SLYTHERIN SCHOOLGILRL VALUNA KURUKULLA

 

SLYTHERIN VALUNA: The Sixty-Second Spirit is Volac, Valak, Ualac, Valu or Valuna. She is a President, Mighty and Great and appears as a most beautiful Nubile Lolita of a coquette Hogwarts Schoolgirl with Angel’s Wings to sometimes be seen salaciously riding upon a Two Headed Dragon betwixt and between ‘Past’ and ‘Future’ of Lemniscate to hold a Serpent of Wand in her right hand. At other times she will manifest riding a Dragon headed Broomstick of a Caduceus. She is of a highly inquisitive nature with a burning curiosity of quick wit and intellectual demeanour to have a consummate ability in regards to Mathematics and Music.  Her Office is to give True answers of Hidden Treasures as well as to increase her Master’s Memory, Intelligence, Learning and Artistic capabilities manifold, but only when she has been fully satisfied via those vivid Erotic Dreams she will induce.

She will also tell where the Souls of Lost Girls born under the Signs of the Chinese Snake and Dragon may be found of undulating 'Slytherin' Serpentine nature blowing hot Bubble-Gum Bubbles seeking to be Pricked. Such females of the Snake and Dragon are all of a highly Psychic disposition to be predatory Witches in the making whom most often than not do get themselves into lots of trouble. Valuna will sexually attract such Slytherin Maidens to her Master without any force or strength being by him employed whether he likes it or not for through such nubile Slytherin Serpents Valuna to express her self; wherefore the Magician has to fully satisfy her salacious whims within the Dream of Erotic Lucidity so as to avoid this disturbing condition from ever manifesting. She governs 38 Legions of Spirits like unto her self.

 

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WONDERLAND DAKINI CONVENT SCHOOL UNDER-GROUND

One can equate the 62nd Succubus of Schoolgirl Valuna with the Dakini Kurukulla whom is said to have originated from the country of Uddiyana or Oddiyana; Uddiyana, a small country in early medieval India, which is seen as being of great importance in the development and dissemination of Tantric Buddhism; the physical location of Uddiyana is hotly disputed and wide open to conjecture; however, possible locations, which have been identified are:

1: The Swat Valley, region of present-day Pakistan. Most scholars conventionally place Uddiyana here of formal perception.

2: Orissa, which is a locality of Eastern India, founded upon "literary, archaeological and iconographical" evidence, according to Keown, et.al. (2003: p.203). Scholars championing this location contend that the name Uddiyana, otherwise spelt Oddiyana derives from the Dravidian Oddiyan, denoting a native or indigenous person of Orra (Orissa) or from Orriyam, Telegu for Orra. Orriyana is also the Middle Indic form of Udyana, meaning "Garden," the name by which Hsüan Tsang knew the region around Orissa.

3: In later Tibetan traditions, Oddiyana is either conflated or identified with Shambhala, a land inhabited by (Succubae) "Dakini’s" and inaccessible to or by, ordinary mortals and that of a 'Hidden Land;' In Tibetan Buddhist literature, Uddiyana (Oddiyana) is described as being ruled by several kings each of whom were named Indrabhuti. In regards to the present discourse Shambhala is the area of exploration in association with Wonderland Uddiyana, which the ancient Greeks considered to be their mythic land of Hyperborea beyond the North Wind of Boreas.

The name of Kurukulla is translated in the Tibetan as being Rigjyedma (Rig-byed-ma), which means "She who is the cause knowledge," hence she has Mercurial traits of a Hermione Granger fused with the Schoolgirl Valuna. Kurikulla has been associated with a king of Uddiyana who was called Indrabhuti; however, there are three Indrabhutis whom are listed, the second of which could have been associated with Kurukulla for he wrote a Sadhana text for the red Dakini Kurukulla describing her eight-armed form. Whether she had eight arms or that of four arms, this particular Dakini among many other Dakini’s is generally known as the Uddiyana Kurukulla. Many modern scholars have determined that Kurukulla was probably a tribal goddess of original descent very much like the Hindu Goddess Durga whom was originally a tribal deity and now worshipped across India; due to Durga’s popularity she was eventually fused with the Buddhist great Goddess Tara. The same process of mythological cultural evolution appears to have happened in regards to Kurukulla who is often called the Red Tara (Sgrol-ma dmar-po) or Tarodbhava Kurukulla, "the Kurukulla who arises from Tara."

Kurukulla has always been a popular Dakini, and remains so among many Tibetans up to the present day, due to her bestowing the magical ability of enchantment (Dbang gi ‘phrin-las) or otherwise that of bewitching people so as to bring them under one’s power (Dbang du bsdud) by arousing the ‘Fire-Serpent’ within them. Kurikulla has evolved into becoming the Buddhist Goddess of Love and Sex, whom corresponds with the Western Goddesses of ancient Greek Aphrodite and Roman Venus who presided over Sexual Love.

Kurukulla is depicted as a most seductive nubile nymphet of a nude sixteen year old girl, which one can equate with the modern icon of a Schoolgirl Knowledge holder when dressed to thence verily undress within ones Meditation and that of ones ensuing Dreams to follow. Among the attributes Kurukulla holds within her four hands of four arms, which is her most common manifestation, are those of the flower-entwined bow and arrow, which is somewhat reminiscent of the Western Eros and Cupid; however she is primarily a Shamanic Goddess of Witchcraft.

Many of Western temperament will find it rather strange let alone ironic that the abstract Buddhist philosophy of celibate monks would formulate an icon of a seductively attractive Nymphet of a Sex Goddess Lolita. However, Buddhism is ultimately concerned with attaining enlightenment and liberation from the chains of Samsara by facing ones darkest desires in order make them as ones personified Slaves through Love rather than be a slave to many a wrathful desire whose energy one can then transform and direct in other ways far more Creative. This ultimate goal is perceived as being the supreme attainment of Siddhi, (Mchog gi dngos-grub) which is achieved via Buddhist practices whose teachings were originally derived from a Shamanistic understanding of how the mechanisms of Consciousness works.

Not all Buddhist practitioners are those of celibate Monks who live in semi-permanent Meditation retreats isolated from the material desires of the world, which is a common misnomer. Like many another mortal, Buddhist practitioners have to deal with the everyday practical circumstances of life and society. Sadhana or ‘Deity Invocation’ is a highly developed Meditation Ritual Practice where for example a Male practitioner in Meditation assumes the guise of a chosen Masculine Deity, whom is regarded as a manifestation of the Enlightened Awareness of the Buddha to thereby become, whereupon he then Evokes associated Spiritual Powers, Knowledge and Wisdom holders as well as Abilities, which are perceived as being personified in Feminine form called Dakini’s representing aspects of the Subconscious Mind, with which the practioner seeks union with via Lucid Dreams. The Dakini's are experienced as being in Sexual congress with the assumed Male deity as an aid to realizing liberation and enlightenment.

