“You are our salvation”: Professor Von Franz's Redemption in "Nosferatu" (2024)

The importance of Professor Albin Eberhart von Franz to the plot of “Nosferatu” (2024) cannot be underestimated. His character not only works as a sort of self-insert Robert Eggers in the narrative, but he’s the one who unravels the puzzle of Nosferatu by revealing the truth about Ellen's "sickness", and provides her with the language she needs to fully understand herself and her power (death). Von Franz moves in-between the “Victorian point of view” of the story (Hardings, Dr. Sievers and Thomas Hutter) and the Supernatural (Ellen, Orlok and Herr Knock): he’s the character who unites this non-linear and intricate narrative.

In an interview to “Deadline”, Willem Dafoe, explains his character, Von Franz, an expert on the occult and mysticism, is the only one who truly understands the psychic connection between Count Orlok and Ellen ("her dark bond with the beast").

Professor Von Franz is based on Professor Abraham Van Helsing character from Bram Stoker “Dracula” novel. They are both metaphysicians, and called to help Lucy Westenra/Ellen Hutter by their former student John Seward/Wilhem Sievers. They both discover the cause of the female character disease is a vampire/strigoi. While Van Helsing is described as Dracula’s arch-enemy, who has been on the hunt for him for a very long time, this isn’t the case with Von Franz; however, he came to Wisburg because he had a intuition something would happen: "I sensed something... It took me to Wisburg all these years ago, and I had felt that now it was imminently approaching. I thought it ill."

"Well, you see, he... von Franz is the most learned in the field... his mind... staggering. [...] It falls hard on me to recommend him... He was tossed out of the university – laughed out of his home country. [...] It grieves me to speak it, but he became obsessed with the work of Paracelsus, Agrippa, and the like. [...] Alchemy, mystic philosophy... the occult."

Professor Von Franz used to be an esteemed academic in his home country, Switzerland, until he became interested in the occult and alchemy, and started to propose a different approach to conventional medicine. Then, he became a laughingstock and was expelled from his university and country. Everyone thinks he's a madman, and a "lunatic" because of his beliefs and ideas. During the events of the film, we see him living in isolation, locked on his attic with his books and cats. Like Ellen Hutter herself, he’s also ostracized by Victorian society.

His surname is based on Marie-Louise von Franz, a Jungian psychologist, famous for her studies of Jungian archetypes in connection with fairy tales. We see the connection between Carl Jung and Von Franz in his talisman ring, a Abraxas stone ring, as Abraxas was a central figure in Jung’s esoteric texts, especially in “Seven Sermons to the Dead”.

Abraxas stone rings were considered magical talismans or charms since the Middle-ages, connected to the Seven Olympic Spirits (Aratron (Saturn); Bethor (Jupiter); Phaleg (Mars); Och (Sun); Hagith (Venus); Ophiel (Mercury) and Phul (Moon)); and to Gnosticism (personal spiritual knowledge above organized religion), who considered Abraxas as “the God above all Gods”.

We are introduced to Professor Von Franz when Dr. Sievers and Friedrich Harding go to his home, asking for his help with Ellen’s case. He reluctantly agrees. In this scene, Von Franz is presented as a scholar, dedicated to his alchemist studies, caring more about knowledge than social etiquette. To Harding (the Victorian patriarch), he's an eccentric and immediately perceives him as a lunatic, as he tells Dr. Sievers they should leave. Von Franz is attempting to transform black sulfur into gold, but has miscalculated the stars. He failed.

"I had nearly unlocked the final key of the Mysteriorum Libri Quinque. [...] No... no matter. I miscalculated the stars. Hermes will not render my black sulfur gold this evening."

This scene also features two Latin sentences: “Nolite dare sanctum canibus” (“Do not reveal what is sacred to dogs”) and “Neque mittatis margaritas vestra ante porcos” (“Nor cast your pearls before swine”). These sayings have the same meaning: don’t waste teachings in those who will not appreciate them. Which is both a message to the audience, and will resonate in Ellen's "three days countdown" Orlok gives her (animal symbolism).

Von Franz agrees to examine Ellen, and once he arrives at the Harding household, it’s clear he disagrees with Dr. Sievers methods. He orders Sievers and Harding to untie Ellen, and notices she’s drugged. Sievers confirms he has been using opiates (probably Laudanum, because it was widely used during the 19th century). Ellen immediately sees he’s not like the other Victorian doctors, and is hopeful. 

