Faust

Blade Runner & Deus Ex: The Kingdoms of Technocratic Fallen Angels

The replicants in the film “Blade Runner” based off of Philip K. Dick’s Do Androids Dream of Electric Sheep? are seen as pawns in a chess game of the human. Their entire existence is made to be used to serve us. Some might agree that this is unjust, and raises moral questions about what is considered a living being and what is considered a synthetic creation destined for slave labor. In the hit video game, Deus Ex: Human Revolution and its upcoming sequel Deus Ex: Mankind Divided, we see the same moral questions brought up with futuristic technology being developed in form of nano-tech “augmentations” which are synthetic additions or replacements of various parts of the human anatomy–effectively making the person a lesser version of the Borg from Star Trek. We will get to Deus Ex later.

While the novel itself is pessimistic and post-apocalyptic, the movie is far much darker, in which its visuals follow a cyberpunk, machinic society that is disconnected from nature, much like the Borg from Star Trek, H.R. Giger’s nightmarish artwork, who is most famous for designing the alien for the movie Alien, present a similar world. The future in the Terminator-movies and the Matrix isn’t that different either. While I do find this dark, cybernetic world aesthetically pleasing, but certainly it is not world that any sane person would want to become reality, as it is basically a depiction of hell.

The movie is transhumanistic in its depiction of the replicants, the artificial humans. The plot is that four (six, really but two of them died in the backstory) replicants escaped from the off-world colonies (i.e. colonies in outer space to earth.) Replicants have only a four year life-span, and they’re seeking to prolong it. Their presence on earth is illegal and Deckard, played by Harrison Ford, has to hunt them down. The suffering of the replicants is much more highlighted than the experiences of Deckard. When both of the female replicants are killed sad music is played in the background, and there’s slow motion. And the end battle against the boss, Roy, played by Rutger Hauer, is somewhat anti-climactic, since the replicant saves Deckard and simply dies of old age instead of being shot by the hero.

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Throughout the film of Blade Runner, the replicants strive to hide behind their apparent humanity as well as become more powerful than their human creators. Replicants are essentially synthetic humans with superhuman capabilities. There are also animal replicants shown throughout the film as synthetics such as the owl or the snake that played pivotal roles (symbolizing Minerva, Lilith, Molech, Lucifer, Satan, etc). These were developed first for use as pets and beasts of burden after most real animals became extinct due to some type of nuclear holocaust or chemtrail-geoengineering experiment gone global. Blade Runner begins with a shot of a huge, futuristic ziggurat-like building with a vehicle flying towards it. Such buildings reminds us of the ziggurats of ancient Mesopotamia. Erich von Däniken, the Ancient Alien theorist, theorized that ziggurats were airports for the flying vessels of the aliens.

In the film, it is revealed that humanoid replicants were created for military purposes and for the exploration and colonization of space. The Tyrell Corporation recently introduced the Nexus 6, the supreme replicant which are much stronger and faster than, and virtually indistinguishable from, real human beings. Earth law forbids replicants on the planet, except in the huge industrial complex where they are created.

The law does not consider replicants human and therefore accords them no rights nor protection. A key aspect of replicant psychology is that they are lacking in empathy, in effect making them textbook sociopaths. Because of that, measuring the degree of empathic response via a Voight-Kompff machine is the most used method of detecting replicants. NEXUS 6 replicants also have an in-built fail-safe mechanism, namely a four year lifespan, to prevent them from developing empathic cognition and therefore immunity to a Voight Kompff Machine. This is especially necessary for the Nexus 6 models whose intellectual capacity at least matches their designers.

Replicants are illegal on Earth after a bloody mutiny against an off-world colony staged by a Nexus-6 combat model. Special police units or bounty hunters such as Blade Runners are sent to investigate, test and ultimately “retire” replicants found on Earth. Since the dawn of their existence, these replicants were meant for labor. This was not considered slavery because they were synthetic beings. They have no ability to think or feel exactly as humans are meant to. But, this presents some moral dilemmas.

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Tyrell himself said to Deckard in the beginning of the film that his corporation’s modo was “more human than human.” With this vision, his corporation blurred the line that was living and non-living. These replicants began to feel that they should be entitled to more than slave labor. To live as the humans live in the decaying Earth of 2019. So they rebelled and switched the tables on which is the user and whom is being used in the chess game of mortality. Throughout the film each of the replicants use humans as pawns in this chess game as the replicants scramble from lower beginnings to the kings of the game. The first instance of the replicants switching the roles of user and used includes the meeting of Roy, Leon, and Chew in the sub-zero lab which neither interests nor affects the Nexus 6.

As Roy and Leon torment and drive him towards hypothermia, they use him for information as to get inside the Tyrell Corporation’s main headquarters to discover a possible way to increase their very short lifespan. The group of Nexus replicants were a new breed of replicants and were designed to be as human possible. With these advancements however, they started to consider themselves as actual humans. In the short scene before the meeting of Roy and Tyrell, Pris and Roy are in J.F. Sebastian’s apartment trying to convince him of letting Roy into Tyrell’s complex. This of course is another example of the replicants bending the role of the pawn in the chess game by manipulating J.F. Sebastian into what they want. This is also however, an example of the replicant’s transcendence into another class of being. Sebastian asks Roy and Pris to give him an example of their superhuman powers after he discovers they’re the Nexus 6 model.

Roy replies by saying “We’re not computers Sebastian, we’re physical.” Roy is referring to the sensitivity that he and Pris have developed in which they consider themselves not a robot or computer but a real and living being that deserves respect. Pris goes onto say in the same scene “I think Sebastian, therefore I am.” Both of these acts from the replicants intimidate Sebastian into letting them into Tyrell’s complex.

These points raise some interesting questions, not only about the film, but about life in itself. Do we define ourselves solely on the biological characteristics, or is there something more that makes a person human? If it is solely on the biological aspects of a being, then replicants are clearly not human, for they have genetic differences.

Yet, as the movie progresses, we come to see that some of the replicants, particularly Roy and Pris, are capable of being more “human” than Deckard. Deckard is cold and uncaring, whereas Roy and Pris are two replicants who seem to convey genuine love for each other. And beyond that Roy conveys strong feelings of empathy and respect for Deckard. So, the suggestion becomes that we cannot so easily distinguish what it is and what it isn’t human.

Nearing the end of the film, Roy uses Sebastian’s literal chess game to complete his own chess game of mortality. Roy tells Sebastian to make a move that would result in Tyrell’s king in checkmate. Roy enters into the room of Tyrell and finds it difficult to confront his creator just as Tyrell finds it difficult to have Roy confront him. Roy asks a series of biological questions in order to figure some kind of way to expand Roy’s and the other’s lifespan from 4 years.

