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Posts Tagged ‘Worship’

Therefore, if you died with Christ from the basic principles of the world, why, as though living in the world, do you subject yourselves to regulations—“Do not touch, do not taste, do not handle,” which all concern things which perish with the using—according to the commandments and doctrines of men? These things indeed have an appearance of wisdom in self-imposed religion, false humility, and neglect of the body, but are of no value against the indulgence of the flesh.

This passage really nagged at me when I read it as a Mormon. It even says that these things are an apearance of wisdom, for crying out loud. I’m not saying it was a slam-dunk, but it always felt uncomfortably close.

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He’s the wolf screaming lonely in the night;
He’s the blood stain on the stage.
He’s the tear in your eye being tempted by his lies,
He’s the knife in your back; he’s rage!

You want to experience the Horned God right now? Go and grab a copy of Mötley Crüe’s Shout at the Devil and put it on the record player. Turn it up. Listen to it. Feel it. Get into it. There he is—lurking under the surface of the music, ready to burst out at any minute with a raging hard-on and an urge to do violence. This is the music your parents were afraid you would listen to, and for good reason. This is Pan’s music, and Pan is everything they were afraid of.

Rock music has a long tradition of flirting with the Devil, but with a few notable exceptions, these musicians don’t worship the actual Devil of Christianity. The Devil of rock and roll is not really anything like the Satan found in the Bible or in modern Christian theology. Some Christians might be bothered both by the content and the imagery of rock and metal, but not actually because they accurately represent the Christian Satan in a theological sense. The Christian Satan is a fallen angel who is miserable because he is separated from God, and as a result, he wants to make humanity as miserable as he is by tempting them to sin against God and thereby separate themselves as he is separated. That same motivation is often ascribed to the Devil of rock and roll, but it is falsely ascribed. It is a reaction, a fear-motivated impulse that rock and roll deliberately provokes because it pushes people’s boundaries and forces them to confront everything that rock and roll and its Devil stand for. But under the surface, it has nothing to do with Christianity’s Satan.

The Devil of rock and roll is a different Devil: he is instead the Devil of the occultists, the magicians, and the romantic poets. And whether the Christian Devil was in fact deliberately distorted in the Middle Ages to look and act like a pagan horned god or whether that idea is a modern conceit, the romantic occult Devil, who came much later, was most definitely and intentionally modeled on the pagan Horned God. This intoxicating devil inspired the poets and magicians who inspired the musicians of the twentieth century. It’s no accident that the first real heavy metal album, Black Sabbath’s self-titled record, is completely and totally immersed in the imagery of Satan. This Devil was a god of libido, of power, of freedom, a god of fear and lust, a god of the revel, of nature, of the night, a god of secrets and rage, a god who stands as a guardian of or even a living embodiment of the inexhaustible wellspring of the universe’s raw, primal, and sublime essence. His worship ran counter to the Church and its theology, but not because he was a part of the Church or its theology. He was a Devil, but he was not Christianity’s Devil: he was in fact Pan. Pan, the horned god of the Greek shepherds, whose music inspired fear and panic and sexual lust, Pan the god of the wild places and the lonely, magic, dangerous corners of the earth, the Great God Pan. When the romantics and occultists looked to the gods of the ancient pagans, Pan stood out from all of them because he represented a direct, divine connection to that raw stuff of the universe that the Church of the Middle Ages did its best to monopolize, control, and intermediate. Pan stood out and invited the occultists to come and feel his power directly, through ritual but most importantly through the revel. And heavy metal gives us both, in spades. Heavy metal gives us the real Devil, the Devil that human beings hunger and thirst for.

He’ll be the love in your eyes, he’ll be the blood between your thighs
And then have you cry for more!
He’ll put strength to the test, he’ll put the thrill back in bed,
Sure you’ve heard it all before.
He’ll be the risk in the kiss, might be anger on your lips,
Might run scared for the door…

People fear Pan because Pan cannot be controlled. Pan is wild; Pan is free. Pan is unpredictable and the unpredictable makes us uncomfortable. It doesn’t fit in our neat categories; it doesn’t follow our made-up rules.

By invoking his imagery and creating music that is a perfect channel for his divinity, heavy metal has served him and worshipped him more purely than perhaps any other modern human endeavor. Heavy metal stands as a dangerous and powerful testament that despite Plutarch’s report and the wishful thinking of Milton and Browning, Pan is not dead at all. Like nature itself, and like his sometime father Dionysus, Pan can never die. Pan returns and demands that we deal with him. Pan has a hold on all of us, whether we like it or not: we are all dark and dangerous, we all have the urge to create and destroy, we are all animals playing at being human. And when we hear a song like “Shout At The Devil” we can’t help but feel who we really are.

But in the seasons of wither we’ll stand and deliver—
Be strong and laugh and
Shout! Shout! Shout!
Shout at the Devil!

