Dracula and the Secret of the Vampire

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Dracula and the Secret of the Vampire

The figure of the vampire can clearly fit into an ophidic filiation of the serpent / dragon.

In some mythical prototypes of the vampire from other cultures, eg the classic Lamia, or the Empusa (often identified with the Lamia) they present a mixture of serpentine and human physiognomy.

In Middle Eastern traditions, and with clear Sumerian-Babylonian roots, Lilith has come to be considered, by her rebellion, seductive and predatory character, the mother and queen of vampires. And Lilith's consideration as a snake woman stands out in this regard. So also the legendary Cain, who is said to have emerged the lineage of vampires. And Cain himself, according to some sources, was « son of the serpent ». So the vampiric lineage of Cain is the lineage of the serpent.

Beyond the religious distortion towards the ancient vampiric tradition, generally by solar cults, and the literary or cinema deformation, the ancient vampiric symbols and references have endured in the collective unconscious, after a barrier of prohibitions and taboos, which few manage to cross.

The predatory character of the vampire is clearly governed by the reptilian brain. And it cannot be stopped, like the snakes that crown Medusa's head, From this perspective they can be considered as ramifications or extensions of power of the reptilian brain (or « infernal ») from which they arise.

The search for blood by the vampire also alludes to a preternatural energy, or supravital substance, which through a certain state of consciousness, could be assimilated and metabolized by the organism, allowing an indefinite transmutation and regeneration of the cells. The biological information of the cells would be modified, acquiring a new vibratory level, becoming a practically immortal being.

It is also curious how a ritual of drinking in a glass, an alchemical mixture of blood and snake venom was maintained in antiquity, thereby reaching a state of shamanic mystical trance, suspended between life and death (represented respectively by blood and poison). And this mixture or elixir instilled vitality, regeneration, and longevity.

So also the vampire when he attacked someone, in addition to taking his blood, gave him to drink from his own, thus becoming the victim in a new vampire, or an undead « », someone who has crossed the threshold of death, and therefore maintains dominance or power of the surrounding time-space. Let us remember in this sense, the change in form attributed to vampires (and often in an ophidic form), such as bat, mist, etc.

The vampire in this sense can be considered as the result of an alchemical mutation, being a hybridization between « human and beast », « angel and demon ».

His bite is interpreted in erotic terms as « the kiss of the serpent », which is followed after the hypnotic serpentine gaze, and as well as the dragon's membranous wings,the vampire evokes these wings carrying a bat wing cutting layer, in both cases being an allusion to the wings of the « rebel angel »…. And like Lucifer, the vampire also strongly opposes and rejects the authority of the Judeo-Christian Biblical God, what is revealed in the open rejection and repulsion of sunlight and the Christian cross.

A certain parallel to this point can be drawn, with the Seraphim (De la raiz Seraph or serpent), who although later represented in Christian art as winged heavenly angels, in their origins, According to the hidden tradition, and the etymology itself, they were igneous flying snakes, very similar to dragons, and certainly a kind of hybridization between bird and snake.

And also notorious as the bat is not conducted by means of external light, but by a radar or means of its own orientation, which transpolished the vampiric figure, denotes the independence of the external light of the world, and self-sufficiency. For this reason, the vampire is not reflected in the mirror, since it has no reflection ... Its reflection, or « shadow » has been integrated into itself.

All this is also evidenced in the alchemical combination of the vampire's white skin, red blood, and its black layer, having here the three colors of the alchemical work.

The transit of the vampire at night has a double meaning: On the one hand, having been relegated and displaced by the dominant tradition « light », to hidden regions of the psyche, with the prohibition under threats of condemnation and divine punishments, to approach that dark castle « or region of darkness….

And on the other hand, the vampire possesses an integration and power with the dark forces, opposed to the « light of the dominant visible world », obtaining from the darkness the source of a « dark light » of its own. From where we also understand that the vampire connects with the source of the black sun.

The tomb or sarcophagus on which it rests is very clear an allusion to the ancient underground shamanic and pagan crypts, where in contact with the hidden energy of the earth, a complete energy renewal was taking place.

According to some researchers, the hermetically sealed and sealed « sarcophagi found in the pyramids of Egypt were not tombs as is commonly thought, but a kind of initiatory chamber, in which a class of « death occurred, and return to life ».

In vampire stories under clear Christian influence, it is argued that a vampire can be killed by driving a stake through his heart. The underlying symbolism behind this legend is that as opposed to the reptilian aspect or side, it seeks to attack the emotional side (the heart). Furthermore, the truth is that the vampire has already « died » to everything soul in the world, and therefore cannot be affected from that flank.

There is an ancient Hebrew tradition, according to which Jehovah gives garlic the property of being fatal to the serpent.

And we find in ancient legends of popular folklore that the vampire repels garlic, which clearly indicates a certain implicit link between the vampire and the snake or the reptile.

In the work of Dracula by Bram Stoker (socultist initiated in the Golden Dawn) , a plot is developed in which Dracula (based on the historical character of Vlad Tepes) keeps in his same name the key of the snake / dragon, meaning « Dracul » just dragon!

His adherence to a Ghibelline and Bogomil lineage in the Carpathians contextualizes him in marked opposition to the power of the Roman Church.

The isolated castle in which he lives, separated from humanity by a wall, and from which he takes land to every place he moves, as well as his love of blood, it forms an archemonic structure (soil and blood), based on the principle of the fence, and maintaining its own strategic vital space.

One aspect to highlight is how in different versions of vampire stories, and even Dracula, tasting blood allows access to the victim's memories, and even the registration of their ancestors.

In this regard, Dracula's link with Minna is also notorious, which is well appreciated as a nod to the Minne, or « blood memory ».

In the film adaptation of Francis Coppola's Dracula, it all ends when Minna decapitates Dracula. Initiatic argument that corresponds to the lady Kalibur beheading the initiate, and his return to the Origin.

In the story The Reptile, by .John Burke (1966) ., and taken to the movies, we find a snake woman, who has been transformed into such by a serpent cult in Borneo. Maintains a human appearance , and each winter it changes or sheds skin, exactly as the snake does. He attacks by reptilian-like bites on visitors to his home, where he resides with his father, and victims are marked by a bite of two fangs, such as a cobra, and also as a vampire….

In the movie The White Worm's Lair ( 1988 ), a free adaptation of Bram Stoker's latest work, a cult of a gigantic serpent / worm Dionin refers, , who dwells in an underground grotto. The cult is led by a vampire priestess, whose bites transmit a poison to the victim's nervous system, also making him a vampire and adept at worship.

Silvia Marsh, in addition to her cult of Dionin, to whom she offers human victims, has a fascination for snakes, from their contemplation, to play the initiatory game « Stairs and snakes » alone.

In addition, she is able to change her skin to a bluish color, she can suck the snake venom into a wound since she herself possesses that serpentine essence in her blood, and maintains a mystical bond with Dionin, becoming his channel or vehicle.

Everything seems to have started when she was in a coma for 10 days, after being bitten by a snake, after which she accessed that dimension of serpentine vampiric consciousness.

A very relevant fact is that in a certain instance in which two of the characters in the plot are talking, one of them comments how the word Worm (worm) derives from an older term, Wyrm, meaning snake or dragon.

But the film production where the link between vampires and reptiles is best exposed, is in the series From Dusk till down (From twilight at dawn), remake of a film with the same name directed by Quentin Tarantino, in which a vampiric cult was also combined with snakes.