After Tyrell tells him that it’s impossible to change Roy’s structure to incorporate a longer lifespan because of viral and toxic difficulties, Roy crushes his skull and makes him bleed out his eyes in a gruesome death. Truly, this was a checkmate of Tyrell’s king on Roy’s behalf. After Roy was done using Tyrell, he would travel back to Sebastian’s apartment. Roy’s chess game with the human race continues even after discovering that he will soon die with no help from Tyrell.

Roy discovers a dead Pris lying on the ground riddled with bullet holes. He cries out in anguish and searches for whoever stole the last remaining time he had with Pris away from him. Deckard fires a couple shots past Roy, but Roy is too fast while he dodges them. Repeatedly throughout this scene, Roy says how Deckard is being unsportsmanlike for a man to shoot another man while unarmed. Roy is toying with Deckard at the end of this film, using Deckard even at the last moments of his life as part of a game. At the end of this scene, Roy saves the life after letting him hang off the edge of a skyscraper by his only good hand. Showing that he despises the waste of a life, Roy grabs Deckard by the arm and pulls him over the ledge.

He then proceeds to say one of my favorite lines in the film. Roy speaks in a soft monotone voice “I’ve seen things you people wouldn’t believe…Attack ships on fire off the shores of Orion…I watched c-beams glitter in the dark near the Tanhauser Gate. All those moments will be lost…like tears in rain.” In the end of the film, Roy and the rest of the escaped replicants are retired and Deckard’s job is complete. However, many of the questions that were raised are left unanswered. Is it unjust to enslave a creation if it is a living being just as humans are? Also, what is the distinguishing factor of a living and thinking being? At least at the end of the film one point is absolutely clear. The replicants were driven to become as human as they possibly could. Using humans as a chess piece to complete the tasks as they wanted. Truly switching the roles of the user and the used.

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Personally, I think Blade Runner is a beautiful film, but I can’t get over Ridley Scott’s butchering of Dick’s masterpiece. Philip K Dick portrayed replicants as amoral sociopaths for a reason. Scott totally misunderstood everything Dick was saying in the book. Replicants were never supposed to be misunderstood good guys. They’re evil sociopaths who are totally devoid of empathy. They aren’t even called “replicants” in the book, but andies (short for android). Roy and his android pals are unambiguously amoral and inclined to evil in Dick’s story, and in the book, Deckard kills Roy almost immediately after locating the androids. Roy isn’t a big character in the book at all. Blade Runner is really a completely different story that just uses the same setting and characters that appear in Do Androids Dream of Electric Sheep? Why is the film so different than the book? It’s because Ridley Scott is another one of those bigwig Hollywood directors who thinks that he understands the story better than the original author.

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No doubt, Blade Runner is a beautiful film. The casting, score, and cinematography were all perfect. It’s just the modifications to the story that sucked. Ridley Scott should’ve left it alone. It would’ve been the perfect adaptation from literature to film. The androids are sociopaths in the novel. You’re supposed to sympathize with them in Blade Runner, however. That’s what I dislike so much about that movie. It’s a complete 180 from the premise of the book. In effect the movie wants you to sympathize with the inhuman antagonists. I don’t think it worked, though, particularly when it came out in the eighties, when people saw the movie, since people back them were more rooted in reality than we are now. Nowadays though, I can imagine a Social Justice Warrior watching the movie and hating humans for being so intolerant against these poor artificial machines.

“Androids?” blew my mind when I first read it. Dick really explores the themes of good and evil more in-depth than any of his other work, in my opinion. He also goes into the possibility of good and evil people, like the pneumatics and hylics of Gnosticism. I highly recommend people to read it. Not surprisingly, Blade Runner has many allusions to Gnosticism as wellJay’s Analysis also has a great review of the film as well.

The underlying message in Blade Runner is, as the Rolling Stones put it, to have sympathy for the devil. Transhumanism and Satanism have many strong similarities and some may go so far as to say they are one and the same philosophy. This might sound counter-intuitive to someone not versed in these topics. Transhumanism is something that is associated with science fiction and futurism, while Satanism is something archaic and superstitious. And yet, we see places and sites like CERN with their employees performing mock human sacrifices in context of a Satanic ritual performed before the Hindu god Shiva, the principle of destruction. In a way, demons, or devils, or fallen angels are some may be considered artificial intelligence’s.

In Hinduism, these same demons are called “rakashas” which are often referred to as “man-eaters.” Either they were devised as concepts in the mind of God, but he chose not to create them, or he created them but banished them to hell. Christopher Knowles over at the Secret Sun blog, has also equated the rise of scientific materialism and globalism with the Faustian bargain. Quite clever. Indeed, the globalist agenda is kind of like the counterfeit creation of the Gnostic Demiurge. They’ve created a counterfeit reality that does not actually exist, and they’ve successfully indoctrinated the majority of the public with their lies.

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Hieronymous Bosch, “The Garden of Earthly Delights.”

Hell is often (but not always) depicted as a terrible place of fire and brimstone, a lake of fire filled with horned demons, but hell can also be an artificial, dark world that is often presented in science fiction works. This does not mean the artists who make these depictions are necessarily “in the know” or work for the Illuminati, but rather they have inadvertently picked up the inspiration from the ether or in dreams and depicted what they saw. This is where Deus Ex comes in. I am actually a big fan of the series. While the Deus Ex series started in 2000, the video game I will be referring to often is the sequel, Deus Ex: Human Revolution. This game begins by immediately focusing in on a statue of a fallen angel facing a mysterious smoking figure/conspirator.

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The game primarily follows the exploits and adventures of the security agent Adam Jensen for a bio-technology corporation called Sarif Industries. Adam Jensen quickly uncovers a plan that ties technological “augmentations” with the Illuminati controllers to take over the world in their Satanic quest to create a totalitarian socialist/fascist New World Order, which reminds us of the idea of the “Beast” in Revelation 17, which makes war “with the Lamb, and the Lamb shall overcome them.” Oh and by the way, in Revelation 19:20, the same Beast is condemned to hell:

And the beast was taken, and with him the false prophet that wrought miracles before him, with which he deceived them that had received the mark of the beast, and them that worshipped his image. These both were cast alive into a lake of fire burning with brimstone.