Feel the swagger, the sexuality, the aggression in the music. Feel it in your body, as your body answers. That is Pan. Pan’s music is rough and savage, but no less powerful and intricate than Apollo’s hymns. Apollo calms us, but Pan arouses us. Pan shows us a side of humanity that is frightening but real, and even essential. It’s not evil—it’s who we are. Modern pagans shy away from talking about the Devil because they are afraid of being misunderstood or maligned. And maybe that’s fair, but I think it’s a mistake. Pan is the Devil, and that’s a good thing. He is the Devil in the best way possible, and I say embrace that. Put the record on. Turn it up. Throw up his sign. You know how it’s done.

Listen to it! Listen, and shout at the Devil!

(Article originally published in Hoofprints in the Wildwood: A Devotional Anthology for the Horned Lord; song lyrics from Mötley Crüe’s song, “Shout at the Devil” written by Nikki Sixx)

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You may wonder why, on a blog that’s ostensibly about spirituality, I post so often about music. The fact is, to me, music is inseparable from spirituality. Music is transcendent. Through music, I touch the universe, the ultimate reality, God. I take music seriously. It’s a hobby, and that’s important to me because its a hobby that my unreasonably demanding job can’t take away from me, but its more than a hobby. I enjoy it so much precisely because it is a window into the sublime.

Music fanatics have been accused of worshipping rock stars. This is usually meant pejoratively, to make the level of devotion shown by music fans look ridiculous. But I embrace it. Do I worship Jim Morrison? You bet your ass I do. And Johnny Cash. And Ronnie James Dio. And Waylon Jennings. And Jimi Hendrix. I’m a polytheist, and I embrace a tradition that includes deifying heroes. And I think these men are heroes worthy of worship. Even gods. Not gods of the same magnitude as Dionysus or Aphrodite, and certainly not of the same magnitude as the ultimate one cosmic unity, whatever you like to call that. But gods no less, and I treat them as such.

Some days I pour out a libation to Zeus, and some days I pour out a libation to Dio.

With that in mind, a friend of mine just put up a blog post about how thankful she is for music, and I want to echo her sentiments. Music makes the world just a little bit better. Music makes life a little easier to live.

My friend also posted YouTube videos of some of her favorite songs, as a part of this post. And I want to do that, too. So I give you, in no particular order, ten of the greatest fucking songs in the whole world.

1. Johnny Cash, “I Walk The Line”

This is my favorite song of all time, and it has been since I first knowingly heard it. I’m not afraid of complicated arrangements, but something about the stripped-down simplicity of this song just pieces me to the core. Johnny Cash wields his guitar like a rifle, and in a few spare words, he says all that anyone ever needs to say. This is the best, most important song ever written. If I had to pick one single piece of music to be all that survived of human civilization, I would not pick Beethoven, Mozart or Bach. I would pick this.

2. Pink Floyd, “Wish You Were Here”

An intense, emotional song with absolutely brilliant lyrics. Nothing more even needs to be said. Also, Wyclef Jean’s version is amazing as well.

3. Jimi Hendrix, “All Along The Watchtower”

This was already one of my favorite songs in the universe before Colonel Tigh started mumbling the lyrics at the end of the third season of Battlestar Galactica. I pretty much just pissed myself when I realized what it was he was saying. And using the song the way they did was perfect, because “All along the Watchtower” is like a fucking rock and roll window into the supernal realms. The opening guitar riff knocks my socks off and I’m not able to put them on again until the song is over. Also, don’t miss Apuleius Platonicus’s amazing analysis of the spiritual significance of this song.

4. Jimmy Durante, “As Time Goes By”

Another song beautiful in its simplicity. A romantic classic for a reason. It will always make me think of my beautiful and sexy wife and the absolutely amazing life we have had together so far. It may not be “our song,” but to me it is nevertheless a song about us.

5. Black Sabbath, “Heaven And Hell”

The world lost a god when Ronnie James Dio died. The two albums he recorded with Black Sabbath in the early 1980’s are some of the best heavy metal albums ever. Tony Iommy shines all over the place like he never was able to with Ozzy, and Ronnie’s lyrics are timeless, creative, and iconic: They say that life’s a carousel, spinning fast, you’ve got to ride it well. The world is full of kings and queens who blind your eyes and steal your dreams, its heaven and hell.

6. Led Zeppelin, “Stairway To Heaven”

This song is ubiquitous for a reason. I wrote a post about its spiritual significance a couple months ago, so I won’t repeat myself unnecessarily except to say this song is not a cliché. This song is just that good. It builds from a soft, mystic, poetic beginning into a massive sublime onslaught. If you don’t love this song, you have never paid attention to it.

7. Joy Division, “Love Will Tear Us Apart”

The best of all new wave and post-punk songs, a perfect blend of synth instrumentation and earnest, passionate and dark lyrics. There is nothign here not to like.