In the series, more explicitly, vampires, called « Snake », are linked in their appearance to reptiles, unlike vampires in other parts of the world, closer to bats or with other characteristics.

This cult of the Culebra in the plot of the series, they were said to be descendants of the ancient Mayan gods, whose presence and ophidic worship in this culture is well known to all. Beyond the Mesoamerican link with the vampiric, which can be discussed , the point to highlight here is how a plot arises in the collective imagination where the snake and the vampire cross again, since they respond to the same symbolic substratum in the background and beyond this or that plot.

Regarding Vlad Tepes, on whom Bram Stoker they say relied to write his work Dracula, he also has some references that link with the initiatory, given his adherence to the order of the Dragon!

The question raised by Dacre Stoker, descendant of the famous Bram Stoker, according to his excellent book Dracula. The origin, insofar as the literary figure of Dracula would have another ascendant, it is momentarily left here, for the purposes of this study, considering the aspect that may well be linked between Vlad III and his dynasty with the field of vampirism and the draconian, as well as other renowned dynasties, which will be cited later.

The dragon order, founded by Sigismund of Luxembourg, had the support of an entire ophidic lineage.

The Luxembourg house had been united with the house of Lusignan, through the marriage of Marguerite de Enghein, and John of Luxembourg.

The house of Lusignan has as its ascendant the serpent / dragon woman Melusina, and from there that this ophidic lineage has been transmitted through this dynasty, and then extended to the Luxembourg house.

This order of the dragon, also known as the Dragon Society, and Dragon Brotherhood, had the external purpose of protecting the territory of Hungary from Turkish invasions, it formed in its internal structure an esoteric order of magicians and alchemists.

Its members carried the emblem of the order, a curved dragon, similar to a Uroboros, with a red cross on top. More than a second degree from the order, the emblem they carried was only the curved dragon, without the cross.

The most famous member of this order was Vlad III, the son of Vlad Ll, who had also belonged to the order, adopting the title of Dracul or dragon. Hence his son Vlad III later adopted the title Dracula, son of Dracul, or son of the dragon, also known as Vlad the impaler, due to his terrible and reckless way of dealing with the Turkish invaders.

In turn Dracula belonged to the strange Basarab family, native to the steppes of Eurasia, from a site known as Kipchak (Iranian term derived from Kip « red or blond hair », and Cha, listen up. So the members of this family were with blond or reddish hair).

The Basarab ruled Wallachia (today part of Romania) and a certain limit with Transylvania, and they remained as a united family until the time of Vlad ll when they are divided into two branches: the Danesti house, and the Draculesti house, assuming Vlad ll ,known by then as Drac, the role of the first patriarch of the Draculesti branch.

This family maintained the habit of sleeping during the day, and leading an active nightlife. Some have assumed that it was due to his extremely light skin and hair, that he was not in tune with the sun, due to a small amount of melanin.

But beyond their biological build, they kept an alchemical secret of vitality and rejuvenation, since it was the custom of their members to drink the menstrual blood of one of their family's ladies.

Considering the draconian-ophidic character of this family, we can also understand that this blood also carried unusual alchemical properties.

And the test is the strong and healthy condition with which they always maintained….

On the other hand, when the ophidic power is awakened and developed, powers or faculties are obtained such as the conscious exit in the astral, the change of form, or the transfer of the physical body itself in spatial form, which finds its reflection in the legend of Dracula, which changed shape, and flew like a bat.

Another house often linked to both the Basarab and Lusignan house was the Bathory house, originated around the 10th century, with Vitus Bathory, who was said to have killed a dragon by giving him three thrusts of his spear. In the wake of this legendary incident, the Bathory's coat of arms included three dragon teeth as its centerpiece.

Vitus Bathory is said to have assimilated the power of the dragon after this contest, and that his descendants, as Alexandre Bathory refers to, possessed characters, or genes we might say, draconians.

Among its strange features, for example, some of the members of this dynasty possessed more teeth than usual, and even more groups of teeth….

Many of them are also said to possess psychic abilities, the power to immediately heal from any wound, and kill enemies from a distance.

A famous descendant of the Bathory house, is the famous bloodthirsty countess, also associated with occultism and dark practices, Erzebeth Bathory!

In esoteric terms it is understood that the vampire's bite is analogous to the snake's bite, or the snake woman, Lilith.

Such a bite confers gnosis, and awakening in one's blood. Indeed, this serpentine poison breaks into the Virya's blood, being detected from the demiurgic as an invading agent, a class of virus.

And it is that, in that initiatory instance, the fangs of the serpent sunk in the skin, inoculate the poison that kills the warm life of the blood, starting a blood revolution that can culminate in the reptilian awakening itself, with all the potential that this implies.

That is the reason for the complete anatemization of the vampire, since it contains within itself the secret of the Serpent.

However, since the vampiric attack is from the reptilian predatory aspect, let us note that in some cases the « victim » of the vampire dies, while in other cases the result is that he also becomes a vampire.

This is related to the purity or impurity of Virya's blood. Since if Lilith or her vampiric agents detect a great impurity in the blood, more typical of pasú than of Virya, with little chance of transmutation, then the life force is drained, discarding a useless element, which is nothing more than a demiurgic carrion.

More if, on the contrary, the Virya has a certain salvageable remnant in his memory of blood, then the vampire, in addition to inoculating his poison through the bite, gives him to drink from his own blood, which combined with the poison, becomes the elixir.

In such a case it is figuratively said that Dracula has conquered Minna. (Minne, or blood memory).

And it is that in the excellent work of Dracula, we have the perfect ophidic conjunction between Dracula (being Dracul dragon), and Minna, whom Dracula tries to rescue, to go from being mortal to a snake woman.

The vampire condition is thus related to the state of immortality (fruit that the Serpent ancestrally offers), being cataloged from limited human understanding as « undead ». But the reality is that the vampire is a dead man in life (since he has severed all ties to the soul / emotional and the warm life, being able, however, to manifest these aspects in the form of a controlled illusion), and at the same time he is alive in death, since its existence dwells beyond the spatio-temporal condition of this world.

Thus, he who has become a vampire has awakened his own « shadow » in death, double or double that he can project from the physical body at will, being able to assume any form, or without form, and even densify that projection, in a way perceptible to others.

In this way the mystery of the vampire can be linked to lycanthropy, since the vampire can even assume the shape of a wolf.

Precisely, in its same etymological roots we have the ancient Slavic term « oper » ( from which Polish « wampir » will later derive, or in various Slavic languages « vampir », and in French and English « vampire » ), which means « flyer », « drinker » ( of blood or vital energy, is understood ) and « wolf ».

Thus we find in different legends vampires assuming the shape of a wolf, bat, snake, mist, fire, etc.

Having reached that condition is undoubtedly the mature fruit of a sinister alchemy process…

In the appearances of a vampire (even in Dracula's story), in addition to the shape change, it is common for a mortal to appear as if suspended in midair.

All this indicates very clearly that it has the ability to move and manipulate gravis atoms at will.

It should be noted, in fact, that the red kalas of the serpent woman possesses both blood and poison, thus being an elixir that can transmute and lead to this vampire condition.

In fact the vampire contains in its essence, the secret of the serpent. Hidden secret, that only someone whose eyes have been opened by the forbidden fruit of the serpent can understand.

