Page 1 - THE RETURN OF THE POWERS
Into the Vasty Deep
The power of the unconscious mind to anoint and guard the conscious mind is as old as the human race. But now, this power rarely exists at the collective level, with the extinction of tribal societies and the subsequent loss of shamanic guidance. At the individual level it may find a home but most doors are closed to it.
In the ancient past we have known how to hold and nurture this power, how to keep it close and keep it fulfilled. In return, the power has responded with healings and guardians and ancient spirits to stand by us in our times of need and to bring us great joy.
This power exists within each of us as potential. It is the greatest power of the universe because it exists within as the Being Within who functions to consciously unite with us and form with us an eternal individual. But the power has been diminished and even occulted over time by the advent of city-states, the explosion of the industrial world and, eventually, the stresses of our dangerous modern world.
Pushed more and more into the background by technological advances, the power ceases to exist, leaving us no choice but to look to the Ego at the seat of the conscious mind to guide us out of these chaotic times of survival struggles and disillusionment. But what we seem not to realize is that, since the advent of the city-states, the times have always been chaotic and we have always looked to the Ego for guidance. Thus, throughout history, the chaos compounds and confounds us and war never ceases. The Ego runs rampant as though possessed by some madness. It is missing its partner, the thing that keeps it balanced and sane.
As we feel loss of control over our lives and our environment, we seem also to have lost even the path to the reason why. As this cultural revival of the Dark Ages continues, we group together in churches to pray and in globally organized events intended to help and heal our world, such as Planetary Ascension 2012. It gives us relief and a sense of purpose that we are actively doing something about this absence of personal and group power by taking up the reigns ourselves and trying to bring about a global awakening and enlightenment. But unless we address the inner division first, we cannot hope to heal the outer world in any sustainable way.
Therefore, as Planetary Ascension 2012 looms as a missed opportunity we can look to Lunar Ascension 2013 for the remedy. Our planet stands now as a great and tragic metaphor of our division within, the distance between the conscious mind and the unconscious mind becoming as a chasm over which we are desperate to ascend. Our ascension efforts, carried out through traditional and historical methods of group prayer or through our various New Age spirituality attempts, are missing the mark, the effect being failure, because an important component is absent that would bring us success. There can be no ascension until the disparate parts of ourselves that are scattered chaotically throughout the conscious mind are brought into alignment with our perfectly organized, but wildly misunderstood, unconscious mind.
The achievement of this alignment and its consequent rise of planetary resonance involves the kind of lightwork that is frightening because it necessarily involves darkwork. Diving into the unconscious mind in attempts to connect with it and even comprehend this incomprehensible power invokes colors, images, voices, sounds, aromas and other psychic phenomena that are little understood and certainly not supported as normal or natural by modern psychology. The social repression and even ostracizing of people who do this, most famously the Swiss psychologist Carl Yung and less famously many of the rest of us, stands as a warning to us to avoid this scary path. And as long as we avoid it we are condemned to have that dysfunctional relationship with it.
The relationship of avoidance of a core part of our being is a kind of insanity that we are willing to live with and failing to recognize. Yet all around us we can see its manifestation in the events of our world that seem both strangely familiar and incomprehensible to us. The idea that we must lose our minds in order to gain our sanity is a paradox, yet in paradox lies truth. Paradox, the long forgotten plural for paradise, is exactly what we must strive for if we are to bring about a better world in which to live. Even if we do not believe we can change the world, we know deep down within ourselves that we can change ourselves, and if enough of us do it, then the world will change. And deep down, deep within, is where we must go to do this.
The unconscious mind is the Psyche, which is the spirit, mind and breath of life. The Psyche awaits our arrival and yearns for it. As Carl Yung most famously wrote, "What I am saying is this. The Psyche is real!" The goal of the Psyche is the purification of the self, and until we recognize, acknowledge, and unite that part of ourselves, then nothing in our lives will ever change. Lunar Ascension 2013 has the potential of achieving that goal of union, but it requires on our part the putting aside of social programming, modern psychology, useless ideas, the misguided need to monetize everything, and even the people in our lives who would stand in the way of the union. A guide is required until the Psyche appears in the life of the individual and takes over as guide, because no one and no organization can lead the individual in the evolution of their consciousness like the Psyche can.