8. The Doors, “L.A. Woman”

Somewhere I wrote a poem about this song, but now I can’t find it. “L.A. Woman” is a perfect example of all four of the Doors working together in synergy. The other great thing about this song is that the beat of the opening movement is exactly the right beat for me to run to and pass an Army AFPT. For the record, I have been out of the Army for about four days now, and I am not really okay with that.

9. Dio, “Holy Diver”

My kids love this song as much as I do. They know all of the words, and they know how to do devil horns with their hands. It’s the most cute-awesome thing ever. Also, if I could make every Dungeons and Dragons adventure I ever ran feel exactly like this song and its goofy music video, I would be a happy man.

10. Highwaymen, “The Highwayman”

Reincarnation and country music. Four outlaw country gods walking among men.

11. Mazzy Star, “Into Dust”

I have loved this song for more than a decade. To me, it is the most intense song I know of.

12. Waylon Jennings, “Rough and Rowdy Days”

Another one for my beautiful and sexy wife. And for me.

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Homeric Hymn 8 to Ares (translated by Evelyn-White):

Ares, exceeding in strength, chariot-rider, golden-helmed, doughty in heart, shield-bearer, Saviour of cities, harnessed in bronze, strong of arm, unwearying, mighty with the spear, O defender of Olympos, father of warlike Nike, ally of Themis, stern governor of the rebellious, leader of the righteous men, sceptred King of manliness, who whirl your fiery sphere among the planets in their sevenfold courses through the aither wherein your blazing steeds ever bear you above the third firmament of heaven; hear me, helper of men, giver of dauntless youth! Shed down a kindly ray from above upon my life, and strength of war, that I may be able to drive away bitter cowardice from my head and crush down the deceitful impulses of my soul. Restrain also the keen fury of my heart which provokes me to tread the ways of blood-curdling strife. Rather, O blessed one, give you me boldness to abide within the harmless laws of peace, avoiding strife and hatred and the violent fiends of death.

I have been praying to Ares quite a bit lately. This is not a result of some personal mystical experience or powerful gnosis I have had. It’s just a growing understanding of the role that he plays in the human experience and in my life in particular. Ares gets painted in a pretty negative light in Homer, and Ares represents some powerful facets of humanity that are in extreme disfavor in modern liberal western society. But I think that by ignoring or downplaying Ares and the things that he represents, we have done ourselves a terrible disservice.

Ares is a god of war, and war is a part of being human. There has always been war, and there will always be war. Real paganism means dealing on a sacred level with the world as it really is: acknowledging and honoring all of the parts of human existence. War is violent and terrible, but it is part of who we are. By rejecting war entirely, we reject a part of humanity. I realize that this is a statement with strong implications, so I am willing to spell them out: I believe that real Paganism is completely incompatible with pacifism.

I utterly reject the notion that there are “different ways to be a warrior.” Social reformers and crusaders for justice are laudable and praiseworthy, and the struggles they face may well be like war, in a metaphorical sense, but it’s not war. They are warriors, metaphorically, not warriors, period. Ares is not the god of metaphorical wars; he is the god of physical violence, of blood and battle. Ares has no place for pacifists, and while he is also a god of strength and endurance and surely has respect for anyone who exhibits those characteristics, no matter the context, metaphorical warriors are not truly his.

Ares is also a god of manliness, of masculinity. As I said, he is a god of strength, power, and endurance, of mastery and skill. He is a god of those characteristics that men should exemplify at their finest. is a god of properly-channeled aggression, a god that knows anger but knows how to control his anger and save his wrath for the right time and the right place: thus there is nothing unusual about asking the god of war and anger for aid help to “abide within the harmless laws of peace.” Ares is not about being out of control. The experience of being out of control is the realm of his brother, Dionysus.

Ares is a god of courage. Fear and panic may be his children, but he expects us to act with strength and decisiveness even when we are faced with them. He does not expect us to be fearless, but he expects us to do what we have to do anyway.

Ares is a lover and protector of women. He makes women happy and women make him happy: Ares and Aphrodite are lovers for a reason, and their children include Harmony as well as Fear and Panic. While Dionysus teaches us that there is a place for exceptional individuals, unusual circumstances, and value in turning convention on its head, especially when it comes to gender expectations, that’s not what Ares is about. Ares shows us that there are expectations for manly behavior, that there are divine norms–not rigid, inflexible norms, but norms nonetheless–for how a pagan man is supposed to act.

I worship Ares: I pour libations to him, I make offerings to him, I sing his hymns. He inspires me to act with strength and courage, to be decisive, and to be bold. He is a god who is truly worthy of worship–so much more than the hateful, spiteful, unworthy portrayal that we see in the Iliad–and in worshipping him I find fulfillment.