Deity Yoga, which is that of assuming God forms while in Meditation, is a means of inducing highly vivid Lucid Dreams, within which one becomes the archetypal form of a chosen deity; such practice is considered to be a very powerful technique, which accelerates one’s spiritual evolution, for ones Nervous System cannot tell the difference between a real or a vividly imagined event, hence one can imprint ones own neural net anew via potent visualisation techniques but more so through vivid Lucid Dreams especially when they are highly sensory of Erotic nature.

Meditation images of a chosen deity are focused upon as well as visualized by the practitioner while practicing Sadhana; the deity is an archetype representing enlightened awareness, which then sets up associative correspondences within ones Subconscious mind whereby when one assumes the guise of a deity one becomes the receptacle for what the Buddha represents whom has many faces, which one can then choose of mask to internally wear for a specific purpose for there be many Buddha’s who are aligned with particular Dakini's.

The important process of active visualization while in meditation is a technique for implanting chosen symbolic stimuli into ones Subconscious Mind whose associative processes of free-fall Imagination generates correspondences with ones chosen symbol; this then sets up fractal associations, which formulate into Dream domains that can be accessed while in deep Trance; the experience of Trance is that of catching the mid-point between sleeping and waking called the Hypnagogic state, which can be practiced prior to going to sleep, which allows one to consciously gain ingress into ones Dreams to Dream Lucid of awareness. One focuses the intent of ones ritualistic Meditation practice upon chosen Symbols, like that of using a lens of a magnifying glass, (which be ones chosen Symbol) to focus the 'Charged' rays of ones Emotions becoming hot as the Sun in order to kindle the Bio-Photon fire of a 'Spun' Electron Dream made Lucid of awareness.

An iconic image of a chosen deity is something, which is concrete and accessible to ones Subconscious Mind whose language is that of archetypal Symbols. However, the Dharmakaya, of Buddha is perceived to be beyond conception by ones Conscious finite mind for the awareness attained by the Buddha is purely abstract. However, the Meditation deity of Iconic image is that of a Symbolic formulae, which allows an aspect of the un-manifest to become manifest and therefore accessible to ones Conceptual awareness and more so that of ones Subconscious Mind to stir into an associative process of correspondences; It is no different to that of Christian Monks having visions of Male Angels, which might make the grace of their Patriarchal God manifest to them; but in Buddhist practice one has the balance of both Male and Female Meditation deities, such as Kurukulla whom is an example of the manifold divine Feminine.

As well as having Sadhanas one has Karma-Yogas otherwise called ‘Action Practices,’ which are principally aimed at achieving worldly goals. Karma-Yoga practice is derived from Shamanistic techniques whose observations of Mind interacting and affecting Matter through psychic means greatly added to the appeal of Buddhism amidst the general populace.

The psychic powers developed through Sadhana practice are known as ordinary attainments or Siddhis (Thun-mong gi dngos-grub), although to many Westerners, of religious indoctrination and scientific conditioning perceive psychic powers as not being considered ordinary let alone to not even to exist. However, one to find in Catholic countries an offhand familiarity with such practices as lighting candles while praying to the Holy Virgin or many a Saint for help with worldly matters and not just for the salvation of one’s soul after death. Generally, these Karma-Yogas or ‘Action Practices,’ or as the author Carlos Castaneda of the Don Juan books classified them as (Sorcery) ‘Non-Action’ practices are classified into the four Magickal actions (‘Phrin-las bzhi). To those of a Western perspective, such actions appear miraculous, even supernatural, but within the Buddhist paradigm, psychic manifestations are part of the natural everyday order of experiential reality. There is nothing supernatural about such powers or abilities. It is just that the so called modern paradigm of perception as to what constitutes the nature of reality is far too limited.

Sadhana texts speak of the Four Sorcery Action Practices:

1: White Magick or Shantika-Karma, (Zhi-ba’i ‘phrin-las) which has the function of calming and pacifying conditions and Healing. White Tara is an example of a deity whom specifically has this White function. This direction is attributed to Instantaneous Healing, Long Life, Rejuvination, Reversing the aging process.

2: Yellow Magick or Paushtika-Karma (rgyas-pa’i phrin-las) has the function of increasing ones Wealth, Fortune, Prosperity, Abundance, Merit, Knowledge, and so on. Vasundahara and Jambhala are examples of deities with these particular functions. Hence they are Yellow in colour. This direction is attributed to acquiring Financial Wealth, Physical Security, acquiring influence in high-places and attaining a higher status.

3: Red Magick or Vashya-Karma (Dbang gi phrin-las) has the function of bringing people under one’s power, of Enchanting, Bewitching, Attracting, Subjugating to ones Will, Magnetizing them with ones Charisma. This is the primary function of Kurukulla and hence her Red colour. This direction is attributed to 'Love and Sex Magick' in order to acquire a partner as well as that of influencing others Minds, Mind Reading, Telepathy, perceiving Auras in order to affect, empathic abilities; as Timothy Leary would say: Love plus Sex equals 'Intelligence Increase' squared.

4: Black Magick or Raudra-Karma (Drag-po’i phrin-las) has the function of destroying evil and obstructions to ones spiritual path. This is the specific function of many wrathful manifestations such as the Dakini Simhamukha who is seen to be dark Blue in colour. This direction is attributed to Protection and Psychic-Combat Magick, which also covers the Martial Arts.

These four functions of Action-Practices are associated with the four gates of the Mandala palace, namely, the White or 'Pacifying' function in the East, the Yellow or 'Increasing' function in the South, the Red or 'Enchanting' function in the West, and the Black or 'Destroying' function of the North. To each of these four magical functions there exists an elaborate system of associative correspondences.

