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GLADIATRIX BITCH GLASYA-LABOLASI: The Twenty-Fifth Spirit is Glasya-Labolasi. She is a Mighty President and Countess who will appear as a beautiful Female Praetorian guard who was originally a Gladiatrix from out of ancient Rome’s arena to be sometimes seen to be riding upon a an Alsatian Dog of a Pope, which at times to have wings like a Gryphon or to be copulating with a Nun as its beaten Bitch. She teaches all Arts and Sciences, which are known of throughout the Empire of Rome in an instant and will tell of the bloodshed and manslaughter of Rome’s Coliseum whose bloodletting Empire is still around of New-World-Order. She teaches all things Past and to come of Future in regards to Rome’s Empire whose Centralist New-World-Order agenda is that of the Christian in league with Judaism and Islam of Illuminati Brainwashing Cults, which are ever entwined with the Orwellian Mind-Control Politics of their shared jealous deity of Fascist focus. The Erotic Lucid Dreams she will induce are in the main Sexually Violent, which take place within the Roman arena of the world, but at times such Dreams will be that of Orgiastic Orgies taking place within luxurious Palaces to that of glorious Temples or otherwise those of colourful Pompey Whorehouses and wealthy Ladies houses throughout the Empire of Rome. She will teach her Master much as well as to make him Invisible whenever he desires it so, but she will only do as her Master bids as his Roman Slave when she has had her most salacious hunger fulfilled; she has under her command 36 Legions of Female Legionaries who will become as the protective Praetorian Stormtrooper bodyguard of her Master whom will loyally serve and sincerely love him as their Great Beast of a Caesar.

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ASSUMING THE ALTERNATE PERSONA OF A GLADIATOR

When a Male practitioner Evokes the Succubus Glasya-Labolasi he can either assume the Alternate Persona of a Gladiator or that of a Roman Senator within a Lucid Dream, which Glasya-Labolasi will empower. One can thereby experience vivid Lucid Dreams where one becomes as a Gladiator like that of a 'Blood And Sand' Spartacus whom enamours many a Roman Woman within the arena or to assume the persona of a Roman Senator of a one time Legionnaire living amidst a luxurious villa, while Glasya-Labolasi is ones personal Slave of a Gladiatrix who trains other Gladiatrices one owns. Such Dreams will lend insight into ancient Rome's past, which one could construe as awakening past-life memories within one, or that of Time-Travelling into the past via ones Dreams to make Lucid of Awareness. One could likewise say that such Lucid Dreams are merely constructs of ones vivid Imagination, which has been fed the neccessary Symbolic information via a number of 'Sword and Sandal' movies one has seen; however, ones Lucid Dreams will be three-dimensional experiential realities; wherupon what one to experience will feel very real indeed.

 

THE GLADIATRIX OF THE BESTIAL BLOODY GAMES OF ROME

 

The Gladiatrix Glasya-Labolasi will relate to one after evoking her that there is historical evidence that Women warriors fought within the bloody arenas of the Roman Empire whose evidence is irrefutable. There are a number of ancient writers relating tantalising references to the Female Gladiator of a Gladiatrix within their commentaries; however detailed accounts are very rare, which to be near non-existent due to the fact that Women were largely unimportant within male dominated Roman society, which afflicted Rome when it became Christian; what references there are tend to be that of scathing attacks or that of perverse titillation, which was the mainstay of the day, some may have felt duty bound to mention female participation within the arena, but the sparse references are mostly indicative of the Sexual orientations of Rome, which had nothing to do with equality at all.

A strong condemnation against female Gladiators of the Flavian and Trajanic eras can be found in the Satire VI of Juvenal, which decries the fact that female Gladiators were typically from upper-class families whom sought out the thrill of the arena in order to acquire male attention. Their principle goal was that of finding a potential husband amidst the blood thirsty mob:

"Who has not seen the dummies of wood they slash at and batter
Whether with swords or with spears, going through all the moves?
These are the girls who blast on trumpets in honour of Flora.
 
“Who has not seen the dummies of wood they slash at and batter
Whether with swords or with spears, going through all the moves?
These are the girls who blast on trumpets in honour of Flora.
Or, it may be, they have deeper designs, and are really preparing for the arena itself.