Hail terrible, warlike Ares! Hail bronze-armed, spear-wielding stormer of cities who rallies fighting men and leads them to battle! Hail murderous, manslaying, bloody-handed Ares! Hail Ares the switft, the strong, and the violent! Hal abundant Ares, feasted by women! Hear my prayers and accept my offerings!

(Note: Over at Aspis of Ares, Pete Helms tackles some of this stuff unsurprisingly well)

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I was navigating through my WordPress dashboard and once again I noticed the list of unfinished drafts sitting there. The familiar twinge of guilt came, followed by the old, habitual “You’ll get to it eventually” lie that I tell myself. It’s time I faced the truth: I am probably never going to finish writing those posts. That being said, there is no reason that the unposted ideas should simply die.

Therefore I have decided to do them all in one go, as “stubs.” A list of rough ideas for posts I never got around to actually writing and that I probably never will write, alsong with any bits of them that I think are particularly worth sharing.

So without further ado:

Are Wiccans Really Pagan?: After the hubub following the Parliament of World Religions, this is sort of a dead horse. My opinion is that labels are mostly just semantic, but they do matter because they influence how we think about things, how we generalize, and thus how we interpret the world. Despite the fact a Hellenic polytheist may pay lip service to some of the same gods as a Wiccan, I do not think that Wicca and Reconstructionist Polytheism are even in the same category of religions. The term “earth-based” gets bandied about a lot, but I think it’s bullshit rhetoric. What does it even mean to be “earth-based,” and what makes a religion “earth-based?” In what way is your religion (or mine, or anyone else’s) “earth-based?” It has been taken for granted by most that all of the disparate religions and spiritual paths that congregate under the broad umbrella of “Neopaganism” actually belong together, but it is my opinion that they do not. I think that Neopaganism as a conceptual category is a net negative: by thinking of all of these religions as related, it causes people to treat them as if they are related, and it pushes their adherents to practice them as if they are related, and in the end, I think that is bad for everyone involved. I think that a Hellenic polytheist without a neopagan background has a lot more in common with a Hindu than he or she does with most Wiccans or neo-druids.

BYU vs. The Bakkhai: Last year, Brigham Young University canceled a performance of Euripides’ The Bakkhai, because it had “adult material.” I think that’s lame for a lot of reasons, but mostly because it is a kind of religious censorship. The Bakkhai, as originally conceived and performed, was a part of the Dionysian theater festival. It wasn’t entertainment; it was religion. By not allowing the Bakkhai because of its content, BYU actually censored the exprsssion of another religion. BYU is a Mormon university, so I guess it can do that if it wants, but it’s the kind of thing that strikes me as a petty and desperate form of ideological control. The best part about it is that one of the central messages of the Bakkhai is that by denying the place of Dionysus–by denying the wildness and the transgressory reveler within us–we give rise to tragedy. Our Dionysian natures will have their expression whether we want them to or not. We either drink the wine and dance with the maenads in a controlled and ultimately harmess expression of our untamed natures, or we try to deny them, and subject ourselves to savage backlash. And that is exactly what BYU has done, and exactly what Mormonism does: by trying to deny the Natural Man completely, Mormonism only invites him to come back and haunt us in far darker and more destructive ways.

Rolling Stone Is Kind Of Lame: I subscribed to Rolling Stone because I am a music enthusiast and because it was inexpensive, but usually I find myself irritated and disappointed by every issue. As long as the magazine sticks to music, it’s decent (although sometimes unnecessarily snide and nasty, as they were with the Taylor Swift cover story), but every time it ventures into politics and society, it does so ridiculously. News Flash, Rolling Stone: knee-jerk partisan support for the Democratic Party platform is not rock and roll rebellion.

I May Be A Civilian But I Will Never Be Civilized: My end of term of service date with the National Guard came and went, which means I am no longer even an active reservist. Getting out at that time was practical and prudent, but not a day goes by that I don’t wish I was back in. I had some bad times in the Army, but I had some incredible times, too, and for the last three years, being in the Army has made me happy. My heart aches to be a soldier again., and if I can figure out a way to make it happen, I will.

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The question of “hard” versus “soft” polytheism is simply put, a question of to what degree the gods are individual beings. Properly fleshed out, the question opens up into a fascinating and complex theological inquiry that can potentially have major impact on how polytheists believe and worship.

However, reducing the question to a yes/no two-category designation obscures the nuances and falsely forces how we conceptualize the gods into one of two rigid schemas, and how “everyone else” thinks of the gods into the other. Forcing the question into the hard/soft dichotomy puts an artificial end to the discussion and transforms the conversation from a theological inquiry into a question of personal identity. Instead of a conversation about the gods, we’re having a conversation about how we self-identify in relation to the gods, and it invariably slips into shades of “us versus them.”

In reality, there is a huge spectrum of possibility–at the very least there is a question of degree–with plenty of room for an evolving understanding. Especially since, when push comes to shove, the nature of the gods is something we can never really know.