The linguistic variant « upior » has a meaning in Turkish and Slavic traditions of both « vampire » and « witch ». Thus looming the hidden truth that those powerful dark witches, daughters of the Serpent, possess or dominate this ancient art of vampirism.

Returning to the name of Dracula, we know that it means « son of the Dragon », as it is also given the meaning currently in Romanian, of devil.

Thus, all terms of ancient outlawed mysteries appear: The vampire, the wolf, the witches, and the devil…

This condition of « cursed beings » as the synarchic cultural projection has described them, is due to the fact that in their own origin they are linked to figures or characters already banned from the beginning!

Vampires are said to have Cain and Lilith as ancestors in their vampiric chain or lineage.

The truth is that the origin of vampirism is lost in the night of time, since it is related to the ancient and first mystery: Blood!

Although average society associates the vampire with Dracula, strictly speaking the vampire is far older than Bram Stoker's literary production!

It is understandable therefore that vampire myths and legends are found all over the world, from remote antiquity. (Like the Serpent, whose myths and symbolism are present in all cultures), from Mesopotamia, Egypt, Africa, India, China, Mesoamerica, etc.

In the case of India they are called Vetalas, and are under the tutelage of the Goddess Kali. This is necessarily so, since Kali herself manifested a vampiric condition by drinking the blood of the demon Raktabija.

Also a form and manifestation of Kali, Guhyakalika (The Hidden Kali) has a special and direct relationship with the Vetalas.

A similar case of another Goddess who drinks blood, we find in Egypt, with the Goddess Sekhmet.

Well, specifically in Egypt we find an ancient manuscript, which synarchic ignorance and disinformation have labeled as « Canibal hymn ». More strictly speaking of truth (despite having clear elements of anthropophagy), we have here the first record of a vampiric ritual.

It is a hidden rite, in which the pharaoh (who had access to the initiatory mysteries) ate the meat and drank the blood of the Gods.

It is a Sethita orientation ritual, that is, it refers to the God Seth, who opposed the other Gods, from where the key to the vampiric tradition once again appears as opposed to the demiurgic world.

We thus also have indications of the vampiric tradition dating back to ancient Egypt, specifically from the God Seth.

Precisely, according to some occultists, the vampiric current expanded from Egypt in a line that over time arrived in Eastern Europe, Constantinople, and eventually 15th century Romania, at that time Wallachia, which also included a certain border with Transylvania. Thus, nobles of the stature of Sigismund (creator of the order of the Dragon), Vlad Dracul, the Bathory and the Cillei, were initiated into these hidden and dark mysteries.

Regarding the issue of anthropophagy, it should also be noted that in old legends from central Europe and Scythians, there was also talk of vampires that, in addition to blood, they ate the meat of their victims.

We have then that the vampire supports his condition in this world, in which he chooses to stay for strategic reasons, in connection with the dark radiation of the black sun.

This is how in its crypt or sarcophagus, (just as the snake regenerates by shedding its skin) it indefinitely renews its vitality and power, beyond the reach of disease, old age, and death.

This initiatory aspect of the grave or sarcophagus has even been captured by actors who played Dracula.

Bela Lugosi eg, or Gary Oldman, during the time it took to produce their respective films, they used to sleep in a sarcophagus…

In the case of Bela Lugosi, he then continued with that custom…

The esoteric / artistic key that shows how the vampire ( very modernly typified in the figure of Dracula ) comprises all the alchemical work, it is his own clothing. Since the white of the fangs, the red of the blood, and the black layer ( sometimes represented red inside ), are precisely allusive to the alchemical states of Nigredo, Albedo and Rubedo.

Although Rubedo is commonly spoken of as the culminating stage of alchemy, on the sinister path of alchemy this may have another order. And so culminate the work in Nigredo, going through the infinite blackness of Himself.

The idea must have been grasped by now, that the vampire's immortal body, being able to remain in this world indefinitely, is analogous to the immortal body of Vajra, of which the Kaula tantric tradition refers.

Another noteworthy literary work is « The Dogs of Tíndalos », by Frank Belknap, who also belonged to the Lovecraft circle.

The dogs of Tindalos are a strange class of vampire dogs, immortal as such, that inhabit the angles of time (remember here the secret of the right angle, and the interception of planes), being able to move through different planes, since their condition gives them power over all time and space.

In later works they are sometimes described no longer as dogs, but with a more terrible and monstrous appearance, which rather evokes the bat.

Lovecraft himself mentions these Tindal dogs in his work « The One Who Whispers in the Dark ».

When speaking of vampirism, there are various meanings associated with different levels of meaning, such as being popularly the « energy vampire », « the sex vampire », documented cases of fondness for blood, the vampire from literature (where Dracula occupies the largest seat today), the vampire in the cinema, etc.

Here we are trying to tackle this ancient mystery from the initiatory. And the fact is that beyond what is popularly assumed of the vampire as a being that drains vitality, or sucks blood, the vampire embodies a forbidden path to the dark abysses, for the sake of power, hidden knowledge, and essentially immortality.

Of course, this ancient mystery of vampirism, which is none other than that of blood, has captured some initiatory traces in certain artistic expressions, such as literature and cinema.

So eg. In the movie « Dracula Untold », we appreciate that Dracula tries to rescue her beloved from death, in a scene where she falls precipitously from the top of a tower, descending at breakneck speed trying to grab her, though she eventually falls dying. And here we have figured the gnostic descent into abysmal depths to meet her, the Lady of Origin.

And in the process in which, in the aforementioned film, Dracula had not yet become immortal, it is by receiving and drinking her blood, that she agrees to immortality.

Elsewhere in « Dracula untold », when Dracula has not yet been transmuted into a vampire, the vampire who will make him such tells him « Dracula the devil's son », to which Dracula replies that his name means » Son of the dragon ».

But in the final part of the film, when Dracula confronts the Turkish sultan Mehmet ll, Dracula already recognizes himself and proclaims himself as « the son of the devil ».

Certainly under etymological and tradition terms, both meanings are valid. But what is transposed here is that starting from the draconian, that is, « the ophidic path », he has later become a son of death, « Son of the Dark Lord », which comes to mean in hyperborean terms, and in the specific case of Vlad Dracula, a follower of Lucifer!

Similarly in Francis Ford Coppola's « Dracula » version, when Dracula introduces himself to Minna in London, he says « I have crossed oceans of time to find you », which also suggests that reunion of the lost A-mort, where it is necessary to go through time, go beyond it, to access its reunion.

Almost immediately after saying these words, Dracula's eyes sparkle in blood red. And it is that what has crossed oceans of time, is the blood itself, to find Minna (Minne) in the Origin.

It is not as it might seem from a first interpretation, a reunion in the « eternal return », but the argument goes beyond time, to the Origin itself, in the reunion of the original couple.

Under this same gnostic vision, Dracula's description of her homeland of origin is of equal meaning, the world being uncreated.

When Minna asks Dracula about her « princess », he replies that he has lost her by « treason », which refers to the argument of primordial treason.

Although in this cinematographic version the plot seems to have been given a greater romantic enhancement, different from the focus of Bram Stoker's literary work, the truth is that in this specific case, the film, with that « dose of romanticism », presents important initiatory keys to the mystery of A-mort.

When Dracula cries out for Elizabetha lost, a river of blood arises, which is nothing but the activation of the Minne, running through the river of blood in reverse.

