379 Sentences With "orphic" | Random Sentence Generator

SETH COLTER WALLS "Orphic Moments," a double bill of Matthew Aucoin's cantata "The Orphic Moment" and Gluck's "Orfeo ed Euridice," was breathtaking when it had its premiere two years ago at National Sawdust.

Away at school, researching climate change, he assumes an Orphic sense of mission.

The music is bright as the young lovers leave the stage in an Orphic apotheosis.

"The Orphic Moment" ends at the very instance when Orpheus loses Eurydice for a second time.

This venture follows upon National Sawdust's inventive operatic presentation "Orphic Moments" last year, featuring a triumphant Mr. Costanzo.

It wasn't until she showed me Cocteau's Orphic Trilogy that I understood something about our place within the cosmos.

Travelogues like Henri Cole's "Orphic Paris" and Shirley Hazzard and Francis Steegmuller's "The Ancient Shore: Dispaches From Naples" are pure escapism.

Mr. Aucoin's work, "The Orphic Moment," probes the psychology of the crucial turning point from the myth of Orpheus in an anguished 16-minute dramatic scene.

It's his own school that is in session — a one-way, Orphic descent into hell, with the violence manifest instead of latent, and his own pessimism front and center.

I hadn't spoken with humans save my contacts on the colonies for several weeks and thus his preamble and recitation of the Orphic Hymn to Pluto struck me as an hallucination.

In "Orphic Landscape II" (2016), the precisely defined shapes seem to have been inspired by forms from the natural world, yet whatever meaning they once bore is now lost to us.

By his own description, he was once "a full-body conductor, to an egregious extent"; when he led a performance of "The Orphic Moment" in 2016, his arms swung as he breathed heavily and vocalized with the instrumentalists.

Under the auspices of National Sawdust and the Manhattan School of Music, the inventive director and visual artist Doug Fitch and the superb countertenor Anthony Roth Costanzo presented "Orphic Moments," a pairing of a new dramatic cantata by the young composer Matthew Aucoin with an innovative staging of Gluck's "Orfeo ed Euridice," with Mr. Aucoin conducting the Manhattan School of Music Chamber Sinfonia.

In Orphic texts,Orphic fragments 197 and 360 (edition of Kern) and Orphic Hymn 70, as cited by Helene P. Foley, Hymn to Demeter (Princeton University Press, 1994), p. 110, note 97. the chthonic nymph Melinoe is the daughter of Persephone by Zeus disguised as Pluto,Orphic Hymn 71.

For the identification of Iacchus with Dionysus in an Orphic context see Orphic Hymn 42.4, 49.3.Athanaassakis and Wolkow, pp. 37, 41.

4 (= Orphic fr. 303 Kern); Ovid, Metamorphoses 6.110–114; Athenagoras of Athens, Legatio 20 Pratten (= Orphic fr. 58 Kern); Clement of Alexandria, Protrepticus 2.15 pp.

Jacob Bryant's Orphic Egg (1774) The Orphic Egg in the Ancient Greek Orphic tradition is the cosmic egg from which hatched the primordial hermaphroditic deity Phanes/Protogonus (variously equated also with Zeus, Pan, Metis, Eros, Erikepaios and Bromius) who in turn created the other gods.West, M. L. (1983) The Orphic Poems. Oxford:Oxford University Press. p. 205 The egg is often depicted with a serpent wound about it.

Evidence from both the Orphic Hymns and the Orphic Gold Leaves demonstrate that Persephone was one of the most important deities worshiped in Orphism.Bremmer, J. N. (2013). Divinities in the Orphic Gold Leaves: Euklês, Eubouleus, Brimo, Kybele, Kore and Persephone. Zeitschrift für Papyrologie und Epigraphik, 35-48.

The most extensive account in ancient sources is found in Nonnus, Dionysiaca 5.562–70, 6.155 ff., other principal sources include Diodorus Siculus, 3.62.6–8 (= Orphic fr. 301 Kern), 3.64.1–2, 4.4.1–2, 5.75.4 (= Orphic fr. 303 Kern); Ovid, Metamorphoses 6.110–114; Athenagoras of Athens, Legatio 20 Pratten (= Orphic fr.

The Orphic mysteries originated as a ritual which focused on purificationTierney, Michael. "A New Ritual of the Orphic Mysteries." The Classical Quarterly, Vol. 16, No. 2 April 1922: 77.

