THE OPHIDIC ESSENCE:

SEEKING A RETURN TO THE ORIGIN

by Ophis Christos & O.V.S.

Text Copyright 2013 Ophis Christos & O.V.S.

All rights reserved. No part of this book may be reproduced or uti-

lized in any form or by any means, electronic or mechanical, wi-
thout permission in writing from the publisher.

All illustrations and photographies by Ophis Christos & O.V.S.

Layout & Design by Kayley Hill and Fall of Man.

www.fallofman.eu
e purpose of this work is to seek, through the teachings and practices of obs-
cure traditions, the keys to be guided in the returning path to the origin. Our
main goal is to deny and reject existence, annihilating the desire for illusory,
superficial and momentary things, knowing how to separate them from
what is real and eternal. All mentioned traditions have the same final objective;
that is to escape from this big prison and return to the origin.
We can observe that people with no knowledge consider life more ple-
asant, because limitations and ignorance makes them happier and adequate to
this illusory existence. Ignorance imprisons the person in this world and brings
happiness within this false reality, because they do not have awareness of reality.
In contrast, the broader the knowledge of a person is, the more it feels tormented
and opposed to this world, therefore this return to the origin can only be in-
itiated through knowledge/wisdom, which maintains man in contact with his
origins, instead of dissociating him from his own essence. is happens not be-
cause of any wisdom though, but through the primordial Gnosis which is oe-
red only to those who come from the shadows.
Many people usually seek Black Magic in order to acquire material
goods or mundane, superficial things, but we understand that true glory lies
within the Spirit, not in external things. Every spirit poor in wisdom desperately
seeks to obtain external wealth in an attempt to compensate his inner poverty,
but the Satanist is always willing to put his own dark essence first and above his
Ego, because wisdom for us is like sea water, as in the more water from this "pri-
mal ocean" we drink, the thirstier we become.
e practices of Black Magic mentioned in this book have the objective
of generating internal changes in the individual, transforming him into a new
being, stronger and with a much broader view of the reality that surrounds him,
to become fit to practice external Magick (Sorcery) with more concrete objec-
tives and goals. All the myths and practices cited in this book are a synthesis
between religion and philosophy stemmed from the forces and philosophies
contrary to the universe; pure Heretic Magic, a full negation of existence. is
explains why we are connected to destructive forces linked to Death. We see
myths as real tools, used to manifest our essence, an essence which exists both
within us and outside of us, revealing the Devil both in our occult being and in
the exterior. rough the myths we can materialize parables and create symbols
used to seek the center, the self, and the self from the origin. Myths are forms
that man uses to work with consciously to reach the unconscious side of the
mind, and through prayers we can awaken the instincts and open doors to con-
nect ourselves to the energies which are outside time and space, but also pene-
trate in this created world revealing us the real face of our desires.
ere are many legends and myths which describe the battle between
Gods and Demons through the ages. According to our cosmovision, many of
these legends and myths were extremely manipulated to be able to assert the
idea of a Single God, where God has power above all things and is considered
perfect and omnipotent, or to try to put God the creator as the supreme being
and above all others, or just to worship creation. For this reason we do not share
the same interpretation about several myths and legends, compared to most re-
ligious people and most of books that formed the concept of religions. When
delving into the forbidden knowledge that is passed to us through those who
come from the shadows, it is possible to recover the parts necessary in order to
reconstruct the true history described in the myths and bring us closer to the
truth through the true Gnosis.
e creator of the world is described in dierent ways in dierent re-
ligions. Several names are cited in varied cultures to describe the one who cre-
ated the physical world and keeps the cosmic order. is physical world is full
of flaws, it is something totally imperfect, which shows us clearly that the creator
is also imperfect. roughout this book we will get into several traditions so we
can analyze the dierent names that describe the various antitheses of the cre-
ator and his creation and thus unchaining, liberating and igniting the flames of
the opponent.
Lastly, it would be necessary to mention that much of what it is said in
this work cannot be understood literally, as there is a mixture of metaphors, his-
tory, science, fantasy and truth. erefore, everything must be understood ac-
cording to the corresponding philosophical and psychosomatic concepts
described in our tradition. ose who read this work, free from dogmatic ba-
rriers, from preset parameters and prejudices, may have the keys to get rid from
this prison, especially if one knows how to use in a proper way knowledge of
intuitive and transcendental character, the kind of knowledge which allows the
encounter of the being with its eternal essence.
Before entering into the kind of Gnosticism that we work with, we need to cla-
rify some facts about other groups that are also considered Gnostic. But first,
what is Gnosticism? In short, Gnosticism is a synthesis of several philosophical
and religious theories with several possible ways of understanding them; Gnos-
tic writings are very varied and some may even be considered incompatible, but
in all areas there is a dualistic cosmovision. is dualistic cosmovision is
based on the idea that the divine sparks, belonging to the true divine realm, are
trapped in this physical world and need to be liberated, thus leading to a conflict
between light and darkness.
Gnosticism states that in the universe there are divine spirits trapped
in a material world, created by an imperfect god, called the Demiurge. is god
is oen associated with the God of Abraham. According to the Gnostics, this
material world must be annihilated by the true god, so that the spirits can be-
come free from the grip of the Demiurge. From this we can understand that
Gnosticism rejects the material world.
Dierent Gnostic ideas appeared throughout history, sometimes be-
hind cults, but always adapting to the cultural and historical characteristics of
that particular place and time. is explains the many scriptures and the arising
of incompatibilities between them. But even aer the adjustments made to the
core Gnostic ideas to suit better the place or period where they emerged, the
groups were labeled as heretics and were always persecuted.
 One of these Gnostic, heretic groups were the Cathars. Catharism was
a Christian movement that appeared in France and Italy during the late XI cen-
tury and that lasted until its last members where eliminated in the XIV century.
According to them, all beings in creation are in a constant war between two
irreconcilable principles: e Spirit and the Matter. In the material world there
is only suering, pain and anguish. ey believed that there are divine particles
dormant in all human beings, lost in this world, and that they need to be awa-
kened and liberated. For a Cathar evil would be, by nature, anything belonging
to the material world, and in order to destroy this evil we must reject the mate-
rial world and the god Creator, making the spirits return to their origin.
e Cathars organized the Church of Christ in order to rescue the di-
vine sparks trapped in the world and in mankind. ey needed to get away as
much as possible from this world, from the passions and all that imprisoned
them in this universe. In order to achieve this, the Cathars had a rite called Con-
solamentum (which symbolically represents the death in relation to the corrup-
ted universe), where the individual would be disconnected from the world,
liberating himself and becoming free to return to the divine realm. is rite was
done through the laying of hands, transmitting the Holy Spirit to those who ne-
eded help. For them, the Holy Spirit assists the spirit imprisoned in matter by
helping it. e idea of salvation for the Cathars was the liberation of the spirit,
which is trapped in its material casing. is alone consequently denied the the-
ology of creation, and was considered highly heretic by the Christian Church.
Another interesting Gnostic sect, also considered heretical, were e
Cainites. e Cainites regarded Cain as the son of a superior spirit to the one
that had generated his brother Abel. ey believed that Cain was the first victim
of the Demiurge, and that the God of the Old Testament was not the same God
announced by Jesus, since one would be loving, benevolent, while the other was
cruel and revengeful.
e Naassene (from the Hebrew "snake"), also Gnostics, appeared
around 100 AD. ey regarded the Serpent of Eden as a supreme being who
sought to free men from the prison created by the Demiurge. is liberation
would be given through the revelation of knowledge from Good and Evil. For
this reason, the Snake was regarded as a symbol of Gnosis.
e Gnostic terms to describe the anointed Dragon/Serpent would be
Ophis-Christos, which would have the same meaning as Nachash-Messiah (In
Greek "Ophis" and in Hebrew "Nachash", means "Serpent", while in Greek
"Christos" and in Hebrew "Messiah", means "Anointed"). ere is the assertion
that the Christ mentioned by all these Gnostic groups, an others (Like Naasenes,
Ophites, Cathars, Valentinians, Sethians, Bogomils) was never equal to the tra-
ditional, Christian Christ. Some explanations on this subject are based on the
idea that they interpreted Christ as a symbol and not as a historical figure, an
allegory to the spirit (the Christ) that exists in man himself. Gnostic Jesus re-
presents the Spirit and does not belong to Creation, while the Jesus in the actual
Christian worship would be the "Jesus-man made of matter" which literally was
born, died and resurrected, and that was the God Creator himself, incarnated
in this world.
Whether the reader will believe or agree with this previous interpre-
tations or not is something that will be in accordance with their own personal
interpretation, but we should note that all myths must be analyzed separately
in order to have a better understanding, and oen dierent names can have the
same meaning in dierent cultures. For us, the "Christ-Man/Cosmic Christ" are
dierent manifestations stemmed from the same source, the Demiurge (the cre-
ator of the universe); therefore we deny and reject Jesus Christ.
e Gnosticism we present is manifested through several obscure tra-
ditions, since we consider all the other concepts that are not connected to dark-
ness and to the Amorphous Darkness as illusory, and therefore false, forms of
self-knowledge.
For us, the Serpent symbolizes Gnosis (the Dark Wisdom), immortality and
also the Devil. e essence of the Devil is manifested by the wrathful form, but
also through wisdom. e Devil is homicidal since the beginning because the
Devil, by principle, has the goal of sacrificing this created world:

"For the great day of his wrath is come; and who shall be able to stand?"

