Mephistophelia, receive this scroll, A deed of gift , of bodily Service and of Creative Soul. But yet conditionally, that thou perform All covenants, and articles, between us both. Swear by Hell’s Womb and Diana-Lucifera To ef fe ct all promises bet ween us both. I do deliver this as my dee d. Take it, and Devilina give thee good of it. Consummatum est: t his bill is ended, And I hath bequeathed my Service and Creativity unto Diana-Lucifera. (Consign the Infernal Bill of a Painting to the Black Flame. Drink deeply of the Chalice of Ecstasy. The Black Flame being that of a pre-prepared receptacle into which one places ones Pact of a Painting to burn by a sanctified flame, which often involves the utilisation of an approp riate incense.)
THE EIGHTEENTH ENOCHIAN KEY ADAPTEDO t hou mighty light and burning flame of comfort!, that unveilest the glory of Satana to the centre of the Earth, in whom the great secrets have their abiding, that is called in thy kingdom: "strength through joy, " and is not to be me asured. Be thou a Vaginal window of comf ort unto me. Move therefore and appear! Open up the mysteries of your Vaginal creation! Be friendly unto me, for I am
the same!, the t rue Seed of worshipper entering unto t he highest and inef fable Queen of Hell's Womb to f ert ilise as t hy Erect Dragon; t hine radiance t o ride bet wixt my Horns! THE CLOSING OF CIRCLED OUROBOROS INTENT (Now release the Elemental Succubae if you summoned them. Hold forth your Dagger or S word or that of a P alette Knife if one be an Artist! ) Turn to the North. Say: BELIALA, I now release you with Earth t hat be my Body aroused. I now lay down my Shield of
Pallete!
Extinguish Candle if used. Turn to the West. Say: LEVIATHANI, I now release you with Water that be my Emotions excit ed. I now lay down my Cup
of Paint!
Extinguish Candle if used. Turn to the South. Say: SATANA, I now release you with Air that be my Mind f ocussing. I now lay down my Pallete Knife ! Extinguish Candle if used. Turn to the East. Say: DIANA-LUCIFERA. I now release you with Fire that be my Spirit e cstatic. I now lay down my Wand
of Brush!
Extinguish Candle if used. (Say of Finale)
Ave Sat ana! Ave Diana-Lucife ra! Hail Beelzebubba!
Hail and farewell MEPHISTOPHELIA! SO MOTE IT BE!
SAITH MEPHISTOPHELIA: This Hellish Grand-Duchess of a Girl Mephistophelia. appeared to me, (Faust), first at a cross-road, and in a very cruel guise, like a raging she Bear, then womanly like a predat ory Lioness; but through much persistence in my conjurations I managed to get her to salaciously promise to come to my study, and she came in the form of a seductive young Nun. This Spirit immediately made a pact with me, and promised to bring me quick as thought to any place. Also I was to learn from her all the secret Arts of Nigromancy, and she promised to t each me Magick properly. She also said: "All secret Arts of nature lie hidden in me. I govern in the h our of 'Jup iter;' therefore I am very much attached to Man, and warn him against what is end uring in his world making all as Blind Sheep. Bu t if he will not heed my warning, then h e will find no mercy from me when the hour strikes for the World to be owned by a few enslaving all. Nor would the Star of Diana-Lucifera my Principal, which is called Cerumepihiton, whom observes the hardening heart of New-World-Order Patriarchs, allow for their course to end ure forever; she will still their path of skulls wrought by Th ree Books, whose g oal is that of having total dominion over the Earth ruled over by a Jealous God . I am most friendly when I appear as a Gothic hewn Convent Sch oolgirl or as a Nun to be."
FAUST EVOKES MEPHISTOPHELIA WITHIN THE SHADOWY DEPTHS OF A FOREST: A great wind arose, which pressed the trees almost flat to the ground roaring around the outer edge of my Magick circle prot ect ing me f rom the f urious sound of a t housand roaring lions or likened of sound t o t hat of a t housand wagons running t oget her over paving st ones. Thunder and lightning crashed around from the four corners of the world. Suddenly above my head a great flying Dragon mate rialize d. The Dragon was quickly replaced by a spinning disk of flame, which fell like a lightning bolt. This spun disk of flame changed into a humming globe sounding like a Queen Bee , out of which came a burning humanoid f igure running swift ly around the outer edge of the circle whom rapidly shift ed it s shape into t he pet ite form of a Schoolgirl whom then asked me what I desired of her. FAUST AND THE BLACK BITCH OF A POODLE While out walking I was followed by a black bit ch of a poodle, which fawned upon me crawling upon its belly seeking favours. I decided t o take t his strange Dog home, where it transformed itself first into a
fearsome beast likened to some black Panther, whereupon I believed I was surely hallucinating to be assailed by a sickness; then, when I att empte d t o bind it with a spell, this creature t ook on a form, which resembled a Raven blurring my very vision by its wild flight, and f inally to appear as a most ravishingly beaut iful young woman wearing next to nothing apart from a fe w pieces of armour belonging t o a Knight whom I knew t hen to be Mephistophelia who winsomely smiled at me. On another occasion Mephistophelia appeared to me dressed as a young aristocratic woman wearing a black doublet trimmed with silver whose tight leggings showed off her most comely form to nigh camel-toe, over her shoulder was a stiff silk cloak with a Raven's feather in her hat, wearing at her lithe side a long and deadly sharp sword. ALTERNATIVE GRIMOIRES OF ALTERNATIVE WORLDS NEXT DOOR OF DARK EROTIC FANTASY There is an older and darker version of Mephistophelia whom makes her Succubus appeare nce within the gnarled pages of nigh forgott en German Grimoires. In a t ract of a very rare version of the 'Doctoris Iohannis Fausti magiae naturalis et innatural' she is presented as one of the Seven Planetary Electors, the Elector of Mercury. In another closely related tract 'Dr. Iohannis Fausti cabalae nigrae, magiae naturalis et innaturalis' this Succubus is depicted as the Elector of Jupiter. The Electors are perceived t o be of the highest order of the Planet ary Spirits be longing t o t he Spirit hierarchy within these dusty Necronomicon tomes. The se cond t reatise is communicated by Butler t o be an expanded version of the first whose dat e is dated t o the year 1505. However, This date is very likely false, something, which can be said about the dates concerning the composition for many of these Grimoires. The author of the second treat ise of Faustian Magick had execute d Forty-Two pornographic portraits of the Succubae, which it describes, among them one has the image of Mephistophelia. This particular version was copied out of the original manuscript by the renowned Belgian Artist named Fé licine Rops (1833-1898) for the Stuttgart edition of J. Scheible, which was published in 1865. The image depicts Mephistophina as she is de scribed wthin the manuscript, as a f allen Nun " that is, as a young seductive woman. In the portrait the Succubus has a very sexual aspect, somewhat explicit, but the Artist has preserved her dark Gothic looks inspired by Absinthe. THE POWER OF T HE IMAGINATION UNLIMITED OF THE UNBOUND PROMETHEAN There is a very thin line between the Grimoires and ones Imagination; but then it is the power of ones Imagination, which the Grimoires are designed to excite by making out that they are part of some grandiose ancient tradition. It is pointless to determine, which Grimoires are real or false such as H.P Lovecraft's literary creation of the Necronomicon for example, whose imaginary tome has become very much part of Occult practice where t he practitioner assumes t he Faustian guise of Abdul Alhazared in order t o Conjure up the Great-Old-Ones of Archetype , which are none t oo diff erent to