The Occult Fiction of The Order of Nine Angles
The Occult fiction of the Order of Nine Angles comprises the following stories:
(1) Eulalia – Dark Daughter of Baphomet. (c.2009 CE)
(2) The Deofel Quartet, consisting of the four texts Falcifer, Temple of Satan, The Giving, and The Greyling Owl. (c.1974-1993 CE)
(5) The two individual short stories Hangster’s Gate and Copula cum Daemone. (c. 1976 CE)
(6) The short story Gruyllan’s Tale, which forms part of the Balocraft of Baphomet series. (c.2010 CE)
The most recent works include Eulalia, and those included in Tales of the Dark Gods, dating from the past few years, while the others date from the 1970’s (e.n.) and the late 1980’s (e.n.).
Several themes are common to most, if not all, of these stories – and this brief MS will briefly deal with two of the most interesting of these themes, from an Initiated Occult viewpoint. These are what may be called The Mistress of Earth archetype (the powerful, sinister, feminine principle), and the setting of the stories in the English county of Shropshire.
The Sinister Feminine Principle in the Works and Mythos of the ONA:
One of the most noticeable (and neglected) aspects of the ONA mythos is the predominance given to what may be termed the Sinister Feminine Principle, evident, for example, in what the ONA calls the rôle, and Magickal Grade, of Mistress of Earth, and in its depiction of, and homage to, the Dark Goddess Baphomet, whom the ONA describe as one of the most powerful of The Dark Gods.
Thus, in the Occult fiction of the ONA, the main character – the main protagonist, the “hero” – is often a powerful, beautiful, woman, with ordinary men, more often than not, manipulated by, or somehow subservient to, these women who belong to or who identify with some ancient Sinister tradition, or the Left Hand Path, and Satanism, in general. For instance, in The Giving – which is probably the most forthright fictional portrayal, by the ONA, of a genuine Mistress of Earth – the heroine is Lianna: a wealthy, powerful, beautiful and mature woman, who is heiress of a sinister rural pagan tradition which involves human sacrifice. She is seen manipulating both Mallam and Thorold, and the story ends to leave the reader to answer the unanswered question as to whether she really contrived Monica’s death and used her sinister charms to beguile – “to beshrew” – Thorold following that death.
Quite often, in these stories, the Dark Goddess Baphomet is invoked directly – as for example in The Temple of Satan, and In The Sky of Dreaming. In the latter, we are left to speculate as to whether the always un-named alien female shapeshifter who returns to Earth is actually Baphomet herself, and there are several clues, scattered throughout the text, which might be used to answer this question. In other stories – such as Jenyah and Sabirah – we are presented with sinister, vampiric-like, entities who have assumed female form (or who have always had a female form in our causal world) and who have dwelt on Earth for millennia, using the “life-force” of human male victims to sustain themselves, and who can easily be regarded as “dark daughters of Baphomet”. All of these women are mysterious, enchanting – and physically powerful: for instance, the woman described in Sabirah easily overpowers the young men who attempt to molest her, while Eulalia (in Eulalia – Dark Daughter of Baphomet) is a ruthless, though charming, killer of whom it is intimated she might be not only half-human but also the mysterious Falcifer, the power behind the male Vindex figure she has chosen and manipulates.
In general, such depictions – and the mythos of the ONA in general – may be said to empower women; to depict them in a way that has been long neglected, especially in the still male-dominated, materialistic, West. However, this empowerment, it should be noted, is based upon “the sinister”: upon there being hidden esoteric, pagan, depths, abilities and qualities in women who have an important, and indeed vital, rôle to play in our general evolution and in our own lives. Furthermore, it is one of the stated aims of the ONA to develope such character, such qualities, such Occult abilities, in women, and the following of The Seven-Fold Sinister Way is regarded as the means to achieve this.
Furthermore, the ONA’s depiction of such women – its explication of the dark feminine principle – is very interesting because it is a move away from, and indeed in stark contrast to, the “feminine principle” of both the political “feminism” which has become rather prevalent in Western societies, and that particular feminine ethos which many pagan and Wiccan “White-light” and Right Hand Path groups have attempted to manufacture.
