Je dis qu’il faut ĂŞtre voyant, se faire voyant. Le poète se fait voyant par un long, immense et raisonnĂ© dĂ©règlement de tous les sens.
I say one must be a seer, make oneself a seer. The poet makes himself a seer by an immense, long, deliberate derangement of all the senses.
On Radio Free Earthrites Kristi Stassinopoulou ~ Islands
A quick excursion down various paths of the Turfing kind tonight. We have some music from Rena Jones, who we interviewed for The Invisible College, to Arthur Rimbaud Poetry, and many steps between.
I am a bit astounded at the Rimbaud poetry, I have never seen these translations before. He of course was always a seminal figure in poetry for many; I think of the influence he had on Patti Smith among many, and upon Jim Morrison as well if I recall correctly.
Amazing that he wrote the majority of his work in less than 2 years..
Well, it is a short one tonight, as it has been a long and very cold day here, heading off to sleep soon!
Bright Blessings,
Gwyllm
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On The Menu:
Rena Jones – The Passing Storm
Quotes: Arthur Rimbaud
The Regenerative Rites Of The Great Mother
Poet: Arthur Rimbaud
Rena Jones – Open Me Slowly
Artist: John Reinhard Weguelin
Biography…
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Biography of John Reinhard Weguelin
Painter of genre, classical, biblical and historical subjects. Born on 23rd June 1849. The son of a vicar of South Stoke, near Arundel in Sussex, who had presumably turned Roman Catholic, he was educated at Cardinal NewmanÂ’s Oratory School in Edgbaston. He began working as a Lloyds underwriter but then studied at the Slade under Poynter and Legros. He exhibited landscapes and biblical and classical subjects in the manner of Alma-Tadema. He illustrated several volumes of poems, translations and stories. Studied at the Slade School under Poynter and Legros. Exhibited from 1877 at the Royal Academy, Society of British Artists, Grosvenor Gallery, New Gallery and elsewhere. Titles at the RA including ‘The Labour of the Danaids’ (1878), ‘Herodias and her Daughter’ (1884) and ‘The Piper and the Nymphs’ (1897). Painted exclusively in watercolour after 1893, and was elected to the Royal Society of Painters in Watercolour in 1897. Lived for a time at Hastings and died on 28th April 1927.
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Rena Jones – The Passing Storm
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Arthur Rimbaud Quotes:
“Romanticism has never been properly judged. Who was there to judge it? The critics!”
“But, truly, I have wept too much! The Dawns are heartbreaking. Every moon is atrocious and every sun bitter.”
“I have stretched ropes from steeple to steeple; garlands from window to window; golden chains from star to star, and I dance.”
“Only divine love bestows the keys of knowledge.”
“Once, I remember well, my life was a feast where all hearts opened and all wines flowed.”
“But, truly, I have wept too much! The Dawns are heartbreaking. Every moon is atrocious and every sun bitter.”
” I who fashioned myself a sorcerer or an angel, who dispensed with all morality, I have come back to earth.”
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The Regenerative Rites Of The Great Mother
Harold Willoughby
From the Oriental as well as from the Hellenic world there emanated mystery religions that made their appeal and offered their satisfactions to the individual man. Like the Greek cults just described, they operated as private religious brotherhoods, though in occasional instances they were brought under state patronage and supervision. They came to the Graeco-Roman world with all the authority of a venerable past, with a theology developed in mythological forms, with a ritual, very crude perhaps, yet capable of lofty spiritual interpretation. Their appeal was primarily an emotional one, and it was addressed specifically to the individual; for all classes and all races, Greeks as well as barbarians, slaves as well as free men, were welcomed to their membership.
I
Of these Oriental mystery religions the first to invade the west was the cult of the Great Mother of the Gods, which came from central Asia Minor. The divine personage in whom this cult centered was the Magna Mater Deum who was conceived as the source of all life as well as the personification of all the powers of nature. This aspect of universal motherhood was the comprehensive feature of her character most frequently emphasized in the various cult titles applied to her. She was the “Great Mother” not only “of all the gods,” but “of all men” as well. She was the “Mistress of All,” the “All-Nourisher,” and “All-Begetter,” the “Mighty Mother,” and the “Mother of Zeus Himself.” “The winds, the sea, the earth, and the snowy seat of Olympus are hers, and when from her mountains she ascends into the great heavens, the son of Cronus himself gives way before her, and in like manner do also the other immortal blest honor the dread goddess.” At Pessinus, the strongest center of her worship in Asia Minor, she was from primitive times represented by a sacred stone, said to have fallen from heaven. Indeed, the city itself, according to one legend, was named from this very circumstance (pesein, “to fall”). Here all the vital forces of mother earth were concentrated in “a stone not large, which could be carried in a man’s hand without pressure–of a dusky and black color–not smooth, but having little corners standing out.” This was the stone which was later carried to Rome when the worship of the Great Mother was officially introduced to the Occident. Ensconced in a silver statue where the face ought to be, it became the center of the Roman cult of the Great Mother–the whole life of nature embodied in a small, rough stone.
The Magna Mater of all living creatures was especially the goddess of the wilder aspects of nature. She was worshipped in the depths of virgin forests and on the tops of mounntains, and her cult titles named her the “Mountain Mother,” and the “Divinity of the Mountains,” not to mention such local appellations as “Dindymene,” or the “Idaean Mother.” Even Cybele, the familiar literary designation of the Great Mother, was, according to Strabo and Diodorus, derived from a mountain or range of mountains. “A grove I had upon the mountains’ crest, whither men brought me offerings,” said the goddess herself in describing one of her favorite haunts, “a pine forest beloved for many years, dim with dusky firs and trunks of maple.” Anacharsis the Scythian was a typical devotee of the Magna Mater, for he worshiped her in a place “full of trees.” She was also the “Mistress of Wild Beasts, and lions were her constant companions in literature and in art. The author of the fourteenth Homeric Hymn addressed the Mother of the Gods as one who “is glad in the cry of wolves and fiery-eyed lions, and in echoing hills, and woodland haunts.” Thus she appeared as the goddess of all natural life, particularly in its wild and untamed aspects.
With her was associated a hero-divinity called Attis who personified the life of the vegetable world particularly. The pine tree was peculiarly his own and played a prominent part in his annual ritual. His priests were tattooed with an ivy-leaf pattern. Statues represented him crowned with fruits and holding ears of corn in his hand. He was himself addressed as the “reaped green (or yellow) ear of corn” in the hymn of Hippolytus, and the myth of his sufferings was interpreted now as the harvesting of ripened grain or again as the fading of spring flowers. His devotees in their feasts, while they might eat the stalks and upper parts of plants, were forbidden to eat seeds and the roots of vegetables for in these the divine life of their god was especially manifested. Above all, the great festival of Attis, held at the time of the vernal equinox, took the form of a mystery drama which obviously represented the reviving of the vegetable world at that season of the year.
