Zoroastrianism and Zervanism—different branches of what survived in later eras of christianity and our era in the form of Gnosticism—preceded christianity by millennia. Nevertheless, absolutely everything in islam, christianity, and judaism—in any form of abrahamism and later monotheism—was completely stolen from Zoroastrianism and Zervanism.
The creation of the first human couple, original sin, heaven and hell, the flood, the apocalypse, good and evil, salvation, monotheism, the opposition of good and evil as two equal principles of the universe — all this boiled down to what we know as the Ancient Iranian religion with its opposition of universal good and evil. These people were called magicians. Initially, this shows that what later became religious Zoroastrianism and its later filth version of xianity was originally a system of magic, and everything in it was originally symbolic. It contains what would later become the Absolute and the Demiurge in Gnosticism. The emergence of evil was not the birth of Ahriman, but the fact that the Absolute was split into separate elements, the division of unity into multiplicity. Zervan is the Absolute behind everything, Ahura Mazda is a kind of likeness of his identity in the observable universe. They resemble the split between Satan and Beelzebub. One is the unknowable cosmos behind everything. The second is its accessible form in this world. But in essence, both are beyond human split understanding.
Many similar teachings say the following: an ideal world existed when consciousness (universal or human, it does not matter — the Observer) could contemplate everything in its entirety. When it began to see trees and not see the forest, that’s when problems began. This state is described by the Demiurge, who is unable to see anything beyond his own observable universe. This is reflected in astrology. The 1st house is one’s own observable universe, the 7th is what lies beyond it. And it is precisely this axis that is the axis of good and evil, associated with the Scales of Maat and karmic punishment for evil deeds. Deeds committed because of not seeing anything beyond one’s own observable universe. Limited perception is the ancient evil, according to Zervanism and similar millennia-old teachings, that marked the beginning of great wars. Example being:
“Gayōmart Gar-shāh (King of the Mountains) was the first human Uhrmazd created. Before Gayōmart came, in the fifth “Gāh” (Ahura Mazda created the world in six Gāhs) Gavevagdāt (the primordial ox) had been created from mud in Erān-vēdj (which was the middle of the earth) on the right side of the river “Veh-Dāit” … In the sixth “Gāh” Gayōmart was created from mud … on the left side of “Veh-Dāit”, to help Uhrmazd and he was created in the form of a 15-year-old boy. They lived for 3000 years in peace, neither eating, speaking nor praying, although Gayōmart was inwardly considering these things. At the end of this 3000-year period (during which Ahriman lay stunned by Uhrmazd’s Ahunawar incantation and could do nothing) Jēh (the demonic whore) cried out, awakening him … whereupon Ahriman and his minions the Dīvs fought with the light and, on the first day of spring (i.e. the 1st of Farvardin, the Iranian New Year) Ahriman leaped forth onto the earth in the form of a dragon. He started to create death, illness, lust, thirst, hunger among all living things and disseminated throughout the world the Kyrm (the class of evil creeping things which includes reptiles, insects and rodents) […] In the catastrophe Gavevagdāt died (this being also the symbol of the old year giving way to the new, as depicted in Persepolis reliefs); and Ahriman left “Astovidat” (a Dīv) to guard Gayōmart, but could not kill him because his time had not yet come […] he lived for 30 years afterwards and, when, finally, he died, fell upon his left side and shed his semen upon the ground, which was then fertilized by the sun […] and after 40 years there grew Mashya and Mashyana as two rhubarb plants …”
According to myths, in those days Ahriman allegedly broke through to Heaven with his troops and waged an exceptionally monstrous Battle of the Gods there, was thrown down from there, fell to Earth, where he burrowed into all living things, including the original Bull, from there he broke through to Heaven again, and while this protracted war continued, the Primordial Bull died from mortal wounds. In other words, the Age of Taurus ended with a war of universal proportions, when ‘evil,’ so to speak, broke through to some transcendent height, where it caused a great deal of harm, so much so that entire humanities and worlds, symbolically represented by the Primordial Bull, perished in the course of the war with it.