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In my last post, I hinted cryptically at something new in the works for me, spiritually speaking. The quick and dirty version is that a week from tomorrow my family will celebrate Samhainn and I will, in honor of the new year of the ancient Celts, officially begin my candidate year with the Ancient Order of Druids in America. I not only plan on pursuing the First-Degree Curriculum on my own, but actually joining the Order and becoming as active as is practical in it (although since the Order is small right now, that just might mean no more than stepping up my participation in the Yahoo group). That’s as big of a bite as I am willing to take at the moment, but I intend for it to only be a beginning. I fully intend to ultimately join and study with Ár nDraíocht Féin and the Order of Bards, Ovates, and Druids within the next few years. In other words, I have decided to become a Druid (or at least a neo-Druid, which I will say for the first and last time for the benefit of the unreasonably rigid who demand that such a distinction be made).

A massive amount of thought has gone into this (you may remember that I have been toying with the idea of Druidry for an awfully long time, especially now that I have finally come to terms with my pagan identity), but despite Druidry’s constant presence in my spiritual orbit, I have been pretty much consistently unable to actually do anything with it, even to commit mentally to the idea.

Since the Hellenic gods reached out to me, I have had a kind of internal tension with traditional Hellenic polytheistic religion, i.e. Hellenismos. Belief in the reality of the gods of ancient Greece does not necessarily imply the need to worship them in the fashion of the ancient Greeks, but I have this pro-dogma reflex that I think I inherited from Mormonism. Even though I have known from the beginning that Hellenismos was not going to work for me, i have kept trying to make it work for me, and although I have made some important spiritual inroads and have developed meaningful relationships with the gods, I have never felt like “this is it; this is my spiritual identity.”

Don’t be confused here, though. I am in no sense whatsoever talking about abandoning my faith in or worship of the Hellenic gods. I have felt these gods, I have been blessed by them, I have had incredible experiences with them. These gods reached out to me, and I would say that I claim them as my gods, but it really makes more sense to say that they claimed me as their own. I will continue to worship these gods to me–the gods that are, in my experience, the real gods.

I am also not saying that I will abandon traditional Hellenic worship forms, either. It makes sense and it to worship the Greek gods in a Greek way. I also think it pleases them to be worshipped in a way that is traditional. I will continue to draw on ancient practices and forms of worship in my spiritual life as I have done for the past year. But I’m not going to stress out about “doing it right” or feel nervous, inadequate, or impious when I fail to perform my religion according human-created specifications, as ancient and valuable as they may be. Ultimately I’m concerned with what the gods think, not with what ancient Greeks would have thought, or what Hellenic polytheists on the internet think.

What I am saying here is that my religion is not “Hellenismos.” Though I worship the Hellenic gods and often do so in Hellenic ways, I will not keep trying to fit my religious life into a wrong-sized hole. My relationship with the gods is not the only component of my spirituality, and I see no reason why it should be. I believe in my gods, not in a religion.

But I am embracing Druidry because it is the only place I know of that will allow me to fully explore all of the aspects of my spirituality–Hellenic polytheism included–that cry out to be explored. The modern Druid tradition embraces absolutely everything that is important to me spiritually (except for badass muscle cars; those really just don’t fit which is too bad for Druidry, really), and provides a framework for finding or building the connections between them. And more importantly, I am embracing Druidry because I feel pain when I am cut off from the natural world, and because I feel dead inside when I am alienated from nature’s cycles. Druidry is the only spiritual path I am aware of–and I have done no small amount of looking around–that comes even close to punching all of the buttons that I need to have punched.

So here I go; into the breach. I’ve been sort of warming up, practicing meditation and the Druid grove ceremony, and I’ve been talking to my beautiful and sexy wife a bit about what I’ll be doing and what parts of it we can do together. I’m excited about this. Being willing to say “I am committed” in a spiritual context is a huge step for me, as even a quick perusal of my blog archives will show you. This is a big deal.

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Today is Thursday, which means it is my day to pray to and worship Aphrodite (though truth be told, I pray to and worship Aphrodite much more often than just on Thursdays). Today I spent time meditating on the birth of the goddess, and then I offered my typical prayers, hymns, and offerings. When I was finished, it occured to me to do a tarot reading about my relationship with the goddess, so I sat down with my cards, I invoked Apollo as the god of oracles and prophecy, and I asked for the cards to reveal to me the nature of my relationship with the goddess, past, present, and future. This was the spread I laid out:

Ten of Cups (Reversed) Page of Wands (Reversed) Nine of Swords

(In case those links ever expire, those are the Ten of Cups reversed, the Page of Wands reversed, and the Nine of Swords).