Around these two divinities, the Great Mother and the god of vegetation, there grew up a confused tangle of myths in explanation of their cult rites. Various writers, pagan and Christian, gave different versions of the Cybele-Attis myth. Pausanias recounted two very different renderings of the legend. One of these was repeated by the Christian writer Arnobius, on the authority of a certain Timotheus. In detail the final edition was much more elaborate than the earlier rendition by Pausanias. Diodorus also recounted the Cybele-Attis myth with one or two singular omissions, while Firmicus Maternus gave a markedly euhemeristic interpretation of the legend. The accounts by Ovid, bv the philosopher Sallust, and by the Emperor Julian were similar to each other at points, yet differed in important respects from the other renderings of the legend.
The specific variations in all these diverse statements do not concern us, for certain significant elements were common to all the various versions. In each instance the relationship of Cybele and Attis was essentially the same, and their experiences were much the same throughout. According to the myth, the goddess-mother loved the youthful, virgin-born shepherd Attis with a pure love. But Attis died, either slain by another or by his own hand. In the latter instance, he was unfaithful to the Great Mother and in a frenzy of regret he emasculated himself and died. The goddess-mother mourned her dead lover and finally affected his restoration. Thus, in the end, the mortal Attis became deified and immortal. These were the main elements in the developed myth which bulked largest in the mind of the devotee as he participated in the rites of the cult.
The whole myth was palpably transparent. Attis, the god of vegetation grown to youthful beauty, is loved by Mother Earth. But the flowers of springtime faded and the fruits of summer are harvested. Nature is despoiled of her vegetation. Attis dies. Then the Mother mourns her dead plant life and remains in sorrow during autumn and winter. But with returning springtime vegetation revives and the youthful god Attis is restored to life. These familiar natural phenomena, dramatized in the ritual of the Cybele-Attis cult, became the basis on which the devotees of the Magna Mater developed their personal religious experiences.
II
The primitive locus of this nature worship was in the uplands of Anatolia. In a general way legends agree in locating the rise of the Cybele-Attis cult in the area covered by Galatia, Phrygia, and Lydia. As M. Cumont has properly emphasized, the development of a highly emotional cult was natural in this vicinity. Here the climate went to extremes, cold and bleak in winter, hot and even scorching in summer. These climatic contrasts made themselves felt on the character of the inhabitants. Men were responsive to the varying moods of nature with the changing seasons. During the winter months they shared the sorrow of nature at the loss of her vegetation; but with the returning verdure of springtime they hailed with joy the revival of nature. Thus there developed in the uplands north of Paul’s birthplace a cult distinguished for its excessive emotionalism.
Just when this religion had its inception it is impossible to state with any exactness. It is clear, however, that from the sixth century B.C. onward the worship of the Great Mother was dominant in Asia Minor. The earliest monuments of the cult, the so-called Niobe of Mount Sipylus and two reliefs from the vicinity of Prymnessus, date from the middle of the sixth century at least. Herodotus was acquainted with certain external features of this worship, and he knew the Great Mother as belonging to Sardis and enthroned on Mount Dindymon. By the beginning of the fifth century Pessinus had become a center of her cult, and a hundred years later Asia Minor generally was familiar with it. Considerably before the period of Alexander, therefore, the worship of Cybele and Attis was well established and widely spread in Asia Minor–mountains like Dindymon, Ida, and Tmolus, and cities like Cyzicus, Sardis, and Pessinus being the importaint centers of the cult.
The Great Mother early emigrated from her Asian home and traveled to Europe, first by way of the Hellesspont and liter by the Aegean Islands. Pindar knew her worship at Thebes and Aristophanes ridiculed the goddess from Athens. The chorus of Euripides’ Bacchae came from Mount Tmolus and sang the praises of the Great Mother as well as of Dionysus. By the end of the fourth century, the worship of the Mother existed privately in the seaport town of the Peiraeus, while the Emperor Julian had a story to tell concerning the introduction of the Great Mother’s religion at Athens. Admittedly, however, the cult of the Magna Mater was not especially popular in Greece. The demand for a highly emotional type of religious experience was already well satisfied among the Hellenes. In the orgiastic rites of Dionysus, the Greeks had religious practices of strikingly similar character which gave them the desired emotional stimulation.
The coming of the Magna Mater to Rome and the west was under the most dramatic circumstances. It was in the year 204 B.C.; Hannibal was still in Italy and Rome was thoroughly exhausted. Moreover, the people had become frightened because of frequent showers of stones and other unusual phenomena. In desperation the Sibylline Books were consulted, and it was learned that the enemy could be conquered if the Idaean Mother should be brought from Pessinus to Rome. Accordingly, a delegation was sent to King Attalus of Pergamum, who conducted them to Pessinus and gave them the sacred stone which was the Mother of the Gods. On her arrival in Italy, the goddess was officially welcomed by the “best man” of the Republic and the leading matrons of Rome. Miracles attended the event, the citizens made holiday, and an annual festival was instituted in honor of the goddess. As a result–so it seemed–the crops of that year were successful and Hannibal was driven out of Italy and conquered. So the Magna Mater came in triumph to the west in 204 B.C.
Although the worship of the Great Mother was officially welcomed to Italy, it seems to have been regarded with suspicion, treated as foreign, and subjected to state regulation during the last two centuries of the Republic. Under the Empire, however, the cult came into its own. By the first century A.D. the legal restrictions of republican days were removed and the worship of the Magna Mater easily became one of the most popular and favored religions of the time. The Archigallus, or high priest of the cult, became the Attis populi Romani. During the reign of Claudius, the annual festival was elaborated with even more impressive rites than those of its native Phrygian home and it took on its final form as one of the great festivals of the Roman Empire. The literature of the first century shows the high degree of prominence attained by the cult during this period. Livy gave an account of the coming of the Great Mother to Rome. Ovid, in the Fasti, devoted much space to an explanation of the origin and significance of her rites. Vergil told how the Great Mother had protected Aeneas, the ancestral hero of the Roman race. Horace made several references to the Great Mother’s rites, and Propertius recounted the story of Claudia, who led the Roman matrons in welcoming the goddess to Italy. Even Maecenas composed a poem in honor of Cybele. The satirists, on the other hand, were unsparing in making the Galli the butt of crude jokes. Thus, during the period when Pauline Christianity was barely beginning to make itself felt as a missionary movement in the Graeco-Roman world, the cult of the Great Mother of the Gods had already won a place of prominence for itself in the life of the Roman Empire. It is important, therefore, to consider the phenomena of this gentile religion in relation to the development of early Christianity itself.