There are other mysterious groups alluded and discussed throughout the game, such as Majestic 12, the Knights Templar, the Bilderberg Group, and the Trilateral Commission, also play a central part in the plot. They also show up in Human Revolution and Mankind Divided. This dark setting is enhanced by the fact that the entire game takes place at night (the first Deus Ex that is), a backdrop that adds to the atmosphere of conspiracies and stealth. The name “Sarif” evokes similarities with the angelic class of the Seraphim. In Romans 1:21-23, we read:

…when they knew God, they glorified him not as God, neither were thankful; but became vain in their imaginations, and their foolish heart was darkened. Professing themselves to be wise, they became fools, And changed the glory of the uncorruptible God into an image made like to corruptible man, and to birds, and fourfooted beasts, and creeping things.

One central tenet of early heresy in Gnosticism, is that the Lawgiver Jehovah was really just an angel in rebellion against the Good Father above (e.g. Irenaeus, Against Heresies, 1.24.2, 1.25.4). Paul seems to evoke the same language which reflects this doctrine in letters such as Galatians 3:19 and 4:1-8:

“Wherefore then serveth the law? It was added because of transgressions, till the seed should come to whom the promise was made; and it was ordained by angels in the hand of a mediator.”

Now I say, That the heir, as long as he is a child, differeth nothing from a servant, though he be lord of all; but is under tutors and governors until the time appointed of the father. 3 Even so we, when we were children, were in bondage under the elements of the world: but when the fullness of the time was come, God sent forth his Son, made of a woman, made under the law, to redeem them that were under the law, that we might receive the adoption of sons. And because ye are sons, God hath sent forth the Spirit of his Son into your hearts, crying, Abba, Father. Wherefore thou art no more a servant, but a son; and if a son, then an heir of God through Christ.

There are other instances in Paul’s letters where he basically says that the Old Testament and Moses’ Law quite literally blinded and deceived the Israelites such as 2 Corinthians 3. In these passages observing the Law is equated with worshiping angels as seen in Hebrews 2:1-3

We must pay closer attention, therefore, to what we have heard, so that we do not drift away. For if the message spoken by angels was binding, and every transgression and disobedience received its just punishment, how shall we escape if we neglect such a great salvation? This salvation was first announced by the Lord, was confirmed to us by those who heard Him,…

In context of the sermon, in the Bible the Seraphim and Cherubim, are described as having both human and animal traits, having the forms of men, eagles, lions, ox, and even serpents as different texts of the Old Testament depict (Isaiah 6:2-6, Ezekiel 1 & 10). This is where the many Gnostic teachers like Basilides and the Sethian Ophites pounced upon this idea by using Romans 1:23, to reduce Jehovah, the Lawgiver to an inferior power or a mere angel, which has the corruptible form of a man and various animals, much like how Ialdaboath is portrayed as having a face of a lion and a body of a serpent or dragon in Gnostic literature. Paul also seems to be attacking pagans and perhaps even Jews for reducing the Supreme deity to angel and demon worship. And so Sarif industries also made the human race further corruptible by using different augmentations which only sever the spirit of man from God, even further. Some point to Daniel 2:43 as prophetic reference to cybernetic influence on the biology of mankind:

And whereas thou sawest iron mixed with miry clay, they shall mingle themselves with the seed of men: but they shall not cleave one to another, even as iron is not mixed with clay.

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In the sequel Deus Ex: Mankind Divided, the fallen angelic/Luciferian symbolism continues on. Oh and there is even an official novella called Deus Ex: Fallen Angel. Matthew 24:37, tells us:

As it was in the days of Noah, so it will be at the coming of the Son of Man.

This is a phrase that some Christian UFOlogists and conspiracy theorists like Michael Tsarion have interpreted this to mean that in the days of Noah, earth inhabitants held a wide variety of technology which gave rise to various pyramids and structures that we, today, have no way of reconstructing on an exact scale, as well as all of the genetic manipulation that we are seeing now arise in food production and hybrid experiments with human and animal DNA. Matthew seems to echo Genesis 6 and the Book of Enoch, among other Jewish apocalyptic literature, with the Sons of God interbreeding with the daughters of men to produce a race of giants or the Nephilim. And then God sent a flood to get rid of it all because it was perverting his creation. This relates to the ziggurat in Blade Runner, the building of the Tyrell corporation, that creates the replicants. Back in the days of Noah, these high priests used their perverse technologies and occult ritual magic to try to summon these demonic, artificial entities into our world. The ziggurat probably symbolizes this. The movie Blade Runner states that they are attempting to do it again. The Gnostic text On the Origin of the World tells us this exactly:

Let us return to the aforementioned rulers, so that we may offer some explanation of them. Now, when the seven rulers were cast down from their heavens onto the earth, they made for themselves angels, numerous, demonic, to serve them. And the latter instructed mankind in many kinds of error and magic and potions and worship of idols and spilling of blood and altars and temples and sacrifices and libations to all the spirits of the earth, having their coworker fate, who came into existence by the concord between the gods of injustice and justice.

Many have also compared the Kabbalistic Jewish Golem, which is an artificially emerging human nourished from inanimate matter to modern A.I., a being with the unholy capacity of stealing the uniqueness of human soul, through spells using the Tetagrammaton or the Name of YHWH, indicating the Demiurge has occult mysticism under his sway.

Now, forgive me for heading into further conspiracy territory but it must be pointed out. Chemtrails are often poo-pooed on by many but it relates to the idea of geoengineering. Geoengineering for what exactly? I would say it’s the dark, artificial world we’ve been seeing in various science fiction movies. Perhaps the strange phenomenon Global Dimming is caused by chemtrails. I’ve seen many airplanes spray chemtrails over the years in many different countries, even over my house! This isn’t such an easily dismissable issue since they are very visible and perceived unlike other nebulous concepts you will see in esoterica. If you don’t believe me, start paying attention when you go outside. You might not see them everyday, but you will see them eventually. I do not know exactly for what purpose they are being sprayed–perhaps its for depopulation purposes.

I heard one Christian Youtuber guy say that they are used so that demons can manifest in the natural world more seamlessly. This ties into the technocratic kingdom of the fallen angels, or the rising and fall of the Beast of Revelation. I’ve heard other authors like John Lash discuss the “archons” of Gnosticism in terms of being inorganic cyborgs. But he’s a bit of a psuedo-Gnostic pagan David Duke and has fallen far from what he was doing 8-10 years earlier with his fascinating book Not In His Image. What I am saying might be hard to believe but there you have it.