Later Dracula describes the face of her princess lost to Minna, like a river, and also turns Minna's tears into glass, which alludes to the mystery of the stone (the crystal) linked to the blood.

Furthermore Elizabetha has committed suicide by launching herself from the top of the castle (mystery of the stone) into a river, which transposes the gnostic truth of Her sacrifice that comes to the rescue of Him, who in turn travels the river of blood in reverse, against the current, to attend their reunion.

Even the film director (in this or other similar films) may not even be aware of this sort of « channeling » or capturing the initiatory argument. But obviously, when entering and immersing oneself in Dracula's plot, some Luciferian initiatory elements are captured from the blood, which well complement Bram Stoker's literary work.

The alchemical symbology is suggested in the alternation of red and dark colors in different sequences, as well as the combination of the outstanding white presented by Dracula, its red layer, and the gloomy black of the castle.

Moreover, the synarchic influence is also present, trying to humanize Dracula at times, as when he feels sorry or remorse for « condemning Minna for all eternity », which is a misguided and demiurgic approach, which does not correspond to the reality of the vampire.

And this kind of scenes or plots is very common, where from a perspective of blood confusion, it is intended in many films and novels to humanize the vampire, as if it were an exotic kind of being, but within the human sphere. When in reality it is a being that has transcended human nature, being of superhuman condition.

The scene in which the three « Dracula's girlfriends » (as they are commonly known) to Jonathan Harker is also highlighted, trying to seduce him and drink from his blood (and later perhaps give him to drink from their own blood).

When they initially appear, it can be seen that before presenting themselves in human form, they slide under a cover where Jonathan Harker lies, meandering shapes, recognizable as vibrators!

And in fact, one of them, located in front of Jonathan Harker, highlights his image with Gorgona's serpentine hair!

That is, a clear and direct allusion to the snake woman, about to initiate Jonathan Harker through his initiatory bite, were it not for Dracula's sudden entry and intervention, who at the moment had other plans for his guest.

This condition of initiators is worth their appreciation (although in a very deep esoteric sense, and not contemptuously like the one Van Helsing intends to award them) of « whores of hell ».

Also in this initiatory role, and starting from a dark feminine seduction, we have the mythical referent of the spider. Gnostically embodying the spider, the initiator, from its seduction « Minneica », reveals Viryas.

(Let's not forget the gnostic-esoteric meaning of eight, which occurs both in the eight tentacles of the octopus and in the eight legs of the spider).

In another part of the aforementioned film, Van Helsing intends to do a « ritual purification » by burning the sarcophagi of Dracula and his land, pouring holy water, scattering consecrated hosts, and exorcism formulas. In this scene a cross appears momentarily, next to which a snake slides. I mean, we have here the emblem of spiritual chaining (the cross), and the emblem of liberation (the serpent).

In another scene Dracula visits his apprentice Renfield, presenting himself under the guise of a green mist, which refers to the reptilian aspect.

A similar scene occurs when Dracula moves to where Minna is also under the aspect of green mist.

The gnostic meaning of this is precisely the encounter with the Minne from the reptilian aspect.

Furthermore, it is extremely impressive and notorious when Dracula confronts those who oppose him (Jonathan Harker, Morris, Seward, Holmwood, and Van Helsing), in a clearly recognizable aspect as a reptiloid, and red eyes.

In addition to the reptilian-type aspect, the manifestation assuming the shape of a wolf is a clear hyperboreal referent.

The scene in which after talking to Jonathan Harker, Dracula very quickly leaves his guest's room is still a clearly reptilian suggestion, appreciating how its red cape seems to slide like a snake.

And even more explicit when Harker stares in amazement through a window, as the earl slips vertically through the outer wall, as if crawling!

In the movie « Demeter's Last Journey », released in 2023, Dracula has been clearly portrayed with a reptilian appearance, already completely out of human appearance.

Renfield's case is also emblematic, since he is an apprentice to Dracula, somehow initiated into the mystery of blood, but deviated and disoriented, which shows that he has not gnostically apprehended the essence of blood, and instead of procuring it, he entertains himself with spiders and insects. Likewise, the overwhelming influence of the vampire, without Renfield getting transmuted, drives him crazy, being admitted to a psychiatric hospital.

Unlike behavior eg. of the women who accompany Dracula in his castle, or later facing Van Helsing, exhibiting a graceful Luciferic attitude, Renfield's case expresses a sacralizing, almost cultured, attitude towards Dracula.

The film « Renfield » also released in 2023, where Dracula stars Nicolas Cage, is completely inadvisable, since it completely lacks an initiatory plot, and we would even say that its counterinitiatory plot results, exalting the character of Renfield (who precisely in the work « Dracula » fails in the alchemical mutation and goes mad), also representing himself outside the vampiric context that one might expect, rather squareing for the performance of a « James Bond ».

In a different context, also Dr. Seward (disciple of Van Helsing), as a psychiatrist maintains a completely external and superficial approach to the mystery of blood, from the concept/slice that is handled in official science, being a lost Virya, and having succumbed under the sacralizing attitude towards the « sacred symbol » of science.

In the case of Arthur Holmwood and Quincey Morris, they fall not into the sacralizing but playful category of the « psychological ethic ».

However, beyond the degree of blood confusion they maintained, they were all completely disoriented under the influence of Van Helsing.

Similarly, there is an esoteric approach to the mystery of blood, supported by synarchic occultists, who although they seek and obtain benefits of vitality, rejuvenation and even siddhis, drinking blood and taking advantage of the properties of the adrenochrome, they do not reach the ultimate essence of the mystery of blood, and therefore never achieve transmutation.

Thus, vampirism can be approached from Satanism, it is more different from Luciferian initiatory vampirism, although externally someone not initiated into these dark subjects may not notice the differences, that there are, and very substantial regarding the result that is operated in the initiate.

At the end of this film, when Dracula is beheaded by Minna, a sword has previously been nailed to her heart, and here the initiatory process is outlined, referring to the fact that it is necessary to die to the soul (the sword in the heart), and then by beheading to release the reptilian power found in the paleoencephalon.

It is from this Luciferian perspective that the final scene in which Dracula tells Minna « give me peace » should be interpreted gnostically, encouraging her to what she should do.

Since the « peace » of the Luciferian warrior rests solely on the Lady of Origin, the « peace of Venus », outside of which everything is battle.

That is the gnostic vision luciferin, from the blood, regarding « peace », as opposed to the Christian vision of peace as « soul salvation ».

Also in this dying scene, Dracula expresses the mudra bullet with his hand.

As a corollary, a painting by Dracula and Minna is shown on a vaulted ceiling., Unlike Michelangelo's painting in the Sistine chapel, where the union of God and Adam is represented, with outstretched hands almost touching his finger, here the reunion is not with that God but with the Lady of Origin.

Given Minna Murray's external behavior, expressing virtuosity and purity, and starring in the culmination of Dracula's initiatory process (At least in the Coppola film, not so in Bram Stoker's novel), he cannot but be considered a Kalibur Lady.

More, another lady worthy of mention in this whole plot, is Lucy Westenra, with a behavior that externally from the Puritan mentality would be criticized as indecent and impudent. And it is that Lucy, embodies Lilith here, or the Kali woman.

In addition to her behavior, the red hair and dress signs are there signaling the bond with Lilith.

As in the case of Minna, Lucy's own etymology signals the Luciferian link, deriving her name from the Latin Lux, root of Lucifer.