III
Our clearest index to the personal religious experience of the devotees of the Great Mother is found in a study of cult ritual. Because of their public character we possess the most extensive information concerning the annual spring festival of Attis, and the Taurobolium of the Magna Mater–ceremonials that had the official sanction of the Roman state. In considering the spring festival which Claudius incorporated as a part of the established religion of the Empire, it is important to bear in mind that it most it was but in elaborition of rites that had long been practiced in Asia Minor. We are specifically informed that the Roman ritual was celebrated Phrygio more. It may reasonably be assumed, therefore, that the Roman ceremonies were not essentially different from their Asian originals.
The prelude to the annual festival began on the Ides of March. On the second festival day, which was designated Arbor intrat in the calendar of Philocalus, the guild of dendrophori, or tree bearers, were in charge of the ceremonial. It was the duty of the dendrophori to cut down a pine tree in the woods and bear it with due pomp to the temple of Cybele. The perennial pine was a natural embodiment of Attis, the spirit of vegetation. According to legend, it was under a pine tree that he had mutilated himself and died. He had himself been transmuted into a pine tree and carried in this form into the cave of Cybele where the goddess mothered her dead lover; hence the pine tree borne by the dendrophori into the temple of Cybele was regarded as the corpse of Attis dead and treated with divine honors. It was swathed with fillets of wool as the body of Attis had been. Its branches were hung with garlands of violets, the flowers that sprang from his blood. From the middle of the stem was suspended an image of young man, who was doubtless Attis himself.’ The ritual fact was that the dead god was brought with funeral pomp to the temple of the Magna Mater.
The following day was one of fasting when the devotees of Attis mourned their god. It was a peculiar fast, however; Jerome called it “a gluttonous abstinence, when men ate pheasants in order not to contaminate cereals.” Meats, in general, were allowed, but fruits and vegetables were forbidden. This prohibition extended to wine also. The vegetable abstinence was a natural one. As the cutting down of the pine tree symbolized that the god of vegetation was dead, so the vegetable world shared in the defunct condition of the god. To partake of vegetables and cereals at such a season would be to violate the bruised and broken body of a god. This fast probably began with the fifteenth of March, and it had its influence as a physical preparation for the excessive emotionalism of the rites which marked the climax of the festival.
These rites came on the twenty-fourth of March, a day that was called, significantly enough, the “Day of Blood.” At this time the Great Mother of the Gods inspired her devotees with a frenzy surpassing that which the followers of Dionysus knew. It was a madness induced not by wine, but by the din of crashing music, the dizzy whirling of the dance, and the sight of blood. The music which accompanied these rites was wild and barbaric, made by clashing cymbals and blatant horns, shrilling flutes and rolling drums. It was maddening music, noisy and savage. Lucian vividly described the wild tumult made by the Galli on Mount Ida blowing their horns, pounding their drums, and clashing their cymbals. Music of this kind–the Anatolian prototype of modern jazz–was popularly known as Phrygian music.
To the accompaniment of these barbaric strains a dance was staged. With wagging heads and streaming hair, the devotees of the Great Mother whirled their bodies round and round in a dizzy dance, shouting and singing as they gyrated. Apuleius pictured such a dance performed in a Thessalian village by the mendicant priests of the Syrian goddess.
“They went forth with their arms naked to their shoulders, bearing with them great swords …. shouting and dancing like mad persons to the sound of the pipe ….. They began to howl all out of tune and hurl themselves hither and thither, as though they were mad. They made a thousand gests with their feet and their heads; theywould bend down their necks and spin round so that their hair flew out in a circle; they would bite their own flesh; finally every one took his two-edged weapon and wounded his arms in different places.”
This cruel custom of lacerating one’s own flesh during the frenzied ritual was a distinctive characteristic of the Great Mother’s cult. Slashing their arms with knives, or gashing their bodies, the worshipers sprinkled with their own blood the sacred tree that was Attis. When Martial was casting about for a comparison to make vivid the dangerous habits of a certain barber he could think of nothing more to the point than these bloody rites of the Great Mother. “He who desires not yet to go down to Stygian shades, let him, if he be wise, avoid barber Antiochus. White arms are mangled with knives less cruel when the frenzied throng raves to Phrygian strains,” he declared. To the modern mind this sanguine rite seems cruel in the extreme. It is probable, however, that the devotees, wrought up to a very high pitch of excitement by the din of the noisy music and the frenzy of the wild dance, were largely insensible to the pain. This ghastly ritual formed a part of the mourning for the dead Attis. When the Great Mother saw the freely flowing blood of her worshipers, she could not doubt that they shared with her in her sorrow. The blood may well have been intended, also, to appease the manes of the dead Attis or to strengthen him for his resurrection. To imitate Cybele in her grief and to call Attis back to life were the purposes of this bloody rite.
But the devotees of the Great Mother did not stop with the shedding of blood merely. Keyed up to the highest pitch of religious excitement, they followed the example of Attis and emasculated themselves. With this final act of self-sacrifice and consecration, the Dies sanguinis was crowned and the devotee became one of the Galli, a eunuch-priest of the Asian goddess. This was the regular practice in Phrygia, and in Rome, even, it is probable that the custom was followed. In his account of the Syrian goddess, whose cult was strikingly like that of Cybele, Lucian gave a description of this sacerdotal initiation. It is not only a vivid depiction of the bloody scene itself but also a good piece of psychological analysis, for it shows the strange fascination of these barbaric rites and reveals their mesmeric effect upon the spectators witnessing the supreme act of consecration. In abbreviated form Lucian’s account is as follows:
“During these days they are made Galli. As the Galli sing and celebrate their orgies, frenzy falls on many of them, and many who had come as mere spectators afterwards are found to have committed the great act. Any young man who has resolved on this action, strips off his clothes, and with a loud shout bursts into the midst of the crowd and picks up a sword. He takes it and emasculates himself and then runs wild through the city.”
For one who had performed this irrevocable sacrifice in a moment of hot excitement a strong revulsion of feeling was later inevitable. This emotional reaction was powerfully depicted by Catullus in his famous poem bearing the name “Attis.”
Undoubtedly for the devotee of Cybele the rite of self-mutilation had distinct religious values. By the very act the devotee himself became another Attis. He had done in the service of the goddess what Attis had already done. The Attis in the poem of Catullus was not the original lover of Cybele but rather one of her priests, who by the fact of priestly initiation had become identified with the god. “Methought in a dream that I had become Attis, and that the festival of the so-called Hilaria was fulfilled to me by the Great Mother,” wrote Damaskios, the
last of the Neoplatonists. The name Attis was actually used as a traditional title for the priesthood of the Great Mother. Just as Attis was believed to have attained the state of deity by the passion of emasculation so by the way of self-mutilation, the Gallus became a god instead of mortal.
