Royal Vampyrism: Love, Kisses, and Songs for the Witch Woman

I am posting this to highlight the beliefs of Gnostic-Xt. that might explain why the Twilight Saga almost unleashed a "mass hallucination" of sorts. How could a picture soooooo retarded, ever run, be this huge hit.

What was its undercurrent?

Bella "Swan" and the Noble Vampire Cullen - Whether they were intentional or not, they come across as symbols for esoteric gnostic-Xt, that perhaps made it so popular.

p.s. I have omitted the scientific details of melatonin, oral-blood-sex, etc. - cf. the link if interested.

Gnostic Love Magic

If we define love as a prolonged and mutual attachment both sexual and spiritual between two people, we find that it is sometimes considered as primarily a European phenomenon. Romantic love in Europe appears to have been unknown prior to the appearance in late eleventh century France of the troubadours and trouveres. That is not to say that attachments of this kind did not exist between individuals before that time, but that it was not accepted and formalized as a popular conception. For example, the emphasis in the Norse Sagas is almost entirely on heroic deeds and adventure. Heroines are formidable women who would not be guilty of lukewarm, feminine passions - they are admired for male qualities. This is in marked contrast to the essential erotic element of Provencal poetry of the following centuries.

The overwhelming emphasis on sexuality and sexual passion which is characteristic of the pagan literatures of Europe, particularly the Irish, is not evidence for the existence of romantic notions of love. For example, the picture which emerges from Celtic literature is of a society devoted to sexual pursuits but paying very little regard to the relationships between individuals. The incident in the Feast of Bricriu when the hero Cuchulain and his followers, who are being entertained by the King of Ulster, are offered fifty women each for their sexual needs - the number includes the Queen and her daughter - can be regarded as typical of Celtic ideas of love.

The essential refinement with which the troubadours cloaked adulterous love is indicative of the times. One of the most remarkable features of the rise of romantic love was that the same period was characterized by extremely barbaric, brutal and disgusting practices by both men and women. Sexuality might very well be the theme of magnificent poetry but at the same time to judge from contemporary poems and romances, the first thought of every knight on finding a Lady alone and unprotected was to do her violence....

There are numerous instances of this kind of behavior both in prose and poetry. The Lait de Graelent, by Marie de France, tells how a gentle and perfect knight meets a damsel alone in the forest. He brutally assaults and rapes her. However he is forgiven for underneath he is fundamentally courteous and honorable. The contradiction is quite extraordinary. It is seen again in the instructions given to the good knight Sir Perceval by his mother

"...lf thou, see a fair woman, pay thy court to her, whether she will or no; for thus wilt thou render thyself a better and more esteemed man than thou wast before..."

The argument is well put by Chretien de Troyes. A knight finding a damsel alone must offer her no harm but if another knight accompanies her, and he defeats him in combat the lady is his to do with as he wishes. The distinction is subtle but real. The adulation of fighting was on a level with love. No reasonable woman would refuse a conquering knight. To take her by force, as in Marie de France’s poem, was really not quite the thing to do.

Different interpretations can be made of this early literature of romantic love. One view, which we are inclined to support, is that the essential lawlessness and brutality of the period was overlaid by a film of idealization of the feminine which was at times acted out in reality, at other times grossly disregarded. Another is that the knights and troubadours (my note: of Provence and Flanders) constituted a kind of island of culture and gentility in a sea of (Norman and Catholic) barbarism - that in fact the two worlds were not connected. We find this difficult to accept in the face of the evidence.

Vernon Lee suggests in Euphorion a picture of a Provencal court. The court consists of all those with any pretensions to nobility from the greatest lord to the lowest page. These, as opposed to the brutal peasantry without were united in their service to the wife of the great lord, and her ladies.

The atmosphere is redolent of dedication and service; the realities of medieval life elsewhere - the burning and sacking of castles, the rape of women, the torture of peasants - are far removed. To pretend that there were not strong elements of graciousness, even spirituality, in some Provencal courts would be untrue, but at the same time to discount the barbaric elements both within the court and outside in the teeming world would be unrealistic.