We can also highlight that when Minna meets Dracula in London (continuing with the aforementioned version of Coppola), she is seen wearing a greenish-toned dress. That is, Minna's (Minne) contact with Dracula, her proximity or charismatic bond, occurs in the blood from the reptilian, represented here by that greenish coloring.

In this encounter with Minna, Dracula appears rejuvenated and revitalized (regeneration through the mystery of blood), which is analogous, and more considering his reptilian condition ,to the shedding of the snake's skin.

Of course, the intimate encounter with the Minne is in the blood, and so in another scene, Minna finds herself in proximity to Dracula dressed in red.

There is also a scene where Minna shines in her green dress, while Lucy in red.

Perhaps, mindful of the dual nature that characterizes all of Virya, it could be that Lucy was the dark aspect of Minna., A literary license (and taken to the movies) that expresses a split in two characters, having the same person as a substrate.

Various reasons and arguments have been given in different film versions of how Dracula becomes a vampire.

In Coppola's version, it is renouncing the Judeo-Christian God, and drinking the blood, as he agrees to this mutation.

Furthermore, in « Dracula Untold », he receives this legacy from another vampire, in a grotto found in the so-called « broken tusk mountain ». There goes a process of death and rebirth, assuming this new quality of life as a vampire.

In « Dracula 2000 », Dracula wanted to be associated with the stigmatized Biblical Judas, and a gnostic glimpse appears here, as ancient biblically denigrated and stigmatized characters, such as Cain and Lilith, they have also been linked to vampirism.

In « Dracula blade », the origin dates back to Sumer, which gives us an idea of its antiquity and millennial permanence in this world, without being affected by death like humans.

Interestingly we also find traces of vampirism in ancient Sumer, where the vampiric succubus Aluqah appears.

In the anime « Castlevania », Dracula has obtained his status as an alchemist, through the crimson stone, thus suggesting the hidden power of the stones and their transmutation capacity.

In addition, in this anime the castle of Dracula explicitly presents the characteristics of an archhemone, impregnable and without spatial limitations, being able to move dimensionally through space.

In this way we can appreciate different stigmatized characters, all being initiatory arguments that fit how a vampire can emerge.

Let us refer more to what Bram Stoker himself tells us in his work Dracula:

« The Dracula, Arminius tells us, were a great and noble race, although some of their descendants (according to contemporaries) had a pact with the devil. They learned the secret of Satan in the Scholomance, among mountains, in Lake Hermanstadt, where the devil claims for himself, by right, the tenth scholar.

“ The manuscript contains words such as strgoica (sorceress), Ordog (Satan), polok (hell) and even says that Dracula was a wampir ”.

It is thus appreciated that Dracula was a follower of Lucifer (beyond the confusion here between Satan and Lucifer. Let us take into account that the aforementioned comment is referred by Van Helsing, who represents the priest Golen, and therefore exponent of such intentional confusion of concepts), the « Dark Lord », who confers such a condition on him, adopting him as an apprentice, being the « tenth pupil » in the Escolomancia (very similar to Salamanca), an ancient school of hidden and dark arts.

According to Dacre Stoker, Bram Stoker's great-nephew, there are certain notes or manuscripts, where Bram Stoker geographically located very precise coordinates in Transylvania, as for the place where there was a mountain where you could go for hidden learning and dealings with the dark Lord.

If it were simply a fiction, why go to the trouble of pointing out the exact site of such a mountain in some notes, when in a fiction it would not take so much geographical accuracy?

It is also notorious that « the Dracules » are mentioned, and that in Dracula's family there were other characters, who were said to have dealt with the devil, and fame of witches.

In the case of Erzebeth Bathory, initiated into the occult, it is said that he had « married the dark Lord », which alludes to a certain dark initiation by which he had intimate contact with the Luciferian kingdom.

And here the point to note is that Erzebeth Bathory belonged to the « Order of the Black Bird », an order that maintained close links with the Order of the Dragon, to which Vladislav Draculea once belonged.

His ancestor, Esteban Bathory fought alongside Vlad Draculea!

Some people today try to separate Vlad Tepes from all traces of vampirism, and the link with the character Dracula from Bram Stoker, except clearly, the same name « Vlad Draculea » (Dracula) meaning Vlad son of the Dragon, who refers directly to Vlad Tepes.

Furthermore, Bram Stoker himself pointed out in his work that Dracula had indeed been Vlad the impaler, as we can see in the following two excerpts:

“ I asked my friend to put the dossier in order. All sources of information suggest that Dracula was a Vaivoda who earned his nickname by fighting the Turks on the great river, on the border of the Turkish land. In this way, he was not an ordinary man, because in his time and in subsequent centuries, he was considered the most intelligent, the most cunning and the bravest of all those who existed beyond the forests (Transylvania). He brought this powerful brain and an iron character that ‘ now uses against us ’ to the grave.

« Who was but one of my own race who under the name of Vaivoda crossed the Danube and beat the Turks in their own land? ¡This was undoubtedly a Dracula! »

We know that the historical Dracula who fought the Turks, and was also a prince (Vaivoda), undoubtedly refers to Vlad the impaler!

And so it has also been portrayed in numerous films .The attempt to separate or disassociate Vlad Tepes from all traces of vampirism, it obeys a synarchic strategy to hide or relegate to the field of « literary fantasy » all the Luciferian symbolism present in Dracula.

The investigations of Harry Ludlam, who had access to letters, notes and material from the Stoker family, and assured in a 1962 book, cannot be ignored in this regard, that Bram Stoker had consulted an ancient 15th century manuscript, where it was referred to as Vlad Tepes as a vampire.

This manuscript appears to have been lost, and even unknown, as if it had never existed.

Despite this, we historically find clear traces in Vlad Tepes' life, such as « spreading his bread in the blood of the impaled », and drinking his blood.

It is also said that, experimenting with dead bats, he discovered that by adding blood from his impaled prisoners, within a few days certain cells seemed to regenerate, and maintain some movement.

Later, in a basement of his castle, he is said to have studied the flight of bats trying to imitate them.

And, although it is not explicitly mentioned that it was Dracula, legend continues to refer that a large-winged bat was launched in flight from the castle entrance…

Curiously, in that period, Dracula was not present in the castle, which seemed as silent as a grave, and if some inopportune person went into those places, he was never seen again!

No wonder this, considering his mastery of shapes and gravis, maintaining power over time and space.

It was common that after these incidents, the next day in nearby places someone was found dead and bled to death, with the two-point mark on his neck….

Also, the alleged tomb of Vlad Tepes, in the Snagov Lake monastery, near Bucharest, adds mystery to this whole question, since when it was intended to bury the mortuary remains in 1931, a skeleton was found, and a skull, belonging to two different people, and different from Vlad Tepes.

As if this were not enough, in more recent times, a chemical study of three letters from Vlad Tepes containing traces of blood was carried out, applying the mass spectrometry technique. The blood was determined to come from the eyes, so it is conjectured whether Vlad Tepes shed tears of blood.

From now on, starting from the rationalist analysis, several explanations have been given, such as that the Vaivoda of Wallachia could perhaps have some eye problem, conjunctivitis, etc. Or that perhaps the letters could be in the hands of other people, to whom the blood could be due, etc. Explanations, which although objectively cannot be rejected outright, considering that this phenomenon concerns nothing less than Vladislav Tepes Draculea, would be at least a lot of chance….