How can a woman be decent Sticking her head in a helmet, denying her sex she was born with?
Manly feats they adore, but they wouldn't want to be men,
Poor weak things (they think), how little they really enjoy it!
What great honour it is for a husband to see, at an auction
Where his wife's effects are up for sale, belts, greaves,
Manica and plumes!

Hear her grunt and groan as she works at it, parrying, thrusting;
See her neck bent down under the weight of her helmet.
Look at the rolls of bandage and tape, so her legs look like tree trunks,
Then have a laugh for yourself after the practice is over,
Armour and weapons are put down, and she squats as she uses the vessel.
Ah, degenerate girls of the line of our praetors and consuls,
Tell us, whom have you seen got up in any such fashion,
Panting and sweating like this? No gladiators wench,
No tough stip-tease broad would ever so much as attempt it."

One of the first Emperors who to have staged games, which involved the Gladiatrix was the much-reviled Nero whom was considered to be the Great Beast by the early Christian’s. While entertaining a Parthian noble named Tiridates, Nero was so impressed by the man’s refusal to lay aside his dagger when approaching the Imperial dais, that he held a series of games in his honour. Cassius Dio tells us that it was:

"A most brilliant and costly affair, as may be seen from the fact that on one of the days not a person but Ethiopians, men, women, and children, appeared in the theatre."

That the Gladiatrices were all of African origin seems to not have concerned Cassius Dio, but then the arena consumed many a peoples to grind into a bloody pulp from around the far stretching Empire of Rome, whether they were from Ethiopia, Scythia, Greece, Britannia, Germania or elsewhere; the politics of racialism was never on the cultural menu of Rome, apart from the superiority of Rome's influence over the world. What one does find in Rome, as mentioned earlier, is that Roman Women were by and large considered to be second class Citizen's; whereby those Women of non Roman descent were far less important, who had no rights whatsoever under Roman law. However, this first entertainment involving African Gladiatrices seems to have whetted Nero’s perverse appetite for the sight of Women fighting within the arena. Dio tells us in a later account

"There was another exhibition that was at once most disgraceful and most shocking, when men and women not only of the equestrian but even of the senatorial order appeared as performers in the orchestra, in the Circus, and in the hunting-theatre, like those who are held in lowest esteem. Some of them played the flute and danced in pantomimes or acted in tragedies and comedies or sang to the lyre; they drove horses, killed wild beasts and fought as gladiators, some willingly and some sore against their will."

This is a revealing passage in regards to the attitude of the Roman nobles towards the games. Dio does not have any issue with attending a performance of seeing foreign Gladiators fighting each other to the death for entertainment. However, we see that when the Gladiators/Gladiatrices are Roman Citizens of rank (of the Equestrian and Senatorial class, no less), the same exhibition becomes “disgraceful.” This ambiguity is especially prevalent in the Roman view of Gladiatrices. For a man of Roman origin to be an arena fighter was bad enough, for a Roman Woman, it was almost unthinkable; but for others it piqued their insatiable blood lusts, whom desired to see more of the same. Dio’s passage does, however, tell us that Women not only fought as Gladiatrices, but also as Venatoria, 'Wild Beast Hunters.' The spectacle of the Venatoria often involved Bestiality.  

The most explicitly recorded incidents of Bestiality are associated with the murderous Sadism, Torture and Rape within the Roman games and their Circus, in which it is estimated that several hundreds of thousands died. Masters reports:
 
"Beasts were specially trained to copulate with Women: if the Girls or Women were unwilling then the Animal would attempt Rape. A surprising range of creatures was used for such purposes - Bulls, Giraffes, Leopards, Cheetahs, Wild Boar, Zebras, Stallions, Jackasses, huge Dogs, Apes, etc. The beasts were taught how to copulate with a human being (whether male or female) either via the vagina or via the anus."

Representations of scenes from the Sexual lives of the Gods, such as Pasiphaë and the Bull, were highly popular, often causing extreme suffering, injury or death. On occasion, the more ferocious beasts were permitted to kill and (if desired) devour their victims afterwards.

Chimpanzees and Mandrills, both in fact ferocious and very powerful species of primate:

"made drunk by wine and inflamed by the odour of females of their kind, were loosed upon Girls whose genitals had been drenched with the urine of female Chimps and Mandrills."

The victims were often virgins and not infrequently young children. One spectacle is said to have included

"a hundred tiny blonde Girls being Raped simultaneously by a horde of Baboons."