It is true that Provence at the time enjoyed comparative peace compared with the condition of the rest of Europe. It is very probable that cessation from perpetual warfare and forays enabled the noble poets to develop and embellish this extraordinary manifestation of the human spirit. This would explain the transposing of ordinary knight’s service into service to a lady (my note: no it doesn’t). Instead of preoccupation with war the lord could now afford amatory adventures. It does not however explain the startling invention of the courts of love with their exacting interpretation of minute points of courtly behavior in what seems direct imitation of scholastic theological disputes. Lovers were bound by the rules of ’courtesia’, patience and moderation - that is restraint. The real problem is to discover the realities of the situation. In the literature there is metaphysical and allegorical aspect together with an appreciation of the grossest sensuality. The precepts of behavior we have quoted have to be set against the exacting fealty to one’s lady demanded by the courts of love and exemplified in Chretien de Troye’s Lancelot (lines 5641 etseq.)

The obscenity of the earliest troubadours, Count William of Poitou, for example, is unbelievable. the vast majority of successors such as Arnaud Daniel and Bertram de Born are equally at pains to show that it is physical and not spiritual possession they desire. there is a very real contradiction here for in the Lancelot of de Troyes there are numerous references to abstractions such as Love and reason on an altogether different plane from sensuality. There are many other examples. The blending of sensual love, service to womankind, allegory and ambition is a strange one. But whatever interpretation is used the fact remains that the concept of courtly love invented by the troubadours in Provence was the staring point for all the subsequent European manifestations of romantic love.

My notes . Courtly Love was not invented by the troubadours.

The aggressive sexuality of William of Poitou and many of his contemporaries merely illustrates the point that the Church’s noble and royal puppets had no notion of the courtly behavior of those they usurped. Although possessing both esoteric and exoteric elements, one might suggest that a progression toward decline and secularism in regard to the popular notion of courtly love was confirmed by people like von Ragenau.

The exoteric view today seems to regard his following minnesang as truly defining the notion of courtly love.

There are numerous instances of this kind of behavior both in prose and poetry

I wish to be known my entire life as a master of one thing and one thing only;
I seek the world’s praise for this one skill
That no man can bear his suffering as beautifully as I.
If a woman causes me pain to such an extent that
I cannot remain silent night or day,
I have such a gentle spirit that I’ll accept her hate as a source of joy;
And yet, alas, how deeply that discomforts me!

One might be inclined to the view that by the 14th century, when von Hagenau was writing, the church had already begun to have a considerable influence on the concept and although some clerics, particularly the Anglo-Norman monk Fra. Orderic Vitalis, had previously roundly condemned courtly love for shifting the lord’s or knight’s attention from Mother Church and her holy wars, it had quite probably begun to appreciate how the concept might be sanitized, twisted and manipulated to facilitate religious social control by exacerbating internal division and confliction within the individual.

As a consequence and despite the influence of people like von Eschenbach, the words of von Hagenau seem to have sealed the fate of courtly love for decades, until the restoration of the fundamental raison d’etre of the concept, in the esoteric publications of the metaphysical poets, in particular the works of Marlowe, Donne and Shakespeare. His poem from ’The Passionate Pilgrim’; The Phoenix and the Turtle has, as its theme, the concept of ’love and constancy’ which in itself as a euphemism, underpinned the spiritual rules of ’courtesia’ it would seem, and I quote ’...Leaving no posterity: It was not their infirmity. It was married chastity...’

The concept of an absolute mon or hierogamy, transcending sexuality, may be clearly perceived in this particular poem. The kabalistic reference in the opening stanza is unmistakable and for these reasons, personal use was made of the phoenix and turtle motifs in the Prose Summary of the Starfire modus operandi ’Rite of the Vampire’. One must make the observation that von Hagenau, despite being given ample opportunity not to do so, appears to have merely reiterated the popular view of courtly love as a source of lament prompted by unrequited love. Nothing could be farther from the truth. Courtly Love is necessarily requited by of times lost, and this, in a sense, is the source of the pain and longing: Le Soif, as The Sundering suggests.

The Sundering

For every bloodied rend
within that heart,
there was a silent tale
for which those lips had neither wit,
nor art

And every tear he
shed, sullen eyed;
traced a shattered, ancient dream,
which in that dark despair and hopeless
silence died

How could this be,
does grief end?
His soul desired much more
of her than man could know
or manners condescend.