On the other hand, Dracula's adherence to the Dragon's order is in itself more than significant. Since, beyond its exoteric purpose of protecting Wallachia from attacks from the Turks, the order maintained a hidden esoteric structure of the darkest.

And it is that, Sigismund of Luxembourg, its founder, had obtained his knowledge of the dark magic and mysteries of death (ancestral secrets of vampirism), of Egypt, hidden tradition rooted in the ancient mysteries of Osiris (God who in Egyptian cosmogony is dismembered, and descends into the underworld ,then by the magic of his consort Isis return to life).

This is how after accessing this hidden knowledge, Sigismund creates the order of the Dragon, where nobles from various families were also initiated into these mysteries.

The Egyptian origin of the aforementioned vampiric tradition is most interesting, and obviously the writer Anne Rice must have grasped this question from the blood, to place in his novels the origin of the vampiric lineage in Egypt.

Similarly, a nod to this question is given in the 1983 cult film, « The craving », starring David Bowie, where a vampire uses a dagger hidden in an Egyptian Ankh cross.

A notorious case in the Order of the Dragon is that of Hermann de Cille and his sister Bárbara Cille, who maintained strange and dark practices in incestuous sexuality. After dying poisoned, Barbara Cille is brought back to life by Emperor Sigismund, according to her hidden initiatory knowledge.

For several centuries, and until contemporary times as much as 1936, there were witnesses who claim to have witnessed his appearance in the Varazdin castle area (present-day Yugoslavia), where his grave was located.

This lady (also known as the German Messalina) left such a deep mark that the writer Sheridan Le Fanu based himself precisely on her for his famous vampiric character Carmilla, published in 1872 , prior to Dracula's publication by Bram Stoker in 1897.

Let us also note that Carmilla's character was also based in part on Countess Erzebeth Bathory.

Considering the most visible or appreciable of the order of the Dragon, that is, its very emblem, we observe that the facade of the Christian cross is resigned by the Luciferian fire of eight flames at each point, and the Dragon himself (ancestral enemy of Christianity), almost in the form of Uroboros.

Let us even remember that in a second degree of the order its emblem was only the Dragon, without the cross.

Transylvanian territory itself (found today in central Romania) is itself mysterious, harboring ancient and dark secrets. Precisely, before its romanization and being called « Romania », this territorial area was known as Dacia.

More novel here, is that classical historians like Homer spoke of the « Hyperborean Dacia ».

Homer placed Boreas in Thrace, thus being Hyper-borea the ancient Dacia. Other classical writers such as Sophocles, Aeschylus, and Callimachus also held the same opinion.

Beyond the « geographic location » of Hyperborea (which, after all, beyond its manifestation in this world refers to the Hyperborean of the uncreated world), the truth is that if the ancient Greeks gave Dacia such a name, it was because there was obviously a presence of Hyperboreans there.

And the Dragon already appears here, long before Dracula, as Greek historians account for Dacian warriors, with their swords and weapons with the Dragon banner!.

Dacia was also mentioned as « the Valley of the Immortals » (where the Argonauts went), and we have strange stories about this site, told by the occultist and philosopher Giacomo Casanova from the 17th century.

In his L ’ lcosameron Casanova tells about beings called « Megámicres », who had their underground dwelling in Transylvania, being immortal who drank blood, and here also the most interesting thing, with a reptilian aspect !., Two categories are distinguished in the given description, one that of the Megamicres who were in a process of transmutation, and the Gods of the Megamicres (Siddhas), thus establishing a secret hidden link between the mystery of blood, the vampiric, and the reptilian.

Let's read verbatim as described by Casanova:

“ What a noble food was the milk of the mégramicres! We thought that mythology had taught us nothing extraordinary, that we were in the true home of the immortals and that the milk we were sucking represented nectar, ambrosia, that would certainly give us the immortality that everyone should enjoy… This meal lasted an hour and I think we would have continued had it not been for a few drops that fell from her nipples on our breasts. From the color we noticed that it was blood ”.

“ (...) The gods of the mégramicres are reptiles. They have a head very similar to ours, but without hair. Nothing is as sweet and seductive as his gaze. Their teeth are white and pointed, but they are never seen because they always have their lips closed. His voice is a horrible whistle that makes teeth grind and freezes the heart.

Discard this last mention that your voice produced the effect of « freezing the heart », from its cold-blooded reptilian condition.

Furthermore, Casanova reports that there were underground corridors connecting the intraterrestrial world of the Megamicres with Lake Zirchnitz, being verbatim described as a « kingdom of caves and darkness «.

This has important connotations, considering the underground hidden world connected by tunnels and caverns, home to reptilian-looking beings, in Draculean Transylvania.

And the most interesting thing to note here is the link that has already been observed, between « hyperboreal and reptilian beings »!

Without stopping here in Casanova's interesting hidden life, and her persecution by the Inquisition, it should nevertheless be mentioned, that as in the case of Vlad Tepes, Casanova's tomb was found empty…

Interestingly, the Dacios had a God, with whom they maintained contact at very high heights of the Carpathians, called Zalmonix (or Zalmoxis) , who considered himself as a regent God of « not death », or in other words, of those who had transcended death. That is, a Luciferian Siddha, if not a manifestation of Lucifer himself.

And the fact is that what brought Vlad III to fame were the impalesments with which he punished his enemies, an issue that maintains a hidden relationship with Zalmonix.

What we have here, in a large part of the impaled ones, is a collective mutation of warriors, whom Vlad Draculea made to look at the beginning with the face of death, impaling them, to then return them from death already transmuted, or on the condition of « undead », (as vampires are called), thus generating and expanding in his strategy a true Luciferian army.

They were both initiated warriors, chosen for this purpose, and in other cases warriors who were initially enemies, but were later incorporated into Dracula's strategy.

After all, they were brave warriors who died from the physical and soul to the illusion of the world, to be reborn as immortal followers of Dracula.

The ancient Dacians maintained this kind of practice, many of them being mystics of great power, with the ability to change shape (under appearance eg . of the dreaded wolves and bats, so well known in those regions), and of maintaining direct communication with the Gods (Sidddhas) thousands of meters high in the Carpathians.

More to acquire such a condition, having previously been mortal beings, they had gone through a terrible dark initiation, in which they actually died, returning to this world completely transmuted, being able since then to be Luciferian mediators between Zalmonix and the Dacios.

Of course, they were not chosen at random, but those who had acquired a certain initiatory degree and mastery in high dark magic.

And the way these initiates were delivered to death was by being pierced by spears, or eventually by stakes anchored to the ground, thus having a much deeper esoteric meaning that title or nickname that Dracula received as « Vlad Tepes » or « Vlad the impalator ».

Mention should also be made of the case of a son of Dracula, Minhea, who was feared like his father for the extremes of torment he incurred with his enemies, and also initiated into the hidden mysteries of death.

We must distinguish between « vampiric entities », cataloged under very varied classes, of luciferically transmuted vampires as such.

Since it is a subject that is confusing, some clarifications are necessary.

Regarding vampiric entities that drain vitality, it can be in some cases ghostly spectra with a certain power, « shadows », in the case of energy residues of spectral entities, of energy parasites sometimes intentionally created as a « black » as a force field, or in other cases produced by an energetic expression of obsessed people, with more or less force depending on the case.