Even as we consciously distance ourselves from the Psyche, let us thank the moon for ensuring that we cannot completely disconnect. At night, when the planet turns away from the sun, the moon follows and shines upon us its reflected light that holds within it the power of transformation. As the moon pulls us back to the depths of our beingness in sleep, from out of our dreaming mind come shapeshifting forms strange to us, forms that seek us out even as we turn away in fear. Sometimes, we project the idea of them out into our waking world as angels and other times as monsters, where we can deal with them in some rational way. But if we were to embrace those forms as our own, we would find a new world waiting, one filled with hope, caring, kindness and love. This is the world we seek to bring the planet to, but this world does not exist for the purposes of a planet that, ultimately, can take care of itself. This moonlit world exists solely for us, for our own evolution of consciousness, and by going deeper into its mysteries and allowing its shadowy embrace we can experience the Return of the Powers.
When we delve deeper into the unconscious mind we are as swimming in the ocean. On the surface are the waves of the ocean that wash over us in perfect rhythm, one after another and so predictable. These waves of waking consciousness inform us that all is normal, all is well. But far beneath these waves swim the sea creatures and strange monsters of the unconscious mind, so familiar to us and so misunderstood.
Everything on the surface seems logical and rhythmical, while everything below seems to lurk in patternless motion. On the surface we create a patterned world based on timetables, nine to fives, and monthly bills. But down below no such parameters exist, so of course we are uncomfortable there as no one and nothing seems to be in control.
When we encounter creatures of the unconscious mind we do not recognize them or understand them because they are mutable. They change shapes and identities. We are more fixed and thus are more comfortable with the predictability of the sane conscious mind than we are with the unpredictability of the insane unconscious mind. And of course, we know we are not supposed to embrace insanity.
But we forget one important thing or perhaps we just choose to ignore it. The sane and rhythmical waves of our ocean are responding to a distant power that we also do not understand. The gravitational pull of the moon is the governor of the waves of the ocean and also the governor of the unconscious mind. So we cannot escape whatever it is we think we are escaping by ignoring the depths below as we must also ignore the depths above. And those creatures down below in the unconscious depths of the sleeping mind, where we must visit every night whether we like it or not, are also responding to the powers of the moon. Our consciousness is linked to the moon in ways we do not understand and never will unless we simply acknowledge that it is so, and then seek to discover the connection.
But Ego has created its own tool, modern science, to deny such connections exist. From the perspective of modern science, all such connections must be empirically provable and if they cannot be, then they are dismissed as fantasy so that the Real Fantasy can continue. In the Real Fantasy, the celestial bodies, the planets and moon, are just casually floating around up there, as unconnected to us as are the creatures of the unconscious mind, while we sit in the middle in the catbird seat, masters of the universe.
As long as the Real Fantasy governs our thinking, we will never understand what in the world is going on and even what we are supposed to be doing in the world, besides fixing breakfast, going to work, coming home and watching movies. We love movies because they pull us out of ourselves, like the moon pulls the tides, and they allow us to explore all these lost connections and misconceptions within the safer context of entertainment. Our attraction to movies is not only about the fun of watching them but also about their technology. Movies work by projecting images with devices, and projection is something we are very good at, even if we don't know it. If it turns out that we really are masters of the universe, it will only be because of one simple, incredibly complex, skill we have. We are masters of projection.
Can it be possible that those strange, mutable creatures, the population of the unconscious mind we encounter in dreams, are actually projections of our conscious mind? Suppose for a moment they are. Does a two-way street exist? Are things outside of us actually projections of our unconscious mind? If we are projecting forms both inside and out, what is their relationship and what is their purpose? How do our projections become so real that we do not recognize them at all, as though they exist in a life of their own?
The ocean just got deeper.