The act that made an Attis of the votary placed him in peculiarly intimate relationship to the Mother Goddess herself. The broken instruments of his manhood were treated as an oblation to the goddess. Perhaps they were thrown into the lap of her statue, is the “Passion of St. Symphorian” suggests. In the case of a goddess of fertility, like the Magna Mater, this was a significant act. Thus the ministers of the Great Mother, who personated her divine lover, made it possible for her to exercise her beneficent function in renewing the life of nature. As a new Attis the votary assumed the role of a bridegroom to the goddess. There were “marriage chambers” in the sanctuary of the Great Mother at Lobrinon near Cyzicus. In such a chamber the newly consecrated priest, kept vigil during the night after his dedication, a bridegroom in the bridal chamber of his goddess. Indeed, a specific cult designation of the GalIus was “bridegroom.” This indicates that the experiences of the Dies Sanguinus and the following night were interpreted as a process of mystical union with the Great Goddess herself, and by means of certain obscure ritual acts there was developed a sense of intimate divine communion on the part of the devotee. From another standpoint the newly consecrated priest was thought of as a male counterpart of the goddess. Hence, he was called Kubebos. By the fact of emasculation he had assimilated himself to the nature of the goddess. As an indication of this transformation he henceforth wore feminine dress and allowed his hair to grow long. At some point in the ceremony there was also a solemn enthronement and the consecrated mortal was crowned in token of his deification. Nothing less than this, in the experience of the Gallus, was the result of his act of devotion. It made him realistically and mysticilly one with his goddess.
The day following the “Day of Blood” brought a delirium of joy to replace the delirium of sorrow. Dead Attis had been buried and around his grave his devotees had mourned his death long into the night. Toward morning, however, a great light appeared in the darkness and the resurrection of the god was announced. Firmicus Maternus thus described the scene: “When they are satisfied with their fictitious grief a light is brought in, and the priest, having anointed their lips, whispers, ‘Be of good cheer, you of the mystery. Your god is saved; for us also there shall be salvation from ills.’” Then joy took the place of sorrow, for the resurrection of the god brought with it the assurance of salvation for men, and this chiefly included the promise of a happy immortality. On the twenty-fifth of March, the first day when daylight exceeded darkness, the resurrection of the god was celebrated with universal license. The day’s celebration was known as the Hilaria and was characterized by the general good cheer. Mourning was not permitted; but instead there were masquerades and banquets. Even the Galli were eased of their wounds in their joy because of the resurrection of Attis.
There followed a day of much needed rest, the Requiratio. Then the festival closed with the Lavatio, or washing of the goddess in the Almo, a rite that aroused the scorn and sarcasm of Arnobius. The silver statue of the goddess was placed in a wagon drawn by oxen and conducted in solemn procession to the Almo where it was washed in the water of the river. Amid rejoicing the statue was drawn back to its temple, showered with the flowers of springtime on its way. This was probably a rite of purification considered necessary because of the experience through which the goddess had passed on the Dies Sanguinis. After marriage, purification was deemed essential even for a goddess. Because the Magna Mater had been mystically united with her ministers, such postnuptial purification was necessary in her case.
In this, the annual spring festival of their god and goddess, the Galli found the beginning of a new life for themselves. It was a highly wrought emotional experience induced by fasting, wild music, frenzied dancing, and the sight of flowing blood. The sorrow thus aroused was interpreted as a sympathetic sharing with the Great Mother in her grief at the death of her lover. The orgiastic rite reached its climax in the irrevocable sacrifice of manhood, an act whereby the devotee physically assimilated himself to divinity. He himself became Attis, a god, mystically united,is a divine lover to the Great Goddess. In the resurrection of his god he felt himself personally participant and he found therein the assurance of a happy future life. The experience was a crudely physical one and realistic in the extreme. Yet it had a strange fascination because of its very realism, and it held out to the devotees who were willing to make the supreme sacrifice the promise of a divinization of human nature and an immediate communion with deity.
To this experience the figure of a new birth was not inappropriately applied. The pagan writer, Sallust the Philosopher, used this very terminology in describing the effect of the Attis festival on those who participated in it. He said that those who passed through this form of initiation were actually treated as new-born babes and dieted on milk for some time afterward. His exact expression was: hosper anagennomenon, “as of those who are being born again.” Thus, at the annual spring festival the ministers of the Great Mother passed through a religious experience so fundamental that it seemed to them the beginning of a new life, essentially different from the life they had known before. It was a regeneration that transformed their beings, gave them a present communion with their god and goddess, and assured them of personal immortality.
IV
Another bloody rite of great importance connected with the cult of the Great Mother was the taurobolium, or sacrifice of a bull, with its variant, the criobolium, or ram sacrifice. The origin of the taurobolium and its relationship to the cult of the Magna Mater is obscure. Almost certainly, however, it was of oriental origin localized in Anatolia, and it probably had its inception in the primitive practice of washing in the blood of an animal in order to secure its vital energy. In the cult of the Great Mother, however, the primitive notions attached to the practice became transformed and spiritualized. When the rite came to prominence in Italy early in the second century A.D. two distinct motives were apparent, one official, the other personal. The taurobolium was officially performed vicariously for the safety of the emperor, the empire, or a particular community–pro salute imperatoris, pro salute imperii, pro salute urbis, etc. This was a purely official and sacerdotal celebration, with the Archigallus presiding, and during the second and third centuries this usage was especially prominent in Roman practice.
But the taurobolium might be a private ceremony also, performed by an ordinary person who bore the expense of it himself–de suo, suo sumptu, or sua pecunia. In this case the purpose was a purely personal one and the motive which actuated the celebration was the purification and regeneration of the individual. This private rite was performed on laymen as well as priests and by persons of all classes and both sexes. It was strictly an individualistic ceremony. During the third and fourth centuries, probably because of Christian competition, the private celebration of the taurobolium came forward into particular prominence. Between these two types of ceremony, however, the official and the private, there can be no doubt as to which was prior to the other. The rite in itself was essentially of a private and personal nature and its public, vicarious usage was clearly a later adaptation. The devotees of the Mother and Attis certainly experienced it for their own benefit before ever the rite was enacted for the good of the community. Centuries before the taurobolium was performed in Italy for the safety of the state, it was enacted in Asia Minor for the benefit of the individual devotee.
The ceremony itself was picturesque. In the Peristephanon by the Christian poet Prudentius there is a description of the rite which purports to be by an eyewitness. A priest is the subject of the ceremony. With a golden crown on his head and adorned with fillets, he descends into a deep trench which is covered with a platform of perforated pIanks. A large bull, gleaming with gold and garlanded with flowers, is led on to the platform. Here he is stabbed to death by the consecrated spear, and his blood flows out over the covering of the trench and rains down on the expectant devotee below.