Honestly, I’m not sure what to make of it. The first card, the reversed Ten of Cups, makes sense. After my initial contact with the goddess, which blew me away and filled me with warmth, light, and love, my continued spiritual floundering has left the fulness of spiritual joy represented by the Ten of Cups, that I feel can be available to me through Aphrodite, has been truncated and stunted. My own hemming and hawing, whatever my reasons, has kept me from having the joy in the goddess that I might otherwise have had. Nothing odd or unexpected there.

Its the reversed Page of Wands and the Nine of Swords that have me troubled. The Page came up ecently in an extremely important reading I did for myself, and at the moment I am sort of getting ready to embark on a path of (spiritual) action: a very definite journey of spiritual work that I think the Page represents. So why is he reversed? Am I doing something wrong?

And the Nine of Swords? What does that mean? That my Page-of-Wands journey is ill-considered and abortive and will lead to regret and hearbreak, at least as far as the goddess is concerned? Or is the whole thing a warning? Could it not be saying that my present quest is in fact corrupted and askew, but that if I do embark on it like I have planned, but then I let it fall by the wayside, if I am lazy about it, then it will end in sorrow and tragedy, and a possible loss of relationship with the goddess altogether?

In other words (because I know I am being cryptic and confusing), is the reading telling me something definite or conditonal? Is it warning me that my present course is distorted and cowardly, and will result in anguish, or is it warning me that if I veer from my present course–reverse the Quest, in other words–that it will lead to anguish? It seems a bit vague about something that is kind of important.

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Taking a suggestion from the now-defunct (but excellent and accessible) Sponde: Hands-On Hellenism website, I decided to put together a personal calendar for prayer and worship. The idea was really to just get started and dive in, rather than to agonize over just the right way to set it all up. I can tinker later if I feel I need to, but nobody’s looking over my shoulder to tell me I’m doing it wrong (well, other than the gods). I have spent so much time dragging my feet and procrastinating getting serious about this, that it has been so refreshing to just get something down in a concrete form and start practicing. So, here’s how it stands at the moment: each day of the week I say prayers and make offerings to one (or two) specific gods and/or goddesses. I chose the gods that I did because of a combination of their personal meaning to me and their applicability to me (so, I chose Aphrodite and Dionysus because of significant mystical experiences, and I chose Zeus and Herakles because of their significance as household gods).

Monday: Herakles
Tuesday: Zeus
Wednesday: The Divine Twins (Apollo and Artemis)
Thursday: Aphrodite
Friday: Dionysus
Saturday: Hermes

Sunday is my day to choose a different god or goddess, for whatever reason, so I can rotate in whomever I need to (or even offer the odd prayer to Odin every now and then). In addition to my daily devotions, I add some other regular and irregular prayers and offerings. First, every morning, I light the tart burner in the living room (our hearth I guess–the trend among Hellenic polytheists seems to be to substitute the kitchen, but it just doesn’t seem central to our home) and say a short prayer to Hestia. Also, thanks to a reminder from my beautiful and sexy Christian wife who Pagan-pWn3d me, another prayer to Hestia goes at the end of the day when we blow the candle out to go to bed.

Second, when the opportunity arises, I also plan on praying to Hera with my awesome and incredibly supportive wife. I feel like it is important to pray to Hera as a couple, except maybe when you go to her with a specific particular concern. But general praise and honor seems like it makes the most sense coming from both of us, united and desperately in love despite our different beliefs. Third, since I do a fair amount of hiking and tramping about the woods, I plan on offering at least a quick prayer each to Dionysus, Pan, and Artemis whenver I do so. Finally, I will pray and pour out libations to the other gods and goddesses whenever appropriate (to Ares when I am headed out to military service, for example), and also in the context of seasonal rituals and celebrations, which are still seriously under construction.

So far, it has been pretty fulfilling. I feel like my faith is becoming better integrated into my life, even though what I do doesn’t really take up much in terms of time and effort. It gives me a sense of calm and of spiritual accomplishment, like I am building a real and meaningful relationship with the gods instead of just thinking about building a relationship with them.

I’m also thinking about composing a kind of set of written devotions/rituals to the gods that I pray to and worship, soemthing for me to use in my daily devotions but that will also let me change things up a bit. A sort of rotating program of Hymns and Devotions, maybe three to each god/dess in sets, one for each week to go in a three-week cycle. As I write them, I will post them here on the blog.

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I came across a pretty cool essay on Jim Morrison and Dionysus, and the pagan spiritual implications of Morrison’s life, music, philosophy, and his unique and fascinating madness. It gets a little closer to what I was trying to write a few days ago about the Lizard King. With all due respect and entirely without permission, I am reprinting it here in entirety:

THE CULT OF THE LIZARD KING
by Delia Morgan

I. The Rock God:

Jim Morrison–rock star, poet, prophet, electric shaman, and god incarnate. The lead singer of the 1960’s acid rock band known as The Doors, Jim Morrison identified himself very strongly with Dionysos. The Doors were the first group to really do rock concerts as ritual, as a means of taking the audience on a psycho-religious trip. They took their name from Aldous Huxley’s quote (here paraphrased) that “When the Doors of perception are cleansed, we will see things as they truly are–infinite.” Morrison described their mission in terms of trying to “Break On Through” to a bigger reality: “There are things that are known, and things that are unknown, and in between are the Doors.”