All of this also ties in with what has been occurring on the world stage as of late, with numerous terror-attacks, threats of World War 3, reproductive-disease spreading Mosquitoes, poisoned drinking waters for the underprivileged, citizen assassinations, proxy wars and uprising in the Middle East, civil, domestic uprisings, the rise of Satanism in the public arena, the crushing of dissidents and free-speech, one must realize that there are insane, lunatic nihilists out there, especially in positions of power, who really do want to realize their own destruction. Just look at all the progressive feminists who want Muslim immigrants to invade their countries and rape and kill them. Just look at the Bug Chasers in San Francisco who purposefully want to get HIV/AIDS. Human sacrifice, dogs and cats living together, mass hysteria!

In Luke 21:10-28, Jesus tells his disciples a dire prophecy about the future:

10 Then He said to them, “Nation will rise against nation, and kingdom against kingdom. 11 And there will be great earthquakes in various places, and famines and pestilences; and there will be fearful sights and great signs from heaven. 12 But before all these things, they will lay their hands on you and persecute you, delivering you up to the synagogues and prisons. You will be brought before kings and rulers for My name’s sake. 13 But it will turn out for you as an occasion for testimony.14 Therefore settle it in your hearts not to meditate beforehand on what you will answer; 15 for I will give you a mouth and wisdom which all your adversaries will not be able to contradict or resist. 16 You will be betrayed even by parents and brothers, relatives and friends; and they will put some of you to death. 17 And you will be hated by all for My name’s sake. 18 But not a hair of your head shall be lost. 19 By your patience possess your souls.

The Destruction of Jerusalem

20 “But when you see Jerusalem surrounded by armies, then know that its desolation is near. 21 Then let those who are in Judea flee to the mountains, let those who are in the midst of her depart, and let not those who are in the country enter her. 22 For these are the days of vengeance, that all things which are written may be fulfilled. 23 But woe to those who are pregnant and to those who are nursing babies in those days! For there will be great distress in the land and wrath upon this people. 24 And they will fall by the edge of the sword, and be led away captive into all nations. And Jerusalem will be trampled by Gentiles until the times of the Gentiles are fulfilled.

The Coming of the Son of Man

25 “And there will be signs in the sun, in the moon, and in the stars; and on the earth distress of nations, with perplexity, the sea and the waves roaring; 26 men’s hearts failing them from fear and the expectation of those things which are coming on the earth, for the powers of the heavens will be shaken. 27 Then they will see the Son of Man coming in a cloud with power and great glory. 28 Now when these things begin to happen, look up and lift up your heads, because your redemption draws near.”

It sure sounds like the future is now. But, threats of the apocalypse have been here with us since the beginning of time and space. It’s always been the same story in the realm of the Demiurge! In my upcoming novels, Delta Heavy and Crimson Dusk, all of these themes will also be thoroughly referenced as well. Stay tuned for news on that on this site. Here are a few more videos of interest. (Please note, I won’t be posting links to videos in all future posts.) One more thing, please consider supporting my site by donating so I can keep this site afloat, independent and advertisement-free.

The Faustian Grail

Since the early 16th century, a tragic and sinister story has weaved its way through western culture and even today in pop culture and science—the legend of a man who makes a pact with the devil and then has to come to terms with the contract he signed. It’s the legend of Johannes Faustus. Faustus makes a deal with the devil to gain more intellectual enlightenment even though he is at the top of his intellectual studies in society’s standards but for some reason, it did not satisfy him. The main logistics of the deal was that the devil would serve Faust while he is alive to help him find this enlightenment and in return Faust would have to give up his soul and be the devil’s servant in hell.

And yet, both versions of Faustus present us with a highly unconventional representation of both the sinner/sorcerer (Faust) and the devil in the figure of Mephistopheles. He is a malevolent force, yet brings about good despite himself. Aware of this, he still performs his duty in Faust’s corruption, and in his eventual salvation (or damnation in later accounts). This devil-as-savior motif is perplexing from the standpoint of traditional Christian doctrine, though it did correspond with contemporary but radical ideas expressed in the writings of William Blake (1757-1827) and Lord Byron (1788-1824). Unsurprisingly, Faustus has a lot of crypto-gnostic underpinnings.

Yet to truly understand the role that Mephistopheles plays in Faust we must look deeper still, into the shadowy light of the alchemical and Gnostic sources that were so influential in the crafting of these legends. Mephistopheles is inextricably connected to the Ouroboros serpent, the alchemical motif of a snake devouring its own tail. We find this in Cleopatra the Alchemist’s Chrysopoeia as well as the Ophite cabalistic-like diagram described by Celsus and Origen. This interpretation not only helps us to understand Mephistopheles’ individual role in the drama of Faust but can shed new light on the entire structure of the Faustian narrative.

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But before we explore Mephistopheles, we must examine Faustus himself. Since Faustus has already exhausted the known sciences, he wishes to obtain, with the assistance of Mephistopheles, a complete knowledge of the universe. It is in the black arts that he finds what he believes will satisfy his search for the ultimate gnosis, as well as the power that he believes will accompany it:

These metaphysics of magicians And necromantic books are heavenly; Lines, circles, letters, characters- Ay, these are those that Faustus most desires. O, what a world of profit and delight, Of power, of honor, and omnipotence Is promised to the studious artisan!

Faustus was apparently a historical character who lived in Germany during the early 16th century. A student of divinity, Faustus claimed to have extraordinary powers. In his imagination, he was a necromancer (someone who communicates with the dead) and a practitioner of black magic and sorcery. Although this version of Faustus was nothing more than a braggart and a charlatan, his legend flourished.

The earliest collection of the tales of Faust came in 1587 in an anonymous work titled the Historie of the Damnable Life and Deserved Death of Dr. John Faustus. The legend was soon picked up by English playwright Christopher Marlowe, a contemporary of Shakespeare and Queen Elizabeth. According to rumor, Marlowe was an agent of Her Majesty’s Secret Service—much like John Dee, the pious and famous Renassiance man who would engage in various occult operations in channeling “angels”. Marlowe’s version of Faust’s story, the play The Tragicall History of D. Faustus (1604), soon became the model for the many versions of Faust’s story that followed. It is the story of a man who trades his soul to the devil in exchange for a period of ultimate knowledge and power.

The original story of Johannes Faust, was first translated into English by an unknown author in 1592. As it is known that the author of Faustus, Christopher Marlowe studied with English Catholics at Rheims (possibly spying on them), as references are to the Latin Vulgate (also called St. Jerome, after its original translator in the fifth century) and the Catholic Douay-Rheims version. It is also possible that he used the Protestant Geneva Bible, but all the references he makes are to Jerome.

