An Old, Powerful Dream

I had a dream when I was in high school, I guess fourteen or fifteen years ago, that I still remember more clearly than almost any other dream from that long ago.

I was walking home in the Knoxville neighborhood I grew up in–if you’ve ever been in a slightly run-down lower-middle/working class neighborhood in the South, you know exactly what it looks like. I was with my best friend at the time, and maybe with a few other people (my brother?), and we were walking around to the back of the house. I was aware that there was warning of an imminent nuclear attack. There might have been an audible siren, or it might have just been the impression of an audible siren.

But we walked around to the backyard, and there, laying in the back yard, just outside the window to my father’s studio, was an atomic bomb.

The bomb was made of wood, some light kind of wood like balsa or just a rotten log, and it looked like it had been roughly carved. It was about 15-20 feet long and 3-4 feet wide, roughly missile-shaped. A panel was open on the body of the bomb, with sort of a generic instrument array inside. Maybe flashing lights.

I remember the dread in the pit of my stomach–the world-shatteriing terror of coming dface to face with an armed atomic weapon. We all dove to the ground, aware for some reason that the only way we would survive this thing was to not look at the bomb, under any circumstances It was not clear or even important in the dream whether not looking at the bomb would actually prevent it from detonating, or if we would just survive the explosion. It was only crucuially important that we did not look.

Of course, I looked. I couldn’t help it. I looked, I peeked, I watched.

The whole world had gone still, but what I saw was a dog. A black dog. In fact, I saw a talking black dog, in the middle of a conversation, standing next to or maybe even on top of the armed atomic bomb. And I could not hear the conversation, but I knew the dog was talking about me.

Although I could not see dog’s conversation partner, I was also deeply andf unquestionably aware that the dog was talking to God.

Like I said, I couldn’t make out the conversation, and I could not hear God’s voice talking back to the dog. The only thing I caught was the dog saying, referring to me, “this one has his eyes open. This one can see.” It was not angry. The sense of it was more like a discussion about what should be done about me, because I was looking at the bomb when I was not supposed to, and I was seeing things that I was not supposed to see.

It was the kind of dream that you wake up from and feel changed by it, like it was profound and meaningful, even if you are not entirely sure what the dream meant. And I had the dream a long time ago, but I remember it as clearly as if I had it last night.

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In Praise Of Ares

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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The Lizard King Can Do Anything

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.

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

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