As Gnostics, our believes are based in a radical dualism, where Light

and Darkness stand in conflict, and the Infernal Hosts are forces which came
from the Amorphous Darkness to bring the end of existence. Satanas/Lucifer
is the enemy who sows; the harvest is the end of the world, and the harvesters
are the Demons. erefore, the Devil came to kill and destroy this created world,
to take back the Divine Sparks, inundating the Earth and all the universe in
Darkness, leading to the absolute liberation of the Spirit, forwarding it out of
this material and limited universe. e material creation is the responsible for
establishing a slow process of withdrawal from these divine elements, but at the
end, the Kingdom of Darkness prevails over the Light.
We who are Satanists, act as sowers and harvesters, because we open
our eyes and found the abominations from this created world and his creator,
knowing his works. Before him we lay an opened door, and no one can shut it.
e so-called "free will" is nothing more than an illusion of freedom in this cre-
ated world, and that is the reason why we seek the dissolution of everything,
so we can return to our own real nature: Dark and formless, ineable and in-
conceivable. From the moment we understand and accept that this world is the
work of a creator, then our opposition to all creation turns against him in a mix-
ture of wisdom and aggression.
For us, the Dark Gods are those who claim far beyond the stars and
are the essence of the true Gnosis, and lead us to be the opposition of the creator
and his created world. at is why they are described in various myths as those
who, through a wrathful form, are seeking to destroy the material world and
God, because from the moment we comprehend the reality about this world,
that knowledge gives us the aura of a destroyer.
We cannot comprehend how humans are happy and applaud the one
who created this world, a world that is totally negligible, and still describe this
creator as perfect and kind. e creator is nothing but a finite and mortal god,
as well as all his creation. e death of creation will liberate us from it. erefore
we who despise this world have the same essence as the Devil.
Many people believe that just because someone is part of some order, temple,
sect or coven, this person must necessarily be equal to the others that belong to
the group, think alike, dressing the same and act equally to all other members.
But this in fact would be a way to destroy the individual qualities of each being
and transform the group into a herd. Each being is naturally dierent from
other, having dierent individual characteristics, dierent ways of life, dierent
tastes, dressing and acting uniquely and having dierent opinions.
Obviously Satanists, by having the same essence, have many equal
thoughts and goals and share similar qualities, as those are messengers of their
emotions and these emotions are emanating from the same source. Satanists
are beings who have been able to awaken the firstborn memory from the self
lost divinity and are able to conduct new individuals (only those who have
Gnostic predisposition) to this liberation. Satanists act by planting the Seed of
the Devil in the subconscious minds of beings who have Gnostic predisposition,
but which have not yet been able to wake up, so they can find the hidden keys
to break free from this prison and join them to create even more strategies to
achieve our goal. Satanists are those who act as the Devil himself, becoming
one, sowing and being the harvesters. us, each awaken individual becomes a
sower and reaper him or herself, a soldier prepared for the Armageddon, so-
meone who will open portals to the Dark Dimensions, generating internal and
external changes to destroy this illusory world.
 Satanists are those who are always in the shadows, observing and cre-
ating tactics to awaken those who have Gnostic predisposition, those who have
the urge to fight and possess a favorable spiritual soil that will allow the seed of
the Devil to sprout. e predisposition to fight leads the individual to contest
his own ignorance, remembering the truth about the Origin outside this created
world.
Unfortunately, most beings are neither awake nor they possess Gnostic
predisposition; that is why they are completely useless, except for those few who
may be used in some way to achieve our goal but later will be discarded. ese
other beings are mentally mired, they live according to previously established
parameters, are static, possess a limited vision and inner poverty. ey can only
see the superficial and cannot see behind the veil. In other words, they live
hypnotized by this illusory world. ese are the humans who rejoice and ap-
plaud those forces which created this negligible world, and still insist on calling
the creator perfect and kind. Many of them are also atheists, materialists and
all those who fail to see anything that is beyond the superficial. Consequently
we support the elimination of the useless.
at is why we say that the teachings within this book are directed only
to a small number of individuals, as the average member of the "human herd"
is not strong enough to endure the extreme alchemical change required to act
as its own acausal energy.
e Hindu tradition, as well as the dierent Gnostic groups, has as its goal the
liberation from this created world. is tradition describes how to achieve spi-
ritual illumination in order to interrupt the cycle of life and death, seeking the
dissolution of the individual and the ego and the destruction of all names, forms
and the consciousness of time, space and cause; in other words, it seeks disas-
sociation from all that is created, uniting us to the gods who will dissolve the
entire universe. Within this tradition it is possible to find much of the same cos-
movision that this volume suggests, showing us that the world is nothing more
than something illusory and fleeting and that we need spiritual enlightenment
to become eternal, sacrificing the cycle of rebirths along with all illusions, see-
king the perfection that exists in the absolute non-being, in the void and in the
Darkness, where nothing is manifested.
e goal of spiritual disciplines such as Tantra is to reach the Moksha.
Moksha, which means liberation/release, is the spiritual illumination that leads
us towards freedom from this world. is liberation destroys the wheel of
Karma (action-cause, the law of cause and eect), thus ending with the conti-
nuous process of rebirth, leading us to the Akarma (which means inactivity),
the total dissolution of the Ego and the destruction of all names, forms and the
consciousness of time, space and cause. Our objective with the O.V.S. is to reach
the Moksha, destroying the wheel of Karma, leading us to Mahapralaya, which
is considered by us the great perfection and freedom, so that we can reach the
Paranirvana. In Hindu tradition, Mahapralaya is the word used to describe the
period of inactivity from the cosmos, the non-existence of the created universe,
where nothing is manifested. During the Mahapralaya occurs the Paranirvana.
Paranirvana is the union of the non-self, emptiness and darkness; it is the great
perfection of non-existence, the absolute non-self that occurs aer the period
of activity from the cosmos.
Bhairava is the wrathful manifestation of Lord Shiva (e Destroyer).
is is the most redoubtable manifestation of Shiva, and it is associated to the
final dissolution of this created world. Bhairava is oen
described carrying the amputated head of Brahma (one
of the five heads of God creator), or taking the skull of
Brahma in an bowl. Many times Bhairava appears hol-
ding a human head together with a dog (usually black).
e dog is always waiting to lick the blood from the
head. Bhairava wanders around cemeteries carrying a
trident, accompanied by Evil Spirits. His sacred fire is
fed with the brain and lungs, meat and fresh blood that
gushes from the necks of humans.
Some sources show us the eight manifestations
of Bhairava: Kala (Black), Asitanga (with Black Ends),
Sanhara (Destruction), Ruru (Canine), Krodha
(Wrath), Kapala (Skull), Rudra (Storm) and Unmatta
(Fury). Bhairava
In the Rig Veda (the oldest example in Hindu
literature), Rudra is associated to Shiva, and in the Puranas (Sanskrit for "from
ancient times", another ancient Hindu text), the eleven Rudras are described as
forms of Shiva. ese are eleven aspects of Shiva which can be related to the
Maruts from the Vedic period.
Shiva is also known as "e Lord of the Dance", and of those who
"dance under the ruins of the cosmos reduced to chaos". Rudra Tandava is the
dance which portrays the violent nature of Shiva, also called "e Dance of Des-
truction". Shiva dances in an aureole of Fire, creating storms with great rage
across the universe. Fire represents transformation; for instance, when we throw
a body into the fire, it turns into ashes. e traditional Tandava is a dance where
the devotee of Shiva, in a night of new moon, stays holding a skull in his hand
symbolizing the empty universe, and a dagger in the other hand symbolizing
the mental sensibility to the opening of consciousness. is dance is extremely
fast and lasts for fourty minutes, without respite, leading the devotee to extreme
exhaustion. At the sound of the drum, the devotee ends his dance and lies on
the ground immediately. It is through this sudden stop that the consciousness
of the devotee opens, or leads him to death. Right aer this occurs, another beat
of the Mridanga signals the devotee to sit down and start meditating.
Kali is the wife of Shiva. e one that existed in the form of Darkness
before the beginning of the created world, the one that was beyond speech and
consciousness. She is not associated with the idea of renewal of a cycle, but with
the end of everything.
In the Maha Nirvana Tantra (e Tantra of the Great Liberation), there
are some verses about the nature of Kali that fit perfectly with this statement:

"ou art both Subtle and Gross, Manifested and Veiled, Formless, yet with
form. Who can understand ee?"

Mahakala the Destroyer of the Universe, is y Image. At the dissolution of

things, is Kla (the time) who will devour all, and by reason of this He is called
Mahakala, and since ou devourest Mahakala Himself, it is ou who art the
Supreme Primordial Kalika.

"Because ou devourest Kala, ou art Kali, the original form of all things,
and because ou art the Origin of and devourest all things ou art called the
Adya Kali."

"Resuming aer Dissolution ine own form, dark and formless, ou alone re-
mainest as One ineable and inconceivable."

Within the Hindu tradition there are several types of devotional chants. Mantras
are the most well known chants in the West, and are chanted as repeated prayers.
ese Mantras are chanted to reach dierent purposes like facilitating the con-
centration, meditating, vibrating energy channels for unblocking them, to awa-
ken, etc. But in addition to the Mantras, there are still dierent devotional ways,
like the Bhajans, which are devotional chants accompanied by musical instru-
ments. ere are also the Stotras, which are hymns
assigned to dierent deities, usually Tantric or Pu-
ranic, that are eventually accompanied by instru-
ments. e Kirtanas are also devotional chants
that elapses to the sound of the music and are per-
formed through "command-response", where one
person sings a verse and other adepts respond.
ere are also the Vedic hymns, which have a
rhythm according to what is recited, but do not
elapse to the sound of the music, equally to the
Kavacam.
In our own Gnostic interpretation of the
myths, we do not agree with the traditional view,
where the goal is to lead all beings to merge with
Brahma. We also do not agree with the narrative Kali
in Vishnu Purana, which arms that Shiva was
born from the wrath of God creator Brahma. is is because for us, Brahma is
just one of the names used to describe the Demiurge, while Shiva is the destroyer
of illusion (Maya). Shiva holding the decapitated head of Brahma in his hands
is one of the true manifestations of the adversary, along with his wife Kali.
We can observe that within various religions/traditions/cults Lucifer is descri-
bed in varied forms. Romans, in their pre-christian cult, worshiped the ancient
God of Splendor, known as "Dianus Lucifero" (also called Lucifer). ey asso-
ciated Lucifer to the planet Venus, the Morning Star (d'Alva Star) and also Ves-
per (e Evening Star). In the Roman myth, Dianus Lucifero receives the fire
of the day that is ending and crosses the dark night carrying the fire during the
long night, and as the "Morning Star" he carries this fire which is going to light
up the Sun of a new day. So in this sense, Lucifer was considered the Prince of
Darkness.
In Christianity, Lucifer is seen as a fallen angel, who was cast out of
heaven for having rebelled against God. It is interesting though to point out that
the name "Lucifer" is never cited in the Bible, so how did this myth appeared?
If we read this passage from from Isaiah:

"How art thou fallen from heaven, O Morning Star, son of the morning! how art
thou cut down to the ground, which didst weaken the nations!" Is. 14:12

Due to an error in the Septuagint translator, "Morning Star" was trans-

lated to "Eosforos". Eosforos is a Greek divinity related to the Morning Star.
But this passage from Isaiah is clearly referring to the king of Babylon, the King
Nabucodonosor. When Jerome translated the vulgate, he did not adopt the ori-
ginal Hebrew text, but the Septuagint text, and when he found "Eosforos", he
translated it as "Lucifer":

"Quomodo cecidisti de caelo, Lucifer, fili aurorae?Deiectus es in terram, qui dei-

ciebas gentes," Liber Isaiae 14:12.

is way we have an error of translation that would have no minor

consequence (as many other ones), if it was not for the fact that the Catholic
Church had the necessity of fighting the pagan cults practiced by the peasants.
At that time, these so called Pagans (Pagus = Field), had Lucifer as one of their
main deities.

It is interesting to observe that Jesus Christ considered himself "the

Morning Star" in a passage from revelations:

"I am the Root and the Ospring of David, and the bright Morning Star." Reve-
lations 22:16

erefore, all texts must be well interpreted, because in the same way
we observed previously that dierent names can have the same meaning in die-
rent cultures, we also observe that some names can be the same, but with totally
dierent meanings. Lucifer within the Satanic tradition has another meaning,
not being a fallen angel, and neither a Pagan God.

Lucifer and the Black Grail in the

Satanic Tradition
Within the Satanic tradition described in this vo-
lume, Lucifer is the Serpent that comes to show
mankind that through wisdom we can see the dee-
pest level of our own essence and recognize the ma-
nifestation from the pre-cosmic spirit,
distinguishing the true and eternal from the fleeting
and changeable, and consequently annihilating the
desire of worshiping existence and awakening our
killer instinct.
 Lucifer is the Devil, the adversary (Satanas), roaring like a lion to de-
vour this created world. Lucifer is the one who shows that there is nothing more
than pain, suering and tedium in this existence, and that humanity is being
sunk in a world of illusions.
Lucifer brought the Black Graal to earth, the chalice of wine from the
fierceness of his wrath. e Black Graal of Lucifer is the sacred acausal chalice
which came to the uncreated world, emitting acausal energies, awakening man-
kind to liberate the spirit strapped to matter, preventing us to forget about our
origin.