Pausanias, Description of Greece, Corinth, 2.30.2 He was credited with the composition of the Orphic Hymns and the Orphic Argonautica. Shrines containing purported relics of Orpheus were regarded as oracles.

118; Smyth, p. 459. Noting "Hades' identity as Zeus' katachthonios alter ego", Timothy Gantz thought it likely that Zagreus, originally, perhaps, the son of Hades and Persephone, later merged with the Orphic Dionysus, the son of Zeus and Persephone.Gantz, p. 118. However, no known Orphic sources use the name "Zagreus" to refer to the Orphic Dionysus.

In the Orphic religion, Erikepaios (; ) was a title for the god Phanes, mentioned in Orphic poetry and the associated Bacchic mysteries, a non-Greek name for which no certain interpretation has been found.

According to Gantz, p. 118, 'Orphic sources preserved seem not to use the name "Zagreus", and according to West 1983, p. 153, the 'name was probably not used in the Orphic narrative'. Edmonds 1999, p.

153, the 'name was probably not used in the Orphic narrative'. Edmonds 1999, p. 37 n. 6 says: 'Lobeck 1892 seems to be responsible for the use of the name Zagreus for the Orphic Dionysos.

The Orphic Egg in the ancient Greek Orphic tradition is the cosmic egg from which hatched the primordial hermaphroditic deity Phanes/Protogonus (variously equated also with Zeus, Pan, Metis, Eros, Erikepaios and Bromius) who in turn created the other gods.West, M. L. (1983) The Orphic Poems. Oxford:Oxford University Press. p. 205 The egg is often depicted with a serpent wound around it.

The dismemberment of Dionysus-Zagreus (the sparagmos) is often considered to be the most important myth of Orphism.Nilsson, p. 202 calls it "the cardinal myth of Orphism"; Guthrie, p. 107, describes the myth as "the central point of Orphic story", Linforth, p. 307 says it is "commonly regarded as essentially and peculiarly Orphic and the very core of the Orphic religion", and Parker 2002, p.

Later Orphic sources have Apollo receive Dionysus' remains from Zeus, rather than the Titans, and it was Apollo who reassembled Dionysus, rather than Rhea or Demeter.West 1983, p. 152; Linforth, p. 315; Orphic frs. 34, 35, 209–211 Kern.

This form of money is said to have originated from sacrificial tokens used in the Temple of Apollo Delphinios. M. L. West speculated that early Greek religion, especially the Orphic Mysteries, was heavily influenced by Central Asian shamanistic practices. A significant amount of Orphic graffiti unearthed in Olbia seems to testify that the colony was one major point of contact.West, M. L., The Orphic Poems, Oxford : Clarendon Press, 1983. .

It is the version usually quoted by ancient authorities, but was not the one used by Plato, and is therefore some-times thought to have been composed after he wrote; this question cannot at present be decided. # An Orphic Theogony given by Aristotle’s pupil Eudemus. # An Orphic Theogony ‘according to Hieronymus and Hellanicus’. Other versions were: a Theogony put into the mouth of Orpheus by Apollonius Rhodius in his Argonautica an Orphic Theogony quoted by Alexander of Aphrodisias; and a Theogony in Clement of Rome, not specified as Orphic, but belonging to the same school of thought.

The Orphic theogonies are notoriously varied,Gábor Betegh, The Derveni Papyrus: Cosmology, Theology and Interpretations (Cambridge University Press, 2004), p. 151, has noted that "one cannot establish a linear descent between the different versions"; though efforts to do so have been made, "we cannot find a single mytheme which would occur invariably in all the accounts and could thus create the core of all Orphic theogonies." and Orphic cosmology influenced the varying Gnostic theogonies of late antiquity.J. van Amersfoort, "Traces of an Alexandrian Orphic Theogony in the Pseudo-Clementines," in Studies in Gnosticism and Hellenistic Religions, Presented to Gilles Quispel on the Occasion of His 65th Birthday (Brill, 1981), p. 13. Clementine literature (4th century AD) preserves a theogony with explicit Orphic influence that also draws on Hesiod, yielding a distinctive role for Pluto.

In his article "A New Ritual of the Orphic Mysteries", Michael Tierney says that "... by sacramental re-enactment of the god's death, a hope of salvation for his worshippers was obtained."Tierney, Michael. "A New Ritual of the Orphic Mysteries." The Classical Quarterly, Vol.