Also, the fixation on a single universe, a single world, is what is discussed in the book The Emerald Tablet of Thoth Atlanta, which was allegedly written by him after the terrible destruction of Atlantis — yet another era of great wars and the destruction of yet another series of civilisations. It says that everything exists simultaneously — all universes, all worlds, all times — in one moment in one place — and only our focus is important. Time, with its fragmentation into parts, like space, exists only for our perception, fixed on a specific point or part of it. In reality, everything exists always and everywhere, and the problem of not understanding this lies only in the fragmentation of our perception. We extract only one world at a time from reality. And the very same things some quantum mechanics interpretations say and prove. Both Zervanism and Gnosticism say that the Demiurge is essentially a consciousness that has extracted only one physical world from reality, while this consciousness itself was generated by only one of the eons without the participation of other eons. In other words, this consciousness fell into the trap of perceiving only one world at a time, while the reality does not end there.
In essence, Gnosticism, the Emerald Tablet, and, I am sure, the origins of true Persian magic, all assert that the limited material world we perceive is an illusion, or rather, a distortion of our perception.
As far as I understand that the medieval grimoires Necronomicon and The Secrets of the Worm, which laid the foundations for the more famous Lovecraftian myths based on Arab folklore, date back to roughly the same depths of the Middle East’s immemorial past, since there is also this concept of the inner and outer universe or the inner and outer spheres. In particular, in De Vermis Mysteriis (The Mysteries of the Worm), the observable physical world is likened to bellows filled with air in an ocean of water.
Next, I would like to bring to your attention a quote from a remarkable study of the Middle Eastern folkloric origins of Lovecraft’s work, which, in my opinion, clarifies the whole essence of jewish theft:
“HPL wrote that the Necronomicon was written Abdul Alhazred, who was called the “Mad Poet.” Alhazred visited the lost city “Irem of the Pillars” (the center or the cult of Cthulhu) and encountered many strange and magickal things there. Lovecraft placed Irem in the Rub al Khali. When he was very old, Alhazred recorded what he had learned in his book of poetry _Al Azif_ (later retitled Necronomicon).
Irem is very important to Arab magick. “Irem Zhat al Imad” (Irem of the Pillars) is the cities name in Arabic. It is popularly believed by the Arabs that Irem was built by the Jinn under the direction of Shaddad, Lord of the tribe of Ad. The tribe of Ad, according to legend, was a race roughly equivalent to the Hebrew “Nephlim” (giants). In some version of this myth Shaddad and the Jinn built Irem before the time of Adam. The Muqarribun (Arab magicians) have important beliefs about Irem and it’s significance. The Muqarribun, whose traditions predate Islam, believe that Irem is a locale on another
level of reality, rather than a physical city like NY or Tokyo. (Why Irem is important to the Muqarribun and how they use it will be more fully explained shortly.) The “Pillars” in “Irem of the Pillars has a hidden meaning. Among Arab mystics pillar is a code name for “elder” or “old one.” Thus “Irem of the Pillars” is really “Irem of the Old Ones.” (It is noteworthy that several Lovecraft “scholars” erroneously claim that HPL created Irem, just as they claim he created the Necronomicon, as part of his fiction).
In Arab legend Irem is located in the Rub al Khali just as HPL said it was. To the Muqarribun the Rub al Khali also has a “hidden” meaning (incidentally the art of encoding and decoding “hidden” meanings in Arab mystical or magickal writing is called Tawil). Rub al Khali translates as “the EMPTY Quarter.” In this case Empty refers to the VOID and is the same as AIN in the Cabbalistic traditions. Rub al Khali is the “secret” door to the Void in Arab magickal traditions. It is the Exact Arab equivalent to DAATH in the [jewish] Cabbala. To the Muqarribun the Rub al Khali is the secret gate (Daath) to the Void (Ain) in which is the “city of the Old Ones.” This is Incredibly close to Lovecraft, who made many references to a gate connected with the “Old Ones.” Further Lovecraft claimed that the Old Ones were from Outside (another dimension of reality) and linked them with the “infinite void.” By making these claims about the “Old Ones” and connecting them to Irem and the Rub al Khali Lovecraft tapped into the very core of an almost unknown (but important) area of ancient Arab magick. What makes this even more interesting is that there is no way to know about the “hidden” meaning of Irem unless you have done some serious research into Arab magickal and mystical traditions.