"And he said to him, I will give you all their authority and splendor; it has been
given to me, and I can give it to anyone I want to." Luke 4:6

"And the first went, and poured out his vial upon the earth, and there fell a sore
and grievous wound upon men, who had the character of the beast; and upon
them that adored the image thereof." Revelations 16:2

e Light of Lucifer leads to a dichotomy because we sustain two die-

rent situations. e first is that the broader the knowledge of a being is, the more
it feels to be tormented and opposed to this world. is occurs because the more
knowledge/wisdom there is, the more the individual sees the reality about this
world, thus feeling detached from it, denying and rejecting existence, which
leads to misanthropy and aversion of all this illusion. In contrast, people who
have a lack of knowledge consider life more ple-
asant, because ignorance makes these people
worship creation and the God creator. Only an
ignorant person is able to love this world and
still thank God for having created it.
In the second situation we sustain that the
more knowledge/wisdom a being has, the more
he begins to become immune to many pains
and sorrows of the world. is explain why the
Light of Lucifer transforms the heart of man
into stone. e heart from the adept becomes
icy, because he knows that nothing in this world
is worthy of much concern, because there is a dierence between the real and
eternal from the illusory and ephemeral. All those who feel aversion to this
world possess the essence of the Devil.
Satan/Lucifer is homicide, because the death of creation will see us rid
of it, and he brings us the hard truth which many people do not want to see.
e Light of Lucifer, as well as the Black Graal, is responsible for the opening of
the third eye (the all-seeing eye, the sacred eye of destruction, also called "e
Eye of Shiva/Rudra" in Hindu tradition; as we know already, within our tradition
what we call Lucifer/Satan, can be compared to Shiva /Rudra). e Light of Lu-
cifer and the acausal energy stemmed from the Holy Black Graal causes the ope-
ning of the third eye in the adept, seeing his own essence (Self) and
remembering the origin. e opening of the third eye is also crucial to the prac-
tices of Necromancy. It is responsible for the contact with the dead, because the
rites of Necromancy are based on the function of the individual sense-percep-
tion; in other words, to capture the information that is emanated from the dead.
As we will learn on the next chapter, the opening of the third eye makes us gain
more subtle perception.
e Eye of Lucifer (or Shiva/Rudra), is the sacred eye of destruction and it is
connected to intuition and subtle perception. It is the eye that looks inside and
the more developed it is, the more revelations the individual will have, becoming
aware of its mental state, leading to high perception from the levels of self-illu-
minated consciousness, opening portals to the most subtle dimensions of cons-
ciousness and unconscious, and generating knowledge through introspection
(self knowledge). When the eye opens inside to the unconscious mind, all forms,
names and the "light of the mind" are extinguished, remaining only the cons-
ciousness of the "non-self "; this means that it opens for the Self, seeing beyond
the world of appearances. When this eye is closed, the individual becomes in-
capable of seeing the deeper levels of his own essence and the reality that su-
rrounds him, not knowing how to go beyond appearances to distinguish the
true and eternal from the fleeting and changeable.
is "eye of knowledge and destruction" is responsible for the wisdom
of intuitive and transcendental character, the one that allows the encounter of
the being with his eternal essence. It is represented as an eye between the eye-
brows. e pineal gland, oen related to the "third eye", is at the center of the
brain at eye level, and it is related to inductive capabilities and subtle perception.
e pineal gland and the eyeball have a big structural similarity, which made
scientists come to the conclusion that the biological origin of the pineal gland
and the eyes is the same. ere is the claim that the gland acts as an antenna, as
it has crystals of apatite in its interior that receive electromagnetic waves and
convert them into neurochemical stimulus. It acts by capturing, for instance,
the radiation of the moon and the sun, conducting the cycle of sleep and wake-
fulness, the menstrual cycle, etc., and performing dierent decodings of infor-
mation, having interaction with the cerebral cortex and many other things. In
animals, like migratory birds, it can work as a compass. is could be the scien-
tific explanation that connects the third eye to intuition and subtle perception.
In one of his lectures, the psychiatrist and master of Science from the
University of Sao Paulo, Dr. Srgio Felipe de Oliveira, expounded that the pineal,
which coordinates the bodys pace, is the only organ in the body that deals with
time, being the only structure that transposes this dimension. He explained that
we live in three dimensions and we relate to the fourth through time, because
the gland that gives a sense of time is in contact with the fourth dimension. at
is why it is able to capture information that is beyond our dimension.
We know that the physical cosmos is tri-dimensional, limited in height,
width and length (or depth) and the fourth dimension (temporal dimension),
being limited to past, present and future. But we believe that things go far be-
yond from what can be experienced through the five senses, and that somehow
this gland, acting as an antenna, can capture information in the electromagnetic
field, so we can connect to acausal energies (acausal Gods) and even to the dead
ones.
In this created world there are many things that go beyond of what can
be perceived by the five senses, and for this reason it is of utmost importance
for the adept to work with the opening of the Eye of Lucifer to have a greater
subtle perception, seeing beyond the appearances to capture many other ener-
gies. Capturing those energies, comprehending them and understanding what
is happening, is in our opinion one of the main goals of magic.
Kabbalah is a well-known system used within Jewish occult traditions, but it is
a system we believe that has absorbed teachings from other traditions, which
were subsequently handled in accordance to Jewish tradition. Kabbalah gives
us a sense of how the world was created, in addition to explaining the physical
and metaphysical complexities of the material and immaterial universe. e
Kabbalistic notion of creation of the world can be applied to all other traditions
mentioned in this work, especially in relation to the appearance of the Gods
and/or Demons, and the explanation of the battle between creation and those
who seek to return to the origin.
Kabbalah explains the creation of the universe based in a single god,
creator of light and darkness, and it is exactly at this point where we believe that
Jews manipulated the teachings, since we believe they absorbed the teachings
used in the Kabbalah from other people in the Mesopotamian region, like the
Sumerians. Among the many Sumerian myths, it is described the battle between
the Order (Light) and Chaos (Darkness) as two dierent powers and not as two
forces that originated from the creator of the universe.
From our Gnostic point of view, we do not see that light and darkness
exist to maintain balance in the universe, as most people within various tradi-
tions believe, and this is exactly one of the key points to understand the tea-
chings of this volume. In several religions we see on one side people worshiping
the creator of the world and those who wish to maintain order in the universe,
and on the other side those who wish the destruction of the world. is happens
because many of them believe that they exist to maintain balance in the uni-
verse. But within the Jewish tradition there is only one God, as opposed to Hin-
duism for example, and they believe that YHWH is the creator of light and
darkness, and that both the light and darkness are necessary to maintain the
balance in the universe. We, in truth, do not see that the Gods of Darkness are
necessary to maintain the balance of the universe, but just the opposite, as the
darkness is the antithesis of creation, since the meaning that we give to darkness
is referring to the amorphous/uncreated primordial dark.
In the Kabbalistic tradition we can find the Tree of Life and the Tree of
Death containing explanations of both the creation of the universe as to the
mysteries that exist in the spirit, and in the material and immaterial world. But
we who deny and reject existence consider ourselves as the woodcutters of the
Tree of Life and day aer day, we seek to savor the fruits of the Tree of Death.
Savoring the fruits of the Tree of Death means letting see who we really are, while
for the Jews and other worshipers of the God creator means "falling into temp-
tation". erefore, the Tree of Death is the only path in the Kabbalah to annihilate
our attachment to the banal senses of this existence, to the material and the ig-
norance, transgressing the physical world to reach a state of liberation.

Ain Soph
In the tradition of Kabbalah, within a philosophical and psychosomatic context,
Ain Soph (Boundless) is a concealed principle, incomprehensible to man's in-
telligence, a stage of non-existence. Before the beginning there was nothing cre-
ated, there was only the ineable. e creator arose from Ain Soph, and on this
concealed principle started the TzimTzum (contraction or constriction) for the
creation of a conceptual space, so that it could be the existence of a finite and
independent world in relation to the infinite. Ain Soph was the place where the
organizing principle of the universe was born, the one who imprisoned in mat-
ter the divine particles from the primordial realm, through the creation of this
space in which the world exists. YHWH is the personal name of the God from
Israel, and he was responsible for transmiting his "divine totality" (Pleroma),
giving rise to the Tree of Life and the ten Sephiroth.
At the same time, from "Ain Soph" emerged a force who wished to re-
main in the sacred resting of the non-existence of the created universe, to keep
the union of non-self, the emptiness and darkness. It was the uncreated light,
the sinister light that manifested with a great anger around the Pleroma, ema-
nating energies against the creation, originating the adverse forces that emerged
during the expansion process of each Sephiroth, originating the Tree of Death
and the great demon HWHY, which is the inverted name of YHWH, because
as it is said in the Kabbalistic axiom "Daemon Est Deus Inversus" (e demon
is god inverted).
As we look at this world, we comprehend that it would be better if it
had not existed, therefore our essence and our will in truth is of the uncreated
light. is sinister light inspires our dark desires, initiating the dark manifesta-
tion within us, because our uncreated spirit is a point where the acausal ener-
gies/uncreated light are manifested in our causal world. e destructive essence
that is within us is also outside us, "on the other side".

"What is above is like what is below, what is below is like what is above" -
e Emerald Tablet, about 3000 B.C.

For this reason we are always seeking for ways to connect ourselves to
the Dark Gods, because the same essence that is in them is also within us.
e uncreated light is brought from Sitra Ahra (the "Other Side", e
Nocturne Side" or the "Sinister Side", the primordial world) by the infernal
hosts. It acts penetrating in the created universe, sullying it, decomposing it and
seeking the divine essence (the sparks of uncreated light, the acausal energies)
trapped in the matter, guiding them back to Sitra Ahra. Blessed are those who
keep the teachings of the Devil, so that they may have right to the Tree of Death,
and can walk to "the other side".
e uncreated light come from the "other side", from the darkness of
the Immense Emptiness; it is the essence of the malevolent wrath against the
divine. e material world will then be annihilated through the hosts of hell
and through those who possess the same essence as the Serpent does, bringing
the vengeance of the Dark Gods and the glory to the spirits, making them free.

Misinterpretations from traditional Kabbalists

Many of the Kabbalists which base their work on the manipulated Jewish vision
consider that "light and dark" are both an original aspect of God (e De-
miurge). For them, Sitra Ahra would be the malignant energy which emanates
from God, necessary to keep the balance of the universe and the free will of
man. is view is due to the fact that they, as monotheists, believe that God cre-
ated light and darkness, as is cited in Isaiah 45:7. God (e Demiurge) said:

"I form the light, and create darkness; I make peace, and create evil: I the Lord
do all these things." Isaiah 45:7.

is statement comes from another manipulative attempt from the

Jews to be able to sustain the idea of one supreme God, creator of all and which
has power over all things. In the biblical texts it is described that God the Cre-
ator needed to expel chaos so that he could maintain his creation in order, se-
parating light from darkness, something which is also described in Sumerian
texts and that obviously influenced the later Hebrew authors. We believe that
Chaos and the ineable darkness are totally opposed to YHWH and his crea-
tion, and that is the reason why we, who have this ineable darkness within us,
the essence of the Serpent/Devil, feel so tormented and restless in this created
world. If we understand that this created world is limited and stagnant, we will
understand that freedom will only be reached when we cross these barriers and
liberate ourselves from this prison.
As we study the history of the Jewish people and their religion, we find
a strong influence of Mesopotamian traditions that allows us to understand to
what degree the Jews changed that original Mesopotamian vision into the Jewish
cosmogony that we know nowadays. It is interesting to note how Jewish texts
arm that light and darkness are creations of God, but even so they feel a great
fear when they talk about the chaotic and obscure forces within the Kabbalah.
Many of them refuse to talk about the teachings of the Tree of Death, while
others try to expose the Qliphoth by repeating constantly how we must fear
these energies and turn away from them.
In the next chapters we will explain the concept of chaos in ancient ci-
vilizations and talk a little about the Sumerians and the influence they had in
the Jewish tradition, so we can understand even better the notion that chaos
and creation are two opposite things never intended to maintain the balance in
the universe.
Assyriologists claim that the Sumerians were the first people to inhabit the Me-
sopotamian region, although their origin is still unclear and their history is still
little known. We know that they occupied and urbanized the river banks of Ti-
gris and Euphrates about 5.000 B.C.
Many of the Sumerian documents that researchers have access to are
tablets made of clay with cuneiform script. ese tablets have been preserved
throughout the ages and are studied nowadays, but unfortunately there are still
few in relation to the documents that need to be discovered and translated in
order to have a broader knowledge about the Sumerians. ese tablets are the
earliest records of a writing system ever found, and were used to register the
laws of the city, their traditions, their poems and many other things.
roughout history Sumerians and Semites always appeared side by
side. e origin of the Semites is also uncertain; some scholars claim that they
came from Arabia, but because of this proximity between Sumerians and Se-
mites, Semites absorbed and assimilated many Sumerian elements, undergoing
changes in religion, art, commerce, and even in the language. It is interesting to
note that the Sumerian language is not Semitic, while the Assyrian-Babylonian
is Semitic. e Semites borrowed from the vocabulary of the Sumerians several
terms that they needed and then made adjustments in such terms. e Semitic
language from the Assyrian-Babylonian was influenced by elements of the ol-
dest populations of Asia, creating terms in the Assyrian vocabulary that are not
of Semitic origin. is explains a lot of similarities between the Babylonian, Su-
merian and Acadian epic poems with the Jewish ones, and Christian obviously.