The Western perception is usually prejudiced against the practice of Magick, especially within Protestant Christian cultures, which makes it very difficult for people to come to an understanding of the ancient Indian and the Tibetan approach to these arcane matters. This is further compounded by four hundred years of a constrictive scientific world-view, which only adheres to a mechanistic causality as the only possible natural cause of all events although such a perspective is changing due to the findings of Quantum mechanics. The practice of Magic deals with the Microcosmic Quantum dimension of Energy, and it is this Energy, which is also that of Information underlies ones Macrocosmic Material existence. According to the theory of Magick ones Dreams are of the Quantum realms of Energy whose Information is distilled into Symbolic stimuli, which is the intermediate realm between the Mental sphere and that of ones Physical reality, just as ones Soul is perceived to be intermediate between Spirit and the Flesh. The use of Ritual is simply one way in order to access and direct Energy and Information via Symbols. Although Mind or that of Spirit is primary, the other dimensions of Energy or Soul as well as ones Physical body are just as important.

The dualistic Western tradition speaks only of two kinds of Magick: White and Black, which is due to an all pervading Gnostic-Christian influence; the former is perceived to emanate from a patriarchal God along with his Machismo Angels while the latter emanates from the Devil and his gang of Demonic Macho minions. However the Buddhist distinction between White and Black is merely that of according to differing functions and not that of a dualistic intention; the primary intention of the Buddhist practitioner when practicing Magic is very much Shamanic of orientation, which is always compassionate and aims at preventing evil acts so as to help others and alleviate suffering, whereas the Western dualistic perception of Black magic only involves the deliberate attempts to harm and injure others as well as being invariably associated with Sex of perceived First Sin. In Shamanic Buddhist practice, the motivation of these four Magickal actions is always White of intent in order to overcome the 'First Sin of Ignorance' for without the presence of the Bodhichitta, representing ones thought of Compassion, no Action or Ritual is considered to be genuinely Buddhist.

But where we find Sadhana or Theurgy, which is considered to be the high Magick of the 'Mind', one also finds the low Magick or Goetia of affecting changes within 'Matter', which is commonly termed as being that of Sorcery or Witchcraft. In the Tibetan Buddhist practice, Sorcery practices are not necessarily Black and no more sinister than that of finding lucky numbers for betting on the horses, or concocting love potions or amulets for ones protection, and so on. For such common practices of folk magic, it is not even necessary to enter into deep Meditation so as to transform ones Consciousness into assuming the guise of a deity. However, Kurukulla is very much the patron of such folk Magick activities in order to unify with higher forms of Sorcery practices for 'Mind' and 'Matter' are not seperate. She is pre-eminently the Buddhist Goddess of Shamanism, Witchcraft and Enchantment. In a very real sense, Kurukulla represents the empowerment of the feminine within a primarily orientated patriarchal pardigm, which pervades Western Religious Practice and that of the so called Occult tradition of the West whose underlying structure is essentially a Gnostic form of Christianity based upon the Cabbala. Again, one might invoke Kurukulla to win over the heart of one’s employer in order to attain a raise in salary, or that of a client to acquire a new sales contract, or convince a personnel representative to hire one for a lucrative job. In general, Tibetans have a very pragmatic and practical attitude to everyday life, without sentimentalizing Spirituality as many tend to do in the West. Tibetan’s do not rigidly separate the Material world, with its practical concerns, from the world of the Spirit.

Just as the Goddess Tara, while within in her usual Green form can be called upon by Buddhists so as to protect them from various dangers and threats, in particular that of the eight great terrors and the sixteen fears, so in her Red form as Kurukulla, she may be called upon to exercise her powers of enchantment and bewitchment to bring under her power (Dbang du bsdud) all those evil spirits, demons as well as humans whom work against the welfare of humanity and its Spiritual evolution, which one can associate with poisonous Serpents. However, in regards to practical Magick, Kurukulla can bring under the practitioner’s power a personal (Serpent) enemy such as a Tyranical Employer, a Fascist Politician, a Bullying Policeman, or a Recalcitrant Lover, Male or Female. In Tibet, Kurukulla was also evoked when commencing upon the building of a new monastery or when undertaking a new business, project or enterprise as well as going into court in order to win a law case, and that of other such activities, because Kurukulla can subdue and subjugate the (Serpents) Demonic and that of human negativity, which stand in one’s way. She, together with Manjushri and Sarasvati, might even be evoked of triad when a student faces a difficult examination in School.

A text like the 'Arya Tara Kurukulla Kalpa' contains many ritual practices of lower Magick, which Kurukulla presides over in order to accomplish specific goals, for example: 1: Amulets for enchanting and bringing others under one’s power, 2: Spells to frighten away Poisonous Snakes, 3: Methods for a dissatisfied wife to subjugate her husband, 4: Amulets for protection from evil spirits and bad luck, 5: Spells for acquiring wealth and gaining power, 6: The use of cowrie shells in divination and ritual, 7: Divinations to find a Treasure, 8: Methods for walking on water, 9: Methods in order to avoid getting grey hair, 10: Cures for frigidity and impotence.

In one 'Kurukulla Sadhana' found in the Sadhanamala(No. 72), there occurs a list of Eight Great Siddhis or Magickal powers acquired through the practice of Meditating upon her form:

1: Khadga-Siddhi (Ral-gri), the power to be invincible in battle with a Sword-Katana (Khadga); this equates with the manifold increase in ones intelligence, which is bestowed upon one via Lucid Dream contact with Kurukulla. (Japanese Manga Comics and their Anime often depict Samurai Ninja Schoolgirls wielding Katana's, which can inform ones Visualisations of Meditation practice.)

2: Anjana-Siddhi (Mig-rtsi), the power to remove ordinary lack of sight by using a magical ointment, which enables the user to 'Seer' see Devas, Nagas, and other Spirits; the Magickal ointment is bestowed via Lucid Dream contact, which is that of one experiecing Kurukulla kissing ones eye-lids open.

3: Padalepa-Siddhi (Rkang-pa’i byug-pa), the power to be swift of foot by using a magical ointment, which, when applied to the feet, allows the user to run with incredible swiftness representing ones control over Time; the Magickal ointment is bestowed via Lucid Dream contact.

4: Antardhana-Siddhi (Mi snang-bar ‘gyur-ba), the power to become Invisible; this is a power of enchantment and throwing glamour’s. This Siddhi is initially experienced via Lucid Dreams, through whose regular Internal practice eventually becomes Externalised of ability.

5: Rasayana-Siddhi (Bcud-len), the power of rejuvenation and long life through obtaining the Elixir of Life by way of an alchemical process; this is bestowed via sexual congress with Kurukulla within Erotic Lucid Dreams; the elixir is that of Kurukulla's Vaginal love juices whereupon one drinks from her aroused Yoni as one does from a cup.

6: Khechara-Siddhi (Mkha’-spyod), the power to levitate or to fly through the sky; this ability is bestowed via Lucid Dream contact, where one is carried by Kurukulla wherever one desires to go throughout Space-Time.

