MatthewJ1's blog

THE SATANIC BIBLE DEDICATION PAGE

 

I thought you might be interested in this. Below is an excerpt taken from Stephen Flowers’ book ‘Lords of the Left Hand Path.’ It was re-quoted by Michael Aquino and I think it also appears in the Underground version of LaVey’s TSB. Below is the original TSB Dedication Page with comments by Flowers. It is great stuff.

 

‘Essential to the nature of the myth of any figure such as Anton LaVey are the influences which shaped that figure’s thought and action. LaVey himself provided a core list of such influences on his thought on the dedication page of the original printings of his Satanic Bible. It is telling that in more recent printings of the book this page has been omitted.

 

On that list appear 19 primary personages, with 20 more given a sort of “honorable mention”. There is also one animal, Togare, LaVey’s famous pet lion, and the Nine Unknown Men. [Almost 70 other names appeared in a similar list in his Satanic Rituals book. These too have been removed in recent printings.]

 

Space does not permit me to discuss each one of these personages in any detail, but the primary list is extremely important to understanding LaVey’s Satanic philosophy.

 

The 19 primary men are (in the order he listed them): Bernardino Logara, Karl Haushofer, Grigory Yefimovitch Rasputin, Sir Basil Zaharoff, Allesandro Cagliostro, Barnabas Saul, Ragnar Redbeard, William Mortensen, Hans Brick, Max Reinhardt, Orrin Klapp, Fritz Lang, Friedrich Nietzsche, William Claude Dukinfield, Phineas Taylor Barnum, Hans Poelzig, Reginald Marsh, Wilhelm Reich, and Mark Twain. After the names of each of these, LaVey characterizes them with a dedicatory phrase. These are given in quotation marks in the discussions below.

 

Bernadino Logara, “who knew the value of money”, unidentified, presumably a manipulative banker or financier.

 

Karl Haushofer (1869-1946), “a teacher without a classroom”, was the founder of the theory of “geopolitics” and a professor of geography at the University of Munich. He was sympathetic with National Socialism and exerted influence on its ideology, especially through one of his students, Rudolf Hess. However LaVey’s image and admiration of him comes through the modem mythologizing contained in The Morning of the Magicians, in which the authors have Haushofer involved in various occult goings-on in Tibet and with the infamous Thule Gesellschaft of Rudolf von Sebottendorf. There is, however, no evidence for these more “occultnik” connections.

 

Rasputin (1872-1916), “who knew the magic of a child”, was much admired by LaVey because he saw the Russian “mad monk” as a lusty manipulator of people (especially women) and power - all traits pursued by LaVey himself. But Rasputin was not likely to have had anything really “Satanic” about him. LaVey was most certainly inspired by more lurid accounts of Rasputin - and by the film Rasputin: The Mad Monk (Hammer, 1965).

 

Sir Basil Zaharoff (1850-1936), “a gentleman”, was an arms merchant who sold weaponry and encouraged his customers to use their purchases - all while not only becoming wealthy but being knighted by the King of England too!

 

The “secondary” dedication names: Howard Hughes, James Moody (CS member), Marcello Cagliostro (1743-1791), “a rogue”, was the assumed name of an Italian magician and alchemist named Guiseppe Balsamo. He billed himself as a “Count” and the “Grand Kophta of the Egyptian Lodge”, but what was less known was that he had been expelled from several countries due to his fraudulent dealings. He was popular with the people and a supporter of revolution, but ended his life in the dungeons of Pope Pius VI.

 

Barnabas Saul was the first “scryer”, or medium, employed by the Elizabethan mage John Dee (1527-1608). After leaving Dee’s service, Saul disavowed his visions.

 

Ragnar Redbeard (18427-1926?), “whose might is right”, is a story unto himself. “Redbeard” was perhaps the pseudonym of Arthur Desmond, an atheist and social Darwinist street-philosopher from whose book, entitled Might is Right LaVey lifted whole sections to create the “Book of Satan” portion of the Satanic Bible.

 

William Mortensen, “who looked ... and saw”, wrote a photographers’ manual entitled The Command to Look (1937). The psycho-optical theories contained in it greatly influenced LaVey’s approach to art and to images and the way they can influence the human mind. It must be considered a keystone to LaVey and Satanism.

 

Hans Brick, “who knows the law”, wrote a book entitled The Nature of the Beast (1960) which was a formative influence on the formulation of LaVey’s social philosophy, especially as contained in the Lex Talonis or “Eleven Rules of the Earth”.

 

Max Reinhardt (1873-1943), “a builder of dreams”, was born Max Goldman in Austria and became famous as a theatrical director who specialized in staging huge spectacles.

 

Orrin Klapp (b. 1915), “the walking man”, is a sociologist whose works Heroes, Villains and Fools (1962) and The Collective Search for Identity (1969) were greatly influential on LaVey’s ideas of social movements and change.

 

Fritz Lang (1890-1976), “who made moving blueprints”, was an Austrian film director who made such classics as Metropolis (1926) and M (1930).

 

Friedrich Nietzsche (1844-1900), “a realist”, was a German philosopher and forerunner to the existentialists. His ideas of the overman (or “superman”) and the “will to power”, as well as his ideas concerning the existence of natural “masters” and ’’slaves”, are greatly admired by modern philosophical Satanists.

 

W.C. Fields (1880-1946), “who saved me a journey to Tibet”, was the stage-name of William C. Dukinfield.          

                                                                                                                                                           

P.T. Barnum (1810-1891), “another great guru”, was the American showman famous for his exhibits of freaks and establishment of circuses. Barnum’s supposed basic philosophy - “There’s a sucker born every minute” - was taken to heart by LaVey and used as a mainstay of his worldview.

 

Hans Poelzig (1869-1936), “who knew all the angles”, was a German architect who specialized in grandiose and imaginative structures. An example is the Grand Theater in Berlin, also called the Max Reinhardt Theater (1919). He was also the set designer for The Golem (Deutsche Bioscop, 1914).

 

 

Reginald Marsh (1898-1954), “a great artist”, was an illustrator, scene designer, and painter of gritty street scenes, greatly admired by LaVey, who is himself a painter of unusual subjects.

 

Wilhelm Reich (1897-1957), “who knew more than cabinet making”, was a German psychologist who held that there was a material force called “orgone” which worked in conjunction with the human orgasm. This force could also be collected in “cabinets” called “orgone accumulators”.

 

Mark Twain (1835-1910), “a very brave man”, was the pen name of Samuel Langhorn Clemens, the great American writer. LaVey much admires Twain for his works Letters from the Earth (1962) and The Mysterious Stranger (1969). In an early Church ofSatan document, LaVey praises Twain as “one of the greatest of the Devil’s advocates in history” and as “the most noble embodiment of the Satanist”.

 

This list of influences provides invaluable insight into the formation of LaVey’s philosophy and outlook on life. Of the 16 identifiable men fully half of them are artists of one kind or another. Of these, five dealt with the creation of visual imagery and two, W.C. Fields and P.T. Barnum, were best known as “trickster” figures. The idealization of image makers should provide some clue as to the true nature of LaVey’s philosophy and magic.’

 

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