Chaos and the Enuma Elish

Inscribed in seven tablets of clay, the Enuma Elish is an epic poem from the cre-
ation of ancient Babylon which is a key source for the understanding of that ci-
vilization's cosmovision. e Enuma Elish describes the existing rivalry between
the gods of Order and the gods of Chaos.
When we talk about Chaos, it is interesting to note that since the be-
ginning this is the area in which both poets and scientists always agree. e first
and earliest theorists on Chaos started talking about gods, and described the
myths from the struggle between Chaos and Order. Chaos (from the Greek
, vast void, chasm) is described in these first literary manifestations, bet-
ween approximately 2500 and 4000 years BC, and was narrated through several
other myths and dierent philosophical and religious theories. Analyzing the
concept of Chaos in ancient civilizations, starting by the Sumerian text of cre-
ation, Chaos is understood as a primordial state, the random, the unlimited and
formless. e word cosmos, on the other hand (whose origin lies in the Greek
word ), is essentially a scientific aspect, it is the ordered universe, a
causal and limited structure and it is opposed to the concept of Chaos.
e Sumerian cosmogony mentions that in the beginning there was a
"primordial ocean", Chaos, represented by Tiamat. Sumerian and biblical texts
are described as if the God creator eliminated Chaos and organized the creation
by separating the light from the darkness. From the Enuma Elish:

"When in the height heaven was not named,And the earth beneath did not yet
bear a name,And the primeval Apsu, who begat them,And chaos, Tiamat, the
mother of them botheir waters were mingled together,And no field was for-
med, no marsh was to be seen;When of the gods none had been called into
being..."

Observing the book of Genesis, we can see the sentence:

"Now the earth was formless and empty, darkness was over the surface of the
deep, and the Spirit of God was hovering over the waters." Genesis 1:2

Analyzing the Jewish scriptures, the meaning of the sentence "formless

and empty" is related to an acausal state, primordial, before the existence of an
ordered universe. Tohu in Hebrew represents "formless and without structure",
and the word Bohu means empty and also somber. e word "Tehom" (in He-
brew) means depth, primeval ocean, which would be the "great depths from the
primordial waters" (from Chaos). ese three words are directly connected to
the chaotic, dark, primordial descriptions. e Goddess Tiamat is comparable
to the primeval ocean mentioned in the passage of Genesis. e Hebrew word
to refer to the "Great Abyss of primordial waters", "e Depth" and "e Abyss",
has the same etymological root as Tiamat.
is is just an example of what the Hebrews absorbed from the Sume-
rians. ere was a time when the Hebrews were not monotheistic, but relied on
the believe in the supremacy of one God. is was considered monolatry; only
later the Hebrew cult became monotheistic, and began to consider other Gods
as false or nonexistent. is can be observed in the Old Testament, where many
times it is admitted the existence of other Gods:
"Who among the gods is like you, Lord? Who is like you majestic in holiness,
awesome in glory, working wonders?" Exodus 15:11

"Now I know that the Lord is greater than all other gods, for he did this to those
who had treated Israel arrogantly." Exodus 18:11

Still in the Bible, in the Gospel according to John, which as we know

was written centuries later, we can also observe clearly the understanding of the
opposition between Logos (verb), the cosmic principle of Order, and Chaos,
which would be the darkness, boundless, part of a primordial state that God
creator has the purpose of separating (light from darkness), to order and limit
the world.

"In the beginning was the Logos,

and the Logos was with God,
and the Logos was God.e same was in the beginning with God.All things were
made by him;
and without him was not anything made that was made.In him was life;
and the life was the light of men.And the light shineth in darkness;
and the darkness comprehended it not."

Mesopotamian demonology is based in the big rivalry between the Gods of

Chaos and Gods of Order. e story begins when Tiamat, in an opposite reac-
tion against creation, creates an army of eleven creatures, monsters, whose goal
is to kill Marduk (the Demiurge) and exterminate all the gods who were born
from Apsu and Tiamat. In addition to these eleven forces created by Tiamat to
fight against Marduk, Mesopotamian myths also describe various forces con-
nected to the Dragon of Chaos.

Sebitti
e seven (Sebitti), also known as "the forbidden weapons", are in origin the
personifications of the primordial Chaos, undefined and formless, and are men-
tioned during the battle between Erra/Nergal and Marduk. Nergal, the god of
death, war and disease, is the husband of Ereshkigal, Queen of the Dead and
the Underworld. Nergal is able to open the portals of the Underworld to allow
 the passage of a soul. Erra/Nergal,
the lord of the Underworld,
through e Seven, intends to an-
nihilate the cosmos and Marduk.
e Mesopotamians identified
e Seven as the holders of death,
chaos, curses, diseases and pests.
e Sebitti were most active during
wars while Erra killed. Everything
indicates that e Seven are distant
descendants of Tiamat (possessing
the same chaotic essence). Accor-
ding to the myth, e Seven pro-
duced "a bad wind", also called "the
wind that defeats the Earth". e Seven are carriers of "the Cloud of Death",
able to force all the cosmic gods to flee from their domains; they are powerful
weapons that could annihilate Marduk.

Pasittu and Lamasthu

Pasittu (from the Mesopotamian "e one who eliminates everything") was the
Queen of the Red Moon; she is directly connected to e
Seven (Sebitti). Pasittu is also connected to Suruppu (a
disease caused by the floodwaters); she is the true per-
sonification of Mimma Lemnu (something terrible) and
dominates the Bennu (attacks) with extreme easiness.
Lamasthu is the Lady of Muttabriqu (light-
nings) and Idiptu (wind). She the killer of children, linked to abortion and the
death of infants, even causing damage in pregnant women. She also destroys
nature, infesting lakes and rivers, disseminating diseases and death. Symboli-
cally, this represents the antithesis of procreation, and she takes the dead chil-
dren to her own kingdom. Lamasthu can make beings that are not in harmony
with her energies to unconsciously absorb a high negative charge, leading them
to self-destruction, while the beings that are in harmony with her acausal energy
can absorb it and consciously use it to find a way to return to the origin. Pasittu
and Lamasthu are directly connected to the guardians of the portals from the
Underworld, which are: Engidudu, Endushuba, Endukuga, Endashurimma, En-
nugigi, Enuralla/ Nerulla and Nerubea.

e Sorcerers
Sorcerers were feared by the Babylonian people, since they performed their tasks
during the night and realized works directed to the gods of Chaos. Sorcerers
that possessed this connection with the Dark Gods were designated by several
names that make reference to their powers. A sorcerer is "the one who acts",
but also the one "that poisons", he is "the one that surrounds", and also the one
that " manages the saliva", considered the poison of serpents/dragons.
Spells were common in Mesopotamian society. Sorcerers and warlocks
manufactured statuettes (from paste or wax, for example), and shaped them in
the likeness of the person who they intended to strike, usually placing within
the statue something from the victim's body, such as hair or nails, as well as oc-
casionally dressing the statuette with some cloth which the victim would had
used. During the ceremony the black magician would exert cruelties upon the
statuette, followed by fractures or deep drilling.
Sacrifices and oerings had a preponderant role in the ceremonies of
the cult as well; lambs and cereals were served in gold and silver tableware. ere
were also works of Necromancy, where they evoked the dead so they would
work as oracles for the sorcerers. e rites could be done in honor of Nergal,
who is able to open the threshold of the underworld, permitting the passage of
the dead. According to Mesopotamian belief, the dead appeared in dreams of a
shadows. Evocations occurred through the libation of lamb blood, since the
souls of the dead were attracted by the smell of blood.
Ereshkigal in Sumerian was called the Queen of the Dead and the Un-
derworld. erefore, the shadows of the dead belong to Ereshkigal. e sorcerer
or magician, before performing a ritual of Necromancy, must give a blood sa-
crifice to the Goddess of Death.

Ahriman and the Infernal Hosts in Zoroastrianism

If we are to explain the influence of the dierent Mesopotamian religions on
Gnosticism, we cannot fault to mention Zoroastrianism. Zoroaster (mythical
founder of Zoroastrianism), described the war between Chaos and Order as a
part of the cosmic dualism. Even with some uncertainties regarding his histo-
 rical existence, Zoroaster is consi-
dered a major religious figure in
pre-Islamist Iran. Based on mono-
theism, Zoroastrianism recognizes
the singularity of the Gods in one
God, Ahura Mazda (the De-
miurge), who according to his
faithful is called "sovereign" and
"supreme", the supreme and single
god, "the great creator". Zoroaster
modified the ancient Iranian pan-
theon, but did not omitted it. Be-
hind the Zoroastrian monotheism there are hidden many aspects of the original
Indo-European pantheon. One can say that Zoroaster was a reformer, not a re-
volutionary.
Ahura Mazda in Zoroastrianism is identified as the one who repels the
cold and dead darkness, where the "evil spirits" delight. is can also be identi-
fied with passages in several Sumerian and biblical texts, where the God creator
eliminated chaos and made creation, separating light from darkness.
Seven abstract entities reflect aspects or emanations of Ahura Mazda
in Zoroastrian mythology, they are the Amesha Spentas. ese Amesha Spentas
are: Spenta Mainyu ("Holy Spirit"), Vohu Manah ("good ought"), Asha Va-
hishta ("Supreme Righteousness", Order"), Spenta Ameraiti ("Holy Piety"),
Khashathra Vairya ("Ideal Government"), Hauravatat ("Perfection"), Ameretat
("Immortality").
According to the myth Ahura Mazda is opposed to Angra Mainyu (or
Ahriman), also known as "the spirit of evil". In Zoroastrianism's theology of
creation, the first of the archangels, Spenta Mainyu, had a twin brother named
Angra Mainyu (the destroyer). Both emerged in the origin of the cosmic cycle
and separated themselves by their free choice. is can be identified with the
theology of creation found in the Kabbalah, as we mentioned previously, when
YHWH emitted its "divine totality" (Pleroma) giving rise to the tree of life and
the ten Sephiroth. In return, at the same time in "Ain Soph" emerged adverse
forces that wished to remain in the sacred resting of the non-existence of the
created universe, to keep the unity of the non-self, emptiness and darkness.
 Ahriman is the great serpent, hostile and destructive, he is the chaos
that calls beyond the stars, the antithesis of the created universe which resides
in the Darkness of Immense Emptiness and he seeks to destroy the entire cre-
ation of Ahura Mazda. All those who clearly understand the will of Ahriman
can pass beyond the gates of creation and penetrate into the abysses. Ahriman
is a source of darkness, he is the gate and path to the amorphous darkness and
liberation of the spirit. He acts by breaking all bonds and emitting his acausal
energies. Along with Ahriman, there are several other demonic entities in the
battle against Ahura Mazda:
Aeshma is the messenger of Ahriman, he is the demon of wrath, the
antithesis of Asha Vahishta, the Amesha Spenta. Aeshma destroys the thought
of creation and it is connected to the violence in war.
Aka Manah is the "malignant mind". He is the antithesis of Vohu
Manah and also connected to subtle intuition, leading the individual to see the
truth about this world and consequently, to have "bad thoughts" and "malignant
purposes". He recreates the individual for the manifestation of Ahriman. He is
connected to diseases, mortality and decomposition.
Apaosha is the big dark horse created by Ahriman. He is the Demon
of drought, the enemy of Tishtrya (angel of rain), which is represented by a
white horse.
Astovidad is a powerful demon of death and disease who was given
great powers by Ahriman.
Jeh, the predator, consort of Ahriman. e female Demon of amor-
phous shadows who fights for the destruction of existence and therefore against
created world.
Druj Nasu, the female demon who has the shape of a fly. In Zoroas-
trianism blood sacrifice is condemned, and it is also recommended to get rid
of the body of the dead, considering mortal remains as a source of impurities.
Druj Nasu assumes the form of a fly to penetrate flesh and dead matter, feeding
on the flesh of the dead and awakening the uncreated spirit.
Azi Dahak is the ospring of Ahriman, the one who brings storms,
plagues and diseases. He is the ree-headed Dragon which, according to the
myth, was chained by the false gods in the Damavand mountain, since no one
could kill him due to his immortality. Despite being trapped that way, Azi
Dahak continues to emit his acausal power without ceasing. Azi Dahak, who
according to the myth, will be freed and will contaminate the water and vege-
tation, will kill most of human beings and will be united with Aeshma-Diva
(e God of Wrath) and to the magnificent army of Ahriman to transform the
world into ashes.
Apart from this demons, there are also the Yatus, who are a group of
magicians/sorcerers who work beside Ahriman.
e end of the cosmic cycle, the twilight of the Gods is mentioned both
in Zoroastrianism and in ancient Iranian eschatology. Zoroaster and other wors-
hipers of the Demiurge claim the end of the cosmic cycle will give birth to a
new golden age. According to the worshipers of Ahrura Mazda, if good"
triumphs, this transformation will make the world immortal for all eternity. But
we know that this world is finite and Ahura Mazda is mortal, therefore this new
golden age announced by Zoroaster and the worshipers of the Demiurge will
never exist.
One of the first steps the adept takes when he begins to acquire a supreme wis-
dom is the glorification of Death, because Death is the Gnostic muse. e glo-
rification of Death is somehow one of the most important points within our
tradition, because only through it we can free ourselves completely from this
world. People very attached to life are those who do not understand reality and
that is why they feel a great fear when thinking about death. Death is somehow
the most striking passage to reach freedom and obtain the eternal.
We can find the glorification of Death is present in several civilizations,
but one of the most interesting examples is the Etruscan civilization. e Etrus-
can civilization is still shrouded in mistery, both in relation to their origin and
to their spirituality. Etruscan religion is dierent from both Greek and Roman.
What we do know though is that it was a spirituality intimately connected to
Death. In essence, the focus was beyond this life, due to the Etruscan unders-
tanding that saw the positive in the transition to the beyond and the negative
in the addiction to vital limitations.
We can find entities which represented Death and were feared and
worshiped by Etruscans depicted in paintings of their funerary rites, blood
rites and even in wars. Some of these paintings depict human sacrifices per-
formed in honor of Charun/Caron/Caronte, the Demon of Death, which is
usually represented with a hammer in his hands and that is often related to
the Greek ferryman of hell.
 One thing that draws our attention is the authority that the dead main-
tained over the living. And one of the most visible aspects of that authority were
the cities Etruscans built for their dead. ese so-called "Necropolis" had a syste-
matic organization that showed their focus on the aerlife. Etruscans buried
their dead with personal objects, their own specific funeral clothes and impor-
tant mystic utensils that helped in the transition process.
Ancestors were worshiped not only as defunct loved ones, but as gods
themselves. e freed spirits would become a spiritual god, overcoming the li-
mits of this created world, liberating themselves for all eternity. For this reason
the dead were hardly mourned, and the necropolis have proof of great festivities
being hold in their streets, where rich lords built their decorated sarcophagi
years before their death, preparing themselves for such process.