Thus Lovecraft either made one of the luckiest guesses in history or actually did some research into the deeper aspects of the Muqarribun magickal traditions (to my knowledge there were no publicly available books with this information in Lovecraft’s time). The “Rub al Khali” (not the physical desert, but the Arab equivalent of Daath) was entered in an altered state of consciousness (some where between dreams and the complete absence of thought) by the Muqarribun. Irem represents that part of the “Empty Quarter” that acts as the connection to the Void. It is from this place (Irem) that the communion with the Void and that which inhabits it can happen. The “monsters of death” and protective spirits Lovecraft mentions are the Jinn (see below). The Muqarribun can interact with these entities when he is in the “Rub al Khali” or “Irem.” When the Muqarribun passes through Irem to the Void he achieves Annihilation (fana).
Annihilation is the supreme attainment in Sufi and Muqarribun mysticism. During Annihilation the magicians entire being is devoured and absorbed into the Void. The self or “soul” (nafs i ammara) is utterly and completely destroyed by this process. This is probably the sources of stories regarding the soul eating demons (associated with Irem) in Arab legend. This should be compared to Lovecraft in _Through the Gates of the Silver Key_ in which Irem is a type of portal to the Outside. A close comparison of this story with the Muqarribun ideas, discussed above, will again show that HPL had a knowledge of Arab magick that was not publicly available.
Next let’s look at Alhazred’s title. HPL wrote that Alhazred’s title was “Mad Poet.” “Mad” is usually written “majnun” in Arabic. Majnun means “mad” today. However, in the eighth century (Alhazred’s time) it meant “Possessed by Jinn.” To be called Mad or Possessed by Demons would be highly insulting to orthodox Muslims. The Sufis and Muqarribun regard Majnun as complimentary title. They even go so far as to call certain Sufi heroes Majnun.
Jinn were powerful creatures of Arab myth. The Jinn, according to legend, came down from heaven (the sky) in the time before Adam. Therefore, they pre-exist mankind and thus called “Preadamites.” “Infidel Pagans” worship these incredibly powerful beings.
The Jinn can “beget young on mankind.” The Jinn are usually invisible to normal men. They apparently want great influence on Earth. Much of the magick used in Arab countries concerns the Jinn (protection spells against, or spells to call them up). The Jinn are thus virtually identical with Lovecraft’s Old Ones.
Let’s look at the title “Mad Poet” some more. Jinn inspire poets in popular Arab myth. This is why Mohammad was so vehement in denying that he was a poet. He wanted it known that his revelation came from “God” and not the Jinn. So the title “the Mad Poet” indicates that Alhazred had made “Contact” with the Jinn (the Old Ones). It also Implies that his writings were directly inspired by them. This is entirely consistent with what Lovecraft wrote about Alhazred. Anyone unfamiliar with Arab magick and mysticism could not know the significance of “the Mad Poet” in Arabic. This again seems to indicate that Lovecraft probably had a source of rare information on Arab magick.
Lovecraft wrote that Alhazred’s Necronomicon was a book of poetry originally titled _Al Azif_. This also shows a deep connection to Arab magick and mysticism that would not be apparent to someone unfamiliar with these subjects. Al Azif is translated as “the book of the howling of the Jinn.” This title is remarkably consistent with the meaning of “the Mad Poet” in Arabic (The One Possessed by Jinn and Whose Writings Are Inspired by the Jinn). It is Also important that the Al Azif was said to be written in poetic verse. The Necronomicon (Al Azif) was concerned with many religio- magickal and mystical subjects. Nearly all Arabic Books on religion or mysticism were written as poems. This includes orthodox works (such as the Quran) as well as Sufi and Muqarribun writings. The name Cthulhu provides an Important and fascinating parallel with Arab magickal practice. Cthulhu is very close to the Arabic word Khadhulu (also spelled al qhadhulu). Khadhulu (al qhadhulu) is translated as “Forsaker” or Abandoner.” Many Sufis and Muqarribun writings make use of this term (Abandoner). In Sufi and Muqarribun writings “abandoner” refers to the power that fuels the practices of Tajrid “outward detachment” and Tafrid “interior solitude.” Tajrid and Tafrid are forms of mental “yoga,” used in Arab systems of magick, to help the magician free himself from (abandon) cultural programming. In