Phanes (, genitive ) or Protogonus (, "first-born") was the mystic primeval deity of procreation and the generation of new life, who was introduced into Greek mythology by the Orphic tradition; other names for this Classical Greek Orphic concept included Ericapaeus or Erikepaios ( "power") and Metis ("thought").

Mnemosyne (1881), a pre-Raphaelite interpretation of the goddess Memory by Dante Gabriel Rossetti The most widely available source that discusses the Orphic gold tablets is the classic (if superseded in some aspects) Orpheus and Greek Religion by W. K. C. Guthrie.W.K.C. Guthrie, Orpheus and Greek Religion: A Study of the Orphic Movement (New York: Norton, 1966, revised edition), pp. 171–182. Since the 1990s, the usefulness of the term "Orphic" has been questioned by scholars, as has the unity of religious belief underlying the gold tablets.Radcliffe G. Edmonds, III, Myths of the Underworld Journey: Plato, Aristophanes, and the 'Orphic' Gold Tablets (Cambridge University Press, 2004), limited preview here.

40; Olympiodorus, In Plato Phaedon 1.3 (= Orphic fr. 220 Kern); Spineto p. 34; Burkert, p. 463 n.

In Greek mythology, Hesiod mentionsHesiod. Theogony, 132; this origin was part of Orphic tradition as well (Orphic Hymn 79). Themis among the six sons and six daughters of Gaia and Uranus (Earth and Sky). Among these Titans of primordial myth, few were venerated at specific sanctuaries in classical times.

485, 497 The Derveni papyrus allows Orphic mythology to be dated to the end of the 5th century BC, and it is probably even older.Kirk, Raven, & Schofield, The Presocratic Philosophers (Cambridge, 1983, 2nd edition), pp.30–31 Orphic views and practices are attested as by Herodotus, Euripides, and Plato.

Aeschylus calls Selene "the eye of night".Aeschylus, Seven Against Thebes 390. The Orphic Hymns give Selene horns and a torch, describing her as "all- seeing", "all-wise", a lover of horses and of vigilance, and a "foe of strife" who "giv'st to Nature's works their destin'd end".Orphic Hymns 8.

Orphic Mythology. A Companion to Greek Mythology, First Edition. Edited by Ken Dowden and Niall Livingstone. Blackwell Publishing Ltd.

Dionysus in a mosaic from the House of Poseidon, Zeugma Mosaic Museum The Zagreus from the Euripides fragment is suggestive of Dionysus, the wine god son of Zeus and Semele,West 1983, p. 154. and in fact, although it seems not to occur anywhere in Orphic sources, the name “Zagreus” is elsewhere identified with an Orphic Dionysus, who had a very different tradition from the standard one.According to Gantz, p. 118, 'Orphic sources preserved seem not to use the name "Zagreus", and according to West 1983, p.

Britain The Key To World History p.31 that the Orphic mysteries may have had their origins with the Cabeiri.

Orphic Fragment 58 Kern = Athenagoras, Apology 20 (p. 397); van den Broek, p. 137 n. 20; Fowler 2013, p. 9.

36–39 Butterworth (= Orphic frs. 34, 35 Kern); Hyginus, Fabulae 155, 167; Suda s.v. Ζαγρεύς. See also Pausanias, 7.18.4, 8.37.5.

Orphic Hymn 57 to Chthonian Hermes Aeschylus. Libation Bearers. Cited in Guide of the Dead. The Theoi Project: Greek Mythology.

A long list of Orphic works is given in Suidas (tenth century AD); but most of these are there attributed to other authors. They are: # Triagmoi, attributed to the tragic poet Ion, in which there was said to be a chapter called Sacred Vestments, or Cosmic Invocations. The title Triagmoi apparently referred to ‘the Orphic tripod of three elements, earth, water, fire’, referred to by Ausonius and Galen; the latter said that this doctrine was given by Onomacritus in his Orphic poems. # The Sacred Discourses, already discussed, usually identified with the Rhapsodiae.

The ancient Orphic religion had a polytheistic theology. The deities were each distinct individuals that were not equated with one another.

Plato refers to "Orpheus-initiators" (), and associated rites, although how far "Orphic" literature in general related to these rites is not certain.Parker, "Early Orphism", pp. 484, 487. Bertrand Russell (1947) pointed out about Socrates :He is not an orthodox Orphic; it is only the fundamental doctrines that he accepts, not the superstitions and ceremonies of purification.