There are also entities called « larvae », (called « larvae » by the Romans), spectra of great power, similar to the brahma-rakshasas of Hinduism.

The aforementioned cases are also comparable in the human sphere to people who, due to their low energy condition (sometimes alcoholics and drug addicts), absorb the energy of other people, in order to sustain its vitality.

All these cases, which under a certain concept are noted under a vampiric conception, are outside of Luciferian vampirism, and respond to the design of hunger.

Then we have another category, that of the « vampire born », of people who are already born with a certain propensity to drink blood (or awaken this tendency eventually), be it a fetish-like hobby, or finding here also many occultists who seek through the blood to take advantage of its hidden properties, mystical siddhis, connection through the blood with entities from other planes, establish a psychic bond at a distance with a certain person from whom his blood is drunk, I remember through the blood of past lives, the magical-esoteric intake of menstrual kalas, etc.

Sometimes these people with vampiric propensities may even have vampiric traits in their own physiology, or in their behavior, such as avoiding sunlight and performing higher at night, skin features and vampiric gaze, accentuated tusk-like teeth, thus appreciating on a certain level a hybridization between the human and the vampire.

Some of these people may in certain cases (in others not) sometimes be oriented towards a certain degree of Gnosticism and Luciferianism, which could channel them towards transmutation.

The modern scientific-rationalist interpretation, which aims to attribute vampirism cases to the disease called eritoproyetic porphyria, is nothing more than a very external or superficial approach, that doesn't even peek into the oblique meanings of vampirism.

Beyond the well-known case of energetic vampirism, and that of those with an innate propensity, or sometimes later developed, towards the blood (and sometimes manifesting psycho-biological characteristics of the vampire), we then have a third category, which is that of transmuted vampires.

So even beyond the symbolic and initiatory keys that one can assimilate from the myth of the vampire, and of Dracula, there is the condition of Siddha as a vampire. And it is never enough to repeat it, it is a Luciferian vampirism here. The same as Lilith and Cain.

The transmuted vampire can maintain his condition either in an incorruptible, transmuted physical body, or even in other cases, after death (beyond that the physical body can strangely sometimes remain in the grave without decomposing), in a double astral already transmuted.

In the latter case, however, a physical link or link is required that can facilitate manifestation from the astral side, to « materialize » on the physical plane. And this link is blood. That is one of the reasons why a Siddha who maintains the vampire condition procures blood, since from the subtle or astral plane ,it is through the vehicle of blood that it can densify its shape, so that it is perceptible to others on this plane, just as if they were seeing a person in this world.

From that state, in which even densifying the form the vampire maintains its spectral condition, there is the phenomenon in which it is not reflected in a mirror.

This is not the case, of course, regardless of the vampire class, in those who have a physical form.

Unlike some cases of energy vampirism already mentioned, the categories of the born vampire, sometimes, and the transmuted vampire, not only do not lack the energy or vitality to compensate, on the contrary, they show a high energy flow.

Another reason when a vampire Siddha sucks blood is that it allows him to « measure » the purity or impurity of a person's blood, and determine his possibility of transmutation, in which case it will also give you to drink from your own blood, the « vampire essence », which we understand, is a synthesis of alchemical combination of blood and snake venom. Of course, from an extremely oblique matrix of the serpent design, where the Luciferian essence of the Serpent is already reflected. Essence that is assimilated by the Luciferian gnostic to enable transmutation.

A third variant of when a vampire Siddha drains someone else's blood is to energetically destabilize the superstructure, thus weakening the work of the Demiurge, and in opposition to the demiurgic creation, at « warm and created life ».

Although they may culturally connote a common concept, which is that of the « dead-living », it must sharply differentiate between the vampire and the zombie, artificial creation by drugs (the subject of which Wave Davis in his book « The Serpent and the Rainbow » has presented excellent research), the zombie being a subhuman slave. While the transmuted vampire is a being completely freed from material conditioning, and therefore superhuman.

Now, without going into details of the complex alchemical process of how a vampire arises by transmutation, it can be pointed out that given the alchemical correspondences of metals with the stars, and taking into account that the vampire (as well as the werewolf) is a being of the night, the initiate achieves the fixation of living silver, an element associated with the moon, whose light is outside the solar framework of the kalachakra between Earth and the sun. (While the moon reflects sunlight, it is not within the radius where this designating light and logos is intercepted and altered by the kalachakra system.).

Thus, the fixation of living silver (fully coagulated mercury) by alchemical processing, and on the other hand, the luciferin radiation of the black sun in the adept itself, they manage to crystallize this transmuted form of vampire.

All this hidden alchemical process of transmutation concerns kainite gnosis, the Serpent gnosis.

We find Cainite vestiges in Romania (comprising Transylvania, an ancient region known as the Hyperborean Dacia, where the Argonauts went in search of the « Golden Fleece », or immortality), in the ancient cult of Psalmoxis.

This God, Psalmoxis (or Salmonix), is one of the greatest mysteries or enigmas for historians of ancient religions, with some lost historical references here and there, on which different theories have been elaborated.

It was Mircea Eliade who systematized a more or less consistent theory regarding Salmoxis, assigning it an initiatory role, linked to what is technically called » step ritual ».

And considering that it concerns a » God of the dead », it is about the initiatory secrets of immortality.

Starting from its etymological meaning, according to Porfirio the word dacia « Zalmos » means skin, which is why, according to others such as Diogenes de Laercio, Zalmoxis means » bear skin », attentive to the version that would have been covered with bear skin at birth.

Thus meanings such as » Bear God » or » Bear Skin God » have been given.

The bear, like the wolf, is a hyperboreal mythical referent (the « ursus terrificus »), which already gives us a first indication from the same name.

His abode in the Carpathians, linked to the initiatory mysteries of immortality, as well as his own death and return to life, they provide the framework in which a vampiric initiatory cult developed in that psychoregion, to which members of the pureblood aristocracy, such as Sigismund of Luxembourg, the Dracula, adhered, the Bathory, the Garai and the Cille.

Although very varied and even counter-initiatory information has been poured in relation to Zalmoxis, in a clear attempt to confuse and misinform, we must attend to the clearly hyperborean elements, to understand its significant role throughout the context.

What is clear, from numerous references by different authors, is that Zalmoxis once had its leading role in the human world (really or simulated) , then establishing itself in a transcendent initiatory condition, outside the mortal realm.

As in the 1984 film « Conan the Barbarian », starring Arnold Schwarzenegger, and based on Robert Howard's literary work, in which Conan (a character who embodies some aspects of Wotan) goes through a period of slavery and submission and then frees himself and accesses the secrets of immortality and liberation, similarly occurs in the history of Zalmoxis.

According to references provided by the historian Herodotus, Zalmoxis was initiated into the mysteries of Eleusis, which we know were hyperboreal.

He had his home in the underground. According to one version, in a purposely created underground chamber. According to a second version, this secret dwelling was located in a grotto on the Tracian Kogainon mountain.

Let us remember in this regard the references given by Casanova in his Isocameron, of tunnels that connected with underground grottos in those regions.

According to a third version, his underground dwelling was Hades himself, which we know is a mythical denomination of the intraterrestrial world of Agartha.

To recap, we have a God in ancient hyperborean Dacia, who staged death and rebirth in this world, linked to the mysteries of immortality.

It maintained an underground hidden abode, which has connotations with the world of Agartha.