"Untie this child at once! [...] Untie her! [...] Drugged?"

Von Franz promises he’s there to help and asks Ellen about her childhood. Here, the Carl Jung inspiration is visible because Von Franz isn’t physically examining Ellen, he’s performing a psychological analysis of her. And he asks about her childhood to determine if she has any subconscious trauma. Ellen confirms she has been a somnambulist ("these spells") since infancy ("I cannot always remember them. As if my spirit wanders off. Sometimes it was... it is like a dream") and, then, she speaks of her supernatural gifts: “I know things. I always knew the contents of my Christmas gifts” and she had a premonition of her mother’s death (“I knew when… that my mother would pass”). 

"Spells" in Medicine don't mean "magic spells": "spells" are a sudden onset of a symptom or symptoms that are stereotypic, self-limited, and recurrent.

Then she talks about her father; when Ellen was a child, his father called her “his little changeling girl” (European folklore), because she enjoyed playing and being in nature ("Father... he would find me in our fields... within the forest"). However, this started to displease him as she grew older, and Ellen being a teenager would rebel: “but as I became older it worsened... Father dispraised me for it...” As Ellen was growing into a woman, her playing in the woods was no longer acceptable for a young lady in Victorian society, so, evidently, her father wouldn’t allow it, anymore. As it was expected of her, Ellen should learn how to be a proper lady, and future wife to a respectable husband. And, as she was getting older, her father stopped giving her physical affection, as well, because that would be inappropriate ("I frightened him. My touch"). And this hurt Ellen, deeply.

Ellen, then, talks about when she summoned Orlok, when she was 15 years old, without outright saying it: “I was so very alone, you see and… I wished for comfort… then a presence… and the nightmares, the epilepsies.” And Ellen tells Von Franz about the episode when her father found her naked and screamed “sin!” and threatened to have her institutionalized: “At last Papa found me once laying... unclothed, I was... my body... my flesh... my... Sin, sin, he said... He would have sent me to someplace... I shan't go... I-”

Orlok was no more than a shadow at her window at the time, and what Ellen was doing was masturbation (and Orlok would appear because it's sexual energy that conjures him), and, one day, her father caught her and shouted "sin!" and threatened to have her institutionalized because masturbation was considered the “ultimate sin” in Victorian society. It was called “self-pollution” and “self-abuse”, and both a moral and physical evil. Medical manuals adverted against this “evil”, for both men and women. In the early 19th century, female masturbation was considered a “anti-social behavior”, a form of insanity (“lunacy”) and epilepsy, and was believed to increase the risk of hysteria in women. Which is aligned with the Victorian diagnose of Ellen's character: melancholy (“abnormal beliefs”; hallucinations and delusions) and hysteria ("wandering womb").

Ellen, like Robert Eggers tells us, doesn't understand her power, and lacks the language and the knowlegde to do it. Which is why she believes “It all ended when first I met my Thomas. From our love, I became as normal.” It was not her love for Thomas that made Orlok's shadow disappear from her window, it was her who stopped masturbating and conjuring him, in the process. And her sexuality was now socially acceptable, too, because she has a husband to own and control it. 

And Von Franz also understand this, and says her “visions” and “night wanderings” (sleepwalking) have returned, and Ellen is displeased because Thomas left her (“he left on a fool’s errand. I fear for him so”): subtext of sexual dissatisfaction and frustration.

"Professor... My dreams grow darker, they sicken me. Does evil come from within us or from beyond?"

Later, Professor Von Franz physically examines Ellen, as her “trance” is beginning. He determines she has “too much blood”: in connection to “Humorism” (or “humoral theory”) with possible origins in Ancient Egyptian medicine, and then used by Ancient Greeks and Romans. Hippocrates suggested that humors are the vital bodily fluids: blood, phlegm, yellow bile, and black bile. This belief was common during Middle-ages in Europe, and also connected to Paracelsus. 

Ellen having “too much blood” means she has a sanguine temperament (not a melancholic temperament); it was believed that, when in good health, “sanguines” are cheerful and loving; but when there’s an imbalance, they are “hysterical”. The treatment is bloodletting (still used by Victorian medicine), to remove the excessive blood; which is what Von Franz also advices in Ellen's case.