This next section is a little bit of a departure but it's my one and only chance to go down this strange but very related side path, so I'm taking it! Follow the link above if you want to stay more on the path of the nature of consciousness and dreaming. Keep reading below if you want to take a side trip down a dark lane. Anybody got a flashlight?
"Glendower: I can call spirits from the vasty deep.
Hotspur: Why, so can I, or so can any man,
But will they come when you do call for them?
Glendower: Why, I can teach you, cousin, to command the devil.
Hotspur: And I can teach thee, coz, to shame the devil
By telling truth. Tell truth and shame the devil.
If thou have power to raise him, bring him hither,
And I'll be sworn I have power to shame him hence.
O, while you live, tell truth and shame the devil!"
(Shakespeare, Henry IV)
IN THE SHADOW OF HER WINGS
For starters and just for fun, let's take a look at one of our incredible projections that surely comes from within, and that also verges on becoming some kind of religious belief system - the vampyre. I do love the vampyres and I have always known there was some deep, complex reason why, a reason worth the effort to discover and understand. The history of the vampyre is fascinating and there begins our side path journey to gnosis.
In the legend of Lillith, said to be the first vampyress, dominance over men seems to be the theme. Although widely believed to be part of the Bible, but really just part of the babel, Lillith does not appear in the Bible at all, except as a word meaning "night creature" or "screech owl." So where does her legend begin, if not in dreams?
It would come as little surprise to women everywhere if the legend of Lillith was dreamed up by men. In the legend, Lillith is the first wife of Adam. She left him because she refused to be dominated by him. In other versions, she left him because of his sexual inadequacy. In these accounts of her, Lillith left Adam to have an affair with the archangel Samael who is the blind Angel of Death, explaining perhaps how Lillith came to be associated with death and why, throughout time, so many men seem to be so focused on controlling and/or dominating women they are sexually attracted to. At some level, they are trying to control the inevitability of death.
This archangel Samael is actually the Archon Samael, which is not the same rank as archangel. A quick review of Samael in early common era Gnosticism will clear up this confusion in history. (Search my gnostic dictionary to find 14 references to Samael.) In Gnosticism an archon is a planetary ruler. Samael's mother Sophia, who created him without her partner, the Savior, named her mistake Samael. He is really the "blind" for Ialdabaoth, his true identity as the monstrous lord of matter, the implication being, in the "Lillith left Adam" legend, that Lillith left Adam for someone who had more stuff than Adam had. This certainly seems a familiar divorce theme and apparently an ancient one, even archetypal, that men think women are just interested in their stuff. Ok, this might be occasionally true but for a whole planetary mythology to emerge out of it seems to me to be an overreaction. Anyway, Ialdabaoth/Samael had less stuff than he thought he had. Upon opening his eyes at birth, he saw only dark matter and deduced from his blindness and solitude he was the one and only god, even though his mother kept telling him he wasn't.
One day Samael proclaimed himself to be the one and only god, whereupon he heard a voice answer that he was mistaken. Samael challenged the voice to show itself and began unleashing demons into the world to prove his powers. He also vengefully created death to reign in the sixth heaven, and somehow he lured Lillith away from Adam, most likely with all that show of power.
Adam goes down in this history as bad husband material, so perhaps the legend of Lillith originated with women. If I get the drift of this legend, Adam was too bossy, he didn't know how to show Lillith a good time in bed, and he wasn't a god like her lover was. So his wife left him, the first time any wife left any husband, and God had to make a new wife out of Adam's rib since the old one ran off with her boyfriend.
Lillith's choice of Samael as the cuckold of Adam is symbolic and makes sense. In this mythological menage a trois, Adam represents the beginning of all human life, Samael is the end of it, and the sexy Lillith is the connection between them. It also sets the archetype for women leaving their husbands all throughout time for pretty much the same reasons as Lillith left Adam. (See above.) Samael's ultimate defeat by the highest powers represents symbolically the triumph of life over death.