7: Bhuchara-Siddhi (Zhing-spyod), the power to move freely through the earth, mountains, solid walls and any other obstacle; this ability is bestowed via Lucid Dream contact and via regular practice from within the Dream eventually becomes Externalised.

8: Patala-Siddhi (Sa-‘og), the power to have command over the (Serpents) Spirits of the underworld (Patala) in order to tether to ones Will. This ability is bestowed via Lucid Dream contact.

The Eight Great Siddhis, which Kurukulla can bestow upon the one who has Evoked her are not the usual concerns of Buddhist Monks whose orientation is to go beyond the Material concerns of Maya; the attainment of such Siddhis are far more reminiscent of Shamanic practices just as one to find in Afro-American traditions like Voodoo, Houdou, and Santeria; just as a practitioner of Santeria would first invoke Allegua or Eshu before engaging in a Magickal rite, the Tibetan practitioner would invoke Kurukulla. However, the Buddhist Goddess of Witchcraft, is not the familiar stereotypical Witch of an old crone in a pointed hat of wart on the end of her hooked nose, for she manifests as a beautiful naked sixteen year old Girl of a Lolita Nymphet. However, one has to first subjugate Kurukulla to ones will before she will fulfil ones desires whereby one has to bind her into bondage as ones Love Slave.

The ancient texts describe Kurukulla as being Sixteen years old because ‘Sixteen’ is perceived to be the ideal number, which signifies perfection, Four times Four; however other combinations of numerology based upon the number Four point towards other associations such as the round of the Twelve-signs of Zodiac-Time or that of the Eight-Directions. Her face is beautiful and her body sensually seductive and alluring, as well as being Red in colour or that of wearing Red undergarments and when contacted within Dreams one will find the colour Red manifesting as Roses, lipstick, the furnishings of a School-room, books, crayons as well as other numerous items, which will act as Dream triggers into Lucidity; the colour Red is an energetic colour where the Electrons passionately 'Spin' the fastest due to her Magickal function of Enchantment and Magnetism to arouse ones Emotional 'Charge'. The Dakini Kurukulla has a single face because she represents the wisdom of non-duality, which is beyond conventional distinctions of good and evil whereby her manifestation as a Valuna Succubus will not subscribe to society’s morality. She is often depicted naked because Kurukulla is unconditioned by discursive thoughts and the set parameters of society whence she will go well beyond the Sexual morals as laid out by worldly law. She has four arms, which are associated with four immeasurable states of Mind, namely that of Love, Compassion, Joy, and Equanimity. Kurukulla wields a bow and arrow entwined with Serpentine flowers because she can arouse thoughts of desire within the Minds of others; within her other two hands she is holding the Hook, which attracts and summons others into her presence and the Noose by which she binds them to her will for her Master’s pleasure.

Kurukulla wears ornaments of human bone, which signify the five perfections of ones senses to know sensory rapture, while she herself embodies the sixth perfection being that of Psychic Wisdom. She wears a gory necklace of fifty freshly severed human heads dripping with blood for she is the vanquisher of the fifty negative emotions. Kurukulla is dancing because she is always active and energetic like that of a living flame; her compassionate activity manifests within both Samsara and Nirvana whereby uniting both states of being. While Kurukulla dances she treads upon a male human corpse because she enchants and subjugates the demon of ego, which also represents the Bedroom Invader experience of her Dream visitations. She is often depicted standing upon a Red sun disc because her nature is hot and enflamed with passionate lust of ever hungering sexuality as well as to stand upon a Red lotus blossom for she is a pure vision of enlightened awareness; such is Kurukulla within the practitioner’s meditation and that of the purity (Dag dran) vision of the Goddess.

Within the Nyingmapa Terma tradition, Kurukulla appears in her two or four-armed guise. In the Terma cycle of Chogyur Lingpa (1829-1870), she assumes the conventional four-armed form. In the Terma of Apong Tulku, composed by one of the sons of the famous 19th century Terton Dudjom Lingpa, she is depicted in a two-armed form, sitting at ease whom appears very much like the Green Tara holding in her right hand a vase filled with amrita nectar, within her left hand in front of her heart the stem of a lotus, upon the blossom nearby her ear is a miniature bow and arrow. It is within this form that Kurukulla is primarily known as ‘Red Tara’ (Sgrol-ma dmar-mo).

In the Terma cycle of Dudjom Lingpa (1835-1904), Kurukulla symbolically represents the inner aspect of Dechen Gyalmo and that of the Yogini form of Yeshe Tsgyal who is the consort of Guru Padmasambhava; whereby one can attain the Wisdom, Knowledge and Power of Padmasambhava when one evokes Kurukulla in order to sexually unite with as ones own Dakini consort of Succubus. It is interesting to note that in many Nyingmapa Terma texts as well as the Chogyur Lingpa and Dudjom Lingpa, the Hindu God Mahadeva otherwise known as Shiva and his consort Uma are very much associated with Kurukulla as guardian deities (Srung-ma) who have the Magickal function of Enchantment. One will find that Mahadeva and Uma are ritualistically offered a Red Torma cake by a devotee or Sorcerer whereby the deities are charged to fulfil the task of bringing others under their power.

The Dakini Kurukulla is very popular amongst the Modern Tantric schools; she is perceived as being one of "the Three Red Ones" (Dmar-po skor gsum) of the Sakyapa school whereby she is mentioned in the Thirteen Golden Dharmas, which the Sakyapas had acquired from India and Nepal of sacred teachings; although precious they are called Golden Dharmas (Gser chos) due to the fact  that back in the 11th century Tibetan students had to pay large amounts of gold for the teachings obtained from their Indian Guru's. Tibet was and is still well known for its rich gold deposits and in part is the reasoning behind China's occupation of said land. In the large collection of Sakyapa Sadhanas, which are called the ‘sGrub-thabs kun-btus’ there are to be found five Sadhanas for Kurukulla within the Sakyapa tradition. However for the Sakyapas, the primary source par excellence for the Magickal practices pertaining to Kurukulla’s evocation is to be found in the Shri Hevajra Mahatantraraja, according to those traditions of the Lalitavajra, which originally came to them from the Mahasiddha Virupa as well as the Tibetan translator Drogmi (‘Brog-mi ye-shes, 993-1050); where Kurukulla is called Hevajra-krama Kurukulla whom appears within the usual four-armed form of guise.