"You [Dr. Sievers] have bled her to decrease the congestion? [...] And her menstruations are also? [Liberal]. Too much blood. Too much."

Von Franz determines Ellen “epilepsies” are, in fact, her communicating with the spiritual realm. She inhabits the “borderland”, a peripheral area, a portal between the two worlds: the physical (matter) and the spiritual: “The pupil is expanded. It does not contract naturally to the light. […] A second sight. She’s no longer here. […] She communes now with another realm.”

Next, he tries to determine with whom Ellen is communicating with, and uses his Abraxas stone ring to compel her to speak, and he conjures both angels and daemons during this scene: "I command you, hearken to my voice. By the protection of Chamuel, Haniel, and Zadkiel, impart your speech unto me. In the name of Eligos, Orabas, and Asmoday, impart your speech unto me!" But what stands out to Von Franz is “you are promised to me”, as Ellen breaks from her trance and begs for him to help her. 

Once the examination is over, Professor Von Franz comes to three conclusions: 

1. Ellen is cursed, in the sense she’s obsessed of some spirit, most likely a daemon;
2. She’s “hysteric” because, as sanguine temperament, she has “too much blood”;
3. She is a medium (“I believe she has always been highly conductive to these cosmic forces, uniquely so”). A medium (or a psychic) is someone who has the ability to connect with the spirits of deceased loved ones, spirit guides, and other non-physical entities.

"Yes, cursed. The dear young creature is obsessed of some spirit ... perhaps some daemon. Daemonic spirits more easily obsess those whose lower animal functions dominate - Daemons like them, they seek them out. Hysterics, children, lunatics... which reminds me - Sievers, you must introduce me to your mad man tomorrow. Somnambulists afflicted with these perversions oft possess a gift: a second sight into the borderland."

Spiritual obsession is when a person's behavior is influenced by evil spirits, through mental communication (words), compelling them to act a certain way, usually out-of-character, morally corrupted or even criminal. In Spiritism, obsessive spirits are usually the culprits for mental disorders. Allen Kardec describes the “subjugation stage” of spiritual obsession as: “an involvement that paralyzes the victim's will, causing him to act in spite of himself. The subjugated is led to make decisions that are often absurd and compromising which, for a kind of illusion, he considers sensible.” And this mental subjugation is so powerful it can cause disturbances in the medium’s internal organs, mental capacities (brain) and cause involuntary body spasms (muscles). 

In his “The Book of Mediums”, Allan Kardec says mediums are more vulnerable to this sort of haunting, which is what Von Franz believes to be Ellen’s case. A obsessive spirit will shut down other spirits and prevent them from communicating with the medium; they influence the medium to behave a certain way. Obsessive spirits are like little devils whispering in the medium's ear and telling them to do this, or do that. 

Professor Von Franz knowns Ellen "hysteric fits" are all on herself, but he believes it's Orlok who influences her to behave like this because of what he whispers in her ear. Except this is not the case, it’s Ellen herself who is conjuring him for their communications to happen because the narrative establishes Orlok needs to be summoned. From her part, Ellen doesn't understand any of this, and will believe Orlok is like a demon possessing her body, when he's not (which is what she'll discover during her "possession scene").

However, Professor Von Franz doesn’t know who this daemon is, how it was summoned and unleashed. And he says he’ll return to his studies to see if he can discover something. In the meantime, he asks Anna Harding to observe Ellen's behavior, and forbids Dr. Sievers from drugging or restraining Ellen during her "trances": "then rave she must!"

The next time we see Professor Von Franz, he’s with Dr. Sievers to examine the captain of the ship which brought Orlok to Wisburg, and he says: “Sievers, I requested conference with your maniac, not a dead man”. He knows the two cases (Ellen and Herr Knock) are connected, and in this scene, while examining the captain’s corpse he determines this is no mere plague.

"Angels and Daemons protect us!"

With Harding and Dr. Sievers, Professor Von Franz reveals the daemon who is haunting Ellen is the same who’s responsible for the plague upon Wisburg, and he’s a Nosferatu, a vampyr. Friedrich Harding doesn’t believe it, and calls it “medieval devilry”. Von Franz describes Orlok as “a force more powerful than evil, it’s death itself” and “it’s desire is to consume all life on earth”. Which echoes with Herr Knock screaming “blood is the life”.