Vanth
In many Etruscan tombs, the figure of Vanth was
present at the entrance. Vanth is a kind of vigilant
demon, and as mentioned on parchments, she is
the "one who woos mercilessly the path of the
dead with torches". She symbolized the inviolable
scopes of death. All that was killed was under her
vigilance and her cortege. She was always depicted
in funerary art, characterizing the ability to travel
between dierent dimensions, maintaining a close
connection with the demon Charun. Together,
they always symbolized death and the transition
into eternity, the "becoming a spiritual god".
Etruscan art present in funerary pieces and celebrations always made the violent
side of the devil Vanth quite evident, and as such it was present in figures related
to slaughter, exterminations, sacrifices, etc. Funeral urns of warriors were oen
adorned with the figure of the Devil of the Torch.
e relation of Vanth with death in Etruscan cults was present during
the whole process, from beginning to end. She is portrayed in multiple images
at dierent moments of the death, being present in all the various stages. Etrus-
cans believed that the presence of Vanth was dominant in all aspects of death,
from the bed of a diseased to a warrior freshly killed in combat; everything led
to her cortege, to the underworld. She is clearly the demon of transition, the
morbid companion and guardian. e one who walks with the spirit for all eter-
nity, beyond this created world.
Some erroneous sources depict Vanth as a "benevolent" entity , but
such statement falls apart by her associations with other demons and her es-
sentially dark nature, always associated with violence against the living. Her
symbolism is methodically applicable to all process of death. Her torch, always
in her hands, symbolizes the illumination of the path to eternity outside from
this created world acquired through death, a path which was pursued relen-
tlessly by the Etruscans.

Charun
Certainly the demon with more symbolisms
and interpretive dierences, Charun is similar
to the Greek Caronte. An added diculty in the
interpretation of this demon is the conception
of the underworld applicable in the Greek Ca-
ronte and in the dierent characteristics from
the Etruscans about such vision. Dierent from
their Greek neighbors, the form of activity has
some proper functions.
Charun is always portrayed with a
hammer, a mystical tool in the Etruscan civili-
zation; he was oen accompanied by the god-
dess Vanth. His appearance is oen represented
as terrifying and macabre, having pointed ears,
beard and wearing a short tunic. His image was
oen being used to scare another spirits, but despite his representation, Etrus-
cans maintained a connection so intense with death that such demons were not
considered executioners, but true sentinels of the dead, spiritual guides of the
utmost importance (maybe even more than the gods that ruled over other as-
pects of life).
Although theoretically it was Vanth who had the purpose of "sanctif-
ying" the dead at necropolis and tombs, Charun had the function of sealing the
morbid away. ese demons, essentially guardians of all that is dead, also in-
fluenced life; e belief in demonic curses associated to their domains (necro-
polis, tombs, the dead) was common, and these demonic entities were feared
even by priests, the highest class in Etruscan civilization, due to their mystical
powers of prophecy.

Tuchulcha
Tuchulcha is probably the most complex
demon to analyze due to his merger with
other demons and some other dierent
interpretations. She is oen treated as
Charun, but other times she is dierentia-
ted as a single demon due to her female
characteristics. She is represented in pain-
tings related to death, as do the other de-
mons. Violent, present in blood sacrifices,
she has the most grotesque and threatening appearance among all the demons.
She shows herself with living venomous snakes in place of hair, which symbo-
lized the propagation of plagues and the disgrace for the world of the living.

With necropolis luxuriously decorated and built with the help of ad-
vanced engineering, with detailed paintings from the life of the dead, raising
the enigmatic essence of exalting the death, this extremely mystical civilization
directed all their eorts towards a supreme and eternal elevation, whether
through their art or in their position towards life. Despite the absence of a syste-
maticly centralized cult, the common notion of pursuit for eternity was pre-
sent in every city, focusing life in the thought and philosophy of the aerlife.
e cult of the shadow of Death was a pivotal part of Etruscan civilization
throughout all its existence.
e word Necromancy has its etymological roots in the Greek words for death
(necro) and divination (mancy). Necromancy is the art of evoking the dead, so
they can be consulted. e communication between the living and the dead oc-
curs through emission, or in other words, by capturing the vibration of the spec-
trum. rough it we can obtain knowledge (Gnosis) originated from the Dead.
ere are dierent cults connected to Necromancy around the world,
with process of evocation and practices varying from culture to culture. rough
the practice of Necromancy and other forms of Black Magic we can work with
the spirits of the dead connected to Sitra Ahra. One of the most expressive cults
connected to the "le hand path", Black Magic and evocation of the dead is the
Quimbanda. rough the next pages of this book we will first make a brief sum-
mary introducing this Brazilian tradition, narrating about its history, its origin,
describing who are the Exus and their divisions. Later on we will explore some
esoteric aspects from Quimbanda and its connections to Sitra Ahra, according
to our own esoteric practice.
Quimbanda is a Necromantic and Witchcra cult that takes extremely dark,
powerful and dangerous elements from African cults, European witchcra and
South American Indigenous traditions, combining them together. It is very di-
cult to define precisely the origin of the cult, since dierent histories and con-
cepts are described in dierent ways by several sources. What we know is that
its African roots came from Bantos, from the people of Angola-Congo, who
practiced the cult of Mkisi/Nkisis.
During the colonization process in Africa, the Christian priests had
already demonized the Exu (Orix) because of showing phallic symbols or re-
ceiving bloody oerings, among other reasons. In addition, the Catholic Church
has always had the necessity of combating other cults. Some sources tell us that
during that colonization process, Portuguese people had contact with the Banto
Kingdoms, and later with the king of Congo (Manikongo), descendant of the
first deified ancestor Congo "Tat Akongo". Manikongo, named Nzinga Nkuwu,
converted himself to Christianity (together with his subjects) in 1485, and went
on to adopt the name John I. Nzinga Nkuwu, ruled the Congo until the end of
his life, about the year 1506. is was a turbulent period, with the clash of cul-
tures that influenced even local politics. Aer the death of Nzinga Nkuwu, his
son, who was called Nzinga Mvemba but adopted the name of Alfonso I, became
the ruler of the Congo. Alfonso I established Christianity as the ocial religion
of the kingdom. Despite this, part of the Banta had not accepted the catechiza-
tion, and as a form of opposition decided to gather obscure elements from their
cults and syncretise forces opposing Christianity.
e use of slaves brought to Brazil thousands of Africans, with various
nations being scattered throughout the territory. Consequently, Bantos from
the two groups (the evangelized and those who did not accept the evangeliza-
tion) established contact with the Tupi-Guarani Indians, who were also abused
and massacred in the process of colonization. As a side note, it is interesting to
point that the African priests and the indigenous shamans exercised the same
functions in their tribes. Among the Indians, two groups also started to exist:
those who accepted the catechization and those who did not accept it, identif-
ying themselves as the opponents of the christian god. When we combine all
this, Brazil became a perfect melting pot for the rise of an extremely dark and
aggressive cult. And that is how Quimbanda came to be.
Quimbanda has relations with the Ambundus and their mortuary
cults, with the Akw Mbondu (with practices like faith healing and the use of
herbs with methods of divination and possession), among other African tribes,
besides being syncretized with the Nag cult and the cult of the shamans.
It can be said then that Quimbanda arose from a strong system of tribal
cult of African witchcra along with the myths of terror from pagan folklore
(European and Amerindian), besides, of course, from a strong opposition to
Christianity.
It is very important to make clear that Quimbanda is not, and never was, a ra-
mification of Umbanda. Many people without knowledge arm that the Quim-
banda is a mere "le aspect" of the Umbanda, which in fact is nothing but a lie.
e foundations of Umbanda are totally dierent and have a strong Christian
influence. Another thing that should be le clear is that in Quimbanda there is
no cult to Orixs; in this cult the Exus do not answer to Orixs. It is also im-
portant to know that there are dierent types of Exus in each cult. Even though
there are Exus in Candombl, Umbanda and Quimbanda, they are essentially
dierent and each cult has their own, very dierent foundations.
An Exu is identified as the one who "open the paths". He or she holds
the keys to all the closed paths. Exus can bring great blessings as well as death
and curse.
Some of the main dierences are:

EXU ORIX - is Exu has no

connection with the Quimbanda. Wi-
thin the Candombl he has the same
position and importance as the other
orixs, as well as Oxossi, Ogum, Ie-
manj, Ians, Logun Ede, Oxum
mar etc. He must be worshiped as
Orix aer the rite of scraping (where the adept shaves the hair and eyebrows,
passes some days confined in a room and is thus connected to his Orix).

EXU BAR - Has also no connection with the Quimbanda. ey are

the Exus that work directly by doing the will of their respective orixs. ey
belong to the Candombl cult but some of them in rare exceptions manifest
themselves in Umbanda.
Example: Exu Lalu, is the Exu who works in the will of Oxal, Exu Ala-
ketu is the one who frequently works with Oxossi, Exu Lonan - Lord of the door,
who works with Ogum, etc.

In Quimbanda there are only two types of Exus:

PRIMORDIAL EXUS - "First Born", "primordial". ey are deities who
were born in the first place. Examples of this type of Exus are Exu Maioral (Lu-
cifer), Exu Belzebuth, Pomba Gira Alteza, Pomba Gira Dama do Sangue.