Marlowe’s Faust is not simply a charlatan. He is a tragic hero, a superman, the archetype of the Renaissance man. Where did Marlowe get the idea to depict Faust as a powerful sorcerer whose willingness to do anything for knowledge and power leads him to the dark side? Perhaps from the apocryphal legends of Simon Magus, the first-century magician who challenged God (like Lucifer) and clashed with Peter in magical feats of sorcery. This connection may derive from Simon’s use of the Latin sir-name Faustus, meaning the “favored one,” meaning that he was the “chosen one” to continue John the Baptist’s tradition, according to the Clementine’s.

There were many sources available to Marlowe concerning the life of Simon Magus. Probably the most important was The Golden Legend (Legende Aurea), a popular collection of tales of the saints by the 13th-century archbishop of Genoa, Jacobus de Voragine.

Simon, of course, is portrayed as a sorcerer who fooled Samaria into believing his divine powers and at one point even claimed he was the holy trinity, being the Father, Son and Holy Spirit. We already saw in a previous post that, according to Justin Martyr’s Apologia, he went to Rome in the time of Claudius (who was the fourth Emperor of the Roman Empire and ruled between 41 and 54 BCE) and was so convincing at being a God, the nebulous “they” erected a statue to him, under the god “Semo Sancus” being the equivalent to Mithra, Apollo or Helios. He follows Phillip around for a bit before running into Peter and John for trying to bribe them for Holy Spirit power and apostleship (Simony) but those two chastise Simon rather severely before heading back to Jerusalem. But as we’ve already saw in Johnny Mercury, this story seems suspect and reads more like a parody of a Simonian anointing ritual than a genuine account. But, if what Irenaeus says is true about Simon feigning to be the Holy Trinity then this is probably tantamount to blasphemy.

As literary critic Beatrice Daw Brown in Marlow, Faustus, and Simon Magus writes, the careers of the two magicians, Simon Magus and Marlowe’s Faust, follow the same pattern, and their lives have many parallels. Both are extremely powerful sorcerers able to withstand fire, to move objects without touching them and, most importantly, to evoke the spirits of the dead. Both defy God in their own way, Faust with his pact with the Devil and Simon with his arch-heresy of proclaiming himself the Christ and the Standing One. Both travel to Rome, both perform their miracles before the emperor and both have demons at their beck and call. Simon Magus has demons who aid and carry him (shown licking and tormenting him in a relief from the St. Sernin Cathedral in Toulouse, France).

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Faust has Mephistopheles, a servant of Lucifer, who gives him the power to do his magical acts. Simon Magus and Faust both attempt to fly, Faust in Venice and Simon at Rome, and both fail.

Faustus

(Mephistopheles peers menacingly over Faust’s shoulder in the statue from the Villa Borghese in Rome, celebrating Johann Wolfgang von Goethe, who penned his own version of the Faust legend.)

Faust like Simon, has a semidivine female companion, who is also named Helen. According to many church fathers, Helena is a reincarnation of Helen of Troy. In the Faust legends, she is also Helen of Troy. In Marlowe’s Doctor Faustus and in the famed poetic drama of Goethe, Mephistopheles employs the most beautiful woman in antiquity to seduce Dr. Faust into the occult realms in Faust’s search for wisdom. Thus Marlowe writes:

“Was this the face that launched a thousand ships / And burnt the topless towers of Ilium?”

And finally Simon Magus and Faust both meet an inglorious and violent death. Simon Magus tries to fly but crashes to the ground with broken limbs. Faust’s body is found the morning after his pact ends, mangled and torn to pieces.

In Marlowe’s play, Faust’s final soliloquy, the most moving of the entire work, evokes the fall of Simon Magus. In the last hour before his payment comes due, Faust laments:

“The starres move still, time runs, the clocke wil strike, / The deuil wil come, and Faustus must be damned / O Ile leape up to my God: who pulles me downe?”

Faust is also reminiscent of the fall of Adam and Eve in Paradise Lost by John Milton. In a way, Eve’s mistake of eating the fruit of the Tree of knowledge of good and evil to gain more knowledge is somewhat similar to the Faustian Bargain. First, in both cases, the serpent initialized the interactions with the humans. In later traditions, as in Revelation of St. John the Divine and the Books of Adam and Eve, Satan manifests a form of a snake with Eve and in a dog and a nobleman for Faust. In Paradise Lost, it was more to tempt God’s precious recreations to sin for vengeance. By offering the fruit from the Tree of Knowledge, Eve did gain knowledge (cabbalists would say sexual knowledge which led to birth and death in the world), but in return, she and Adam were also banished from Garden of Eden for her disobedience to God, in which they were no longer under the rulership of Jehovah and his gods.

In Baphomet: The Temple Mystery Unveiled, we wrote:

In Genesis 3:22, Jehovah declares, clearly to other gods (or Elohim divine council found in Psalms 82:1), that “The man has now become like one of us, knowing good and evil.” Jehovah expresses fear, “lest he reach out his hand and take also from the tree of life and eat, and live forever.” The creator seems concerned that, with the wisdom they gained from the Tree of Knowledge, Adam and Eve will realize that he’s not the only god, and also that, if they gain immortality by eating from the Tree of Life, they will become gods as well, no longer under his control.

In another chapter, we also note:

In mythology, there is an archetypal scenario in which a person travels from one realm to another, and becomes stuck there upon eating the food of the other realm. This happened to the Greek figure of Persephone when she ate the food of the underworld. Eve ate from the Tree of Knowledge and it changed the universe, or perhaps it created a new universe, and she became trapped in it. Jesus told us to eat his flesh and drink his blood to live forever in the New Jerusalem (the “Kingdom of God”) after death. In the New Jerusalem everyone drinks of the waters of life from the rivers of Paradise and becomes immortal. So perhaps there are other recipes involving similar ingredients that likewise could affect the universe around you upon consumption.

Satan, according to some interpretations, is God’s firstborn son, who came before Adam. But Adam was his favorite, and when his firstborn son refused to honor his younger brother, God sacrificed or expelled him. Satan embodied the forbidden wisdom that Adam was not allowed to have, and God told him not to eat of that “tree.” Was this “fruit” the product of sexual union? The carnal knowledge that Eve was endowed with, according to the cabalistic legends, came from her having carnal knowledge of the Serpent, which bred Cain (and perhaps others, according to some stories). What happens when a human and a spirit of the chaos realm mate? Better yet, what happens when you eat the child that was born of such a union?

And so, Adam and Eve were sent away and their children would be born with, according to Catholic tradition, the “original sin”. In this sense, the serpent gave Eve what he promised her: knowledge, but Eve did not know that in the end she would become a person under the authority of the Serpent or Satan and entered in a new universe of sex, birth and death (which is symbolized as the Ouroboros) because of her disobedience to God or the Elohim, the angels of order and creation. In Genesis (1:28), it is Adam who originaly has managerial authority over the world and perhaps even the universe:

And God blessed them, and God said unto them, Be fruitful, and multiply, and replenish the earth, and subdue it: and have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moveth upon the earth.