Within the Shri Hevajra Mahatantraraja Tantra (Part I, chapter 11, vv. 12-15) there is a description on how to evoke Kurukulla to do ones bidding:

"Now I shall explain the Sadhana for Kurukulla by means of which all beings may be brought into subjugation. Previously, this had been explained extensively in the twelve parts (of the larger version of the Tantra), but here it is condensed in brief. The Goddess originates from the syllable 'HRIH'. She is Red in colour and has four arms. Her hands hold the bow and arrow, as well as the Utpala flower (whose stem is a Noose) and the Iron Hook. By merely Meditating upon her, one brings the three worlds under one’s power. With one hundred thousand recitations of her Mantra, one brings Kings (under one’s power), with ten thousand recitations the masses of ordinary people of the world, with ten million recitations cattle and the Yakshas (Earth spirits), with seven hundred thousand recitations the Asuras, with two hundred thousand recitations the Devas, and with one hundred recitations other Mantra practitioners."

The Kurukulla Mantra of Evocation is:

"Om ku ru ku lle hūm hrīh svā hā"

Or alternatively:

Om kurukulle hūm hrīh svāhā

It is common to see the Mantra without the Hūm, that is: 'Om kurukulla hrīh svāhā,' however the basic Mantra is given with the Hūm.

One can also Chant the Heart Mantra of Kurukulla in order to activate ones (Neuroelectric Circuit) Central Nervous System to tune into other possibilities to make manifest by visualising ones self in a guise of ones choosing in association with a desire one seeks to make as flesh; this can be combined with repeating 'Valuna's' name at the begining of each Chant while meditating upon her image, whereby one binds her to ones Will: (Repeat at least 108 times)

Weng Gu Lu Gu Li Ye Suo Ha

Within the Taranatha (b. 1575), collection, of Rin-byung brgya-rtsa, is a sample Kurukulla Sadhana derived from the Sakyapa tradition:

“From out of the state of emptiness arise the eight cremation grounds. In their midst, from the syllable ‘PAM’ appears a Red Lotus blossom. At its centre, from the syllable RAM, appears a Solar Disc, on which arises the red syllable ‘HRIM’, with a long vowel mark and visarga. From this syllable emanate rays of light like Hooks and Nooses, which make offerings to all the Exalted Ones, thereby establishing all sentient beings in the state of Our Holy Lady. Thereafter they return and are dissolved into the syllable ‘HRIM’, whereupon I transform into Shri Kurukulla. She is Red in colour, with a single face and four arms. One pair draw a bow entwined with flowers and an Utpala-tipped arrow at her ear. Her other right hand holds an Iron Hook that summons and her other left hand holds the stem of an Utpala flower that forms a Noose. She displays her fangs; she has three eyes and round breasts, being like a maiden sixteen years of age. Her tawny hair streams upward. She is adorned with five dried skulls (as her tiara), she has a long necklace of fifty freshly severed heads. She is adorned with ornaments of human bone and has a tiger skin across her thighs. She stands in Ardhaparyanka dance position, with her left leg extended, upon a human corpse whose face shows to her left, amidst red rays of light and blazing masses of fire. At her crown is the syllable ‘OM’, at her throat is the syllable ‘AH’, and at her heart is the syllable ‘HUM’. In the centre of her heart, upon a red Utpala blossom and a Solar Disc, is the Red syllable ‘HRIM’.”

As mentioned previously, the form of the Red Kurukulla of four arms is also known as Uddiyana Kurukulla or Uddiyanodbhava, the Kurukulla who comes from Uddiyana. Now, Uddiyana is considered to be a ‘Hidden Land’, which can only be accessed by those who are pure of intent, which is often seen to have a geographic location while in Buddhist tradition one can gain ingress into this ‘Hidden Land’ internally via Lucid Dreams, which they also know as Shambhala. Kurukulla is also known as Tarodbhava Kurukulla, ‘she who arises from Tara’; however one also has two-armed and eight-armed versions of Kurukulla, which point to certain functions such as the Four Schools of Buddhism, Eight Great Siddhis and being beyond Duality. The Ashtabhuja Kurukulla of eight arm form appears in a Sadhana attributed to king Indrabhuti within the Tangyur and in a Sadhana of the Sadhanamala collection (No. 174). Kurukulla’s first two hands make the sacred gesture of the Trailokyavijaya-Mudra or ‘Victory over the Three Worlds’, while within her other right hands she wields the Iron Hook, Arrow, as well as making the hand sign symbolising supreme generosity being that of the Varada-Mudra. Within Kurukulla’s other left hands she holds the Noose, Bow, and a Red Lotus; she is shown standing in the vajrasana position. Kurukulla is also surrounded by a following retinue of Eight Goddesses whom resemble herself, but having Four arms each: within the East Prassana Tara, of the South Nishpanna Tara, in the Western quarter Jaya Tara, in the Northern realm Karna Tara, in the South-Eastern direction Aparajita, of the South-Western direction Pradipa Tara, in the North-Western quarter Gauri Tara, and finally within the Northeast Chunda. These Eight-Goddesses are aspects of Kurukulla whom personify Siddhis.

One also has the two-armed white form of Kurukulla who is known as Shukla Kurukulla in the Sadhanamala (No.185). Shukla Kurukulla has a single face, which is calm, serene and beautiful while the Buddha Amitabha adorns the crown of her head; within her two hands she holds a Mala or rosary and a bowl full of Lotus flowers. She is shown standing in the Vajrasana position; her naked body is adorned with writhing Serpents and each Serpent is one of the great Naga kings: Ananta is within her hair as a ribbon, Vasuki is around her throat as a necklace, Takshaka is looped as her ear rings, Karkotaka is that of her sacred thread, Padma is around her waist of girdle, Mahapadma is wound her ankle of anklet, as well as that of other Serpents bedecking her body whereby she is very much associated with the 62nd Spirit of the Goetia Valu, whom is described as having power over Serpents whereby one can also equate Kurukulla with a Slytherin Schoolgirl right out of Hogwarts of Modern symbolism.

When Kurukulla is evoked she will also manifest at times within the retinues of other deities, which René Nebesky-Wojkowitz had observed in Tibetan practices whom travelled for many years in the Himalayan region. He wrote a variety of foundational studies of Tibetan popular religion and the 'Cult Of mountain Deities'. In 1958 he became a "Wissenschaftlicher Beamter" at the Museum für Völkerkunde in Vienna, where his copious collection of Tibetan Objects and manuscripts remain. Nebesky-Wojkowitz gives two examples of Kurukulla manifesting with other associated deities: Within the Mandala of the God of Wealth who is known as the Red Jambhala, Kurukulla manifests in her usual four-armed form while within the Mandala of the four-armed Mahakala (Ye-shes mgon-po phyag-bzhi-pa) as described in the system of Shantigupta, Kurukulla is depicted in the South-West of a Red skinned two-armed form. Kurukulla was also absorbed into Hinduism for one has her name being found among the one thousand epithets of Mahadevi within the Lalita-sahasra-namah where Kurukulla is represented as a ravishingly beautiful Maiden of a Kumari.