Von Franz has successfully determined the daemon obsessing over Ellen is a Nosferatu, a strigoi, and, as such, he wants to consume all life on earth (blood/soul), but why does he want Ellen specifically, and says she’s promised to him, he does not know, yet. 

"I have seen things in this world that would have made Isaac Newton crawl back into his mother’s womb. We have not become so much enlightened as we have been blinded by the gaseous light of science. I have wrestled with the Devil as Jacob wrestled the angel in Peniel and I tell you, if we are to tame darkness, we must first face that it exists."

 

When searching Herr Knock’s office alongside Dr. Sievers, Von Franz reveals he’s aware Knock made a compact with the Nosferatu, and he must be found. As they search the office, Von Franz finds symbols he recognizes as Şolomonari (Romanian folklore), and discovers a book, which he identifies as the Şolomonari codex of secrets. Later, Von Franz reveals to Dr. Sievers and Harding: “our Nosferatu is of an especial malignancy. He is an arch-enchanter, Solomonari, Satan's own learned disciple.” Here, Von Franz is telling the audience the codex belongs to Orlok.

This is a reference to the "Dracula" novel by Bram Stoker; in the book, it’s Van Helsing/Von Franz who reveals that Dracula/Orlok studied at the Scholomance/is a Şolomonar: “learned his secrets in the Scholomance, amongst the mountains over Lake Hermanstadt, where the devil claims the tenth scholar as his due”; which is what the Old Abbess tells Thomas: “A black enchanter he was in life. Şolomonari. The Devil preserved his soul that his corpse may walk again in blaspheme.”

Von Franz also finds out Orlok and Knock’s covenant: “His thunder roars from clouds of carcasses, I feedeth on my shroud, and death avails me not. For I am his.” This is a reference to Germanic folklore of the nachzehrer (or "shroud eater"). Herr Knock wants to know Orlok's secret of immortality, and he thinks it's connected to be a strigoi (Balkan folklore), and that's what he seeks to become. Like his book counterpart, Reinfeld, wanted to become a vampire like Count Dracula.

As I’ve analyzed in a different post, Orlok has no Satanic symbols on his sigil and coat of arms, because he’s, in fact, a Pagan worshiper of the Dacian god Zalmoxis, but Paganism was demonized by Christianity and their followers labeled as “devil worshippers”. And Von Franz, student of the occult or not, is a man of his time.

"Şolomonari... And their codex of secrets."

Von Franz is furious because Harding expelled Ellen and Thomas Hutter from his house, and says they are in danger, because he knows Orlok believes Ellen is promised to him, but he doesn’t know why. Harding asks Von Franz how can they kill a strigoi, and Von Franz says he doesn’t know because the accounts are different from region to region: boiling wine, a spike of cold iron, decapitation, setting it on fire, etc. What all the legends have in common is that the strigoi needs to “return to the earth where it was buried, by the first crow of cock, because it needs to sleep on his grave by day. Von Franz is curious as to why. 

Friedrich Harding, the Victorian patriarch, doesn’t believe any of this, and expels Von Franz and Dr. Sievers from his house. We also see Harding embodying Victorian society during this scene: Von Franz is deranged and a laughing stock; Ellen is mad and should be institutionalized, and there are no such things as “supernatural creatures” causing disease, there’s always a rational explanation ("My Anna was bitten by vermin. Rats. No more.") 

Symbolically, Friedrich Harding kicking out both Ellen and Von Franz from his household means they, both, have no place in Victorian society. And he also reminds Von Franz why he has no place within academia alongside his peers, either, wounding his pride in the process; he “doesn't know”, he has no credibility and his words are meaningless. Harding is accusing Von Franz of being a fraud and a charlatan.

"You don’t know? He doesn’t know. All your fine lectures are mere regurgitations from bloody books?!"

Later, Professor Von Franz studies the Solomonari codex of secrets, and comes across a page with instructions in how to free a Solomonar from his own Nosferatu curse. And this page is filled with notes, which indicates someone has been studying it, or study it, in the past. And the instructions are: "and so the maiden fair did offer up her love unto the beast, and with him lay in close embrace until first cock crow, her willing sacrifice thus broke the curse and freed them from the plague of Nosferatu.” 