One can thereby deduce that the spectacle of Women fighting as Gladiatrices had nothing to do with their martial prowess when seen within the context of the true brutality of the arena. The Roman's did not employ Women amidst its Legions to fight their wars, such was the province of other peoples that the Roman's considered to be mere Barbarian's like that of the Celt's and the Germani who often had fierce Women Warriors fighting among their battle ranks; whereby the Roman's considered the Gladiatrices as being exotic of an erotic show of Sexual violence, which some of the Roman Women found exhilirating. Dio provides us with evidence that although some Women were forced to fight, other Women did so voluntarily. One may ask why would Women voluntarily fight in the arena; well it had to do with winning fame and fortune, even if it meant the possibility of them being raped, butchered and eaten by wild beasts, slaughtered by opposing Gladiators or killed by other Gladiatrix foes in the process. Dio's scandalised view of these Autocrati is echoed by Tacitus in his Annals:

"(Nero held) a number of Gladiatorial shows, equal in magnificence to their predecessors, though more Women of rank and senators disgraced themselves in the arena"

Both of the accounts of Dio and Tacticus are dated around 62AD.

If Nero was an enthusiast, the Emperor Domitian took the participation of the Gladiatrix to new heights of violence and into the lowest depths of depravity. Perhaps not as well known as his predecessor, Nero, Domitian was no less a psychopath who was extravagant in his sadomasochistic outrageous behaviour. He assumed the mantle of Emperor in the year 81AD, and was at first extremely popular with the common people, largely because he was a devotee of the gore laden games, and was renowned for holding extravagant exhibitions of blood letting within the newly completed Coliseum.

"Domitian presented many extravagant entertainments in the Colosseum and the Circus. Besides the usual two-horse chariot races, he staged a couple of battles, one for infantry, the other for cavalry; a sea-fight in the amphitheatre; wild-beast hunts; gladiatorial shows by torchlight in which women as well as men took part."
 

This passage from Seutonius is important in our understanding of how much esteem Domitian placed on the Gladiatrix. We know from many sources that the itinerary the games. The mornings were usually reserved for the Wild Beast Hunts, affording the Roman public to see the diverse and often bizarre animals, which the expanding Empire was discovering on foreign shores. The lunchtime break was set aside for the execution of criminals, whether they were male or female, by wild carnivorous animals, which was called “Ad Besitas,” though other, far more inventive methods of excruciating painful executions were sometimes used.

The afternoon and evening was the time of the main event, the Gladiatorial combats. That Seutonius tells us the Gladiatrices fought "by torchlight" (that is to say, during the evening, the time of the main events) is evidence that these bouts were taken in all seriousness by the Emperor, though it must be said that the female combats never superseded the male Gladiators in interest or importance. One can perhaps draw a comparison with modern-day football or far more apt of analogy that of Wrestling or Boxing. The Women’s game has its core of fans, but the sport remains dominated by the men, thus, one could say it was likewise in Gladiatorial combat. The greater prestige given to men is evidenced by the bizarre opponents the Gladiatrices were sometimes made to fight. The Poet Statius tells us that they were even pitted against Pygmies in one exhibition; whereby one can clearly deduce that the reasoning behind having the Gladiatrices fighting by torchlight of evening show, which others shunned as being disgraceful, when involving Roman Citizens, was to make the spectacle more titiliating for another type of audience since the Gladiatrices were often pitted against unusual foes, which often involved extreme Sexual violence such as Bestiality and Rape as part of the shadowy entertainment!
 
Aside from the commentaries of ancient writers, the most enduring evidence of the Gladiatrix is a stele found in Halicanarssus during the nineteenth century.

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"(It details) two Gladiatrices facing each other in a fighting stance, and they are heavily armed with these oblong curved shields. The left-hand Gladiatrix is wearing an arm guard (Manica), which is composed of wrappings of leather around the length of the arm. She’s also got a short sword, and so has the right-hand Gladiatrix.

"Remarkably, the breast is showing that this protagonist is clearly female. Unfortunately there is damage at breast height on the right-and figure. The figure on the left has a very feminine hairstyle with a braid around the forehead and a bun at the nape of the neck. But the inscription at the bottom tells us incontrovertibly that these are both women because they are named Amazon and Achillia, the feminine form of the name Achilles, the name of one of the great Greek heroes. Amazon of course is the word for a female warrior, which is derived from the Greek."