Lillith may have originated as Lilitu, a Mesopotamian storm demon, who was thought to be the bringer of death. If so, she is at least 6,000 years old and looks like she may have been the inspiration for vampire author Anne Rice's fictional character Akasha, Queen of the Damned, who appears as a stone statue. Seen in this image with her screech owls, the winged Lilitu may also have been the inspiration for the Greek goddess Athena, who sometimes appeared as an owl and who obviously is an import from some other ancient civilization.
Demonization of revered figures, in which the old gods become the new demons, is not uncommon when inventors of new religions are striving to usurp the place of the old ones. But Lillith or Lilitu escaped that transformation because she was a well-respected demon to start with. This may account for the ease with which she found her place in iconography as the first vampyress. Even Michelangelo, as late as the 16th century, portrayed Lillith in art as the serpent in the Garden of Eden who tempted Adam and Eve, perhaps sneaking back in to get even with Adam for remarrying. She spent a lot of time talking Eve into doing something that would get her and Adam in a world of trouble and ultimately evicted from their home. (This sets the archetype for the relationship of the first wife to the second, younger wife. :)
Michelangelo, who is supposed to have been gay, might have admired Lillith for her cheek in doing whatever she wanted to do with whoever she wanted to do it with, regardless what anybody thought about it. Later on in medieval times, the Christians tried to put a stop to all that when they created the crime designated "For Unlawful Carnal Knowledge," sometimes punishable by death. But Lillith just shapeshifted her myth and began appearing as the succubus, the winged being who circumvents the law by seducing men in their sleep. She is always welcome, it would seem, perhaps because she is known to suck more than just their blood. (I can see why Freud avoided comment on this one. He hadn't quite got it figured out hehe.)
For Lillith to be in dreams shows she is the free Spirit of the Psyche and was probably close friends with Carl Jung (wink wink nudge nudge). And he did write something like, "What I am saying is the Psyche is real!" One thing is certain. If we got to know her better, it could be dangerous! She might suck us in and we might like it. Who knows, we might even meet Samael!
SAMAEL THE SEDUCER - "All these will I give to you."
"How has the existence which does not exist appeared from an existing power?" (Zostrianos, Gnostic papyri)
THE IMMORTAL VAMPYRE
Samael's problem is that he is certain he is the highest god and he won't accept the idea that he is only duly appointed. That implies a higher authority, and he knows he is really Self-Appointed. Samael, lord of the material world, evolves and the world evolves along with him. Samael/Ialdabaoth makes a transformation from archon and planetary ruler in Gnosticism to Adamanous via the enlightened Hermetic literature.
From an Hermetic treatise 'Upon the Creation of Man" attributed to Hermes, Adamanous is the Form of Forms, the template upon which humanity is patterned. Nous means 'mind.' So Adamanous is the human collective unconscious mind, there being other kinds of collective unconscious minds possible.
Adamanous is linked as in a chain to ever higher and higher realms. He is the actual living pattern and microcosm of the higher macrocosm so that, in turn, all of us are patterned upon higher realities. Hermeticism, borrowing from the Egyptian religion, names Harous, a version of Horus, as the creator of Adamanous. Horus, who is the creation of the planets seeking spiritual expression, and the planets themselves are enabled to create by the heavenly Virgin who used to be Sophia, the mother of Samael.
Harous creates Adamanous by channeling the forces of the Archons (planetary rulers) into him and thus he is perfect in appearance, but ignorant and mute. Harous then channels the power of the stars into him so that he becomes intelligent and speaks. Even though the colossal Adamanous is as tall an the clouds and can hear the sound of the rotation of the planets, he worships Harous for his size, who is so tall he can touch the planets and any sign of the zodiac. Harous creates a mate for Adamanous, called Haivanous.
Right away war begins when the planet Saturn, who is excluded from participation in these creations, becomes enraged and wishes to destroy both micro- and macrocosm. Harous invokes powers to constrain Saturn, and to bind all impure spirits to the four corners of the macrocosm where they are held as prisoners in watch-towers. Adamanous and Haivanous, now free from danger, parent 14 children - seven sets of twins, each pair a boy and a girl. The planets endow these children with their respective personalities and appearances, both positive and negative aspects. Down at the bottom of this chain of command we humans, patterned on all those realities above us, including all their psychological problems, are born into the world, and each planet we pass through helps create our indivituality.