It speaks of a young woman in love ("offer up her love") with the strigoi ("the beast"), who sacrifices herself, of her own free will ("her willing sacrifice"), to break the curse, and has sex with him ("with him lay in close embrace") until dawn ("first cock crow"). "Offer up her love" can also mean "offer up her heart" because Orlok feeds off heart blood (where the soul is); this is both metaphorical and literal.

As Lily-Rose Depp reveals in one interview, the point of the final scene is: "she’s [Ellen] doing a good deed and she’s breaking the curse”. The goal is to break the curse of Nosferatu Orlok has on himself for his spirit to be set free. And Ellen herself has to die, as well, because that's the only way to break the curse and for them to fulfill their covenant. And, as Bill Skarsgård, stealthily confirms in the same interview: "maybe that is what Orlok wanted all along.” Which Robert Eggers also addresses when discussing his ending: "there is a sacrifice [...] also a weird kind of sacred marriage, in a union sense, and a sort of completion of some kind of destiny [...] he’s [Orlok] the only person who can understand and fulfill a part of Ellen."

In his interviews, Robert Eggers himself describes his Ellen as a “dark, chthonic female heroine” who “makes the ultimate sacrifice, [to be] able to reclaim this power through death” because “she’s a victim of 19th century society”. “Chthonic” is related to spirits and entities from the Underworld.

“She's the way.”

And, now, everything makes sense for Professor Von Franz: he discovers, at last, what Orlok truly wants, and why he's haunting Ellen. Orlok wants Ellen to break his curse. And these instructions mention "love" (the fair maiden and the beast) from the curse. And Von Franz remembers what Ellen told him the first time they spoke; how she wished for comfort and a presence appeared, and Orlok saying she’s promised to him. Von Franz now understands the depth of Ellen and Orlok’s connection, and he sees, at last: Ellen was the one who cursed Orlok, and she's the one who can put an end to his curse, too. Now, he has all the answers he needs.

The next time Professor Von Franz meets Ellen is at Anna and the children funerals. His first words to her are: "more will be taken"; to stir her into action. And now Von Franz will embody Carl Jung once again and observe and analyze Ellen’s behavior, and even playing "reverse psychology" on her. And Ellen wants to speak to him in private, until they are interrupted by Friedrich Harding wanting to expel them.

“Take that blackguard from this place! Your diseased mind has brought all of this outrage– Your very presence does me wrong!” 

And Thomas Hutter (part of the Victorian POV of the story) intervenes, to convince Harding that Nosferatu exists, and it's his fault. Next, we see these characters in a carriage, as Professor Von Franz talks about destroying Orlok and his lair in Grünewald Manor, so he’ll have no safe place at dawn, and Thomas says he’ll drive a spike of cold iron through him, as he saw it done in Transylvania. 

Professor Von Franz know this plan to destroy Orlok will stir Ellen into action to stop it, and it's what happens because she wants to go with them, but is rejected. Von Franz is no longer interested on why strigoi need to sleep on their graves by day, or what method to use to destroy them. He knows Ellen and Orlok are connected (like Orlok and Herr Knock), and he wants her to accept Orlok's covenant, because it's related to the instructions in the Solomonari codex of secrets. And he has told no character about this book because "Do not reveal what is sacred to dogs, nor cast your pearls before swine". When Friedrich Harding asked him to elaborate on Orlok being a Solomonar, Von Franz shuts it down using Herr Knock's perceived insanity as an excuse. Later, he studies the codex, so, evidently, he's not casting pearls before swine, indeed.

And in the "carriage scene", Ellen has taken Von Franz's bait because she wants to walk him to his door, for them to be able to speak in private, like they wanted at the funeral.

Ellen and Professor Von Franz goals are aligned in this scene: Professor Von Franz wants Ellen to accept Orlok's covenant; and Ellen herself wants to do it, and needs him to get Thomas out of the house, but she's still conflicted and seeks his counsel: “yet my spirit cannot be evil as his”. 

And Von Franz fully embodies Jung “integration of shadow theory” here, as he finally gives her the answer to her question when they first met (“does evil come from within or beyond?”): “We must know evil to be able to destroy it, we must discover it within ourselves. And when we have, we must crucify the evil within us, or there is no salvation.”

And this sparks something in Ellen because she says “I need no salvation” (and she doesn’t need to crucify the evil within herself either), because “my entire life I have done no ill but heed my nature”. And her "nature" is dual, she's both good and evil, a Pagan elemental spirit, like Orlok himself.