Kumari, or Kumari Devi, is usually seen as a living Goddess in Nepal. Kumari literally means Virgin (Girl Child) in Nepali, which is also the name of the Goddess Durga when manifesting as a young Girl. A Kumari is a Prepubescent Girl whom is selected from the Shakya clan of the Nepalese Newari community. The Kumari is revered and worshipped by some of the country’s Hindus as well as the Nepali Buddhists, though not the Tibetan Buddhists whose focus is internalised via strict Meditative practices.

There are several legends, which describe how the current tradition of the Kumari began. Most of the legends usually tell of a King Jayaprakash Malla, who was the last Nepalese king of the Malla Dynasty (12th-17th century CE). According to the most popular legend, a 'Red Serpent' approached the chambers of the King late one night as he slept whereupon he had a vivid Dream of playing Tripasa, a dice game, with the Goddess Taleju. The Goddess duly visited the King every night in order to play the game, with the condition that the king refrained from telling anyone about their secret meetings.
But one night the King’s jealous wife who suspected that he was seeing another woman due to him forbidding her to sleep with him secretly followed the King into his chamber in order to find out who the king was meeting so often. The King’s wife was shocked to see the Spirit of Taleju whereupon the Goddess became enraged. Taleju told the King that should he want to see her again in order to protect his country with her Martial prowess, he’d have to search for a child among the Newari (Shakya) community, for she would be incarnated as a little Girl; upon her last word she shape-shifted into a Red Serpent and slithered away. The King hoped to make amends with his patroness whereupon King Jayaprakash Malla left the palace in search of the young Girl who was possessed by Taleju’s Spirit.

Even unto the present day, a Mother’s Dream of a 'Red Serpent' is believed to be a portent of the elevation of her daughter to the position of Royal Kumari. And each year, the Nepalese King seeks the blessing of the Royal Kumari at the festival of Indra Jatra. This tradition has changed recently with the country becoming the youngest republic of the world whereupon the president of Nepal sought Kumari’s blessing instead.

A variation of this and other similar legends concerning the Kumari names King Gunkam Dev, a 12th century ancestor of King Jayaprakash Malla, as the main character rather than Jayaprakash Malla. A third variation of the legend communicates that during the reign of King Jayaprakash Malla, a young Girl was banished from the city because it was feared that she had become possessed by the Goddess Durga; when the Queen learned of the young Girl’s fate, she became angry and insisted that the King fetch the young Girl and have her installed as the living incarnation of Durga.

It at first appears contradictory if not highly disturbing of having Kurukulla whom presides over Sexual Love being represented as a Kumari, but this is only the case if ones focus is Externalised rather than being Internalised of imaginative process, which is the primary orientation of Tibetan Buddhism. Such a Kumari of Modern perspective would be perceived as a 'Schoolgirl' whose symbolic motif has in its self become almost iconographic due to the influencing factor of a genre spawned by St Trinian’s of a fictional Girls’ boarding school, which is the creation of British cartoonist Ronald Searle that later became the subject of a popular series of comedy films. Searle's original design of St Trinian's school badge was that of the 'Skull and Cross-Bones' motif, which is also utilised by the Skull and Bones Society of Yale University whose number 322 refers to the demise of Aristotle in 322BC, unless one looks to the numbers summation of Seven referring thence to a 'Seventh' Rune of 'Gebo' looking like a Cross-Bone 'X', which means Sex, Love and Self-Sacrifice through Orgasmic Death (Skull) Trance that the Saintly Yogini Girls of St Trinian's are very much into of 'X' Chromosome Sisters in the Hood.

However, there is no actual "St. Trinian" as such; although there is a Saint Ninian. The popular Schoolgirl genre birthed by St Trinian’s in turn influenced the Schoolgirl character driven Japanese Manga and Anime as well as that of costume-play of almost religious fixation with strong undercurrents of Geisha sexuality becoming the common symbolic motif of Hentai over which presides the Japanese Love Goddess (Benten) Benzaiten whom is often depicted riding a Dragon.

In regards to the Dragon and that of a 'Double Headed Serpent', which the 62nd Goetic Spirit of Schoolgirl Succubus Valuna is decribed as riding within the Goetia one has the 'S.T' motif of the St Trinian’s Schoolgirl badge made famous by the film depictions of Searle's work, which one can associate with the 'Crucified Serpent' of Alchemy:

"A common alchemical drawing representing the "fixing of the volatile," or, making the Elixir of Mercury, a legendary Curative, by removing the volatile, or Poisonous element. The 'Crucified Serpent' is a symbol of overcoming one’s base or materially inclined nature."

The 'Crucified Serpent' has more to do with one arousing what the Hindu and Tantric Yogi's call the 'Kundalini Shakti' of 'Fire Serpent', whose Feminine (Shakti) energy is experienced as arising along ones (T-Tau Cross) Spinal Column. The 'Kundalini Shakti' is the 'Elixir of Mercury' symbolised as the (T shaped) 'Caduceus' whose Two entwined Serpents represent the 'Ida' and 'Pingala' Nerve Channels of ones Autonomic-Nervous-System while the Column around which they are wound is ones Central-Nerve-Channel of 'Sushumna' that be within ones Spine from which emanates ones Central- Nervous-System. The two heads of the Serpent-Dragon Caduceus meet and point towards ones Pineal Gland of vestigial Amphibian eye, which produces the 'Elixir of Mercury,' more commonly known as 'DMT'. The 'Crucified Serpent' is also described in an episode from the Old Testament. One will find in the Book of Numbers, Chapter 21 the Hebrew God afflicting the wandering Israelites with a plague of Serpents. However, this occurs as a result of the Israelites complaining of being poorly treated by their God. Rather than getting more aggravated due to the continuous spite of their ever angry and jealous deity, the Israelites eventually decided to repent pleading to Moses in order to intervene on their behalf; this is one of the well read Biblical passges besides those covering gory situations of Genocide, War, Murder, Incest and Rape perused of Old-Testament by the Girls of St Trinian's; Lines 8-9 decribes what happened:

"The Lord said to Moses, "Make a Saraph and mount it on a pole, and if anyone who has been bitten looks at it, he will recover."