Morrison, with his “Greek God” beauty, his fiery passion and dark mysterious persona, has been considered a Dionysos incarnate. He certainly tried to bring something like shamanism and Greek drama to rock music and to the stage; he tried to shock people out of their complacency and into a terrifying and liberating ecstasy. Since his death at a young age in 1971, a cult has grown around him; many people, myself included, sense his presence as a guiding force, build altars to him, etc. There was even a “First Church of the Doors” at one time.

Morrison himself was, by all accounts, a man as brilliant as he was daring. At a young age he had read extensively on shamanism and ancient mythology, including James Frazer’s “The Golden Bough” (much of which is about Dionysos); he was also quite taken with Friedrich Nietzsche’s passionate vision of Dionysos as portrayed in “The Birth of Tragedy.” One of the last books he had been reading before his death was Jane Ellen Harrison’s voluminous and challenging “Prolegomena to the Study of Greek Religion” which is also mostly about Dionysos. It seems to me that Morrison let himself be completely possessed by Dionysos, until the man and the god were irrevocably merged; he carried the torch of his mythic Dionysian vision all the way to his death.

Unfortunately, most people never quite ‘got’ what he was trying to do at the time, which was religion. Rock critics called him pretentious for taking himself so seriously; few of them knew enough about myth and religion to put the pieces together. Ray Manzarek’s recent book “Light My Fire” is a personal history of the Doors, and also talks about Morrison as Dionysos.

Here are just a few quotes from Morrison’s songs and poetry where the dark and Dionysian mystic slips through:

“I call upon the dark hidden gods of the blood…”

“Where is the wine we were promised, the new wine…?”

“We could plan a murder, or start a religion…”

“I promised I would drown myself in mystic heated wine…”

“Let us reinvent the gods, all the myths of the ages;
celebrate symbols from deep elder forests…”

“I am a guide to the labyrinth.”

II. Perspectives on the Morrisonian mythos:

Some perceptive authors and music critics at the time caught on to the Dionysian element in Morrison’s philosophy and in his performances; others have come to realize this in retrospect. (Still others never caught on, and can’t understand what all the fuss is about.)

The following excerpt from a Doors website makes explicit the Doors’ connection to Pagan spiritual sentiment:

http://www.elektra.com/rock_club/doors/bio.html

During the late 1960’s bands sang of love and peace while acid was passed out. But for The Doors it was different. The nights belonged to Pan and Dionysus, the gods of revelry and rebirth, and the songs invoked their potent passions–the Oedipal nightmare of “The End,” the breathless gallop of “Not to Touch the Earth,” the doom of “Hyacinth House,” the ecstasy of “Light My Fire,” the dark uneasy undertones of “Can’t See Your Face in My Mind,” and the alluring loss of consciousness in “Crystal Ship.” And as with Dionysus, The Doors willingly offered themselves as a sacrifice to be torn apart, to bleed, to die, to be reborn for yet another night in another town.

The pagan/Dionysian theme is expanded upon by Danny Sugerman in the following excerpts from the introduction to the famous biography of Jim Morrison, titled “No One Here Gets Out Alive.”

http://www.thedoors.com/beta/mythos.htm

DOORS MYTHOS
by Danny Sugerman

“Though the favorites of the gods die young, they also live eternally in the company of gods.”
— Fredrich Nietzsche, The Birth of Tragedy

An account of initiation into the mysteries of the goddess Isis survives in only one in-person account, an ancient text that translated reads: “I approached the frontier of death, I saw the threshold of Persephone, I journeyed through all the elements and came back, I saw at midnight the sun, sparkling in white light, I came close to the gods of the upper and the netherworld and adored them near at hand. ” This all happened at night. With music and dance and performance. The concert as ritual, as initiation. The spell cast. Extraordinary elements were loosed that have resided in the ether for hundreds of thousands of years, dormant within us all, requiring only an awakening.

Of course, psychedelic drugs as well as alcohol could encourage the unfolding of events. A Greek musicologist gives his description of a Bacchic initiation as catharsis: “This is the purpose of Bacchic initiation, that the depressive anxiety of people, produced by their state of life, or some misfortune, be cleared away through melodies and dances of the ritual.”