This political feminism is basically an attempt to have women imitate the behaviour, the personality, the ethos, of men – which is what the strident calls for “equality” are essentially about, and as such it is often a negation of the character, and of those unique qualities and abilities, germane to women. The pagan and Wiccan type of feminism is most often about some dreamy, pseudo-mystical vision of a once mythical “perfect past” or about goody-goody types “harming none” – in stark contrast to the dark sinister goings-on of the ONA feminine archetype, which most obviously includes using sexual enchantment to manipulate those Homo Hubris type men “who deserve what they get…”
One of the central themes of the ONA’s Breaking The Silence Down is the nature of the dark goddess “manifest in or who can become manifest in women”, and there are many references, in ONA works, to a dark sorceress being one of the essential keys to “opening the nexion that allows The Dark Gods to return to Earth…”
Dark Shropshire Themes:
The still largely rural English county of Shropshire is the setting for many of the Occult stories of the ONA. The Giving, Breaking The Silence Down, Jenyah, Sabirah, Copula cum Daemone, and Hangster’s Gate are all located in Shropshire.
The reason seems obvious, given the ONA’s account of its own history, which is that this area was where its traditions survived into our modern era, handed down by a few mostly reclusive individuals, and where a few small groups of rural followers of that ancient sinister way met to conduct their pagan rites. A glimpse of one such group is given in Hangsters Gate, while Breaking The Silence Down tells of hereditary knowledge passed down from grandmother (or mother) to daughter, and The Giving presents an ancient pagan ritual, The Giving, which perhaps is the original folk form of the ONA’s The Ceremony of Recalling.
Interestingly, Hangster’s Gate and Breaking The Silence Down are set in the same area of Shropshire, a century or more apart, with some phrases of the later echoing some of those of the former, as if to suggest, to intimate, an hereditary link.
It should be noted that both Jenyah and Sabirah – dark stories of ageless female sinister entities (”demons”) – are set in Shropshire, as if to suggest that such entities may still be lurking in such places as they frequent in those stories, if one knows where to look, and has the good fortune (or misfortune, depends on one’s ethos) to encounter them.
119 Year of Fayen
(Updated 122 yf)
Appendix 1 – A Note Regarding The Deofel Quartet
The Deofel Quintet – the original Deofel Quartet plus Breaking the Silence Down – were designed as Instructional Texts for novices beginning the quest along the Left Hand Path according to the traditions of the ONA.As such, they are not – and were not intended to be – great, or even good, works of literature. Their intent was to inform novices of certain esoteric matters in an entertaining and interesting way, and as such they are particularly suitable for being read aloud. Indeed, one of their original functions was to be read out to Temple members by the Temple Priest or Priestess.In effect, they are attempts at a new form of “magikal art” – like Tarot images, or esoteric music. As with all Art, magickal or otherwise, they can and should be surpassed by those possessing the abilities. If they have the effect of inspiring some Initiates of the Darker Path to creativity, to surpass them and create something better, then one of their many functions will have been achieved.
This scanning, copying and recopying of the original typescripts (which themselves contained some typos) has resulted in numerous errors, omissions, and mistakes in the versions available on the Internet, and in the printed and downloadable books based on such Internet versions.
Such errors and mistakes are most obvious, for instance, in the story Copula cum Daemone (Copulating with Demons) – whose Latin phrases and words (deriving from Medieval and Ecclesiastical – not Classical- Latin) are for the most part corrupted through such copying.
Thus, the only genuine ONA versions are those original ONA typescripts (and direct photocopies or direct electronic images of them), which original typescripts were circulated by the ONA.
However, corrected, and revised, versions of various Internet texts have been issued, mostly by Anton Long. To date, corrected versions of all the texts of The Deofel Quartet, the text of Breaking The Silence Down, and of Hangster’s Gate, have been issued (available via the links above).
A notable exception to corrupted texts is Tales of The Dark Gods, which was first issued by the ONA on the Internet, and is available in various formats, including pdf.