John Milton would write in Paradise Lost:

“Of Man’s first disobedience and the fruit / of that forbidden tree whose mortal taste / Brought death into the world, and all our woe” (1.1-5).

As Sherman Hawkins in The Education of Faust points out, “Faustus’s sin is that of Adam – he seeks by knowledge to be as God.” In fact, the Bad Angel that tempts Faustus to pursue the dark arts says:

“Go forward Faustus, in that famous art Wherein all nature’s treasure is contained. Be thou on earth as Jove is in the sky, Lord and commander of these elements!” (Marlowe).

This statement is a parallel for the serpent who tempts Eve by telling her, “God knows that your eyes will be opened when you eat it. You will become just like God, knowing everything both evil and good” (Genesis 3:4-5). Eve and Adam became the followers of the Serpent and yet their relationship is wholly antagonistic as history flows from their deed. This is personified as the “Seed of the Serpent.”

In Gnostic parody accounts, the Serpent was sent by Sophia to awaken Adam and Eve, and in Manichaean accounts, the Serpent was actually an incarnation of Jesus, the Splendor (this is probably connected to John 3:14). According to Hippolytus in Refutation of All Heresies (V. 14), the Sethians equated the Serpent with the Logos in which it entered the virgin womb and produced the perfect man of Jesus Christ:

The perfect Word of supernal light being therefore assimilated (inform) to the beast, (that is,) the serpent, entered into the defiled womb, having deceived (the womb) through the similitude of the beast itself, in order that (the Word) may loose the chains that encircle the perfect mind which has been begotten amidst impurity of womb by the primal offspring of water, (namely,) serpent, wind, (and) beast. This, he says, is the form of the servant, and this the necessity of the Word of God coming down into the womb of a virgin. But he says it is not sufficient that the Perfect Man, the Word, has entered into the womb of a virgin, and loosed the pangs which were in that darkness.

In Paradise Lost, Adam and Eve was the representation of humanity as they were the first to be created by God. They committed a sin and that is why every infant, according to Orthodox tradition is said have that original stain of sin and have to be baptized because under the laws of God, we are their descendants.

The Faustus story much like Paradise Lost, is about the “temptation” and desire, which is not different from any other human cravings of being more than human. His sinful wish is not different from that of Adam and Eve, only his channels are dissimilar. Faustus conjures up the Devil himself, that is why it is quite doubtful to speak about a real temptation in his situation. We can risk saying that Faustus is already a “fallen angel” or rather a “fallen man” at the beginning of the drama.

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“A Fairy under Starry Skies” by Luis Ricardo Falero

The main difference between a sinful human being and a “fallen angel” is in the later one’s incapacity to regret. Both Dr. Faustus (and even Shakespeare’s Macbeth) are in a situation where repentance is almost impossible. Faustus for example is unable to step further to the next station of penitence, namely humiliation. Consequently, he commits the sin of hardening of heart, which is gradually followed by the futile agony of despair. Faustus’ lack of belief in his salvation, his incapacity to regret, which makes him similar to “fallen angels.” Faustus’ free will plays an important role in the tragedy, since if he was predestined to be damned, we would not have any right to speak about tragedy at all.

Mephistopheles makes a vow with the Lord that he himself as the Devil can win the soul of Faust. Many have dealt with the Faust legend dating from Marlowe to Berliez. Faustus was a man who like Shakespeare and Emanuel Swedenborg was well versed in almost every art and science. This story more than likely originates in Job of the Old Testament where Satan challenges Jehovah he can steal the soul of Job.

The Old Testament also condemns the pagan gods of competing religions in the surrounding areas of the Mediterranean. It condemns sacrifice to them, divination and prophecy through those gods, worshiping them, etc. But if you closely scrutinize Yahweh/Jehovah, he operates virtually identically to the pagan gods. He makes pacts with Abraham, Issac, Jacob, and Moses: they worship Yahweh in exchange for material blessings on themselves and their descendants. He demands animal sacrifices and burnt sacrifices. He demands submission. He wants temples and altars erected in his honor. And if the descendants of those who originally made the pacts, i.e., the Jews, renege on those pacts, he takes away everything that he has blessed them with and curses them. Sounds an awful lot the Faustian Devil, doesn’t it? Jehovah really isn’t that much different than Faust’s Mephistopheles.

In a sense, Christ’s death on the cross can be considered a “contract” between the Father (according to Marcion is above Jehovah) and Satan for the souls of mankind, signed with Christ’s own blood. This is very much like how Faustus signs his own contract with blood, a contract in which Dr. Faustus is in fact promising his soul to Satan. Mephistopheles tells Faustus that he “must bequeath it solemnly And write a deed of gift with thine own blood, For that security craves Lucifer.”

Marlowe makes the connection between Faustus and Christ again when Faustus says, “Consummatum est!” Here Faustus quotes Christ’s dying words, “It is finished!” (John 19:30) when he has signed his own contract with Satan, and in doing so, his contact is compared to Christ’s shed blood on the cross. Images of the alchemical crucified serpent also come to mind. Edmund Siderius in Faust and Alchemy, specifically connects Mephistopheles with the alchemical serpent of the Ophite Gnostics:

In the first part of Faust, Mephistopheles is twice directly connected with the serpent, in the Prolog im Himmel and then in Wald und Höhle. In the Prolog im Himmel he brags that he will quickly return to heaven and declare his victory. No doubt; it’s a short journey anyway.

“/ I’ll win my wager without much delay. / And when I do, then, if I may, / I’ll come back here and boast of my success. / I’ll make him greedy fort he dust, the way / The serpent was, my famous ancestress!”

For Alice Raphael, author of “Goethe and the Philosophers’ Stone”, this is the first indication that we should see Mephistopheles’ role as something other than that of the traditional devil, but rather as that of the Ouroboros in both its destructive as well as constructive qualities. According to her, Goethe knew of the Gnostic Naassenes, or Ophites, probably through Geschichte der Schlangenbrüder by J.L. von Mosheim. As she says, they worshiped the Naas, which in Hebrew was Nachash (serpent) and was the numerological equivalent of Messiah. The serpent as savior motif comes from texts like On the Origin of the World and assorted Manichaean texts. In this regard the Naas was:

“…in primitive times a cult object, later a matriarchal power, and finally a symbol of wisdom. [There is a hidden reference to the Serpent in Faust, Part I] not as the traditional temptress of Genesis, but as ‘Frau Muhme,’ Goethe’s allusion to the female divinity of the Ophites.”