So finally Samael/Ialdabaoth becomes human and free to create his own destiny and wouldn't you know it, he recreates all this mythology in the biblical legend of Adam and Eve. So like it says in Ecclesiastes, "What has been will be again, what has been done will be done again; there is nothing new under the sun." This was also Giordano Bruno's famous defense at his inquisition trial (but it failed to acquit).
Well, it is no surprise to me that all this stuff would be swimming around somewhere in our unconscious minds and that we would create out of it the idea of the vampyre. And if we start at the beginning and follow the bloody trail of the vampyre we might actually get somewhere interesting, assuming we can stay alive long enough to arrive :)
So you see, for deep psychological and mythological reasons we are naturally fascinated with vampyres. But how deep runs our fascination and what might be the result of our little obsession? There is even more to this than we might ever imagine.
Contemporary vampyre art places the vampyre alongside the angel in a blending of symbolism, portending something both occult and divine. Do we see this as our destiny, as the evolution of human beings entering the next phase of our species' existence? Do we now begin to see ourselves as angels corrupted by our connection to the flesh and blood of life? Are we really fallen angels, struggling to embrace the visage of the vampyre as our next step on the return path home, dead but somehow alive?
Or maybe our logic is taking over in a way we do not recognize because it has to do with something illogical, with the vampyre. If so, it could be possible that our penchant for the logical outcome has reached the level of collective mind, so that we can see what must logically become of our species. Where once we envisioned ourselves kneeling at the feet of angels in our next life, we now seem to see ourselves lingering behind on the planet in the twilight, as half-angel, half-vampyre. We become not only worshippers and servants of a higher power but also a people laying claim to personal power that results from having lived in the physical world of bloody tooth and claw. It could be that Samael is right and his teaching is evident; we are our own higher power. The blood is ours!
Perhaps the vampyre represents our defiance, our refusal to cede our power even though we cede our physical lives. We think that, via the vampyre, we do not have to really give up what we love so much. Oh, it is not life we are so afraid of losing but its powers; the power to move objects, the power to cause events, the power to become more than we started out as, the power to live and to live well. These are the powers we once enjoyed and, through the vampyre, we seek the return of the powers.
The vampyre may represent our deep, hidden knowledge that somehow, some way, we can claim this power even though we cannot stop the death of our bodies, cannot prevent the foul subtraction of our lives. Through Lunar Ascension we may be coming to a deep realization of a paradox truly difficult to comprehend: through death, and through death only, do we live. If this is so, if the vampyre represents a collective recognition of a vast, even supernal, power that we can lay claim to, then I say the potential for this must really exist. The vampyre is not fantasy, is not silliness but is something deeply meaningful and even divine. The vampyre is our vision of the greatest power of all, the power to die and live again in the fullness of the human potential and under the aegis of the Immortals because we walked the sacrificial path of blood.
Through the vampyre we can gain an ascendency over the physical world and all its crushing powers. Only in fiction is the vampyre about sucking the blood of other humans. That narrative entertains us while, deep in our subconscous minds, we contemplate the vast implications of power over death. If the vampyre is what we really want, if somewhere within us we know we can claim the power of conscious immortality, then I think we should go for it because we know we have the power to create our destiny!
THE VAMPYRE'S DILEMMA - TO NURTURE OR TO DESTROY
It could be we already are the vampyre, and our fascination with the vampyre is our quest to understand our own nature. Let us look at one interesting misunderstanding we may have about ourselves; perhaps we are already dead and we just don't know it! This would mean that death and the grave are physical methods of transformation we have devised for ourselves as symbolic aids along this evolutionary path.
Did you know that a vampyre is actually a ghost? It keeps the semblence of life by feasting on human blood. Where could this strange idea have originated and, by following this path backwards in time, can we learn anything by studying the concept as it was originally conceived? Let's find out.