There is a strange tantalizing fascination evoked by fragments of ancient pagan mysteries: the darkness and the light, the agony and the ecstasy, the sacrifice and bliss, the wine and the ear of grain (hallucinogenic fungi). For the ancients it was enough to know there were doors to a secret dimension that might open for those who earnestly sought them. Such hopes and needs have not gone away with time. Jim Morrison knew this. Morrison was the first rock star I know of to speak of the mythic implications and archetypal powers of rock ‘n’ roll, about the ritualistic properties of the rock concert. For doing so, the press called him a pretentious asshole: “Don’t take yourself so seriously, Morrison, it’s just rock ‘n’ roll and you’re just a rock singer.”

Jim knew they were wrong, but he didn’t argue. He also knew when the critics insulted him they demeaned his audience. Jim knew that music is magic, performance is worship, and he knew rhythm can set you free. Jim was too aware of the historical relevance of rhythm and music in ritual for those transforming Doors concerts to have been accidental.

From his favorite philosopher, Friedrich Nietzsche, Jim took solace and encouragement in the admonition to “say yes to life.” I never believed that Jim was on a death trip as so many have claimed, and to this day still find it difficult to judge the way he chose to live and die. Jim chose intensity over longevity, to be, as Nietzsche said, “one who does not negate,” who does not say no, who dares to create himself. Jim also must have been braced to read the following Nietzsche quote: “Saying yes to life even in its strangest and hardest problems; the will to life rejoicing over its own inexhaustibility even in the very sacrifice of its highest types-this is what I call Dionysian, that is what I understood as the bridge to the psychology of the tragic poet. Not in order to get rid of terror and pity, not in order to purge oneself of a dangerous effect by its vehement discharge, but in order to be oneself the eternal joy of becoming, beyond all terror and pity. “

It was Jim’s insatiable thirst for life that killed him, not any love of death.

III. Morrison Today

Why, among all stars in that infamous rock-n-roll heaven, is Jim Morrison uniquely qualified as an avatar of Dionysos? It’s no doubt true that various worthy and charismatic figures in rock-n-roll have gained something of a fanatical cult following. Visions of Elvis, etc. One recent translation of Euripedes’ play “The Bacchae” even put Elvis on the cover. But, really, it should have been Jim.

Morrison was, as far as I know of, the first or only rock performer to actually identify with Dionysos, and to express (sometimes subtly) the stated intent of trying to bring back the old pagan religions. He was also the only one to do serious research on the cult of Dionysos, and to attempt to recreate the cathartic experience of Greek tragedy as a ritual on the stage. He forged a connection between shamanism and Dionysiac cult: the shaman, by going on a spirit journey, could heal the tribe; then the rock performer, by making the presence of Dionysos manifest, and by bringing the audience with him, could create a healing breakthrough for both himself and the spectators/participants. He was brilliant, and possibly mad.

He was also the performer who (in my view) best expressed the enigmatic, mysterious qualities of Dionysos himself – the paradoxical juxtaposition of sweetness and violence, ecstasy and agony, deep masculinity and androgynous beauty, orgasmic chaos and graceful precision. Etc., etc.

I have no doubt that the spirit of Dionysos permeated the world of rock music in the 60’s, and even somewhat today. But it remains that Jim Morrison alone gave himself to Dionysos, entirely and without reservation, to the very end; and all for the purpose of bringing back Dionysian religion to a world without a clue.

And since his death, he has become a real and guiding presence for many devotees; in other words – a god. Doors fans have built altars and web shrines, conducted rituals in his honor and written poems about their spiritual encounters with Jim. He was certainly a powerful force in my own pagan awakening. This point came home to me, in many ways over the years; I’ll relate one.

One evening, I was sitting on the couch reading Jane Ellen Harrison’s “Prolegomena to the Study of Greek Religion,” a book which deals extensively with the religion of Dionysos. I was at the section where she describes how the dead hero becomes transformed into a god. I got very excited, and was scribbling notes in the margins, about how I saw this process of heroic deification as applying to Jim Morrison. (Snakes figured largely into this process, as they did in the cult of Dionysos; and Doors fans know all about Jim and “the ancient snake.”)

Suddenly, for no reason, I had a strong urge to turn on the television. (I almost never watched it; my roommate did.) When I did so, there was a program about the history of rock music, and they were doing a short segment on Jim Morrison. Then they interviewed the Doors keyboardist Ray Manzarek, on the subject of Jim’s death and/or possible continued existence. Ray said (paraphrased): “Jim isn’t here on earth anymore. Dionysos returned to Olympus, and he’s sitting up there laughing at us.”

This statement, coming right after my reading the same idea in Harrison’s book (and my relating it to Morrison), seemed like a remarkable coincidence to me at the time. I’m sure it was Jim who prompted me to turn the TV on at that moment. A few years later, I learned that (according to Jim’s girlfriend, Wiccan priestess Patricia Kennealy) that Harrison’s book on Greek religion was the very same one that Jim was reading just before he left for Paris, where he died a few months later.

===================================================

“Calling on the Gods…
Cobra on my left, leopard on my right…”
– Jim Morrison, from the album “The Soft Parade”

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