“Through the thousand crevices in the wood the bloody dews run down into the pit. The priest receives the falling drops on his head, clothes and body. He leans backward to have his cheeks, his ears, his lips, and his nostrils wetted. He pours the liquid over his eyes and does not even spare his palate, for he moistens his tongue with blood and drinks it eagerly.”
When the life of the bull is extinct, its body is removed and the neophyte emerges from the trench, drenched and dripping with blood. He rresents himself to the expectant throng of worshipers who do obeisance to him as to a god, as to one who has been born again to a divine life.
For the one who experienced the blood bath of the taurobolium this was exactly the meaning of the rite. He came up out of the trench reborn to a new kind of existence. In effect the bath of blood was believed to purify him from the sins and evils of his old life and make him a new man, or rather a divinized human. In some cases the efficacy of the rite was supposed to last for a period of twenty years, and then the grace was renewed. In other instances, the conviction was that the effect of the rite was everlasting and that the devotee was in aeternum renatus, to quote the formula of the inscriptions. There is a strong temptation at this point to question if this startling phrase and the whole conception of the new birth experience in the cult of the Magna Mater may not be due to Christian influence. There is not, however, a shred of evidence to substantiate this contention. Against it is the purely pagan character of the rite itself, its undoubted antiquity, and the fact that it naturally lent itself to the new-birth interpretation. Held as it usually was, though not invariably, at the time of the vernal equinox on the Dies Saguinis, the resurrection of vegetation and of the god of vegetation naturally suggested the regeneration of the individual. Thus the whole ritual became a sort of passion drama in and of itself, involving three parties: the god, the neophyte, and nature in a single cycle of events. The neophyte descended into the pit; Attis died; vegetation withered. The neophyte came up out of the pit; Attis arose from the dead; vegetation revived. In this way, at the spring festival of Attis, the regeneration of the individual was made to coincide with the rebirth of nature.
V
The Cybele-Attis cult included certain strictly private rites that are quite as important for the student of personal religion as the public ceremonies we have just examined. Julian, the Emperor, in discussing the March festival, made careful distinction between two series of rites following the cutting down of the sacred pine, one secret and mysterious, the other open to the public. It is probable, therefore, that the secret rites of the cult were more or less co-ordinated with the public ceremonials. Augustine demanded to know of these esoteric rites, “What good is to be thought of their sacred rites which are concealed in darkness, when those which are brought forth into light are so detestable?” This interrogation conveniently emphasizes the differentiation between the public and private rites of the Attis cult.
In the nature of the case the public rites were open to a more or less limited number of participants. The sacerdota] consecration of the Dies Sanguinis was a restricted type of initiation available only for men and to those only who felt impelled to make the supreme sacrifice. It was a masculine and priestly initiation. But the cult of the Great Mother welcomed women as well as men and included laymen as well as priests. Even the grace of the taurobolium was obtainable only by those who could bear the expense of the ceremony. The private rites of the cult, however, were accessible to a far larger group. They represented the type of initiation as contrasted with the priestly. Hence they are of more than usual importance from the point of view of personal religious experience.
Unfortunately, we know even less of these private ceremonials than of the secret rites in other mystery cults, and for much the same reason. Their secret has been too well guarded. Only a single formula has come down to us, in slightly variant forms, from the esotoric liturgy of the Attis cult. According to the version given by Clement of Alexandria the confessional of the initiate was:
I have eaten out of the drum:
I have drunk out of the cymbal:
I have carried the Kernos:
I have entered the bridal chamber.
Firmicus Maternus repeated the formula in a more brief form:
I have eaten from the drum:
I have drunk out of the cymbal:
I have become a mystic votary of Attis.
In this formula two experiential elements stand out clearly. One is union with divinity by the semblance of a mystic marriage. “I have entered the bridal chamber.” The votary entering the shrine of the goddess went there as a bridegroom. In the secret chamber divinity and humanity were united in marriage, and thus the devotee attained communion with his goddess. This was the lay equivalent for the priestly experience when the Gallus, as a new Attis, became the bridegroom of Cybele.
The second important element of mystical experience emphasized in this formula was communion with the deity by the act of eating and drinking.
I have eaten from the drum:
I have drunk from the cymbal.
The similarity of this confessional to the Eleusinian password is incontestable. Just as the initiate at Eleusis drank of the mixed barley potion and ate sacred food from the chest, so the devotee of the Great Mother drank from the cymbal and ate from the drum. The instruments mentioned, the drum and the cymbal, were the favorite musical instruments of the Great Mother. It was natural, therefore, that they should be used as cup and plate in this ceremony. Just what was the sacred food which the devotees shared we have scarcely a hint. We know only that it consisted of a beverage and of solid food.
Much more important than to know these external details is to understand the psychological effect of this communion meal on the participants. Was it merely a common meal that gave the votaries fellowship with one another, binding them together in a brotherhood like that of a great family? It may have had this meaning incidentally, but certainly this was not the inclusive significance of the rite for the votary. It was a communion with divinity rather than a communion with one’s fellow devotees. Firmicus Maternus, in denouncing this rite, contrasted it specifically with the Christian sacrament of the eucharist. His words show clearly that there was a genuine parallelism between the Christian rite and the pagan. Both were believed to communicate divine life to the devotee and assure him of salvation. Maternus concluded his invective against the pagan rite with the appeal, “It is another food that gives salvation and life. Seek the bread of Christ and the cup of Christ!” Apparently, therefore, the sacred meal in the Semele-Attis cult was a genuine sacrament that enabled the devotee to absorb the divine life in a realistic manner. In the liturgy of the cult, Attis himself was addressed as a “reaped ear of corn.” It is not unlikely that a corn product, or some other vegetable food in which Attis was believed especially to dwell, formed a part of the sacred repast. In partaking of this meal, the devotee was enabled to share in a materialistic manner the life of his god. The common meal of the Great Mother’s cult therefore was a means of attaining to a realistic type of mystical communion with divinity.
All these various rites in the cult of the Great Mother were crude enough. They were characterized by realism and naturalism. There was eating and drinking. There was a bath in blood. There was an orgy of self-induced sorrow and joy that had its climax in self mutilation. Yet these very rites with all their primitive crudity and cruelty became transmuted into vehicles for really deep religious experience. The act of eating and drinking became a sacrament of communion wherein the devotee partook of a divine substance and thus attained actual union with his deity. The semblance of a mystic marriage whereby the initiate as a divine lover was united to the goddess was another means of attaining the same end. The blood bath of the taurobolium brought with it the washing away of the sins and evils of an old life. It was a regenerating experience by which the neophyte was reborn for eternity. The passion drama depicting the death of natural life and its renovation in the springtime was an allegory of personal resurrection to eternal life. Even the act of self-mutilation became the means whereby the devotee, like Attis himself, effected his own deification and assimilated himself to the nature of the Great Mother. In the cult of the Mater Deum the communion of eating and drinking, the semblance of mystic marriage, the purification in the bath of blood, and the mortification of the flesh, all functioned as sacraments of spiritual regeneration.