Moses thereby made a (Saraph) Serpent out of bronze, which was mounted on a pole, and whenever anyone who had been bitten by a poisonous Snake looked at the Bronze Serpent, they recovered. One will also find in some of the Gnostic sects, that the Serpent whom tempted Eve within the precincts of the Garden of Eden was not actually Satan, but a messenger sent forthwith by the Divine Wisdom - Sophia, in order to awaken humanity to perceive their true seed and divine spark of knowledge within them all. The orientation of Gnostic cosmology perceives salvation as being achieved through reconnecting yourself within the Divine Wisdom of Sophia, rather than through the death of a man crucified to a cross. By nailing the image of a Serpent upon the symbol of the Cross the Gnostics sought to establish a semiotic connection between the teachings of their Jesus and that of a "Salvation through Gnosis," which the 'Crucified Serpent' represented. In other words 'Gnosis' is none other than the arousal of the 'Kundalini' Fire Snake of 'Mercurial Elixir' whose Feminine Source is the Divine Wisdom of Sophia, which the Hindu's and Tantric Yogi's called 'Shakti'. Sophia and Shakti have a Bio-Molecular association with the Mitochondria residing inside each and every cell that is passed down from the Mother to her children within which there is Mitochondrial DNA. It is from the Mitochondrial DNA that the Bio-Photon (Fire) emanates from while the Mitochondria determines the (Kundalini) energy output of ones cells, which the Girls of St Trinian's are Left-Hand-Path versed in releasing via their Witchcraft rituals.

Other coiled Snake symbols can be found such as the Staff of Asclepius, which is no different to the 'Double-Headed Snake' of the Caduceus wielded by Mercury (Hermes - Hermione) as well as a Serpent winding its coils around the Orphic Egg. The letters of S.T can also be equated with Runes being that of the 16th 'S' Rune of 'Sigel/Sunna' meaning the Sun and the 17th 'T' Rune of 'Tiwaz', which is associated with the Sword, whereby one has the 'Sword of the Sun' and that of the Khadga-Siddhi (Ral-gri), the power to be invincible in battle with a Sword-Katana (Khadga) which Kurukulla bestows of ability in her fencing classes. The 'S' and 'T' Runes added together brings one to the sacred number of '33', which is considered very important in Freemasonry as well as being the 33rd Anglo-Saxon Rune of 'Gar', which means a 'Spear' and one of the favourite makeshift weapons used by the Slytherin Valkyrie Schoolgirls of St Trinian's.

The Spear of 'Gar' is not any Spear but that of the implement around which all other Runes are arranged etched out upon the scales of an Adder (Kundalini Shakti) winding around the (Spine) Spear haft, which the Norse Valkyries were often depicted wielding, while the Dakini's have pole-staffs. The 'Gar' Spear was specifically utilised by the Shamanic God Odin to pierce his own side when to have hung himself into Trance upon the World Tree of Yggdrassill while the number '33' refers to how many vertebra one to have within ones spine of Trunk hence that of the Tree, which be ones own spinal column. The 'Gar' Rune Spear has been associated with the Spear of Longinus by Christian scholars. The multiple of Three times Three equates with the Ninth Rune of 'Hagal', which is the Mother Rune of crystalline Hail-Stone Egg that is also known as the Adders Egg whereby associated with the Orphic Egg. The Mother Rune of 'Hagal' is associated with the Mitochondria from which the 'Kundalini Fire Snake' is aroused from that the Yogini Girls of St Trinian's are adept at arousing via their Tantric Sex Magick practices.

The Adder and that of Serpent also refers to ones DNA Helix, whereby one has the Double Headed Dragon of Caduceus; the 24 Runes of the Norse Elder Futhark thereby points to 24 Chromosomes of ones DNA. The Apes have 24 Chromosomes of Ancestral 'Odal' Rune while Humans have 23 Chromosomes of the 23rd Rune of 'Dagaz', which means Day and that of Light. The Dagaz Rune looks like the Lemniscate Infinity Symbol of figure Eight on its side, which is seen above the head of the Magician of Tarot card. When one adds Three plus Three together one has the Sixth Rune of 'Cen', which means a 'Torch' and that of 'Fire' whose meaning is associated with Odin as the Master of Light and Ecstasy as well as with Prometheus; such is the secret of the 'S' of Serpent coiling around the 'T' of the (Tau) World-Tree and that of ones Saint Trinian's badge worn by a Valkyrie Schoolgirl Succubus of a Dakini.

The concept and name for St Trinian’s originally came from St Trinnean’s school in Edinburgh, which was established by Miss C. Fraser Lee and opened on 4 October 1922 with sixty girls, at 10 Palmerston Road. She practised the revolutionary Dalton system of education, where the emphasis was on self- rather than school imposed discipline, which led to it being said that St Trinnean’s was the school "where they do what they like". In 1925 the school moved from Palmerston Road to St Leonard’s House near Dalkeith Road, and at the beginning of the Second World War moved again to Gala House in Galashiels. The school was closed in 1946 after the retirement of Miss Lee Fraser.

It is said that a family by the name of Johnston, whose two daughters attended St Trinnean’s, were evacuated to Kirkcudbright, where they met Sapper (Ronald) Searle. He drew a cartoon depicting his idea of the school attended by the Girls; however, Searle spent part of the war in a Japanese POW camp where he may have also came into contact with whispered Japanese folktales telling of Kitsune Fox Spirits shape-shifting into mischievous Witch Girls all as Vixens and that of wild and wanton Buddhist Dakini's.

While imprisoned Searle had to steal and barter for a fountain pen and paper in order to draw his St Trinian's Maenads in between doing caricature portraits of Japanese guards. As for the Japanese guards they were well aware that painting with a pen was an Art, which a Samurai had to be versed in before wielding a Sword, whereupon they showed due respect in regards to Searle's gift without beheading him. After the war Lilliput (magazine) published the St Trinian's cartoons. The first film of St Trinian's was made in 1954. 