Cercops () was one of the oldest Orphic poets. He was called a Pythagorean by Clement of Alexandria, which might have meant a Neopythagorean.Clement of Alexandria, Stromata, i. Cicero, was said by Epigenes of Alexandria to have been the author of an Orphic epic poem entitled "the Descent to Hades" which seems to have been extant in the Alexandrian period.

In particular, Iacchus was identified with the Orphic Dionysus, who was a son of Persephone.Parker 2005, p. 358; Grimal, s.v. Iacchus, p.

Religion and agriculture have been closely associated since neolithic times and the development of early Orphic religions based upon fertility and the seasons.

Commonly presented as a part of the myth of the dismembered Dionysus Zagreus, is an Orphic anthropogony, that is an Orphic account of the origin of human beings. According to this widely held view, as punishment for their crime, Zeus struck the Titans with his thunderbolt, and from the remains of the destroyed Titans humankind was born, which resulted in a human inheritance of ancestral guilt, for this original sin of the Titans, and by some accounts "formed the basis for an Orphic doctrine of the divinity of man."Linforth, pp. 307-308; Spineto, p. 34.

The Orphic Hymn to Pluto addresses the god as "strong-spirited" and the "All-Receiver" who commands death and is the master of mortals. His titles are given as Zeus Chthonios and Euboulos ("Good Counsel").Euboulos may be a cult title here and not the name of the god Eubuleus; elsewhere it is an epithet of the sea god Nereus, perfect in his knowledge of truth and justice, and in his own Orphic hymn the guardian of the "roots" of the sea. See Pindar, Pythian Ode 3.93; Hesiod, Theogony 233–236; Orphic Hymn 23; Athanassakis, Hesiod, p.

In Orphic literature, the Titans play an important role in what is often considered to be the central myth of Orphism, the sparagmos, that is the dismemberment of Dionysus, who in this context is often given the title Zagreus.Nilsson, p. 202 calls it "the cardinal myth of Orphism"; Guthrie, p. 107, describes the myth as "the central point of Orphic story", Linforth, p.

Orphic Signs is the second studio album by the technical death metal band Desecravity. It was released on November 15 of 2014 on Willowtip Records.

Outside the cave, Adrasteia clashes cymbals and beats upon her tympanon, moving the entire universe in an ecstatic dance to the rhythm of Nyx's chanting. Phanes – the strange, monstrous, hermaphrodite Orphic demiurge – was the child or father of Nyx. Nyx is also the first principle in the opening chorus of Aristophanes' The Birds, which may be Orphic in inspiration. Here she is also the mother of Eros.

Susan G. Cole, "Landscapes of Dionysos and Elysian Fields," in Greek Mysteries: The Archaeology and Ritual of Ancient Greek Secret Cults (Routledge, 2003), p. 199. Diodorus Siculus says that he was a son of Demeter and the father of Karme, thus grandfather of Britomartis.Diodorus Siculus 5.76. One of the Orphic tablets identifies him as the son of Zeus, as does one of the Orphic Hymns.

Philoponus adds his own view that the doctrines were put into epic verse by Onomacritus. Aristotle when quoting the Orphic cosmological doctrines attributes them to ‘the theologoi’ ‘the ancient poets’, ‘those who first theorized about the gods ’. Nothing is known of any ancient Orphic writings except a reference in the Alcestis of Euripides to certain ‘Thracian tablets’ which ‘the voice of Orpheus had inscribed’ with pharmaceutical lore.

Despite this, even these authors of the 5th and 4th centuries BC noted a strong similarity between the two doctrines. In fact, some claimed that rather than being an initiate of Orphism, Pythagoras was actually the original author of the first Orphic texts. Specifically, Ion of Chios claimed that Pythagoras authored poetry which he attributed to the mythical Orpheus, and Epigenes, in his On Works Attributed to Orpheus, attributed the authorship of several influential Orphic poems to notable early Pythagoreans, including Cercops. According to Cicero, Aristotle also claimed that Orpheus never existed, and that the Pythagoreans ascribed some Orphic poems to Cercon (see Cercops).

Other traditions claim the mythic bard Orpheus as Pythagoras's teacher, thus representing the Orphic Mysteries. The Neoplatonists wrote of a "sacred discourse" Pythagoras had written on the gods in the Doric Greek dialect, which they believed had been dictated to Pythagoras by the Orphic priest Aglaophamus upon his initiation to the orphic Mysteries at Leibethra. Iamblichus credited Orpheus with having been the model for Pythagoras's manner of speech, his spiritual attitude, and his manner of worship. Iamblichus describes Pythagoreanism as a synthesis of everything Pythagoras had learned from Orpheus, from the Egyptian priests, from the Eleusinian Mysteries, and from other religious and philosophical traditions.