EXUS CATIOS ese are those who have already been incarnated
in this world and achieved a prominent position and a "baptism" in the spiritual
world, becoming Exus. ey are spirits of ancient wizards, priests, sorcerers or
assassins, among others, that fit in the energetic vibration of the cult. Some
examples are Exu Capa Preta, Exu Morcego, Tat Caveira, Pomba Gira Rosa
Caveira, etc.
When performing the invocation ceremony of an Exu or during the practice of
rituals, it is necessary to make an oering to the entity which is being summo-
ned. ese oerings and rituals are usually performed on Mondays and Fridays.
Some examples of traditional oerings are black, red and purple candles, alco-
holic beverages, marafo, cigarettes, cigars and sacrifices. Oerings given during
rituals must be made according to the entity that is invoked and the purpose of
the ritual itself. For example, Exus are being oered cigars or distilled beverages,
while Pomba Giras are oered cigarettes, wine or champagne. Some other things
that are oen used are knives, daggers, tridents, capes, clay bowls, gunpowder,
con nails, cemetery soil, blood, bones, etc. All types of oerings must be given
in an odd number; for example: seven candles, three cigars, one bottle of alco-
hol, five nails, etc.
e rituals and oerings are usually conducted in cemeteries, cata-
combs, crossroads, cemetery cruzeiros1, woods, beaches and rivers. When the
ritual is conducted in enclosed buildings it is necessary, aer its ending, to "dis-
patch" the oerings to one of these mentioned places.
It is important to notice that no single entity makes use of the physical
oerings. e oerings are simply energy vehicles and therefore we are the ones

1 A Cruzeiro is a big cross made of wood which can be found at the forecourts of churches, plazas,

cemeteries...
who need to oer something in order to form a connection between us and the
Exu in question. It is a tool that facilitates the connection between the follower
and the entity.
In Quimbanda we have the custom of giving regularly traditional oe-
rings as a way of demonstrating devotion to Exus and Pomba Giras, thus incre-
asing the energetic binding between the adept and the entity. ese oerings
are usually handed over an altar or on the ground around the statues that re-
present the entities. ey should always be handed on Fridays or Mondays, and
consist of candles, cigars, cigarettes and beverages (Brandy and so drinks).
Exus are served Brandy, Cognac or Whiskey, always in a glass that has never
been used for any other purpose. Pomba Giras are served sweet drinks like
champagne or wine in a goblet, preferably red. If it's a cigar, the adept must light
it and blow its smoke seven times, then put it on the edge of the glass containing
the drink to Exus. Aer this light the cigarette, and again blow its smoke seven
times, putting it over the edge of the goblet containing the beverage for the
Pomba Giras. e adept can also oer seven cigars and seven cigarettes, lighting
them on the same way mentioned above and puting them above seven match-
boxes. Each matchbox must have seven matches outside. Finally we light the
candles, which can be black, red, or red and black. Remember that it is impor-
tant that the oerings are served in an odd number. e oerings are le for
seven days, and aer this period the adept must collect the ashes and remains
of candles and leave them at a crossroad or graveyard. Drinks that remain must
be thrown on the floor in the shape of an X.
On a side note, you will soon realize the use of the word virgin in se-
veral of the rituals associated to this or that item; when we talk of a virgin knife
or a virgin glass, we refer to an item that has never been used before, therefore
it is virgin. is is very important and something that you will see mentioned
oen in the following pages.
Oering to Exu Seven Catacumbas

Necessary items:
- 7 black candles
- 1 Bottle of Cognac
- 1 Virgin cup of glass
- 7 cigars
- 7 matchboxes
- 1 red cloth
- 1 Virgin clay bowl
- 1 Oxs heart or liver
- Farofa1, red pepper, olive oil or palm oil.

Light the seven black candles above seven rows of tombs, each candle must be
placed above each tomb. Aer lighting all candles, open the bottle of Cognac
and pour it over each seven tombs, making the shape of a circle around each
seven candles. Pour the rest of the drink into the virgin glass and place it beside
the bottle above the last tomb. Light the seven cigars and blow the smoke of
each one seven times. Place each cigar on top of each seven tombs. e cigars
must be accompanied by seven matchboxes, each match box must have seven
matches lined up with their heads out of the box. Cover the last tomb with the
red cloth and place the virgin clay bowl above it, accompanied with the heart
or liver from an ox. e heart or liver can be covered with farofa, red peppers,
olive oil or palm oil. Aer finishing the oering, salute the Exu Seven Catacum-
bas, take seven steps back looking at the oering. Aer counting the seven steps,
turn your back and walk away without looking back.

Oering to Exu Pinga Fogo

Necessary items:
- Gunpowder
- 7 Red Candles
- 1 Pack of cigarettes

1
A Farofa is a toasted manioc or maize flour mixture.
- 1 Bottle of brandy

is oering must be performed on a dead end street. Open the tube of powder
and spill seven handfuls on the floor, within thirty centimeters distance from
each other. Place seven red candles on each of the seven handfuls of gunpowder.
Make sure that the candles are placed so that before reaching its end, it burns
the surrounding gunpowder. Aer lighting the candles, open the pack of ciga-
rettes, put one lit cigarette next to each of the seven candles. e remainder of
the packet must be placed next to the last candle accompanied by a bottle of
Brandy that aer being opened must have half of its content spilled on the
ground in the shape of an X. What is le of the drink must remain inside the
bottle, and the bottle should be placed next to the last candle and to the pack of
cigarettes. Upon completion of the oering, close your eyes and only open them
again once you turn your back to the oering. Aer opening your eyes go away
without looking back.

Oering to Exu Veludo

Necessary items:
- 7 Black candles
- 3 Pieces of fresh meat
- 1 Virgin clay plate
- Olive oil
- Farofa
- 1 Bottle of Whiskey
- 1 Virgin cup of glass
- 1 Matchbox
- 1 Cigar

Light seven black candles at a crossroads and place the three pieces of fresh
meat in the virgin clay plate. Pour over the meat a few drops of olive oil, the fa-
rofa, and open the bottle of Whiskey. Pour on the ground or around the oering
until closing a circle. e remaining of the drink is placed inside the glass cup.
Open a matchbox (unopened) and place seven matches lined up with their
heads out of the box. Make sure that the box will be closed with the heads of
the matches pressed out. Light the cigar and blow out the smoke seven times.
Soon aer put the cigar on the matchbox or on top of the cup containing the
drink. Turn back and walk away without looking back.

Cemetery curse
e following work aims to channel the destructive powers with the aid of a
line of tombs at the cemetery to harm an enemy.

Necessary items:
- A small wooden black con
- 1 Rag puppet
- 7 Black candles
- 1 Cigar
- 1 matchbox
- 1 bottle of brandy
- 1 glass cup
- 1 small dagger
- Graveyard soil
- Black thread
- Something belonging the target (photo, personal items, hair, nail or a piece of
clothing).

On a Friday night, around midnight, go to a cemetery. Upon reaching the gate

salute the entities at the line of tombstones before entering. en search for a
tomb that is all black and take a handful of soil that is at the foot of this tomb.
Take the rag puppet that will represent the target and write the name of the vic-
tim on it. Stake the puppet with the small dagger and put it inside the small wo-
oden black con. en place the belongings of the target inside the con, along
with the soil that was collected. Wrap the con with the black thread until it is
well sealed. en bury the con at the foot of the black tomb and count seven
tombs to the le side from the black tomb. Place a black candle in each of seven
tombs and light each candle so that the last candle to be lit must be at the black
tomb. While the candles are lit, mentalize the suering and destruction of your
enemy, focusing on the power of the entities from that line of tombs at the Ce-
metery. When the last candle is lit, place on top of the black tomb the glass cup
and fill it with the Brandy, put the bottle with the remaining drink at the le
side of the cup. Light the cigar and place the matchbox on top of the tomb and
put the cigar on it. Out loud, invoke the entities of the cemetery, asking them
to take pain, suering, destruction and death to your enemy. Take seven steps
back, moving away from the black tomb, then turn around and walk away wi-
thout looking back.

Request to Exu Tata Caveira to harm your enemies

Place inside a Tronqueira1 (or a similar structure available to you) a dry and
opened coconut on the lap of a statue consecrated to Exu Tata Caveira. Leave it
for three full moons and during this period put inside of it all the information
about the enemies you intend to harm. Also add cheap Brandy, pepper and
blood. In the clearing of the third full moon, take the coconut and bury it at the
cemetery, preferably on a cruzeiro, tomb or abandoned grave.

***

Within the Quimbanda there are

endless types of work, such as
work for protection, vengeance,
death, spiritual evolution, prospe-
rity, opening ways, to show devo-
tion to the Exus, etc. ere are
many other ways to perform a
work and many other oerings,
but because many are against the
laws of men, it is better not to dis-
cuss them openly.

1 A Tronqueira is a small room built on the outside of a house, where the Exus' statues are usually

placed at, along with their oerings. Tronqueiras are usually placed in front of the houses next to
the entrance gate.
Scratched points are drawn or carved on the oerings in order to dedicate it to
a specific entity, to demonstrate that this oering belongs to it. ey are also
used to invoke them (conjure them) or facilitate their way of work and their
presence. ere are dierent scratched points that are used depending on the
purpose, such as Points of Presentation, Call Points, Attack Points (for revenge)
or Protection Points. We also use the sung and scratched points as keys to open
the doors of the unconscious, to the essence of the dark emanations.
 Sung points are "ceremonial invocations" which are used to call the
entity in question and to "permeate" ourselves with new energies. ey are "sa-
cred chants", mystical formulas used to create the necessary concentration for
the evocation, serving also as an identifier for the entity, and at the same time a
call. ey are sung repeatedly by the adepts, helping them to concentrate and
at the same time creating and keeping an atmosphere through the rhythm and
frequency of the songs that are usually sung accompanied by the Atabaque (the
percussion instrument made from wood, fittings and goat leather used in these
"sacred prayers" at Quimbanda temples). We also use the sung and scratched
points as keys to open the doors of the unconscious, to the essence of the dark
emanations.

Here we have a few examples of sung points, in their original Portuguese:

Exu do Lodo
Sete facas espetadas
Na boca de uma garrafa
Sete facas espetadas
Na boca de uma garrafa
Eu vou chamar Exu do Lodo
Pra acabar com a sua raa!
Eu vou chamar Exu do Lodo
Pra acabar com a sua raa!

Exu Morcego
Voando em duas asas negras
Voando pelo mundo inteiro!
Voando em duas asas negras
Voando pelo mundo inteiro!
Na lei de Exu,
Exu Morcego,
o Diabo que eu chamei primeiro!
Na lei de Exu,
Exu Morcego,
o Diabo que eu chamei primeiro!
 Exu Lcifer
Satans, Satans
Lcifer Satans
Satans, Satans
um Exu, Satans
Lcifer Satans,
Satans, Satans.
*
Deu meia noite.
Deu meia noite j!
Sete facas cruzadas em cima de uma mesa
Quem atirou foi Lcifer
Para mostrar quem ele .

Exu capa preta

Ao ver Exu na encruzilhada
Com ele no se meta
ali que ele trabalha
O reino de Capa preta!

Maria Quitria
Existe um exu mulher,
Que no passeia toa.
Quando passa pela encruzilhada
Maria Quitria no vacila
Ela no faz coisa boa.

Rainha figueira do inferno

A Pomba Gira debaixo de uma
Figueira
Ela danava envolta de uma
Fogueira!
A Pomba Gira debaixo de uma
Figueira
Ela danava envolta de uma
 Fogueira!
A Pomba Gira deu uma forte
gargalhada
Ela venceu os inimigos no meio
da encruzilhada!
A Pomba Gira deu uma forte
gargalhada
Ela venceu os inimigos no meio
da encruzilhada!

Maria Padilha
Cemitrio praa linda
Mas ningum quer passear
L tem sete Catacumbas
Maria Padilha mora l.
Mora l,mora l.
Maria Padilha mora l.

Tat caveira
Porto de ferro
cadeado de madeira
Na porta do cemitrio
eu vou chamar Tat Caveira.
*
Eu fico no porto do meu cemitrio
Presto conta e tomo conta
Na porteira do inferno
*
Um pombo preto voou da mata
Voou e pousou l na pedreira
Onde os Exus se renem
Mas o reino de Tat caveira
*
Tat caveira chegou no Reino
Ele chegou para demandar
 Eu vim buscar quem no presta
para calunga que eu vou levar
*
E l vai seu Tat caveira
Na porta do cemitrio
Ele vai para bem longe!
Para as catacumbas do inferno

Exu Omolu & Tat caveira

Quando eu chego ao cemitrio
Peo licena para entrar
Bato o meu p esquerdo
Pra depois eu sarava
Mais eu saravo Omolu
Omolu!
Tat caveira tambm
Assim fao a obrigao
Para o povo do alm.