"I believe only you have the faculty to redeem us."

And Professor Von Franz doesn't talk about "destruction", anymore. But redemption, because he knows what Orlok seeks (to be free from his curse): "I believe only you have the faculty to redeem us." Von Franz is an alchemist; in Alchemy “redemption" is connected to the “Philosopher’s Stone”, the “Stone of the Wise”, the “Magnum Opus” of transformation and enlightenment: “gold-making”, Chrysopoeia, transmuting common metals into gold; which was what Von Franz himself was attempting when we, the audience, are introduced to him.

Professor Von Franz is telling Ellen only her can transmute black sulfur into gold, only her can redeem Orlok (break his curse), and himself (because he's seen as a charlatan and a fraud). All she needs to do in order to accomplish this is be faithful to her nature, her power, fully embrace herself. And this is no coincidence, because Orlok has the alchemist symbol for blood on his personal sigil, which indicates he was an alchemist himself in the late 16th century, and Von Franz recognized him as such, after reading the Solomonar codex of secrets. The Professor also diagnosed Ellen with having "too much blood" (sanguine temperament) and the cure is bloodletting, being drained of the excessive blood; Ellen and Orlok's are each others' cures.." 

And Professor Von Franz confirms what Orlok has told her twice already ("You are not for the living. You are not for human kind"), by telling her that in Pagan times she could have been a great priestess of Isis, Queen of the Underworld (whose "myth of Isis and Osiris" finds reference in Ellen and Orlok's story). Neither Ellen nor Professor Von Franz has a place within Victory society, they are both relics of a different time, a different place, with a different way of believing, thinking and behaving. In Pagan times, they would be respected as priestess (Ellen) and physician (Von Franz), but in the modern world they are demonized. And the same is true for Orlok himself; who’s the personification of demonized Pagan beliefs, and wants to be free from his curse. Ellen is their salvation. 

"In heathen times you might have been a great priestess of Isis. Yet, in this strange and modern world your purpose is of greater worth. You are our salvation."

And so, Professor Von Franz will spent the night stalling Thomas and Dr. Sievers, making them believe they will hunt down and destroy Count Orlok, while Ellen fulfills her covenant with him, and breaks the curse, ending the plague of Nosferatu for everyone. And when Thomas and Dr. Sievers discover the truth, they are both vexed and outraged because it’s “not moral”. And they both run back to Thomas and Ellen's house in an desperate attempt to stop it, and destroy Orlok with a spike of cold iron.

"God is beyond our morals."

And Von Franz tells them "She wills it! Your wife wills it!" as in it's Ellen's desire, this is what Ellen wants. And Orlok himself “can't resist her blood!” Which comes full circle with his diagnose of Ellen as having “too much blood”, and being a sanguine temperament. The cure for which is being drained of blood. And what this, actually, means is “Orlok cannot resist Ellen", like Friedrich and Anna Harding (the mirror couple to them). This is what both Ellen and Orlok want. And Thomas cannot out-run Ellen's destiny, which is joining Orlok in the Afterlife.

"Redemption!"

At the end, Professor Von Franz succeeds in calculating the stars and Hermes renders the black sulfur, gold, as he, too, emerges redeemed and avenged by Ellen’s fulfilling her covenant with Orlok, as they both evolve from a diseased and corruptive state (black sulfur; Nosferatu) into a regenerative and perfect state (gold; spiritual world), after being purified by fire (Sun). Nosferatu is an empty shell, their spirits have ascend, united ever-eternally.

In modern occult beliefs, Alchemy is considered as a mystical system designed to transmute the soul from a “base” or “leaden” state of spiritual impurity to a “gold” or purified state of divinity, with the chemical procedures of alchemy being an elaborate metaphor for psycho-spiritual development. This idea was popularized by Carl Jung, among others.

In Alchemy, this “gold” wasn’t like common gold, it was a miraculous, incorruptible substance, “the true and indubitable treasure”, which could only be perceived by those who can see with their mind’s eye: “Nolite dare sanctum canibus” (“Do not reveal what is sacred to dogs”) and “Neque mittatis margaritas vestra ante porcos” (“Nor cast your pearls before swine”).

"I [...] unlocked the final key of the Mysteriorum Libri Quinque."