She loved him once
but that withdrawn,
Never could he love again
as life’s hope from very life itself
was torn.

But is this the longing for the beloved, as it would appear to be in Keats’ La Belle Dame Sans Merci, or for the condition she engenders and the vision of some ’far away country’ that can dissipate at her departure, or for both? It was fully intended that the sad anticipation of such a loss was intimated in the Prose Summary, along with the longings that accompany such encounters and relationships, because the literary evidence suggests that these unions, intended to be spiritual, inevitably come to an end, sometimes but not always, disastrously and permanently. In the latter event, though the mythical cycles vary according to the personalities involved, it is because of the breaking of some taboo, or the misconstruing of the nature of the relationship and the spiritual dynamic, usually by the male.

In support of such a view we can quote the story of Arthur and Guinevere as well as that of Raymond and Melusine. Baring-Gould says:

"...The framework of the myth is the story-radical corresponding with that of Lohengrin."

The skeleton of the romance is this:

1. A human male falls in love with a fairy female.
2. She consents to live with him on one condition.
3. Re breaks the condition and loses her.
4. He either regains her or not....

In the Prose Summary, though intentionally romantic by degrees, the main thrust of the piece is intended to convey the magical, Initiatory purpose of the encounter, which is apparent in various concealed works on the subject, including the foregoing Phoenix and the Turtle and the Song of Songs, whose romantic element conveys in allegory, the ecstasy of hierogamical union through Love.

Such unions appear to be temporary in nature and abide until the initiation intended by the mystical union is completed, or becomes completed through the pain experienced at the sundering, which is the method by which the Sumaire is awoken and the fontaine de soif is made apparent. The poem concerning the Cross of Lorraine and the Clear Fountain, (Baigent, Leigh and Lincoln: ’The Holy Blood & the Holy Grail’) is significant in this regard. The physical manifestation of the object of longing, the Grail Maiden, seems naturally to re-enact the role of Ishtar within a cycle which happens spontaneously as part of recurring archetypal myth superimposed on real life. The response of the intimate, should thus be that of the Tantric Brahmin to his lover Kali, whose blood sets him free, but necessarily "at the price of his mortal soul".

The imagery of Love and loss, the Fairy Maiden, the garden and the fountain seem inextricably linked with the final stages of this process of introduction to a supernatural world of perception hidden from mortal eyes. This world however, is one of blended pleasures and mixed blessings, whose beauty and pathos is far more evocatively, and therefore necessarily, conveyed within a prose style which attempts to describe, with the added components of imagery and emotion, the experiences of the subjects in their real life situations as they happened then and as they still happen now.

In this respect, by comparing the prose of von Hagenau, with the dedication to Candida by Jack Parsons, former Grand Master of O.T.O., we would seem able to recapture the essential vision of the Dragon Maiden and the Garden of "Love", not intellectually, in the words; but in the visions engendered by the spirit that prompted the pen. In this poem, Narcissus, one might gain a glimpse of the deeper alchemy beneath the ’courtesia’.

The work was first published as part of an alchemical compilation called ’ Songs for the Witch Woman’ and later appeared in O.T.O’s publication ’Starfire’. Candida enacted the role of Grail Maiden or Scarlet Woman. Again the cycle ended abruptly and in this case Parsons lost everything, including at the end of the process, his life, fulfilling, one might suggest, the requirement for the initiate to offer up to Kali or Ishtar his life blood on the burning ground or pyre of the Saints. Spiritual allegories sometimes become physical realities, especially if the magician has realized that the divisions between what is considered "spiritual" and what is conversely labelled "physical" are merely arbitrary and linguistic.

Narcissus

Drug me with drugs; slow acting, sensuous, sweet
Co-mingle Gin and Musk, Hashish and Amber,
Let me drink and breathe
and hear slow devious, music.

Until aroused to sub he langorous moods,
Until I see Ochre and Mazarine
and Purple Emit lascivious sounds.

Then I shall go through dark and Gothic ruins,
Grey and Golden mist; down to a Forest Green,
With an Old Dream.

I shall go naked; and Magnolia and Oleander,
Datura and Jasmine,
Whose blossoms will open and vaginally flower,
In infinite time, for a relative hour,
Whose White subliminal flowers
will caress my breasts.

And I shall perform stately,
Phallic Arabesques,
In the Moonlight Pale and White.

The female body recognizes vaginal penetration as a key to the maturing process.

This is Royal Vampirism on the physical level, rather than being predatory, Royal Vampirism is actually founded upon intimacy and love. It offers spiritual depth and value in its celebration of the most private of female processes, ones with which other cultures insult and shame the female by making unclean or taboo.

This Great and Holy "Sacred Marriage" Rite both testified of and ensured the continuation and renewal of the utlimate Equality between Male and Female...

The tantric/hermetic, Royal Rite of the Vampire can never be predatory or sexual. It does not indicate any form of Freudian psychosis and although it is an expression of True Love, this does not correspond to any mundane romantic expectations. ...Human Love seems mostly needy, arising in response to a variety of chemical and emotional deficits and rather than transforming the couple involved, it simply seems to reinforce old complexes and prejudices, being entered into in the hope of fulfilling preconceived expectations.

Starfire cannot be achieved by partial individuals seeking some form of socially conditioned notional completeness through the other person. Both individuals must have personal integrity in order to transcend the possibility of simply becoming each other’s other half. The whole realm of Starfire in its varying manifestations should be entered into without preconceptions and without emotional inadequacy.

If there isn’t a degree of prior individuation, then it does become just another variation on the theme of Freudian domination and the desire for personal power through the sexual victimization of another person. In itself Starfire is Death, the journey’s end. Its symbolic expression is best appreciated in Waite’s Two of Cups. It is a "Love which is not in Nature, but by which Nature is Sanctified". As the Rite of Quickening, it often happens at its greatest intensity when it is least expected to happen and the individual/s involved have no foreknowledge of it.

Intelligence in cybernetic terms is defined as "The ability of an organism to exist and develop in symbiosis with its environment". The Rite of the Vampire was, in classical terms, a Royal prerogative which was undertaken on a regular basis with selected partners in order to promote within the reigning Queen or King a sequence of events leading to transcendent intelligence.

Originating in Scythian Royal Families the Rite of the Vampire enabled the Queen to maintain, and the King to obtain sovereignty, firstly over themselves, and secondly over the destiny which affected the people whom they served and guided. Whilst the Queen could reign independently, it was thought by the ancients that a King could not be a King without a Queen. In modern everyday terms this idea has a sound basis in the difference between male and female physiology, which difference in part is reflected in, and was balanced out by, the Rite of the Vampire.

In the ancient world the caste system defined the tasks of every individual within society. The Royal family was the nation’s spirit, soul and mind, the warriors were its arms, the yeomen and artisans were its torso and its legs. Each caste performed its specific tasks and each caste relied upon the other for direction, sustenance and defense. Each caste was considered as vital as the other, in the task of maintaining the nation as a whole. Today the nations are being run by the toe fat.

The task of the Royal Family was to guide and direct the efforts of the other castes and it could only do this efficiently if it was psychologically healthy and possessed of a considerable degree of wisdom and farsightedness. Its specific task was to foresee future problems and benefits and direct the nation accordingly.

To be able to exercise this amount of sovereign control over destiny, they first had to ensure sovereignty within themselves and this entailed adopting a practical, consistent method of integrating all the aspects of the psyche, by uniting and enhancing communication between the various areas of the brain contained within the general divisions of the left and right cerebral lobes. This task was not achieved by lengthy self analysis or psychotherapy but simply by ingesting chemicals which would encourage a greater sense of union within self and thus a transcendent appreciation of the self’s union with the Mind of Godhead or the Universe. Thereby true sovereignty, the will of the One, could be integrated into the mind of the royal seer and followed.

Within the mind are a host of barriers, many of which are caused by the brain’s chemical and physical inability to efficiently communicate with itself. This causes a sense of confusion and isolation which encourages various forms of attachment to comforting delusions. Sovereignty over self is attained by accepting the self for what it is. In so doing the individual, dispensing with the energy consuming need to erect and maintain defensive mental routines, allows the truth to prevail instead, without regret and without judgment. In this manner the mind becomes detached and observant.