In this scene Mephistopheles describes his motion as circular (from heaven to earth to heaven), and his serpent ancestor’s hunger for dust. On the one hand this could be seen as referring to the bible, yet given his later confession that he seeks to specifically destroy all matter it could instead be interpreted in terms of the Ouroboros’ symbolic role of breaking down matter in the alchemical vessel into prime matter, so that it may be purified.

The next time Mephistopheles makes an appearance alongside a serpent he does so in his role as instigator and agitator of yet more circular action in the play. Faust, after a moment of calm reflection, is yet again driven by the “fire” of desire to pursue the maiden Gretchen for his pleasure. Before he does so, however, he curses Mephistopheles for disturbing his quietude with the insult: “Snake! Snake!”

This in and of itself will come as no surprise, for even in orthodox Christianity the serpent is seen as being a sign of the devil. What is perhaps more telling in this scene is its thematic circularity, a circularity which, when seen in light of the whole work, is a fundamental component of Faust’s redemption. It occurs almost immediately after Faust, in a high point of spiritual reflection, muses to the Erdgeist, the earth spirit:

“You added a companion, who already / Is indispensable to me, although / With one cold mocking breath he can degrade me / In my own eyes, and turn your gifts to nothing.”

The image of the serpent as savior, in the most blatant of alchemical formulations, had already appeared in Goethe’s Das Märchen, published in 1795, thirteen years before the publication of Faust: One. According to Ronald Gray in his text Goethe the Alchemist, Goethe encountered the destructive-creative principle of the Ouroboros in numerous forms. As he says:

“The self-destruction implicit in the rotating serpent was identical with the ‘putrefaction’, or death to self, spoken of elsewhere. Only when man’s lust had completely consumed itself ‘by revolution’ […] could he appear again in his former angelic splendor […]. It was necessary to yield all personal desires and become one with the universe.”

Seen in this light, the excesses that Mephistopheles leads Faust to on Walpurgisnacht can be made sense of in terms of the logic of the Ouroboros, for only when Faust’s lust has consumed itself will he able to become “one with the universe” or “Mr. Microcosm”, his soul purified like alchemical matter through a successive series of decompositions and reconstitution.

We must stop here to comment. In the Hymn of the Pearl, it presents things like the serpent, the sea and Egypt as symbols of worldly bondage. The serpent for the Ophites was a pneumatic symbol, but to the authors of Hymn of the Pearl and the Pistis Sophia, the serpent is presented as an earth-encircling dragon from the original chaos, the ruler or evil principle of this world. This is the same as the Babylonian Tiamat, the chaos-monster slain by Marduk in the history of creation. Hans Jonas in The Gnostic Religion, quotes a little known text called The Acts of Kyriakos and Julita and comments on this situation:

The closest gnostic parallel to our tale is to be found in the Jewish apocryphal Acts of Kyriakos and Julitta (see Reitzenstein, Das iranische Erlosungsmysterium, p. 77), where the prayer of Kyriakos relates, also in the first person, how the hero, sent out by his Mother into the foreign land, the “city of darkness,” after long wandering and passing through the waters of the abyss meets the dragon, the “king of the worms of the earth, whose tail lies in his mouth. This is the serpent that led astray through passions the angels from on high; this is the serpent that led astray the first Adam and expelled him from Paradise. . . .” There too a mystical letter saves him from the serpent and causes him to fulfill his mission.

Egypt as a symbol for the material world is very common in Gnosticism (and beyond it). The biblical story of Israel’s bondage and liberation lent itself admirably to spiritual interpretation of the type the Gnostics liked. But the biblical story is not the only association which qualified Egypt for its allegorical role. From ancient times Egypt had been regarded as the home of the cult of the dead, and therefore the kingdom of Death; this and other features of Egyptian religion, such as its beast-headed gods and the great role of sorcery, inspired the Hebrews and later the Persians with a particular abhorrence and made them see in “Egypt” the embodiment of a demonic principle. The Gnostics then turned this evaluation into their use of Egypt as a symbol for “this world,’* that is, the world of matter, of ignorance, and of perverse religion: “A11 ignorant ones [i.e, those lacking gnosis] are ‘Egyptians,'” states a Peratic dictum quoted by Hippolytus (V. 16. 5).

And so Egypt, being the well-spring and source for Alexandrian mysticism that greatly inspired many Gnostic sects is also (ironically) symbolic of the dark world that all lost souls inhabit. It is this serpent’s circle that we find ourselves entrapped in, as a sort of Eternal Reoccurrence, as the atheist philosopher Nietzsche often wrote about. Again, Edmund Siderius successfully connects the Encircling Serpent with Mephistopheles:

…it is possible to gain a better grasp of Mephistopheles’ role, and where it may have come from. If we see Mephistopheles as the Ouroboros of the Alchemists and Gnostics (and not merely as the Christian Satan) he maintains the traditional associations of the devil, such as destruction, the obsession with the material, fire and the serpent, but gains all the other roles he plays in Faust. The destruction he brings is inextricably bound with creation, which is purified through cycles of fire, be they physical or metaphorical. These cycles tend to be brought about either directly though his catalyzing acts or through pharmakon which share in his inherent ambiguity. It is in this way that Mephistopheles as the Oroborus can serve Faust as Vergil did Dante, allowing him to explore the whole circle of creation: “And with swift steps, yet wise and slow. [Go] [f]rom heaven, through the world, right down to hell”!

So, if Faustus is simply modeled after the Simon Magus myth, then it is Simon, who makes a deal with the Ouroboros for knowledge and occult powers (like Eve and Adam), much like how Paul makes a deal with Satan in 1 Corinthians 5. And as Amanda Myers writes in Biblical Parallels in Marlow’s Faustus, there are parallels between St. Paul and Faustus and even Mephistopheles:

Mephistophilis is first summoned by Dr. Faustus, he quotes St. Paul’s query upon converting to Christianity: “What wouldst thou have me do?” (Holy Acts 4:9). By putting the words of a venerated saint into the mouth of a devil, Marlowe contrasts Paul’s decision to accept Salvation with Faustus’ decision to reject it (O’Brien 4). Later, when Marlowe has Faustus ask, “When Mephistophilis shall stand by me What power can hurt me?” (Marlowe 19), which is an adaptation of Romans 8:31’s “…If God is for us, who can ever be against us?”, he points out the grave error in Faustus’ thinking. By replacing “God” with “Mephistophilis,” Faustus deludes himself into thinking that through a minor devil he could access the omnipotence of God.