VI
For the student of Christian origins a knowledge of the regenerative rites of the Great Mother is doubly important because her worship was remarkably like that in a whole group of cults with which Paul, the Christian apostle, had early familiarity and contacts that were intimate. These were the religions indigenous to the lands of Syria and Cilicia, where Paul was brought up and where he had his early missionary experience. Unfortunately, our knowledge of these gentile cults is fragmentary and chaotic. They had nothing like the solidarity of the Greek and major Oriental systems, and it would be utterly impossible to reconstruct their history or to outline their ritual in any detail. Still it is possible to distinguish among them certain common elements that show a general resemblance to the Phrygian worship of the Great Mother. Usually, the central place in the cultus was held by a mother-goddess who embodied the power of life, and a somewhat subordinate position was assigned to a youthful male deity who like Attis died and rose again.
The prototype for this diversified, yet measurably unified complex of religious systems seems to have been the Babylonian cult of Ishtar, the deified personification of motherhood. She was known to biblical writers as Ashtoreth, and to the Greeks as Astarte or Aphrodite. With her was associated a young and active deity called Tammuz, who was slain but afterward revived. As in the case of Attis, lamentations formed an important part of his worship. In Ezekiel’s day this practice was adopted by Jews, even, and among the “abominations” which the prophet saw perpetrated at the very gate of the Jerusalem temple was the weeping of women for Tammuz! In Phoenicia the mother-goddess was worshiped under the name of Ashtart, and as early as the third century B.C. her cult was so pre-eminent that the kings of Sidon served her as priests. She, too, had her consort, Eshmun by name. Their houses were built together, and they were simultaneously glorified.
To the Greek world this immortal pair was familiar as Aphrodite and Adonis, the goddess of love and her impetuous young husband. “The Fourth Venus,” said Cicero, “was a Syrian . . . . who is called Astarte and is said to have been married to Adonis.” Greek and Latin writers delighted to retell the story of their love and of Aphrodite’s loss. The tale was that of an ardent young hunter who, all too rash, was wounded to death by a boar. Thus young Adonis died; but the grief of his goddess-lover brought about his restoration to life. In the cult of these divinities, also, traditional lamentations were a conspicuous element of the ritual. Sappho more than once referred to this weeping for the god, while Bion wrote a lament for Adonis which, though a conventional literary product and not an actual cult hymn, yet gives a fairly accurate impression of the mourning songs sung at Adonis’ festivals.
The annual celebrations in honor of the god were elaborated as a drama of marriage and passion. Around a ritual marriage bed the wedding of the divine pair was celebrated. There followed a lament for the dead Adonis ending in a forecast of the resurrection. Sometimes that joyous event was actually represented. At all the important centers of Adonis worship, not only in Syria and Cyprus but also in Athens and Alexandria, the festival of Adonis was one of the great events in the religious calendar. Theocritus, in one of his Idyls, described such a festival as it was conducted at the court of Ptolemy early in the Hellenistic period. The marriage song sung at this celebration began with a description of the wedding tableau and included an adequate account of the Adonis festival as a whole.
The bridal bed for Adonis spread of my own making is;
Cypris hath this for her wrapping, Adonis that for his.
Of eighteen years or nineteen, is turned the rose-limbed groom;
His pretty lip is smooth to sip, for it bears but flaxen bloom,
And now she’s in her husband’s arms, and so we’ll say good-night;
But tomorrow we’ll come with the dew, the dew, and take hands and bear him away
Where plashing wave the shore doth lave, and there with locks undight
And bosoms bare all shining fair will raise this shrilling lay:
“O sweet Adonis, none but thee of the children of gods and men
‘Twixt overworld and underworld doth pass and pass again:
. . . . . . . . . . . . . .
Adonis sweet, Adonis dear,
Be gracious for another year;
Thou’rt welcome to thine own alway,
And welcome we’ll both cry today
And next Adonis-tide.”
Another Syrian goddess who gained considerable prominence in the Roman world was Atargatis. Her consort was Hadad, with whom the belief in immortality was connected at an early period. In his ritual, as in that of Adonis, an elaborate show of grief was a characteristic factor, and the prophet Zechariah knew of the lamentations for Hadad. But it was the goddess who attracted the attention of the Roman world. In the eyes of the Greeks she was the “Syrian goddess,” and among Latins this Dea Syria became popular as Iasura. During the latter days of the Republic her cult was notably propagated by the agency of slaves and under the Empire Syrian merchants became as her missionaries. She was especially popular with the lower classes, though some in high stations affected her cult. Marius was one of her devotees and Nero “held in contempt all religious rites except those of the Syrian Goddess”–though his esteem for her was not lasting one. The great slave uprising in Sicily in 134 was led by a slave who claimed to be inspired by the goddess herself–a revealing illustration of the loyalty she commanded for this class in society.
Her rites were such as would appeal to the proletariat and conserve religious values for them. They were realistic, picturesque, sensuous, and fascinating in their strangeness. Apulcius in an incidental account of the missionary operations of her traveling priests gave a memorable picture of their methods in actual practice among the rural population of Thessaly. The account was not a very complimentary one, and it was doubtless exaggerated. Certainly the itinerant priests of the Syrian goddess were generally actuated by more worthy motives than this particular group was represented to be. Still the description of their religious exercises was detailed by Apuleius with all the vividness of life itself, and it may be considered a true representation of the cult rites on festal occasions. Lucian, who was himself a Syrian and wrote as one wholly familiar with this religion, also described the rites in a way that parallels and confirms the account of Apuleius. The exercises were essentially the same as those that formed the climax of the Great Mother’s festival and made eunuch priests of her male devotees. To the accompaniment of wild music men danced themselves into a frenzy and then lacerated and mutilated themselves unsparingly. Here again the central experience of the cult was ecstatic in character, with a cruel and crudely physical emotionalism. But it was not without its mystical content; for in this way the devotees sought to affiliate themselves with their pitiless goddess.