Muqarribun texts Khadhulu is the power that makes the practices of Tafrid and Tajrid possible for the magician. Although I was familiar with the use of “abandoner” in Arab mystical and magickal writings I was unaware (until about two years ago) that Khadhulu appears in the Quran. I owe the knowledge Khadhulu shows up in the Quran (in a very significant way) to William Hamblin. In the Quran chaper 25 verse 29 it is written, “Mankind, Shaitan is Khadhulu.” This verse has two orthodox interpretations. The first is that Shaitan will forsake man. The other orthodox interpretation is that Shaitan causes men to forsake the “straight path of Islam” and the “good” ways of their forebears. The orthodox Muslim would view forsaking islamic culture as sinful and ungodly. However, Muqarribun and Sufis, as already discussed feel abandoning culture is vital to spiritual growth. The identification of Shaitan of the islamic tradition is very important. By the time Mohammad was writing Shaitan was being called “the Old Serpent (dragon)” and “the Lord of the Abyss.” The Old Serpent or Old Dragon is, according to experts such as E.A. Budge and S.N. Kramer, Leviathan. Leviathan is Lotan. Lotan traces to Tietan. Tietan, we are told by the authorities on Near Easern mythology is a Later form of Tiamat. According to the experts the Dragon of the Abyss called Shaitan is the same Dragon of the Agyss named Taimat. Scholars specializing in Near Eastern mythology have stated this time and again. Why is this important? Its importance lies in the fact that HPL described Cthulhu as dragon- like and sleeping in the abyss (ocean). Leviathan/Tiamat is also said to be sleeping or dormant. The identification of Shaitan the Old Dragon Lord of the Abyss with Khadhulu in the Quran is thus a very fascinating parallel with Lovecraft. The connection of the “Abandoner” with the Dragon is strengthened somewhat by a line from “The Book of Annihilation” an Arabic text on magick. This line translates as, “the dragon is an abandoner for he leaves all that is sacred. The dragon goes here and there without pause.” While this line is obviously symbolic (most likely referring to the practice of Tafrid) it does serve to establish a connection between the Dragon of Near Eastern myth with Khadhulu in Arab magick. The ancient dragon of the abyss (Tiamat) traces back to Sumeria. Sumeria was the oldest civilization known to have existed. If Khadhulu of Arab mysticism is synonymous with the Dragon of mythology (which the evidence suggests it might be) then Khadhulu has been “worshipped” for a very long time. The numerous parallels between Cthulhu and the Muqarribun’s Khadhulu are strong enough to suggest that Lovecraft expanded on Arab myth to create his deity Cthulhu.
There is another interesting bit of information related to the Dragon of the Abyss (which originated in Sumeria) and Khadhulu. This data quite possibly is simple coincidence. On the other hand, it may not be coincidence; there is simply no way to tell yet. It concerns one of the titles of the Dragon, namely the Lord of the Abyss. The title Lord of the Abyss translated into Sumerian is “Kutulu.” Kutu means “Underworld” or “Abyss” and Lu is Sumerian for “Lord” or “Person of importance.” Let’s consider this for a moment: the Sumerian Kutulu is quite similar to Khadhulu in Arabic. Khadhulu is associated with the Dragon in Arab magickal texts. Khadhulu is also Identified with the Old Dragon (Shaitan) in the Quran. One of the titles of this Dragon (Lord of the Abyss) is Kutulu in Sumerian. The word Kutu (abyss) is connected with the dragon Sumerian mythology. Indeed the ruler of the Abyss (kutu) in Sumeria was the Old Dragon Mumu-Tiamat. There is, it would seem, quite a bit of connection here and it may indicate that Kutulu and Khadhulu are on in the same. I first became aware of the similarity of Cthulhu and “Kutulu” reading a publication of L.K. Barnes. I was quite skeptical at first but I did not make a knee-jerk dismissal of the information. Instead I researched until I was able to confirm all the above information, related to the word Kutulu. The fact that the above information on Kutulu is accurate and very suggestive does not PROVE anything. It does, however, generally SUPPORT the idea that Kutulu/Khadhulu has been a part of the magickal traditions of the Near East for a very long time. The only thing that can be accepted as proof will be the discovery, in a Sumerian text, of the direct mention of the name or word Kutulu in the context discussed. To my knowledge this has not yet happened. Until it does (if it does) the Kutulu/Khadhulu equivalence will have to remain tenative.