My search for the origin of vampyres leads me to Thanatos, the Greek personification of Death, as a likely candidate. Although he was a minor character in Greek mythology, he was a son of Nyx or Night and Erebos or Darkness. His brother was Hypnos, the personification of Sleep. Thanatos and Hypnos constantly dwelled in Night and Darkness. The sun never touched their faces. While Hypnos was considered friendly to humanity, Thanatos was feared by all and considered to be hateful. He was known to have no pity and once he seized upon a human, he held fast.
Through narratives in fiction and transformations in myth, Thanatos may have become our modern vampyre and the personification of something new in the mythology of our age. But it took a little help from modern psychology to achieve it. About the time Bram Stoker wrote Dracula (1897), Sigmund Freud was writing and publishing his theories about Eros and Thanatos. In Greek mythology Eros is the god of sexual love.
According to Freud, humans have two powerful, internal motivations or drives, a life instinct (sex drive) that he called Eros, and the death drive (death wish) that he called Thanatos. This theory of Freud's was highly controversial, and that gave it the impetus to catch on in popular media. Soon, the vampyre became more than just a hateful blood sucker but also a sexy one. The vampyre brings sex and death together in a unique way.
The addition of sexuality to the vampyre makes the creature even more compelling and dramatic. Oh, what a dilemma the vampyre has, whether to eat and kill or to love and protect. Now we can see why the vampyre in fiction is so appealing, because it plays out for us our own conflicting emotions about so many things. Catharsis was always the great value of drama, and our pity and grief for the poor victims of the vampyre, combined with our fear and lusting after the vampyre, allow us to experience these emotional conflicts without directly experiencing the terrible reality. In so many different ways we destroy what we love, and we crush under the great wheel of self-interest the precious things that must be kept safe. This is why we need psychiatrists to help us understand our dual nature.
Being so creative as we are, for it could be we really are Samael the Seducer and also Samael the Creator, we cleverly project our own destruction as entertainment so we can enjoy even more self-involvement as we burn in the flames of our desires. Were we to ask Carl Jung, a Swiss psychiatrist and associate of Freud's, what the vampyre means to us, he might surprise us with his answer. He might say that this catharsis supplied by the vampyre in fiction satisfies the goal of the psyche, which is purification of the self. Were we to ask him if there are other ways to achieve this purification, he might reply, "Ya, but this is the fun way!" Oh, I do so agree :)
NIGHTMARE ON PERSIA STREET
"Popular lore attributes to them a tall stature, frizzy hair, a snub nose, thick and pendulous lips, long nails and a furry body, and adds wings and horns." (Persian Beliefs and Customs by Henri Masse. HRAF New Haven, ©1954, p.344-346)
That quote describes the ancient Persian vampyre that supposedly predates all vampyres, even Lillith, a wind demon of Mesopotamia. But it certainly is not descriptive of Tom Cruise and Brad Pitt in "Interview with the Vampire." And thankfully so, because I doubt we would be lusting after that blood sucking thing in Persia like we do movie star vampyres. And what about Gary Oldman as Dracula? Wow!
Reading further into the ancient Persian stories of demons, it seems like I'm reading the media of their times. Lacking movies, directors, and actors, they had instead those bizarre stories about the demons and everything bad laid at their feet, including infections, disease and death. They had limited medical knowledge and needed some explanation for their illnesses and diseases, I suppose. Their acceptance of those demons as real is almost the same thing as our acceptance of Freddy Krueger, in "Nightmare on Elm Street," as real. It is the equivalent of our saying, "The reason we have nightmares is because of Freddy Krueger."
Those stories of Persian demons are very creative. Hollywood may be missing out on some good horror script opportunities by overlooking those demons and forebears of the vampyre. Here is one I like:
Devalpa is an old man who stands at the edge of the road and sighs. He addresses the following request to all passers-by: "Take me on your shoulders." If anyone picks him up, three meters of legs like snakes suddenly come out of Devalpa's belly and twine around the bearer. Devalpa takes a solid grasp, and gives the following order: "Work for me." In order to get rid of him, you have to get him drunk.