Altogether the cults of Cilicia and Syria may be grouped in the same class as the Anatolian worship of the Cybele. They were redemption religions, the deities of which were revered as the saviors of the individual man. In their propagandist efforts they aimed at universalism through individualism. They were still tainted with much of the grossness of primitive naturalism; yet this very fact was not a disadvantage with the humbler folk in society whom they captivated by the barbaric appeal of their ritual. They were religions of enthusiasm which aroused fear, pain, hope, joy, all culminating in ecstasy. By mortification, by stimulating music, by self-mutilation, and like means, these Syrian zealots strove to rise to a higher state than mere mortality and unite themselves with divinity. This was their rebirth to a new life and immortality.
________
Poet: Arthur Rimbaud
The First Evening
– She was very much half-dressed
And big indiscreet trees
Threw out their leaves against the pane
Cunningly, and close, quite close.
Sitting half naked in my big chair,
She clasped her hands.
Her small and so delicate feet
Trembled with pleasure on the floor.
– The colour of wax, I watched
A little wild ray of light
Flutter on her smiling lips
And on her breast, – an insect on the rose-bush.
– I kissed her delicate ankles.
She laughed softly and suddenly
A string of clear trills,
A lovely laugh of crystal.
The small feet fled beneath
Her petticoat: “Stop it, do!”
– The first act of daring permitted,
Her laugh pretended to punish me!
– Softly I kissed her eyes,
Trembling beneath my lips, poor things:
– She threw back her fragile head
“Oh! come now that’s going too far!…
Listen, Sir, I have something to say to you…”
– I transferred the rest to her breast
In a kiss which made her laugh
With a kind laugh that was willing…
– She was very much half-dressed
And big indiscreet trees threw
Out their leaves against the pane
Cunningly, and close, quite close.
——-
Sun and Flesh (Credo in Unam)
I
The Sun, the hearth of affection and life,
Pours burning love on the delighted earth,
And when you lie down in the valley, you can smell
How the earth is nubile and very full-blooded;
How its huge breast, heaved up by a soul,
Is, like God, made of love, and, like woman, of flesh,
And that it contains, big with sap and with sunlight,
The vast pullulation of all embryos!
And everything grows, and everything rises!
– O Venus, O Goddess!
I long for the days of antique youth,
Of lascivious satyrs, and animal fauns,
Gods who bit, mad with love, the bark of the boughs,
And among water-lilies kissed the Nymph with fair hair!
I long for the time when the sap of the world,
River water, the rose-coloured blood of green trees
Put into the veins of Pan a whole universe!
When the earth trembled, green,beneath his goat-feet;
When, softly kissing the fair Syrinx, his lips formed
Under heaven the great hymn of love;
When, standing on the plain, he heard round about him
Living Nature answer his call;
When the silent trees cradling the singing bird,
Earth cradling mankind, and the whole blue Ocean,
And all living creatures loved, loved in God!
I long for the time of great Cybele,
Who was said to travel, gigantically lovely,
In a great bronze chariot, through splendid cities;
Her twin breasts poured, through the vast deeps,
The pure streams of infinite life.
Mankind sucked joyfully at her blessed nipple,
Like a small child playing on her knees.
– Because he was strong, Man was gentle and chaste.
Misfortune! Now he says: I understand things,
And goes about with eyes shut and ears closed.
– And again, no more gods! no more gods! Man is King,
Man is God! But the great faith is Love!
Oh! if only man still drew sustenance from your nipple,
Great mother of gods and of men, Cybele;
If only he had not forsaken immortal Astarte
Who long ago, rising in the tremendous brightness
Of blue waters, flower-flesh perfumed by the wave,
Showed her rosy navel, towards which the foam came snowing
And , being a goddess with the great conquering black eyes,
Made the nightingale sing in the woods and love in men’s hearts!
II
I believe! I believe in you! divine mother,
Sea-born Aphrodite! – Oh! the path is bitter
Since the other God harnessed us to his cross;
Flesh, Marble, Flower, Venus, in you I believe!
– yes, Man is sad and ugly, sad under the vast sky.
He possesses clothes, because he is no longer chaste,
Because he has defiled his proud, godlike head
And because he has bent, like an idol in the furnace,
His Olympian form towards base slaveries!
Yes, even after death, in the form of pale skeletons
He wishes to live and insult the original beauty!
– And the Idol in whom you placed such maidenhood,
Woman, in whom you rendered our clay divine,
So that Man might bring light into his poor soul
And slowly ascend, in unbounded love,
From the earthly prison to the beauty of day,
Woman no longer knows even how to be a Courtesan!
– It’s a fine farce! and the world snickers
At the sweet and sacred name of great Venus!
III
If only the times which have come and gone might come again!
– For Man is finished! Man has played all the parts!
In the broad daylight, wearied with breaking idols
He will revive, free of all his gods,
And, since he is of heaven, he will scan the heavens!
The Ideal, that eternal, invincible thought, which is
All; The living god within his fleshly clay,
Will rise, mount, burn beneath his brow!
An when you see him plumbing the whole horizon,
Despising old yokes, and free from all fear,
You will come and give him holy Redemption!
– Resplendent, radiant, from the bosom of the huge seas
You will rise up and give to the vast Universe
Infinite Love with its eternal smile!
The World will vibrate like an immense lyre
In the trembling of an infinite kiss!
– The World thirsts for love: you will come and slake its thirst.
O! Man has raised his free, proud head!
And the sudden blaze of primordial beauty
Makes the god quiver in the altar of the flesh!
Happy in the present good, pale from the ill suffered,
Man wishes to plumb all depths, – and know all things! Thought,
So long a jade, and for so long oppressed,
Springs from his forehead! She will know Why!…
Let her but gallop free, and Man will find Faith!
– Why the blue silence, unfathomable space?
Why the golden stars, teeming like sands?
If one ascended forever, what would one see up there?
Does a sheperd drive this enormous flock
Of worlds on a journey through this horror of space?
And do all these worlds contained in the vast ether,
tremble at the tones of an eternal voice?
– And Man, can he see? can he say: I believe?
Is the langage of thought anymore than a dream?
If man is born so quickly, if life is so short
Whence does he come? Does he sink into the deep Ocean
Of Germs, of Foetuses, of Embryos, to the bottom
of the huge Crucible where Nature the Mother
Will resuscitate him, a living creature,
To love in the rose and to grow in the corn?…
We cannot know! – We are weighed down
With a cloak of ignorance, hemmed in by chimaeras!
Men like apes, dropped from our mothers’ wombs,
Our feeble reason hides the infinite from us!
We wish to perceive: – and Doubt punishes us!
Doubt, dismal bird, beat us down with its wing…
– And the horizon rushes away in endless flight!…
The vast heaven is open! the mysteries lie dead
Before erect Man, who folds his strong arms
Among the vast splendour of abundant Nature!
He sings… and the woods sing, the river murmurs
A song full of happiness which rises towards the light!…
– it is Redemption! it is love! it is love!…
IV
O splendour of flesh! O ideal splendour!