He was also initiated into the hyperboreal mysteries of Eleusis., And without forgetting the initiatory proof of the ancient Dacians, linked to Psalmoxis, which consisted of an initiatory death and rebirth, being pierced by a stake, or impaled by a spear, which again indicates a test suitable for wise warriors.

Like the initiatory test of Pyrenees, the Goddess of cold fire, in which the initiate certainly died, then reborn as a stone man, transmuted.

All these indications, which beyond the confused information, allude to the hyperboreal character of Psalmoxis.

The Dragon's order (to which Vlad ll, Dracul, and his son Vlad lll, Dracula belonged) conferred initiation into the dark mysteries of Zalmoxis.

These ancient mysteries have been brought up in literary form, when Bram Stoker wrote Dracula.

Bram Stoker has presented in Dracula, under an initiatory approach, the mystery of blood, and the mystery of war., By sailing against the current in the « blood river » we arrive at the mystery of A-mort, of which in the cinematographic version « Dracula » of Coppola, some initiatory keys are presented more explicitly.

And as for the mystery of the war, the opposition in combat by Vlad Draculea, both Muslims and Christians, in different circumstances, can be seen, both religions being demiurgic.

This initiatory knowledge referring to Dracula, Bram Stoker obtained it given his status as an occultist and initiate of the Golden Dawn, after also channeling the Siddha Dracula, thus presenting in a literary format, and with some coded issues, to an immortal Siddha.

Although the question might arise as to why Bram Stoker presents a Siddha with a negative « primate », or in the role of what is culturally assumed to be a villain , Several points should be considered in this regard.

In the first place, the literary work « Dracula », was conceived to transmit a message that had to cross the Puritan mentality of that time, very accentuated, so this play and its theatrical staging (time before being taken to the movies), maintained a filter to avoid censorship, at the same time that behind that cultural veil purposely « of good against evil », elements of Luciferian vampirism were presented, which started from the Golden Dawn, and the Thule order, they could understand perfectly.

Secondly, from the demiurgic point of view the values of « good and bad » have been reversed, falsifying history , and exposing as « bad » everything that is outside the religions of the right-hand path.

Third, whoever has eaten the « forbidden fruit », the fruit offered by the Serpent, is beyond the good and evil of this world, knowing both and being able to adopt the call good or bad, as required by your strategy.

And of course if by « evil » we understand that opposite to the demiurgic, then certainly that under such a concept we declare ourselves adherents of evil. But it is an evil of such a deep metaphysical dimension that it cannot be compared to the limited and petty human evil.

Similarly, the question may arise in some as to why Dracula being a Siddha, Stoker's work ends with his death. And the answer, from the gnostic understanding in the blood, is that Dracula is certainly not dead.

Whoever knows how to read between the lines will understand the esoteric gnostic meaning of that literary episode, regarding the dagger in the heart, and the beheading.

It should be noted at this point again, that Siddha, free from the material conditioning of form, time and space, can manifest itself during his stay in this world under different aspects. And so we appreciate under different appearances, Siddhas as snake men, lizardmen, Dragons, Djinns (geniuses), vampires, and werewolves.

Some clarification may also be made regarding Bram Stoker as initiate of the Golden Dawn.

The Golden Dawn originally, as referred to in « The Mystery of Belicena Villca », was hyperborean.

Although the Golden Dawn cannot be said to be completely hyperboreal, it is a fact that it had a hyperboreal orientation.

And the fact is that Bram Stoker was attached to the Golden Dawn, despite the fact that today the documentation supporting it has been « lost ».

Furthermore, various occult researchers endorse it, such as Pawels and Bergier in their book « The Return of Warlocks », and others.

And although Aleister Crowley's entry into the Golden Dawn in 1897, he was able to give this order another profile and orientation, by then Bram Stoker had his book Dracula ready, that it took him six years to write, between 1890 and 1896, being published in 1897.

So we discarded any possible external and deviant influence on Dracula's literary work, as it was written in the period when Golden Dawn still maintained its hyperboreal Luciferian profile.

Hence Bram Stoker's contact with Von Sebottendorf (creator of the Thule order), with whom he not only corresponded, but he got to know him personally on a trip that Von Sebottendorf made to London.

After Bram Stoker's death, his widow Florence Balcombe published in 1914 several short stories written by Bram Stoker, which had not been previously released.

One of those stories corresponds to the work Dracula published in 1897, but which for some reason was not included then. It is titled « Dracula's Guest », where Jonathan Harker during his trip to Transylvania, makes a brief stopover in Munich, on the night of Walpurgis.

The hotel « Four stations » where you are staying, located in the Maximilliastrasse, is the same hotel where years later, in 1918 , Rudolf Von Sebottendorf establishes a base or headquarters for the Thulegesselschaft!

As if this were not enough, the Thule order coat of arms had two crossed stakes. Being the stake of a high initiatory value, in accordance with what has already been stated regarding Vlad the impaler, and the ancient initiatory cult of Zalmoxis.

It has been tried to hide and « tapasign » the initiatory meaning of the stake, in order to assign a semiotic inversion, as a demiurgic value, as a usable element to « kill a vampire », nailing the stake in his heart, which conveys the idea of plunging the initiate back into the soul. Impossible condition for a transmuted vampire, who has already died to all soul.

In this short story, « Dracula's guest », chapter originally omitted from the book Dracula as already mentioned, Jonathan Harker visits the cemetery, where he is lured by the grave of Countess Dolingen de Gratz, who was a vampire.

This vampire is said to be actually Dracula's « fourth girlfriend » (beyond the three vampire women always mentioned in Dracula's story), and the character would be inspired by Bram Stoker's own babysitter, Ellen Crone, who is dealt with extensively in the book « Dracula. The Origin » .

In this book, Dacre Stoker (descendant of Bram Stoker) tells about the life of his ancestor, based on notes by Bram Stoker himself, bequeathed by family.

Bram Stoker during his childhood suffered from extreme weakness, having to stay in bed most of the time, with difficulty walking, sometimes with fever and much discomfort.

It happened that the babysitter Ellen Crone, in her room behind closed doors, managed to revitalize him, in a way that no one knew then how. More in this book it is revealed what Bram Stoker himself told. And it is that Ellen Crone gave him to drink of his own blood.

A short time later, Bram Stoker would not only recover, but, as recorded by his biographers, he became champion of athletics!

Given his knowledge of vampirism, Bram Stoker gives us some « winks » in his work. Always under the filter of an alleged « literary fiction » in order to avoid censorship, both for the terror that could be unleashed, and for the terrible dark occult knowledge that he was exposing. (In this way presenting a compendium of hidden initiatory knowledge, which must also have adapted it in the plot, given its complexity, with some literary licenses).

English society was already panicked also because of the contemporaneity of the mysterious cases of Jack the ripper, an issue that would take us away from the subject, but suffice it to mention that this concerned British nobility and Freemasonry, this plot being very well represented in the movie « From Hell », starring Johnny Depp.

One of the winks that Bram Stoker subtly makes is when the strange cases appear in Hampstead of the already vampire, Lucy Westenra, his grave being located in the Hampstead Hill Cemetery.

There is no cemetery in reality at that location, but it turns out that the closest to Hampstead is Highgate Cemetery, long famous for vampirism legends, similar to those of the Pere Lachaise cemetery in Paris.

And it is that Bram Stoker, in addition to having channeled Siddha Dracula, knew the subject of vampirism very closely, from his own experience.