Exu Joo Caveira

Mas ele mora naquela morada
Onde no passa gua
Onde no brilha o sol
Mas ele Joo Caveira
Exu das almas,da calunga !
Mas ele Joo caveira
Exu das almas,da calunga !

Exu Pinga Fogo

Exu de lei, sua palavra no volta atrs
Exu de lei, sua palavra no volta atrs!
Ele pinga fogo, o melhor do Satans
 Exu Caveira
A porta do cemitrio estremeceu
Veio todo mundo para ver quem era
Ouviu-se uma gargalhada na encruzilhada
Era seu caveira com a mulher de Lcifer.

Exu Mirim
Passei l no cemitrioE v um moleque lPulava de cova em cova
A procurado do seu lugarQue moleque era aquele
Era o Diabo

Exu Caveirinha (Exu Mirim)

Exu Caveirinhavenha trabalharlevanta dessa tumbafaz pedra rolarna mo es-
querda a foicena cinta o Punhalv se no sai da linhapra no se dar mal!

Exu foguinho do inferno (Exu Mirim)

Eu era um menino muito lindo e formoso,
Hoje sou um capeta muito feio e tenebroso.
E no fogo a-, E no fogo a-
*
No fogo eu nasci, no fogo me criei,
No fogo eu vivi e sobre o fogo do inferno onde eu reinarei!

Exu Tiriri
Matei um homem e fiz um buraco no cho
Mas o defunto no buraco no cabia
Eu vou chamar seu Tiriri para me ajudar
Quanto mais ele cavava mais defunto aparecia
Cava aqui,cava l!

Pomba Gira Maria Mulambo

Quem essa moa
Que vem estalando osso por osso
Maria Mulambo
Que mora no fundo do poo!
 Exu Omulu
Galinha PretaSete Facas, sete Velase sete penas de Urub!
Galinha PretaSete Facas, sete Velase sete penas de Urub!
l na calungaque vou saudar seu Exu Omulu!
l na calungaque ou saudar seu Exu Omulu!

Exu sete Cruzes

Exu Sete Cruzes
Sete Cruzes ele .
Carrega as Sete Cruzes
Pro compadre Lcifer.
A kingdom is an extensive area where the entities work. ere are seven king-
doms, and for each kingdom, there are nine nations (particular areas of each
kingdom) of Exu. Lastly, for each nation of Exu, there is a respective Head.

e Kingdoms of the Exu are:

Kingdom of the Crossroads

is kingdom is headed by the Exu Rei das Sete Encruzilhadas and Pomba Gira
Rainha das Sete Encruzilhadas. It is on the crossroads where all the powers that
come from the four directions are concentrated, where the world of the living
crosses with the world of the dead, where several paths are joined. Conse-
quently it is one of the most important places within the cult.

Kingdom of Cruzeiros
Headed by the Exu Rei dos Sete Cruzeiros and Pomba Gira Rainha dos Sete
Cruzeiros. e cruzeiros represent the portals between the worlds and because
of this, there are similarities with the Kingdom of the Crossroads.

Kingdom of Woods
Headed by the Exu Rei das Matas and Pomba Gira Rainha das Matas. e king-
dom of woods is where the spirits of the Indians, hunters, shamans, etc., are
found. ese spirits usually have tribal characteristics and possess a great kno-
wledge about herbs and Black Magic systems related to the green kingdom.

Kingdom of Cemeteries (or Small Kalunga)

is kingdom is headed by the Exu Rei and Pomba Gira Rainha dos Cemitrios,
also called Exu Rei das Sete Calungas and Pomba Gira Rainha das Sete Calun-
gas. Generally, the spirits connected to curses and diseases are found here. Ka-
lunga in the Kikongo dialect means "necropolis".

Kingdom of Souls
is kingdom is headed by the Exu Rei das Almas Omulu and Pomba Gira
Rainha das Almas. e Exus from this kingdom work in hospitals, mortuaries,
crematoriums and also in cemeteries.

Kingdom of Lyra
is kingdom is headed by the Exu Rei das Sete Liras and Maria Padilha. ey
are spirits who possess some anity with art, music, dance, poetry and other
bohemian activities.

Kingdom of Great Kalunga (ocean)

is kingdom is headed by the Exu Rei da Praia and Pomba Gira Rainha da
Praia. It is at the kingdom of Great Kalunga where the spirits of people who
died at sea or near waters are found.

Lines are a way to organize and work with the dierent entities over
the nations and Kingdoms of Quimbanda. the Lines of Quimbanda are also
seven in number, having each one seven Exus and the Heads of legions.

Malei Line
It is the line of Exu Rei. is line rules and administrates the kingdom of Exu.

Line of the Souls

It is the line of Omolu. Here the spirits commonly known as Omolus can be
found; their dwellings are the cemeteries where their oerings are made.
Line of Cemetery or from Skulls
It is the line of Exu Caveira. e manifestations of Exus within this line many
times are in the form of skulls. ese spirits also work and receive their oerings
at cemeteries.

Nag Line
It is the line of Exu Gerer. e spirits from this line are sorcerers, usually with
Yoruba influences.

Mossorubi Line
It is the line of Exu Kaminalo. Within this line the spirits that posses a great
knowledge about the human mind are presented. ey are evoked for achieving
mental development and also to cause disturbances in the mind of enemies.

Line of Caboclos Quimbandeiros

It is the line of Exu Pantera Negra. e entities from this line posses the kno-
wledge from the Indigenous people. ey present themselves as indians, and
that is why this line has this name (South American indians are called Caboclos
in Brazil). e entities from this line act more strongly in the Kingdom of
Woods, but many of them posses also diversity of knowledge, and act too in the
Kingdom of Small Kalunga and in the Kingdom of Souls.

Mixed Line
It is the line from Exu dos Rios or Campinas. Exu dos Rios dominates the banks
of rivers, uses vestments of black feathers and it is presented with horns. e
spirits that compose this line are not Exus, but spirits of the dead who work for
the Exu. ey are connected to diseases and madness. ese spirits attack their
victims transmitting the diseases they had when they were alive.
Settlements are a group of fetishes that concentrate forces and magic powers
within a limited space, where the forces that are in the spiritual plane and the
powers that live in the divine plane send their vibrations, aiding in spiritual
works. e settlements of Exu and Pomba Gira have these material elements
which are attributed to magical powers, and that are activated through a ritual
accordingly executed to local needs and the adept. A settlement serves as an
energetic link between the adept and the entity.
A settlement can be set to a single force or power or to various forces
and powers, but the usual thing is to make one for each force or power you want
to settle. It is recommended that the settlements are located in isolated rooms
of the house and with restricted access, inaccessible to the public. e elements
used to create one may dier from place to place, therefore not having only a
single way of doing so.
Here we have an example of how a settlement is made for Exu Sete Campas:

Items used:
- An alguidar (clay plate), painted black
- e soil of 7 tombs, sied.
- A basalt stone (igneous volcanic rock)
- A chain
- 13 coins
- 7 padlocks
- An iron trident
- 7 magnets
- Slivers taken from a con
- Seven nails taken from a con
- A black rooster