The energy formally used to sustain defensive mechanisms and constellations of delusionary complexes is freed from its shackles and can he used to enhance alertness and perception. In focused attention there is discovered Truth and this is the greatest manifestation of intelligence. Symbiosis is - above all else - Harmony and Harmony is transcendence. As a result of the Rite of the Vampire, Scythian culture itself was rooted in the love of Truth and Honor. The Harmony they experienced within themselves as a result of their personal honesty affected their relationship with the natural world which they adored and correspondingly lived in harmony and symbiosis with. For the Scythian, who had an almost childlike love of life, dishonesty was the enemy of joy and the death of clarity.

In consequence it was said of the Scythian Royal caste that they hated usurers, merchants and tradesmen and abhorred the deceit of the marketplace. Above all, to a Royal Scythian, who knew transcendent reality, and in being able to read his or her own heart and mind, could read the hearts and minds of other men; anyone attempting to lie to them or deceive them was proffering the greatest of insults and appeared to be tuning the universe upside down and perverting the Harmony of the Natural Order of life itself.

In Gothic Romance we have a particularly apposite example of the Scythian hatred of liars and cheats. The Scythian "vampire" is portrayed therein as living in terror of the christian cross and holy water and so we are fooled into believing that the vampire was an evil denizen of Hell who cannot bear to look upon or come into contact with the greatest of all the symbols of virtue and righteousness. However the reverse is actually the case. Because of the intent of those who have stolen it, the christian cross to a "vampire" was the epitome of everything that is evil, malicious, self serving, deceitful, dishonest and corrupt. To the "vampire" the church were no better that spies, holy protection racketeers and murderers, they were tradesmen and usurpers.

The vampire’s reaction to the cross was not holy terror but disgust and contempt, which was compounded by insult if the cross were wielded by a cleric, because to the vampire the cross was also associated with the martyrdom of one of the Family. To use a Vampire Family symbol to ward off a Vampire was the ultimate insult to the vampire’s intelligence. Likewise with holy water. In the medieval romances dire warnings are issued to those who would pour water upon the cubic stone of the Holy Grail.

Such an act would bring down thunder and lightning on the head of the transgressor. This symbolism indicates that the stone that pours forth the waters of life, namely the Grail Maiden should not be baptized because such a christian act is an act of territorializing usurpation, which is viewed by the Dragon Bloodlines in much the same way as anyone else would view the dog that urinates up a tree.

Christian clerics are usurpers and the act of aspersing with holy water is taken as their arrogance and audacity in attempting to make their own, something they can never possess or use to further their own selfish materialistic desires. The Vampire Race didn’t live in fear of idolatrous trinkets, it viewed them with anger and contempt as a form of utter stupidity that insults the intellect.

Similarly the Aryan symbol of the swan displayed also takes the trouble to emphasize the same assertion but rather uses the swan’s head to distinguish the position of the Pineal gland. Both birds are used to convey a sense of grace and serenity and the observer is encouraged to associate such states with the psychic condition of the Dragon Grail Bloodline, arising specifically from neurophysiologic differences between that bloodline and the rest of humanity.

Differences in sensitivity to psychic or physical stimulus between the ancient Scythian Royal caste and other castes is emphasized in the west by the Tale of the Princess and the Pea. This story has a variant in Hinduism which itself shares a common Aryan cultural root with the Scythians. Here the difference between a Brahmin and a Ksatriya attracts comment and it becomes clear that a tendency toward heightened physical sensitivity distinguishes the Royal Priest from the Noble Warrior. One is quite clearly encouraged to associate caste difference with physical difference and conclude that caste was not a matter of social status but of physical and psychological function. The Priest was bred to be physically different to the Warrior.

The "vampire" was born with a higher potential for perception, transcendence and intelligence. Although operating on a higher base line in these areas than other species, the vampire race in their own perception of their everyday psychological and physiological condition, occupied a functional norm and walked a thin tightrope between their own mundanity, which for others would be perceived as being transcendent, and an even higher state of being.

Society encourages us to believe that we are all a homogenous mean, we are all built the same and we all share equal and similar attributes and potentials. The Church in particular is still very keen to push this particular piece of propaganda. This of course is blatantly untrue but those who are unaware of the physiological differences may strive for years in a state of utter perplexity, attempting to fulfill the desire to become enlightened.