The Clementine Homilies (XXXII) also presents many of Simon Magus’ magical abilities which includes shape-shifting into a serpent as well as a goat, reminding us the imagery associated with Baphomet. (Please see our book for more surprising connections between Simon Magus and Baphomet). Simon also has the ability to cast illusory banquets. According to Celsus, Christ could summon banquets and in the medieval grimoires, one can do exactly this by the aid of demons.

Aquila having thus spoken, I Clement inquired: “What, then, are the prodigies that he works?” And they told me that he makes statues walk, and that he rolls himself on the fire, and is not burnt; and sometimes he flies; and he makes loaves of stones; he becomes a serpent; he transforms himself into a goat; he becomes two-faced; he changes himself into gold; he opens lockfast gates; he melts iron; at banquets he produces images of all manner of forms.

The name “Faustus” also belongs to the two twin brothers (Faustus and Faustinianus) as well as the father, of Pope Clement, the supposed author of the Clementines. The name Faustus also is given to a Manichaean Bishop who debates St. Augustine in Confessions  and Reply to Faustus the Manichaean over various theological issues, much like how Simon debates Peter in the Clementines.

Throughout the play, Dr. Faustus sins deliberately over and over again. And yet he also doubts his commitment to the devil, but always deliberately and systematically rejects God and reaffirms his contract with Satan:

“What boots it then to think on God or heaven? Away with such vain fancies, and despair Despair in God and trust in Belzebub!”

Faustus’ heart is so hardened that he rejects outright the guidance of the Good Angel, the wise and sympathetic Old Man, and even the warnings of Mephistopheles himself, who describes his own eternal damnation to Faustus:

“Why this is hell, nor am I out of it. Think’st thou that I who saw the face of God And tasted the eternal joys of heaven Am not tormented with ten thousand hells In being deprived of everlasting bliss?”

There is a part in Marlowe’s Faust where Faust asks Mephistopheles how it is possible that a demon can manifest itself on earth, since demons have been condemned to hell, and Mephistopheles explains that earth is merely an extension of hell. This is not so dissimilar to how the Gnostics viewed the world.

“We can say that Faustus makes a choice, and that he is responsible for his choice, but there is in the play a suggestion—sometimes explicit, sometimes only dimly implicit—that Faustus comes to destruction not merely through his own actions but through the actions of a hostile cosmos that entraps him. In this sense, too, there is something of Everyman in Faustus. The story of Adam, for instance, insists on Adam’s culpability; Adam, like Faustus, made himself, rather than God, the center of his existence. And yet, despite the traditional expositions, one cannot entirely suppress the commonsense response that if the Creator knew Adam would fall, the Creator rather than Adam is responsible for the fall; Adam ought to have been created of better stuff.”

But as Amanda Myers reveals, Faustus, in the end, is actually saved—at least in Marlowe’s version:

And just as Jesus forgave the thief on the cross, telling him, “I assure you, today you will be with me in paradise,” Marlowe provides subtle evidence that Dr. Faustus, too, is saved. Many would find it hard to believe that Faustus could obtain salvation after consciously selling his own soul to the devil, but despite his previous transgressions, “what Faustus has dared or done, seems now irrelevant, because, according to doctrine, he need only repent and have faith to be saved” (Ornstein 1380). And that is exactly what he does. Upon a hasty reading of the play, it would appear that this is not so. The final scene is most commonly interpreted as describing the fulfillment of Faustus’ contract with Satan: as the clock strikes twelve, the devils enter and drag a screaming Faustus away. But a careful reading reveals several instances where Mephistophilis threatens “I’ll in piecemeal tear thy flesh” (Marlowe 73), and Dr. Faustus expresses his fears that the devil will in fact “tear me into pieces if I named God” (Marlowe 77).

What Amanda Myers does not acknowledge is that although Faustus’ final act of repentance nullified his contract with Satan, the Devil is forced to act on his threat to tear Faustus apart:

“His faith is great. I cannot touch his soul. But what I may afflict his body with I will attempt, which is but little worth.”

And so because Faustus finally repented at the 11th hour, such an act will guarantee entrance into paradise. This is very much like how St. Paul inflicts a magical death curse upon a member of his own congregation in 1 Corinthians 5, as we saw in the previous post. And so we come to the end to this sordid tale and realize that it doesn’t take a seminary student to realize Marlow’s Dr. Faustus is still a very powerful work and morality cum tragedy play that reminds its readers to consider their own convictions about the soul, eternity, and God.

dr-faustus-in-a-magic-circle-frontispiece-of-gent-s-translation-of-dr-faustus-published-1648

The occult legends of Faustus and similar tales associated with Cornelius Agrippa and the Knights Templars with Baphomet may also be compared to the sin of Sophia in the Gnostic Gospels, since occultism, in many ways (as demonstrated in the Faustus story), separates the occultist from God because they are dedicated to gratifying the self or self-worship instead of unifying with God by rendering yourself in obedience to his will. This also seems to the prevalent attitude in Western culture as of 2016, especially in the United States (in various forms)—which indicates to me it is on the verge of cultural collapse. We also see a wide variety of rumors associated with Hollywood celebrities, musicians and gangsta rappers who sell their souls for success to the “Illuminati” and sacrifice the non-compliant as well.

In the Gnostic myth, Sophia wanted to separate from the Monad and be her own goddess, and as a result, she was expunged from the pleroma and birthed the demiurge. Even most of the great Christian occultists throughout history, like Cornelius Agrippa, Eliphas Levi and John Dee, eventually realized this and disowned it. Agrippa makes a chilling renunciation of it all in the vanity of arts and sciencesBut fear not, there is still time to reflect on your spiritual life and see the Light. This is what the Holy Grail cycle is ultimately about. Here are some parting words taken from the Apocryphon of John:

And I said to the savior, “Lord, will all the souls then be brought safely into the pure light?”

He answered and said to me,”Great things have arisen in your mind, for it is difficult to explain them to others except to those who are from the immovable race. Those on whom the Spirit of life will descend and (with whom) he will be with the power, they will be saved and become perfect and be worthy of the greatness and be purified in that place from all wickedness and the involvements in evil. Then they have no other care than the incorruption alone, to which they direct their attention from here on, without anger or envy or jealousy or desire and greed of anything. They are not affected by anything except the state of being in the flesh alone, which they bear while looking expectantly for the time when they will be met by the receivers (of the body). Such then are worthy of the imperishable, eternal life and the calling. For they endure everything and bear up under everything, that they may finish the good fight and inherit eternal life.”