we adept writes his name and birth date on a paper with the point of Exu at
the bottom of the Alguidar;
we basalt stone is placed on top of the paper;
we cemetery soil is placed inside the Alguidar, and it must be mixed without
pressing it;
we chain is placed on the edges of the Alguidar, forming a circle;
we thirteen coins are passed over the body of the adept and placed in the Al-
guidar;
we seven padlocks are le open and placed around, inside the Alguidar;
we iron trident is fixed on the cemetery soil;
we seven magnets are spread through the settlement; avoid them getting stuck
to the iron trident, the coins or the padlocks;
we slivers extracted from a con are placed on the cemetery soil inside the
alguidar;
we seven nails extracted from a con are placed in the settlement ground
with the tip facing upwards;
we adept then takes a black rooster and washes its beak and paws. en he
says what he wants to achieve close to the beak of the animal, provides burning
water for the cock and wishes a good passing;
we adept takes a virgin and very sharp knife and makes a quick cut in the ro-
osters neck. e adept must have a great care to not make the animal suer, if
the animal suers your oering can be refused;
we animal's blood then flows in the Alguidar, and his head is skewered on
the trident and the wings stay opened;
wA drink, a cigar and a seven days candle are placed in front of the settlement,
where they are le for three days;
wAer the third day, the adept cleans his settlement and dispatches the leovers
to a crossroads or to the woods.
In this second part we will explore some of the esoteric aspects of Quimbanda
and its connections with Sitra Ahra. e fact that Quimbanda is an eclectic
magic system makes many others occult aspects exist in addition to the tradi-
tional ones previously mentioned, and it is by working with these other aspects
that we enter in the sacred cult of Death, Black Magic and Witchcra, connec-
ting us to the kingdom of Sitra Ahra. Quimbanda is a perfect cult where one
can find the union of the Dark Gods (Primordial Exus) with the spirit of the li-
ving (the followers) and the spirits of the dead (e Exu Catios). It can be wor-
ked with both internal Magick, transforming the individual into a new stronger
being and with a much broader view of the reality that surrounds him, as with
external Magick (sorcery), making changes to external events according to the
wishes of the sorcerer.
An Exu is identified as the one who "opens the paths". He holds the
keys to all paths that are closed. Within our tradition, this can be interpreted as
Exu being the one who has the keys to open the gates to the kingdom of the
dead and the gates to Sitra Ahra, leading us to the "other side". e Primordial
Exus are the "first born", the ones that appeared during the cosmogenesis, or
formation of the universe. One of the examples of primordial beings in Quim-
banda is the Pomba Gira Alteza. She has many characteristics associated to Li-
lith. Pomba Gira Alteza is seen as the primordial lady, mother of doom and
destruction. e fact that she acts bringing darkness and destruction can be un-
derstood as the same factors described by the Demons in the Tree of Death,
who break the laws and seek to decompose the whole Sephirotic kingdom, se-
eking the divine essence trapped in the matter, guiding them to Sitra Ahra.
Pomba Gira Alteza is the lady of the crossroads, the moon, the serpents
and the shadows. e regent Goddess of sorcerers, illuminating with the light
of prohibited wisdom stemmed from the primordial world which we call Sitra
Ahra. Her rites are directly connected to the destruction of the ego, purifying
the mind, recreating a new being and leading the follower to the "other side",
raising the essence of the uncreated spirit.
Another primordial female example connected to the liberation of the
uncreated spirit is the Pomba Gira Dama do Sangue, known as the Lady of
"Makau Ma Manhnga" (Chalices of Blood). Within the Quimbanda, this "Lady
of Bloodshed" is connected to the "Kingdom of Souls" as well as to the mortua-
ries, hospitals, cemeteries and crematoriums. Within her chalices full of blood
there is also the poison of the serpents (the serpents of Sitra Ahra described in
the Tree of Death), emitting acausal energies. is poison is responsible for dis-
solving the ego and killing the weak being that dwells in the material receptacle.
During any rite celebrated in her honor we put a big chalice when the moon is
dark, a chalice which is compared to the Black Grail. Within this chalice there
are acausal energies which guide man to the awakening and the liberation from
this created world. Her oerings require blood, human bones, an iron boiler,
chalices and candles greased in blood, and they are usually made on the third
night of the new moon, or when the moon ascends "red" (the popular moon
blood).
Within the Quimbanda, Lucifer (Or Exu Maioral Lucifer) is conside-
red a supreme deity. Lucifer, in our own esoteric practice, is the carrier of the
wisdom stemmed from "the other side". He is the one who, through his uncre-
ated acausal light, illuminates the path to "outer darkness" and at the same time
is responsible for showing us the inner darkness through the opening of the
third eye. We can also mention as an example Exu Belzebuth, the"Lord of Flies",
the devourer of corpses. e one who instigates wars and makes us awaken our
killer instinct. He is connected to mental elevation, to the opening of the doors
for the unconscious acausal and the annihilation of the Sephirotic kingdom.
Astaroth (also called Exu Rei das Sete Encruzilhadas), the Lord of Murders, is
connected to misanthropy, wisdom, philosophy and to the opening of the eye
of destruction. Satanas (Lucifer), Belzebuth and Astaroth are mentioned in the
Tree of Death as Supreme Gods who will kill the Tree of Life.
Exus Catios are those who have already been incarnated in this world
and achieved a prominent position and a "baptism" in the spiritual world, beco-
ming Exus. ey are spirits of ancient sorcerers, priests, murderers, or others that
fit with the energetic vibration of the cult. Within our own esoteric practice, we
consider the Exus Catios as carriers of the essence of Sitra Ahra. ey are spirits
that when alive practiced various traditions of the Le Hand Path. An example
of Exu Catio would be Exu Capa Preta, who works in cemeteries and crossroads.
He is related to the development of alchemical processes through black magic and
witchcra. Within our tradition, he is seen as one of the responsibles of causing
the adept to discover the Alkahest formula through alchemical process, which is
the universal solvent that has the power to dissolve any substance. Other example
would be Exu Morcego, who is found in the cemetery woods or in the trees which
are found in cemeteries. He also dwells anywhere where bats are present, or in
caverns and ancient castles or houses, and even at crossroads. He is related to al-
chemical change beyond vampirism, to mental development and it is also able to
create disturbances in the mind of enemies and cause psychological problems.
Pomba Gira da Figueira presents herself with an extremely wild aspect
and with tribal characteristics. She dominates the manipulation of herbs and
magic related to the conjuration of plants (and a whole range of natural elements),
and has extremely valid knowledge about totems and systems of black magic re-
lated to the green kingdom.
Exu Marab belongs to the Malei Line and has many characteristics that
can fit the goal of the work to be accomplished. Being connected to many practices
of witchcra and sorcery, his domains are the crossroads and the railways (train
tracks).
Another very interesting manifestation are the so-called Exus Mirins.
ey are taken into the Quimbanda as spirits of children. Many times, according
to the myth, they manifest themselves jumping from grave to grave at cemeteries,
sometimes playing with their toys, whistles, dolls, etc., and are usually well agita-
ted. ese children are responsible for creating means or situations that help the
in development of the intellect and maturity in people.
Exu Kaminalo, head of the Mossurubi Line, is another powerful en-
tity. He appears commanding a large number of spirits adorned with feathers
on the head and waist, with rings on their lips, ears and arms and who are ex-
perts in causing mental illness.
Another well-known entity within the cult is Exu Tata Caveira. "Tatas"
are priests in the lines of Quimbanda, beings who went through, in a certain
way, a magic progression (when alive) above the average. Tat Caveira is repre-
sented as an Egyptian high priest of great knowledge. is Exu belongs to the
Line of the Cemetery (or Line of Skulls).
ere are true legions inside the cemeteries, like Exu Sete Campas,
which is an entity that is strongly linked to Exu Omolu and Caveiras (Skulls).
He works at cemeteries and it is responsible for receiving the spirits that just
le the body. ere is also Exu Sete Crnios, who dwells in the ossuaries and
oen acts enslaving the shadows of dead people by forcing them to follow the
dark legions.
All these are just some examples of entities within the Quimbanda con-
nected to Sitra Ahra, but entering even more in the esoteric aspects of this vast
empire we could still mention Exu Omolu and Exu da Morte, which are consi-
dered the "angels of death". ey command the spirits of the dead and both are
connected to the portals between the kingdoms of Sitra Ahra and this created
world, and to the portal to the dead valley. is dead valley is considered a spi-
ritual plane and it is oen described as an extremely dark place, with dark abys-
sal regions where many spirits are present. Exu Omolu must not be confused
with the Orix Omolu. Oentimes the works performed to Exu Omulu are also
done in group with Exu Caveira and Exu da Meia-Noite. Exu da Morte belongs
also to the Kingdom of Cemeteries and to the Line of Souls. He can cause de-
pression and suicidal thoughts to cause the death of enemies.
When we talk about Quimbanda there are many big misconceptions
and many people usually make connections with the cults that involve Orixs.
In Quimbanda there are no cults to the Orixs; quite the contrary, most of the
Orixs (with some exceptions) have energies opposed to the Exus. For instance,
the Orix Oxal is the Demiurge himself. Exu Omolu commands the souls of
the dead and belongs to the Kingdom of Cemeteries and to the Line of Souls,
acting in cemeteries and cruzeiros. He can cause violent death and diseases in
his enemies. During November the second (the Day of the Dead) his followers
usually hold oerings in his honor at the cemetery.
e myths and legends about vampires probably existed long before the origin
of writing. Being lost in ancient oral traditions, they are presented in dierent
forms in various cultures, generally related to a great fear of the dead and in the
belief in the magical properties of blood. e Ashanti in West Africa described
a vampire named Obayifo, which was later also mentioned by neighboring tri-
bes. Asasabonsan was another name found in the legends of the Ashanti people
of Ghana. e Dahomeans called them Asiman, while in Haiti they were called
Loogaroo, releated to the Asema at Suriname, and the Sukuyan of Trinidad. e
Yara-ma-yha-who from Australian Aborigines and the Indians Bhutas are quite
similar to the vampires from African myths, too.
It is dicult to say when the myth about vampires arose. In Greece
there are several legends about the Lamia (a vampire who is oen described as
a children devourer witch); in one of the legends her torso and legs are replaced
by a serpentine body. It is known though that the vampire legends were origi-
nated in the East and then came to the West. e Slavs are the ones who in-
fluenced the world the most with their vampire myths. Romanians are largely
surrounded by Slavs, therefore receiving major influences in relation to their
myths. In Transylvania the vampire is described as the spirit of a dead person,
which in most cases were witches, magicians, sorcerers or people who had taken
their own lives (as it is also the case with Exus Catios).
 Within the Quimbanda there are several Exus and Pomba Giras who
act as vampires, transforming vitality into chaotic energy, training the mind of
the follower to think as a devouring spirit. Such Exus absorb and channel the
vital energies back into the "other side". ey drain energy from other living
beings and from the Tree of Life and take it back to their true origin. Some
examples of them are the Exu Vampiro, Exu Morcego, Exu Lobo, Exu do Sangue
and Dama do Sangue. Obviously there are many other attributes associated to
these entities to consider; their rites can be related to many other things, like
healing abilities, the development of subtle perceptions, and even causing men-
tal problems in some people. But in their vampiric aspect, in addition to drai-
ning the energies from the created universe, they can also turn their followers
into new beings, becoming true predators of the human cattle.
is is a list of all the names in their original Portuguese mentioned in this text,
and the meaning of each one in English.

Pomba Gira Alteza: Highness

Pomba Gira Dama do Sangue: Lady of Blood
Exu Capa Preta: Black Cloak
Exu Morcego: Bat
Exu Tat Caveira: Skull
Pomba Gira Rosa Caveira: Rose Skull
Exu do Lodo: Silt
Rainha Figueira do Inferno: Queen Figueira of Hell
Exu Caveira: Skull
Exu Joo Caveira - Caveira: Skull
Exu Pinga Fogo: Drips Fire
Exu Rei das Sete Encruzilhadas: King of the Seven Crossroads
Pomba Gira Rainha das Sete Encruzilhadas: Queen of the Seven Crossroads
Exu Rei dos Sete Cruzeiros: King of the Seven Cruzeiros
Pomba Gira Rainha dos Sete Cruzeiros: Queen of the Seven Cruzeiros
Rei das Matas: King of the Woods
Pomba Gira Rainha das Matas: Queen of the Woods
Exu Rei/ Exu Rei das Sete Calungas: King/King of the Seven Calungas
Pomba Gira Rainha dos Cemitrios/Pomba Gira Rainha das Sete Calungas:
Queen of Cemeteries/Queen of the Seven Calungas
Exu Rei das Almas Omulu: King of Souls
Pomba Gira Rainha das Almas: Queen of Souls
Exu Rei das Sete Liras: King of the Seven Liras
Exu Rei da Praia: King of the Shore
Pomba Gira Rainha da Praia: Queen of the Shore
Exu Rei: King
Exu Pantera Negra: Black Panther
Exu dos Rios or Campinas: Rivers or Campinas
Exu Sete Crnios: Seven Skulls
Exu Sete Campas: Seven Graves
Exu da Morte: Death
Exu da Meia-Noite: Midnight
Exu Vampiro: Vampire
Exu Lobo: Wolf
Exu do Sangue: Blood
Aer reading this volume, many of you may be wondering why we work with
so many dierent mythologies at the same time. Our goal is to bring together
all those who possess the ophidic essence, even though they may come from
dierent classes and ethnic backgrounds. In a way, we could be called "the order
of the people", and we are oering "poison" (ophidic knowledge) to the adepts.
We want to fill all cultures with the Gnostic spirit, fill the people with the spirit
of the adversary/opposer. We want to destroy all the lies created in favor of the
creator and his existence.
Mythologies are nothing more than a vehicle for the interpretation of
reality, and by studying the various myths created by dierent cultures we come
closer to understanding it. We can notice the same stories being repeated with
dierent names in dierent times and in dierent cultures, in dierent parts of
the world. is is because the "Truth is one, though the Sages know it as many."
What really matters behind all the names, forms and myths though is the es-
sence that is behind all this, and this essence behind the myths makes the adepts
capable of creating internal and external changes, even in the consciousness of
certain groups of people and individuals. is is because the Black Gods are
described through the myths, and myths are used by us as tools so that certain
levels of consciousness are achieved. e development of these levels of cons-
ciousness is achieved through practice, making the adept capable of receiving
the information that is impregnated in the electromagnetic field and developing
their ability of sense-perception. e Black Gods are derived from the acausal
and therefore are manifestations of primitive Chaos, having the same "magical
energy" as those who possess the Gnostic essence within themselves, because
primitive chaos is both within us and outside of us. e true purpose of any rite
described in this book is the union with these magical energies so that the in-
dividual can make use of everything he absorbs (through sense-perception),
and thus manipulate these energies. All individuals who have Gnostic predis-
position and struggle to get even more wisdom through these rites, thus incre-
asing their ability to absorb information and achieve a higher understanding of
what is truly happening, become a new race of beings. Higher beings which
consequently become predators of other humans, who are considered by us as
"unclean", desecrators of what is truly divine.
e genesis myth in any religion is the prime factor to understand the
essence behind forms, and from this genesis dierent occult systems, myths, re-
ligions and doctrines can be created, and will be used as vehicles for the inter-
pretation of reality. erefore the genesis myth we use to interpret all the other
myths is based on the idea that before the beginning of things there was nothing
created, there was only the ineable, an acausal state, primal. e earth was
formless and empty, and darkness was upon the face of the abyss, until the spirit
of the Creator emerged, moving over the face of the waters. And the Demiurge
said: Let there be light; and there was light. is light was responsible for the
creation of a conceptual space that could seed the existence of a finite world,
independent in relation to the infinite. en there was an expanse in the midst
of the waters, and there was separation between waters. An expansion created
by the Demiurge which divided the waters into those which were under the fir-
mament and those which were above the firmament. e Demiurge limited all
things, and as the creator he is worshiped by many people, who thank him for
making this world. He is adored by many nations, in many languages, being in-
terpreted in dierent manners. And he is called by dierent names in dierent
cultures (Ahura Mazda, Oxal, Brahma, YHWH...).
But just as the Demiurge arose limiting all things, another forced that
wished to remain in the sacred resting of the non-existence from the created
universe also emerged; the supreme amorphous perfection. And behold, cul-
tures around the world had names for this entity too (Angra Mainyu, Exu Maio-
ral, Shiva/Rudra, Lucifer/Satan).
 ose who look at this world and understand that it would have been
better if it had not existed, have the Gnostic essence and therefore have the same
essence of the Gods/Demons of anti-creation, who seek a return to the origin.
is path to the origin leads to the dissolution of the individual being, to the
total dissolution of the ego and the destruction of all names, forms and cons-
ciousness of time, space and cause; namely everything that is created, and this
way uniting us with the Gods that will dissolve the entire universe. Sooner or
later all life will be destroyed, the whole universe will die. e victory of the
Devil over creation is a matter of time. Time will destroy everything, making
Death reign, and then the Devil will devour time itself.