Such perplexity is compounded when they meet others who make no attempt at all to achieve such a coveted state but simply live in it daily, having been born to it. Transcendence isn’t a matter of getting a load of exercises right, it’s a matter of being born with the kind of brain, endocrinal system and genetic memory that allows the mind to perceive such a state of being.

Being a witch, a magician, a vampire, a fairy or a royal dragon is not something that can be bestowed through rites of initiation or by adopting the pose. Such beings are of a different race, a race into which they are born. It is not a club that people can join and there are no human equivalents or substitutes, even though the church has attempted to usurp the status and power of these beings, the utter mess they have made of life on Earth just goes to prove my point.

They have usurped the positions formerly occupied by the transcendent and, lacking both the tools to perform the task and the inate desire to accept the ’Oblige’ which goes with the ’Noblesse’, they have stupidly and callously raped the planet and wiped out thousands of its precious species, bringing the world itself to the brink of disaster. The "vampire" was bred, with man’s collusion, to be man’s natural overlord and was born with that transcendent potential which was an essential part of the employment requirement for Kings and Queens.

The symbolic absence of a reflection is intended to assert that Dracula, and "vampires" in general, are "dead to the old nature but alive to the new". This is the foundation upon which Jesus’ entire message was built. It is only the Vampire that can truly say, with the voice of the eternal- "I AM THE TRUTH, THE WAY AND THE LIFE". For it is only in the blood of the vampire that there can be found the secret of Eternal Life.

Did vampires have eternal life? Well, yes they did. They were born Eternal in the sense that they were born to be transcendent and their Rites afforded them the ability to "yield" to the transcendent dynamic and perceive eternity. From that point on time becomes less relevant and they never departed from the eternal now that is perceived whilst in this physical life.

Time is created by mind which is fear. Without fear there is no time and whilst living in the physical body they perceive their mortal lives as immortal. So in the time it takes for a mortal to live out his natural life, the Vampire has already lived an eternity in the same space of years. When a Vampire body dies, the Spirit lives on because it is the spirit of the eternal.

The greatest heresy of all for the church is that they cannot ever achieve for themselves or bestow upon others the ability to attain life after death. The greatest heresy is that humans die, whilst the vampire and the fairy live forever. The greatest lie that the Church has ever uttered is in trying to convince people that faith or transubstantiation in communion will grant eternal life.

The author discussed with Kenneth Grant the understanding that there is still a genetic difference between the Dragon Blood and the Blood of the Kasatriya and Sudra Castes. There is no elitism or snobbery involved in such a view. In times past there was a social niche for Dragons, Fairies, Vampires, Witches and Druidhes where, along with their human cousins they fulfilled a responsible social role in the affairs of Man.

However today they are just viewed as madmen or anomalies and society has no time for people who believe they can see beyond the endless desire to attain self worth or a sense of personal identity through fruitless labour and pointless consumption. Often the Quickening and Starfire does come unexpectedly and when it does, nothing can prepare the individual for its consequences. We are all taught that there is nothing beyond the reality defined within the consensus of the prevailing mass psychosis, with its materialistic fantasies and childish notions of Heaven and Hell.

We are all encouraged to conform and we have our expectations regulated accordingly. In particular no one in the west is taught that there is a dynamic potential within human relationships which transcends the mundane desire to assuage loneliness or greed, to propagate the genes, replicate the self or achieve self worth through sexuality. In consequence, for those who have been taught that there is no such things as Dragons, Vampires, Witches, Fairies or Druidhes and furthermore that all are sons of Adam and thus born equal in the sight of God, it can come as a bit of a surprise if Starfire, as the Quickening, creeps up unawares and does something to the soul that has remarkable similarities to it having been hung, drawn and quartered.

It should be explained that Starfire does not necessarily have to be the consumption of blood in the first instance. As the Quickening it can sometimes occur in the Grail Bloodline spontaneously and unexpectedly, and involve the subject in a situation where they become aware of a tremendous level of energy in someone they meet and become close to and this energy field, in close proximity, does something to the subject’s perceptions. There can be a feeling of tremendous stillness and peace and a cessation of desire. It is like Death.