Any excuse to hang out in the pub, I guess. "I'm just here to get this Devalpa drunk!" Here is another good one:
The palis (licker of feet) attacks a man when he is asleep in the desert and licks the soles of his feet until it has drunk all the man's blood. Once it was duped by two muleteers from Isfahan who, when they were caught in the desert at night, slept foot to foot and covered with the mantles. The palis circled around them in vain and finally went away, saying: "I have explored 1,033 valleys, but I have never seen a man with two heads."
Congratulations to the muleteers (people who drive mules)! It takes a lot to outsmart mules, so perhaps it takes muleteers to outsmart vampyres. Maybe that is how the vampyre came to be a neck biter, since it realized humans can sleep foot to foot and cheek to cheek but not neck to neck. Or maybe they happened upon the carotid artery one night in desperation when the foot sucking was a no-go.
Despite their citations in contemporary writing and credits given, it is doubtful the Persian demons were the first vampyres. Quoting the author above, "They (vampyres) once infested the world and tormented human beings fiercely; then Solomon (Solaiman) put an enchantment on them with talismans until the end of the world." If it was Solomon who put the enchantments on them, then they likely do not predate Lillith. Even if they are supposed to have run amuk tomenting humanity for 5,000 years or so until they ran afoul of Solomon, who was born about 1011 BCE, it seems doubtful they can substantiate their claim as the world's first vampyres. Either way, it was a bad day for them when they crossed paths with Solomon, who was reputed to have vast magical powers.
According to Gnostic literature around the turn of the first century, King Solomon magically trapped seven demons in seven bronze vases. I wonder if it was those same Persian demons? He sent the vases from Jerusalem to Egypt, entrusting their care to the Egyptian priests, who used a magical book against them called The Seven Heavens, supposedly written by Solomon. The vases, called Khalkhydras, were made of electrum and engraved with magical formulae.
So, with a magic book King Solomon trapped the demons in magic vases. That does seem to point to Persia, keeping in mind the djinn or genie inside the vase. But it seems to have drifted far away from the assertion many writers make that Persian demons were the first vampyres. Maybe that legend of the Persian vampyre, with its unusual work ethics and foot fetishes, resonates with the Eastern mind, but I like Lillith as the first vampyre in the Western world. She seems so attuned to our collective consciousness and especially our cultural habits of marriage, divorce, disillusionment, revenge and midnight sex.
Leaving the Vampyre behind now, some related group darkwork events follow on the next two pages.
Page 1 - The Return of the Powers | The World's Wisdom
In the Shadow of Her Wings | Samael the Seducer
The Immortal Vampyre | The Vampyre's Dilemma
Nightmare on Persia Street
Page 2 - Evolution of the Vampyre | Vampyre's Vault Cavities
First Bite Cover | Vault of Dreams | The Writer (Before the Fall)
The Vampyre Clarissa | The Piper at the Wall
Vampyre's Dilemma | Immortal Vampyre | Get Some Garlek
Shadow of Her Wings | Nightmare on Persia Street
Page 3 - Cosmic Mass for Spirit Releasement
Releasement Methods | About the Pearsons | The Cosmic Mass
Spirit's Releasement | Mass Impressions
Unitarian Universalists | Second Releasement and Results
Page 4 - Ejoesa Ritual of the Portal | Krishna Teaches Physics
Searching for the Key | The Last Ritual of the Portal
Fire Ritual to Welcome the Ejoesa | Ritual of the Arapaho Portal
Arapaho Spirit Guides | Arapaho Chanting
10th Dimension of Time
DISK OF THE WORLD
A Spiritual Revelation about the Enlightenment and its Social Oppression
This is a Shield Guide portal. We are a vast organization of beings from all parts of the universe and an interdimensional organization of life systems that represent a winged body of planetary systems. We assist in developing light-network domains and appear when requested to shield and guide civilizations on ascension paths. We form portals bridging this evolutionary domain to others in the universe on similar ascension paths.
BOOKS, ARTICLES, ART, AND WEB DESIGN BY CLAIRE GRACE WATSON
THIS IS A PHAISTOS DISK INSPIRED ARTICLE
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