Inscribed above the combatants is the Greek word “Apelythesan,” referring to their honourable retirement from the arena. From this, we can gather that "Amazon" and "Achillia" (these were almost certainly stage names) were not Autocrati, but Slaves who had won their freedom by their martial excellence in the arena. It was not unheard of for the sponsor of the games to bestow freedom on Gladiators if they had preformed exceptionally well; more often than not this gesture was made in response to calls from the crowd, with whom the invariably aristocratic sponsors wished to remain popular with.

Aside from the bared breasts of the Gladiatrices (which was probably done to ensure titillation for the largely male audience of the games), their attire does not differ greatly from their male counterparts. Interestingly, their helmets are resting on the ground near their feet. Kathleen Coleman, a Harvard Professor and Classicist offers up an explanation:

"You can see the crown, the brim, the visor and the neck guard, and these are presumably the helmets worn by the two women and they have taken them off. The question is: Why? One of the things, which to signify either the admission of defeat or at least the admission of having reached a stalemate is to remove part of one’s armour, either the shield or very commonly the helmet.

You will notice that the helmets are resting the right way up, and they have obviously not fallen off, and they symbolise for the illiterate view the admission of a stalemate, which generates the result of a reprieve for both combatants. These women are being depicted as full scale, paid up Gladiators."

Amazon and Achillia whom are depicted wielding the Roman short sword of the 'Gladius' (Sword) from which the name Gladiator, meaning 'Swordsman' is derived from, is not the only archaeological evidence of the Gladiatrix. In September 2000, experts at the Museum of London identified the burial site of a Gladiator (one of very few discovered), and that the fragmented remains in the tomb were proven to be those of a Woman.

Dubbed the "Great Dover Street Woman," (the location of the site where the grave was unearthed), the discovery of the Gladiatrix caused controversy within the academic establishment, citing the evidence as being circumstantial. However, the close proximity of the grave site to Ancient London’s arena, along with Gladiatorial themed paraphernalia within the tomb has led some scholars to believe that the "Great Dover Street Woman" is the genuine article. The debate caused huge media interest, so much so that the Discovery Channel aired a documentary on the Gladiatrix find from London.

Whatever the identity of "Great Dover Street Woman" is, it does not refute that after Domitian’s showcases, there was a huge increase in the popularity of Gladiatrices. Indeed, the Gladiatrices remained a staple part of arena entertainment for centuries to come. This was not a result of a relaxing of Sexual stereotypes within the male dominated society of ancient Rome; rather it was indicative that the mob of Rome required diverse, and far more extreme and exotic entertainments than that of the standard game of the male Gladiator of betting fare could provide; whereby the Gladiatrix became very popular since her games often involved Bestiality and other Sexually perverse entertainments, which excited the blood lust of the mob far more.

Many Women in Rome did not live a life of luxury, their future prospects often relied upon them having a husband; should such a situation not manifest, then their future was somewhat bleak, if non existent to then be reduced to nigh Slavery or usually that of Prostitution; whereby the arena was seen as a way out of such a dillemma by some Roman Women, whom preferred to fight for potential fame and fortune; whereby they took up the sword of the Gladiatrix, whose equivelant today would be that of becoming a female pop-star; the more records sold, the more famous she becomes; while a Gladiatrix won her fame by killing her opponents. But then, a Gladiatrix had to be successful at killing or be killed in the process, or far worse of most dreadful demise.

Gladiatrix participation within the games was extremely widespread; their number increased at such an alarming rate that eventually they were specifically outlawed by the Emperor Septimius Severus in the early 3rd century, AD, some two hundred years after Nero’s initial introduction of Women combatants into the arena.

It is unlikely that the Gladiatrix met her end after this decree, as the Gladiator did not meet his when the games were officially banned by Emperor Constantine in 325AD.

There is evidence that Gladiatorial combat in the Roman style continued till at least 500AD, and probably thereafter, but by this time, the Dark Ages were drawing their veil over the pages of Classical history, consigning ancient Rome and her bloody games to the forgotten past while Christian Rome indulged its self in Religous Wars of mass slaughter to make the whole world as its Coliseum of 'Romulan' New-World-Order seeking to one day spread its reach unto the Stars and beyond of Terran Empire.