O renewal of love, triumphal dawn
When, prostrating the Gods and the Heroes,
White Callipyge and little Eros
Covered with the snow of rose petals, will caress
Women and flowers beneath their lovely outstretched feet!
– O great Ariadne who pour out your tears
On the shore, as you see, out there on the waves,
The sail of Theseus flying white under the sun,
O sweet virgin child whom a night has broken,
Be silent! On his golden chariot studded with black grapes,
Lysios, who has been drawn through Phrygian fields
By lascivious tigers and russet panthers,
Reddens the dark mosses along the blue rivers.
– Zeus, the Bull, cradles on his neck like a child
The nude body of Europa who throws her white arm
Round the God’s muscular neck which shivers in the wave.
Slowly he turns his dreamy eye towards her;
She, droops her pale flowerlike cheek
On the brow of Zeus; her eyes are closed; she is dying
In a divine kiss, and the murmuring waters
Strew the flowers of their golden foam on her hair.
– Between the oleander and the gaudy lotus tree
Slips amorously the great dreaming Swan
Enfloding Leda in the whiteness of his wing;
– And while Cypris goes by, strangely beautiful,
And, arching the marvellous curves of her back,
Proudly displays the golden vision of her big breasts
And snowy belly embroidered with black moss,
– Hercules, Tamer of beasts, in his Strength,
Robes his huge body with the lion’s skin as with glory
And faces the horizons, his brow terrible and sweet!
Vaguely lit by the summer moon,
Erect, naked, dreaming in her pallor of gold
Streaked by the heavy wave of her long blue hair,
In the shadowy glade whenre stars spring in the moss,
The Dryade gazes up at the silent sky…
– White Selene, timidly, lets her veil float,
Over the feet of beautiful Endymion,
And throws him a kiss in a pale beam…
– The Spring sobs far off in a long ectasy…
Ii is the nymph who dreams with one elbow on her urn,
Of the handsome white stripling her wave has pressed against.
– A soft wind of love has passed in the night,
And in the sacred woods, amid the standing hair of the great trees,
Erect in majesty, the shadowly Marbles,
The Gods, on whose brows the Bullfinch has his nest,
– the Gods listen to Men, and to the infinite World!
May 70
———
Dance of the Hanged Men
On the black gallows, one-armed friend,
The paladins are dancing, dancing
The lean, the devil’s paladins
The skeletons of Saladins.
Sir Beelzebub pulls by the scruff
His little black puppets who grin at the sky,
And with a backhander in the head like a kick,
Makes them dance, dance, to an old Carol-tune!
And the puppets, shaken about, entwine their thin arms:
Their breasts pierced with light, like black organ-pipes
Which once gentle ladies pressed to their own,
Jostle together protractedly in hideous love-making.
Hurray! the gay dancers, you whose bellies are gone!
You can cut capers on such a long stage!
Hop! never mind whether it’s fighting or dancing!
– Beelzebub, maddened, saws on his fiddles!
Oh the hard heels, no one’s pumps are wearing out!
And nearly all have taken of their shirts of skin;
The rest is not embarrassing and can be seen without shame.
On each skull the snow places a white hat:
The crow acts as a plume for these cracked brains,
A scrap of flesh clings to each lean chin:
You would say, to see them turning in their dark combats,
They were stiff knights clashing pasteboard armours.
Hurrah! the wind whistles at the skeletons’ grand ball!
The black gallows moans like an organ of iron !
The wolves howl back from the violet forests:
And on the horizon the sky is hell-red…
Ho there, shake up those funereal braggarts,
Craftily telling with their great broken fingers
The beads of their loves on their pale vertebrae:
Hey the departed, this is no monastery here!
Oh! but see how from the middle of this Dance of Death
Springs into the red sky a great skeleton, mad,
Carried away by his own impetus, like a rearing horse:
And, feeling the rope tight again round his neck,
Clenches his knuckles on his thighbone with a crack
Uttering cries like mocking laughter,
And then like a mountebank into his booth,
Skips back into the dance to the music of the bones!
On the black gallows, one-armed friend,
The paladins are dancing, dancing
The lean, the devil’s paladins
The skeletons of Saladins.
– As translated by Oliver Bernard: Arthur Rimbaud, Collected Poems (1962)
___________
Rena Jones – Open Me Slowly
___________
So over the last weekend and into the early week, I worked on re-inventing Gwyllm-Arts.com.
Elihu Vedder Biography:Vedder was American-born Romantic painter and illustrator whose reputation is based primarily on oil paintings derived from dreams and fantasies.
Abrams has just released Mushroom Magick, a marvelous field guide to Psilocybe and other hallucinogenic fungi, illustrated by Arik Roper, one of my favorite trippy young illustrator artist types. Here is a portion of my introduction to this excellent volume.
Yet those who are looking for mushrooms may simply be more inclined to find them. Images deceive. The shapes on the Tassili figure may be fattened arrowheads, or the sort of abstract designs that permeate rock art around the world. Medieval iconologists identify the spindly mushroom tree on the oft-mentioned bronze panel from Hildesheim as a stylized ficus. For true believers, the fragmentary nature of this evidence simply confirms the sneakiness of the cult. Either way, there is a great irony in taking mushroom shapes found in art literally, as unambiguous evidence for the existence of psychedelic magico-religious rituals along the lines of the ones Wasson found in Oaxaca. The message that the mushroom delivers to the eye of the beholder may suggest another story: that appearances themselves are a trickster, a glamour, a phantasm. Now you see it, now you donÂ’t.
John Michell, author, philosopher, harbinger of Earth knowledge past to the Western Ilses today in the UK….
A map of the emerging communal entity that is the internet…
Today marks the 66th anniversary of Albert Hofmann’s wild bicycle ride after he intentionally dosed himself with about 250ug of LSD (or was that 350Ug? In all the excitement I can’t recall!)
“Find your place on the planet. Dig in, and take responsibility from there.”
She was born Laura Reichenthal in New York to a family of Austrian Jewish immigrants, and educated at Cornell University, where she began to write poetry, publishing first (1923-26) under the name Laura Riding Gottschalk. She became associated with the Fugitives and shared much of their poetic credo. Her first marriage, to the historian Louis Gottschalk, ended in divorce in 1925, at the end of which year she went to England at the invitation of Robert Graves and his wife Nancy Nicholson. She would remain in Europe for nearly 14 years.
James Joyce (1882-1941), Irish novelist, noted for his experimental use of language in such works as Ulysses (1922) and Finneganns Wake (1939). Joyce’s technical innovations in the art of the novel include an extensive use of interior monologue; he used a complex network of symbolic parallels drawn from the mythology, history, and literature, and created a unique language of invented words, puns, and allusions.