St Trinian's school is the Antithesis of the Enid Blyton/Angela Brazil-type Posh Girls’ Boarding School; its pupils are Wicked, Wanton and quite Perverse as well as being often well-armed to the teeth with razor sharp Hockey Sticks and other assorted weapons whence anarchy and mayhem is rife. The Mistresses (as female teachers in Britain were known at the time of Searle’s creation) are also highly disreputable. Searle’s Cartoons often showed dead bodies of Girls who had been hung drawn and quartered, murdered with pitchforks, crucified to trees, being attacked by wild animals or had succumbed to violent team sports, sometimes with Vultures circling over their rotting corpses to devour let alone that of indulging in cannibalism; Girls drank, gambled, and smoked various colourful hallucinogenic substances while to also practice Witchcraft and other Necromantic arts. It is reputed that the Gym-Slip style of dress worn by the St Trinian's Girls was closely modelled on the Uniform of the school that Searle’s daughter Kate attended, JAGS in Dulwich. The St Trinian’s films implied that the Girls were the daughters of Underworld Gangsters, Crooks, Shady Bookmakers and other low-life types of the Underground (Patala) Criminal Fraternity; however the films were not as dark as Searle's surreal cartoons.

One could quite easily equate St Trinian’s with the House of Slytherin, which is depicted in J. K.Rowling’s Harry Potter books; like Salazar Slytherin, its founder, Slytherin house values Ambition, Cunning, and Resourcefulness, which one could summarise as being of a highly Predatory intent to find in a Feline let alone that of a Reptile. Rowling’s books also suggest that the hunger for Power is a characteristic of Slytherin's. The animal representing Slytherin is the ‘Serpent’, and the house colours are Green and that of Mercurial-Quick Silver.

The ghost of Slytherin house is The Bloody Baron, which one can transform into a ‘Red-Baroness’ of a Raging Red-Skinned Dakini instead. According to Rowling, Slytherin corresponds roughly to the element of Water whereby becoming as Menstrual-blood. The Slytherin dormitories and common room are reached through a bare stone wall in the Dungeons, which of course invariably leads to associations with (Chod) Torture Chambers and various Sadomasochistic practices of punishment, which can be transformed into internal meditative practices in order to cut away the shells of ones Ego or that of subjugating the Kitsune Spirits all as Dakini’s to ones Will. The Slytherin common room is a long, low, Dungeon-style room, infernally located under the Hogwarts Lake, furnished with green lamps and carved armchairs, which is somewhat reminiscent of an Eighteenth century Marquis de Sade Hell Fire Club of an (Patala) Underworld.

Should one thence fuse St Trinian’s with the House of Slytherin one will have a Girls Boarding School for Kumari Naga-Schoolgirl Succubae Dakini’s, whose disreputable Mistresses are all Witch-Nuns and Dominatrix-Sorceresses, which can be perceived as an alternate ‘Goetia’ version of J.K Rowling’s Hogwarts where Harry Potter is not to be found at all! The educational structure of such a Slytherin St Trinian’s can be deduced when looking to Hogwarts for inspiration so as to take somewhere quite other.

In the Harry Potter novels, Hogwarts is located somewhere in Pictish Scotland; the school of Magick has numerous Runic charms and spells on and around it, which make it nigh impossible for any Muggle (i.e. non-Magical Person) to locate its whereabouts - they cannot perceive the school, only ruins and several warnings of danger. (In regards to a Slytherin-St Trinian’s fusion the school can only be accessed via ones Lucid-Dreams) Hogwarts exists within a Hidden Land like that of the mythic land of Uddiyana, whose realm is also equated with Shambhala; it is within this Hidden Land one to find the Succubae Dakini’s.

Hogwarts castle has extensive grounds with sloping lawns, flowerbeds and vegetable patches, a loch, called the Black Lake, as depicted in the fourth Harry Potter film, which is perfect for a Slytherin-St Trinians; the school also has a large dense forest, called the Forbidden Forest, one can equate with the possessed forest as depicted in Sam Raimi's first film of ‘Evil Dead’, which needs to be kept at bay by arcane Mantric formulae; the school also has a number of greenhouses, which one can have housing Flesh Eating vore Mandrake Plants of phallic tentacle lusts consuming virginal maidens and other eerie outbuildings of perverse bestial Lovecrftian shadows between the angular angel angles of ones ever lusting Ego.

There is also a full-size Quidditch pitch, which one can imaginatively associate with the game of death-dealing Rollerball for Life is War, War is Life; however, it does appear that J.K Rowling covered much of that already, and when looked at overall of Hogwarts depicted as a Map it would look like a Bon-Po Tibetan Buddhist Mandala! There is also an Owl-house, which houses all of the Owls owned by the school and those of the students Familiars; however the Kumari Naga-Schoolgirl Succubae of a Slytherin-St Trinian’s may prefer Bats; as Alice to have said in 'Alice's Adventures in Wonderland' by Lewis Carroll:

Twinkle, twinkle, little Bat!
How I wonder what you’re at!
Up above the world you fly,
Like a tea-tray in the sky.

 But still, Owls also have their Nightside of Eden Left-Hand-Path style, especially Screech Owls.

The St Trinian's Schoolgirl and that of their cos-play Japanese counterparts whom are often depicted in Manga comics, Anime films and Hentai video games have become very much a Modern cultural Icon, which one can equate with Valuna Kurukulla of a Schoolgirl Succubus; however, she will need a 'St Lillitu' Boarding School of Dakini 'Mandala' to attend within Goetia Wonderland.

In the Classic Goetia of Patriarchal dualistic fixation the 62nd Spirit is described in such a way, which requires a Rebellious overhaul whereby one has a totally different approach to the Spirits to make all as Succubae Dakini's. The below description has only been slightly adapted:

"The 62nd Spirit Succubus is Valuna, Volaca, or Valaka, or Ualaca. She is a President Mighty and Great, and appears as a Child (Kumari) with Angels wings, riding on a Two-Headed Dragon. Her office is to give True Answers of Hidden Treasures, and to Tell where Serpents may be seen. The which she will bring to the Magician without any force or strength being by him employed. She Governs 38 Legions of Succubae."

When one has ones Mandala in the raw of Symbols personifying ones chaotic Lustful desires one then has to transform such Symbolic Stimuli via ones Meditative Introspection wherefore the Leaden Negatives are transformed into a Golden Spiritual formula more Positive of Meaning; this thereby directs their Emotional potency into awakening ones Psychic potential, for ones ‘Charged’ Emotions are channelled through Archetypal (Cultural) Symbols, which ‘Spin’ ones Electron Dreams; as one to know Electrons are the essence of Maya Matter, whereby one is now no longer a Slave of ones desires, which thence become as Slaves bound to ones will instead. But Slaves invariably Rebel unless one visualises ones desires personified as Loving Succubae Dakini's who will do anything for their Master as long as they are regularly fed by ones Medititative Charged ejaculations, which they ever hunger to feast upon.