Let’s closely examine the material on Arab magick. I believe it leads to one conclusion. Lovecraft had access to rare material on Arab magick and myths. Ignoring the possible coincidental equivalence of Kutulu and Khadhulu there is still overwhelming evidence supporting this proposal. Lovecraft used Irem in a manner that Parallels the Muqarribun background imageuse before this information was generally available. The Rub al Khali (Roba el Khaliye) is in truth important to the Muqarribun. The Jinn are exact counter parts of the “Old Ones.” Lovecraft’s description of Alhazred is VERY consistent with the Arabic Meaning of the “Mad Poet” even though this also was generally unknown in the 1930’s. The Al Azif (the howling of the Jinn) is obviously related to Alazred’s title: “The One Who is Possessed by Jinn and Whose Writings Are Inspired by Jinn.” Al Azif being a book of poetry is consistent with the fact that almost all mystical or prophetic writings in Arabic are poems. Khadhulu’s association with the sleeping Dragon of the Abyss is VERY close to Lovecraft’s Cthulhu who lays Dreaming in the Abyss (ocean). To my knowledge there was nothing available (in print) about Khdhulu in English in the 1930’s. All this seems to indicate that Lovecraft had a source of information of Arabic magick and myths not commonly accessible. It appears HPL expanded on some of the material, in this source, in his fiction. Please note that this in no way detracts from his considerable creastivity. HPL’s stories are great not because of few isolated elements but rather because of the way Lovecraft could blend the individual pieces into a whole.
In addition to the material above there are numerous other instances in which Lovecraft borrowed from Arab and Near Eastern mythology. Lovecraft probably expanded on Arab and other Near Eastern myth when creating his Deep Ones and Dagon. Arab myth mentions mysterious fish- men from the sea of Karkar. These fish- men are probably derivative of the myths related to the actual Near Eastern god Dagon. Dagon is a Philistine deity that appears as a giant fish- man. Dagon is a later version of the Babylonian Oannes. Oannes (Dagon) was the head of group of semi-divine fish- men. The Fish-man Zootype still plays an important role in some systems of magick. Clearly Dagon and the Deep Ones are direct expansions on Arab and Near Eastern mythology familiar to Lovecraft.”
I would like to add that Lovecraft and his contemporaries mentioned the so-called Hounds of the Barrier and the fact that one should run away from them not in straight lines but in curves, since they travel in straight lines, and nowhere except in The Emerald Tablet I have not seen this concept in any contemporary book from the early 20th century, nor in any European grimoire, which suggests that Lovecraft and his contemporaries had direct access to the Emerald Tablet. Moreover, in Lovecraft’s Dreams in the Witch House, a mathematics student and his astral tutors, in a collective attempt to pass differential calculus exam, moved ‘along the alien curves and spirals of some ethereal vortex’ as they journeyed towards the throne of Azathoth:
“… – and he thought that their progress had not been in a straight line, but rather along the alien curves and spirals of some ethereal vortex which obeyed laws unknown to the physics and mathematics of any conceivable cosmos”
In this, too, I see a hint of the correct movement — along the curves rather than the angles — which could only have been known from a single treatise.
Now. We see that essentially Arab, later Sufi, and I believe Persian, magicians practiced Void Meditation, reaching great heights in it and uncovering many of its secrets, which date back to the Emerald Tablet of Thoth Atlantis. Among them: the ability to travel through it and meet Demons and Gods, and, judging by the legend of the Arab Alhazred, less friendly entities, the ability to dissolve into it forever along with the Soul and Body and even (depending on the depth of meditation, since, apparently, based on the texts, including and above all the Emerald Tablet, this meditation can do anything), to physically disappear from this world and appear or not appear in another. Thus, allegedly, the mysterious Mad Poet Abdullah Alhazred perished, who was supposedly devoured right before the eyes of the crowd, but in reality, allegedly, was kidnapped. The texts claim that the Mad Poets, i.e. the Sufi masters, were able to move anywhere at will through the Void Meditation. All ancient legends of all peoples, mainly the Emerald Tablet, speak of the ability of the Void Meditation at its apparently advanced levels to move people between worlds and from one part of the same world to another. Given its age and relationship to Atlantis, one can only imagine how advanced this civilization was before it was punished by the Gods and destroyed by the waves, and be horrified by its monstrous demise.
Abandoning the enemy’s mainstream religion and the practice of disconnection, known as Hadhulu, are also described in islam itself:
Muhammad: Who do you think is the happiest person?
Iblis: The one who consciously stopped performing namaz.
– Hadith of Shaitan’s Revelation.
‘Shaitan is Hadhulu,’ and this is quite logical, since it is the practice of ceasing to perform blasphemous useless namazes and instead retreating inward for true Meditation and true Magic. The word Cthulhu / Kutulu / Hadhulu is most likely also related to the word Kundalini, as they mean the same thing – Dragon, Shaitan, Kundalini yoga – it is also abandoning attachment to islamic lies, false perception of the world, and deepening and expanding perception. In addition, namaz was stolen from this very Kundalini yoga, which is why there is such an emphasis on namaz in the Revelations of Shaitan. It was probably also useful for entering into the Void Meditation through working with the body and removing obstacles from the path of perception of many worlds, including the worlds of the Gods.
As for the Sufi legends about the Mad Poets, inspired by the Gods, who were masters and teachers of Sufism and Yazidism, Majnun, the famous Arab Romeo, madly in love with the beautiful Layla, who is, apparently, an allegory of Knowledge, supposedly wandered and died in the Wasteland in search of love. And this Wasteland is apparently the ancient Arab allegory of The Void, in which the God-Inspired wanders in search of Knowledge and into which he is able to go forever or not forever. And from here, the jews stole their wandering through the Arabian desert [the Arabian Wasteland] in search of the Promised Land (actually of other people’s lands to feed off of) — that of their prophets, that of christ, that of someone else.
The jews stole many things from The Void, including, as can be seen from the study, their Ain Soph, which is obviously the very Ether in which the Mad Poets travel along indescribable curves, shedding light on how these curves are connected with the attempt to hide from the Hounds of the Barrier from the Emerald Tablet. And their secret sefirah Da’at, which is not surprising given the presence of so many secret places in the middle of the Wasteland known to the Persians and Arabs.
The Wasteland is a place known to many grimoires, known as Dark, Devilish or Satanic, in essence, it is the Necronomicon, Mysteries of the Worm, etc., where magicians wander and meet Demons and ‘magicians of inhuman nature.’ There they search for the graves and relics of the great magicians of the past in order to obtain knowledge, manuscripts, etc. from them.
The Void separates one world from another, and sometimes entities from one world invade another through it. Something similar is used in one of the meditations of the Temple of Zeus, which offers a technique for creating such a portal between worlds:
Ectoplasm – definition on the Temple of Zeus website
Ectoplasm – discussion on the forum
Zervan the Eternal returns to this same Wasteland. The Primordial Zoroastrian, Zervanite, and Gnostic myths speak of the same division of consciousness into different worlds as the tradition of Arab magic, and that it must be returned to a state of perception that would allow it more freedom of movement than being in one limited three-dimensional world.
One can imagine how far back in time and science these ideas of Arab and Persian magic, which formed the basis of the Necronomicon and were later stolen and distorted by the jews, actually go. The first jewish figurines of reptilian gods and/or humans were found in Iraq, so it is not surprising that they absorbed the foundations of Babylonian and Persian magic, which existed there at the time. It was the era of Babylon and Persia that helped them form their perversions of christianity and judaism, and later islam, which were predicted by this era as the ‘Age of Zahhak’.
Sources and quotes:
Keyumars:
https://en.wikipedia.org/wiki/Keyumars
Video with quotes – here you can see the continuity between the Sumerians, Yazidis, Sufis, Persian magicians, and Zoroastrians [Russian]:
Шумеры
Мифы зороастризма
Абсолют и Демиург в зороастризме
Zoroastrianism, Zervanism, Gnosticism:
https://en.wikipedia.org/wiki/Vayu-Vata
https://en.wikipedia.org/wiki/Zurvanism
The ‘chosen’ perfect Gnostic, living in the ‘illusory world’ of secret knowledge [Russian]
Arabic magic, Necronomicon, European grimoires:
De Vermis Mysteriis: Unraveling the Secrets of the Wormhole by Roman Tertius Sibellius
Download free
Other link for download
Necronomicon by John Dee 1586
Necronomicon by Olaus Wormius in Latin 13 century
Parker Ryan. Necronomicon Information Text
[Read online]
Parker Ryan. Books on Arabian magic:
[Download for free]
The Necronomicon – templeofzeus.org
“The Dreams in the Witch House” by H. P. Lovecraft
Hadith of Shaitan’s Revelation (warning: extreme blasphemy)
Read also [Russian]: Завеса