The only way to explain it is to say that it appears to rewire the brain which then subconsciously expects a continuity of that self same stimulus. Without a regular fix there can be problems. It all sounds like the twaddle we read in Gothic Novels, like some form of stereotypical motif that Vampire wannabees would use to justify the idiocy of being seen in public with orthodontic augmentations.

However the Fontaine de Soif does exist and, as I have said before, the best way of appreciating it is to think of the alcoholic who, before the first drink doesn’t know that they even are alcoholics, but afterwards need that chemical fix regularly or their life goes to pieces. In alcoholism the chemical deficiency is, I believe, for a neurotransmitter called Neuropeptide. In vampirism it is for Melatonin but that in itself is only one component. Prolactin, Oxytocin, Vassopresin and Dopamine could also be implicated in the dependence.

A happy Dragon can go through life without any of this and without any of the Gothic overtones, just as long as they never meet another one of their bloodline. If they do though, there is a chance that they will discover a separate reality which they will find painful to be bereft of.

When talking of royal vampirism one should be aiming to associate the phrase with the evening scent of Nightstock, with moonlight and star shine and the song of the Nightingale in the forest behind the rose-walk.

"In the centre of the chamomile lawn there stands a black marble plinth from beneath which trickles the waters of life, whose sparkling melody harmonizes with the plaintive haunting song of the beautiful, elven girl, the beloved who, leaning against the monolith, stares into the starlit western sky, as if surveying a vast abyss, a realm of infinite depth that no man could ever hope to see with human eyes".

She is the journey’s end and the fulfillment of the dragon nature. Royal vampirism is about devotion to the feminine and surrender to the goddess, it is about a love that sacrifices self even unto death. It cannot be presented without the kind of romantic imagery whose symbolism transcends mortal love. Here we have a situation where the sidhe, in order to consummate his or her nature, must sacrifice that nature to the source of its consummation. The Dragon Maiden is not the victim and the vampire is not the predator. Both consume and transform each other and ultimately the sidhe must die in the arms of the beloved.

The confusion between this imagery and that of the dentally gifted fashion victim is the confusion between royal and martial vampirism. This particular manifestation of the legend was real and there is no getting away from that. Like royal vampirism it concerned itself with the assimilation of identities but beyond that it was for adrenaline junkies and thyroxine freaks. Originating in Scythian battle custom, warriors would drink the blood of fallen friend or foe alike in order to take upon themselves the valor and spirit of the dying warrior.

The more adrenaline and endorphins the victim or donor had in their bloodstream the better, because this provided fuel for the predators to continue the fray. It did not concern itself with high philosophy, transcendent love, intelligence or longevity and was itself in effect a short cut to the grave. A case of live hard, die young. Today athletes have been known to gradually extract their own blood, up to about two pints, and store it prior to events. Several hours before their performance they would reinject the blood back into their systems, giving them a significant and very useful buzz.

In stories such as le Fanu’s ’Carmilla’, Stoker’s ’Dracula ’and lately the work of Warrington, the most significant component of the vampire’s personality is not the callousness or predation, but their adoration and love for the victim. The method of consummation however, has been confused with that of the Scythian Warrior. Having said that, the stories themselves echo significantly the sentiments expressed in the world’s first story of royal vampirism, the Song of Songs, to be given further consideration in relating and expanding upon the underlying theme in historical examples of the Royal Rite.

Latin Kisses

"The Indo-Europeans didn't kiss, but rubbed noses or licked like other "primitive" peoples. Hence the variety."

lol, Lang. Hat

Gnosticism tries to converge "Aryanism" with "esoteric"-Xt as the author on Royal Vampyrism did. Evola and Serranos differ on the concept of "hierogamos".

Wagner was a hardcore Xt.; "His" Tristan and Isolde was no doubt gnostic... heroic roman-ism made to combine with Xt. ideas of sacrifice, and Schopenhauerian pessimism maybe, etc.
How much did this kind of wagnerite 'hierogamos' influence Hitler and Eva, if it did?... hmmm.

I love the painting though; it speaks to me of a far more ancient archaism than gnosticism:

John Duncan.