The _Texts of the Saviour_ therefore clearly belong to a later form of Gnosticism than the _Pistis Sophia_ properly so called. The author’s intention is evidently to frighten his readers with the fate reserved for those who do not accept the teaching of the sect. For this purpose the division of mankind into pneumatic, psychic, and hylic is ignored[633], and this is especially plain in certain passages where the torments after death of those who follow “the doctrines of error” are set forth. Magic, which has been spoken of with horror in the _Pistis Sophia_, is here made use of in the celebration of the rites described, and the miraculous power of healing the sick and raising the dead, though said to be of archontic, _i.e._ diabolic, origin is here recommended as a means to be employed under certain safeguards for the purpose of converting “the whole world[634].” Even the duration of the punishments and the different bodies into which the souls of the men are to be cast are made to depend upon the relative positions of the stars and planets which seem to be interpreted according to the rules of the astrology of the time,—a so-called science, which is spoken of scornfully in the _Pistis Sophia_ itself[635]. Yet it is evident that the author or authors of the _Texts of the Saviour_ are acquainted with the book which precedes it; for in a description of the powers which Jeû, who appears in both as the angelic arranger of the Kerasmos, “binds” in the five planets set to rule over it, we learn that he draws a power from “Pistis Sophia, the daughter of Barbelo” and binds it in the planet Venus or Aphrodite[636]. As this is the only reference to her, and receives no further explanation, it is plain that the writer assumed his readers to be well acquainted with Pistis Sophia’s history, and Jeû, Melchisidek, Adamas, and Jaldabaoth, now one of the torturers in Chaos, appear, as we have seen, in both works. The author of the _Texts of the Saviour_ also shows himself the avowed opponent of the Pagan deities still worshipped in the early Christian centuries, as is evidenced by his making not only the Egyptian Typhon, but Adonis, Persephone, and Hecate, fiends in hell. Oddly enough, however, he gives an explanation of the myth of the two springs of memory and oblivion that we have seen in the Orphic gold plates in the following passage, which may serve as an example of the style of the book: