The true meaning of the Dragon (Lucifer), the serpent, the goat and all the symbols of the now so called evil powers can best be seen in the religious principles of Gnostics.
Jesus the great Kabir would have never advised his disciples to be as wise as the Serpent if it had been a symbol of the Devil. Neither had the Ophites, the Egyptian Gnostic sages of the Fraternity of the Serpent, revered a living snake in their rituals as a symbol of wisdom — divine Sophia.
The Aztec serpent appears in situations where the organic aspect is clearly contradicted. The tail is replaced by a second head in extraordinary poses that raise it from the mud of the earth and become the foundation of the development of fire.
Again and again, in the cultures of Anahuac, the body of the viper is modified by means of an unusual process that radically changes its original nature.
The double head — which clearly reminds us of the shape of a circle — in this Gnostic symbol, is devouring its own tail. This is the extraordinary synthesis of the marvelous message of Lord Quetzalcoatl. Then, there is the vertical position representing the Mayan and Nahua idea of the divine viper that devours the soul and the spirit of man. Finally, the sexual flames consume the animal ego and annihilate it, reducing it to ashes.
The serpent or Savior Logos inspires man to recognize his identity with the Logos in order to return to his own essence, which is that Logos.
The waters of the abyss originated a tempestuous wind (the serpent’s hiss) that raised the waters, and these contacted the spirit and the light. The serpent pervaded chaotic matter and created man, a crossing of the three principles.
The only goal of the Superior Light is to recover its own lost particles.
Since the chaotic womb loves and knows only the Serpent, the luminous Logos took its form in order to rescue the light fused in darkness. For that matter, the Perfect Man descended to the bosom of a virgin. Not only did he suffer by knowing the mundane mysteries of the womb, but he also drank of the cup of the living water. Anyone wishing to dress in celestial clothing and stop being a slave, must drink of it.
The Sacred Serpent or Savior Logos sleeps coiled at the bottom of the ark, on mystical watch, poised for the moment of awakening.
Those who study esoteric physiology as the Nahua or the Hindus did, emphasize the transcendental idea that there is a marvelous magnetic centre located at the base of the spinal column, halfway between the anal orifice and the sexual organs.
In the centre of the chakra, there is a yellow square, invisible to the human eye, but perceptible to clairvoyants or those with a sixth sense. According to the Hindus, this square represents the earth element.
We have been told that inside such a square there is a yoni or uterus and that in its centre there is a lingam, an erotic phallus in which the serpent or mysterious psychic energy called Kundalini is coiled.
The Asian Tantric texts describe Kundalini as follows:
“Luminous as lightning, it shines in the hollow of this lotus (or magnetic centre) as a chain of brilliant lights.”
The esoteric structure of such a magnetic centre, as well as its unusual location between the sexual organs and the anus, provides solid and undeniable foundations to the Tantric schools of India and Tibet.
Unquestionably, only by means of Sahaj Maithuna (Sexual Magic) can the serpent be awakened.
Ostensibly, when the sacred viper awakens to begin her ascension through the spinal column of the human organism, she produces a mysterious sound, similar to that of a snake when stirred.
Undoubtedly, the serpent of the great mysteries is the feminine aspect of the Logos, God- Mother: Shiva’s wife; Isis; Adonia Tonantzin; Rhea; Mary, or, better said, Ram-io; Cybeles; Opis; Der; Flora; Paola; lo; Akka, the Great Mother in Sanskrit; the goddess of the Lha, or the lares, or spirits here below; Huitzilopochtli’s anguished mother; Ak or Turkish white goddess; the Chalcidicean Minerva of the initiatic mysteries; the Aka- Bolzub of the lunar temple of Chichen-Itza (Yucatan), and so on.
The lost echo of ancient mysteries still resounds in the crosspiece or transverse beam of most glorious churches, such as St. Paul’s Church in Rome. This replaces the primeval shape of a nave, Noah’s ark or saviour ship of the universal flood or Atlantean catastrophe, where all Quetzalcoatls, Noahs, Xixuthros and Deucalions arrived to the present continents.
This was also why a sacred place in Greek homes, the interior aisle separating all rooms from those of the guests, was called Chalcidicean. This can also be appreciated in Vitruvius’ De Architectura, Procopius’ De Aed Becchi ‘5 Del Calcidio et Della Cripta Di Eumachia, and other treatises on construction where the history of this crossing or effective and symbolic Tao was linked to the duties which hospitality imposed to men.
The insertion of the vertical phallus in the horizontal uterus makes a cross; anyone can verify this.
If we seriously reflect on the close relationship of the S and the T or Tao cross, we logically conclude that only by means of the crossing of the lingam and the yoni (phallus- uterus), with the radical exclusion of the physiological orgasm, can we awaken Kundalini, the Igneous Serpent of our magical powers.
Tempestuous Zeus gathers the clouds, and makes Olympus tremble; his lightning bolts sow fright among this suffering humanity and form a cross.
The celestial fire and the earthly fire, the potential or virtual fohat, which gathers or separates, creates or kills, enlivens or destroys, make a cross.
Son of the Sun which generates it, server of anyone who liberates and maintains it, the divine fire, fallen, decadent, imprisoned in matter, leads amazing and extraordinary revolutions and carries on its own redemption. It is Jesus on the cross, the marvelous image of igneous radiation that is incarnated in all of Nature.
It has been since the dawn of the Great Day, the immolated A gnus, and is also the famous Huehueteoti, the old god of fire, represented in the ancient Teotihuacan culture as an old man carrying a huge brazier on his millenary head.
The god of sexual fire represents, unquestionably, one of the most ancient traditions of the Maya and the Nahua peoples. Like the sacred brazier used to light up the fire in the centre of the home and Aztec temple, he is the deity of the centre, directly related to the four cardinal points of the world. Thus, it is quite normal to find that the hierophants of the god of the flame have on them the mystical shape of the holy cross; this also decorated the incense burners, the tiemaiti (hands of fire) with which the priests incensed the holy gods.
Such an ancient god, very similar to Agni, the Vedic deity of fire, obviously has some variances. He is called Xiuhtecuhtli, whose deeper meaning is “Lord of the Year,” “Lord of the Herbs,” and “Lord of the Turquoise.” The root of this word, xiuhuitl and its different pronunciations means these three things. Such variance can be appreciated in the many pantheons of Mesoamerica.
It is not surprising then that such deity is represented carrying a sort of blue mitre on his head — a precious mosaic of turquoises gives it a delicate shape — which was a distinctive feature of the powerful kings of the great Mexican civilisation.
His nahual or esoteric disguise, is Xiuhcoatl or the Serpent of Fire (Kundalini), earmarked by its precious horn on the nose, decorated with seven ineffable stars.
In the Nahua and Maya beliefs, the sacred swastika of the great mysteries was always defined as the moving cross; it is the Nahua Nahui Ohm, sacred symbol of the cosmic movement.
The two possible orientations of the swastika clearly represent the masculine and feminine, and the positive and negative principles of Nature.
Two swastikas in opposite directions and precisely superimposed form the Tao cross, thus representing the erotic conjunction of the two sexes.
According to Aztec legend, it was a couple, a man and a woman who invented fire, and this is only possible by means of the moving cross.
INRI: Ignis Natura Renovatur Integra (fire ceaselessly renews nature).
Samael Aun Weor