There was also an Orphic Word-book, doubtless a glossary of the special terms used in the cult, some of which were strange because of their allegorical usage, others because of their antiquity; this also was said to have been in verse. Such was the list of works finally classed as Orphic writings, though it was known in early times that many of them were the works of Pythagoreans and other writers. Herodotus said of the so-called ‘Orphic and Bacchic rites’ that they were actually ‘Egyptian and Pythagorean’; and Ion of Chios said that Pythagoras himself attributed some of his writings to Orpheus.

Oracular literature, also called orphic or prophetic literature, positions the poet as a medium between humanity and another world, sometimes defined as supernatural or non-human.

58 Kern); Clement of Alexandria, Protrepticus 2.15 pp. 36–39 Butterworth (= Orphic frs. 34, 35 Kern); Hyginus, Fabulae 155, 167; Suda s.v. Ζαγρεύς. See also Pausanias, 7.18.

In Greek mythology, Eusorus (Ancient Greek: Εύσωρος) was the father of AcamasHomer, Iliad 6.8, AeneteApollonius Rhodius, Argonautica 1.949 'Orphic Argonautica, 502 ' and in some accounts, of Cyzicus.

In Orphic cosmogony, Phanes is often equated with Eros and Mithras and has been depicted as a deity emerging from a cosmic egg, entwined with a serpent. He had a helmet and had broad, golden wings. The Orphic cosmogony is bizarre, and quite unlike the creation sagas offered by Homer and Hesiod. Scholars have suggested that Orphism is "un-Greek" even "Asiatic" in conception, because of its inherent dualism.

The spectator of Orphic Games travels not only through the space of myth, but also through the styles of modern theatre in their various manifestations. An essential part of the project is the work of contemporary composers Vladimir Gorlinsky, Fyodor Sofronov, Dmitri Kourliandski and Kirill Shirokov, who created a unique acoustic environment for the performance. Orphic Games, in fact, highlights the stylistic, substantive and generational diversity that exists among contemporary artists.

315 and identifies him as a son of the Thracian king OeagrusPindar fragment 126.9. and the Muse Calliope.Pseudo-Apollodorus, Bibliotheke 1.3.2, Argonautica 1.23, and the Orphic Hymn 24.12.

Self-portrait (1909) Thorvald Hellesen (25 December 1888 - 22 October 1937) was a Norwegian abstract artist, designer and painter. His art was associated with the Orphic Cubism movement.

As stated before, hymns such as the Homeric and Orphic Hymns may be sung. Generally, Hellenic Polytheists will try to reconstruct most aspects of the festival or reinterpret them.

The earliest definitive reference to the belief that Zagreus is another name for the Orphic Dionysus is found in the late first century writings of Plutarch.Linforth, pp. 311, 317–318; Plutarch, The E at Delphi 389 A. The fifth century Greek poet Nonnus' Dionysiaca tells the story of this Orphic Dionysus, in which Nonnus calls him the "older Dionysos ... illfated Zagreus",Nonnus, Dionysiaca 5.564–565. "Zagreus the horned baby",Nonnus, Dionysiaca 6.165.

Orphic views and practices have parallels to elements of Pythagoreanism, and various traditions hold that the Pythagoreans or Pythagoras himself authored early Orphic works; alternately, later philosophers believed that Pythagoras was an initiate of Orphism. The extent to which one movement may have influenced the other remains controversial.Parker, "Early Orphism", p. 501. Some scholars maintain that Orphism and Pythagoranism began as separate traditions which later became confused and conflated due to a few similarities.

Translated by W.R.M. Lamb. Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1925. In the Orphic Tradition, Rhea produced a daughter, Persephone, by mating with her own son, Zeus.

"A New Ritual of the Orphic Mysteries." The Classical Quarterly, Vol. 16, No. 2 April 1922: 80. They considered the ritual to be "commemorative" of events in their god's existence.

Some of his first poetic work would be written here, and later included in Orphic Songs. Campana did not finish university and had a difficult time finding his true calling.

According to the Orphic fragments, "After becoming the mother of Zeus, she who was formerly Rhea became Demeter."Kerényi, Karl. 1976. Dionysus. Trans. Ralph Manheim, Princeton University Press. , 9780691029153Orpheus, fr.

Arnobius, an early 4th century Christian apologist, says that Dionysus' severed parts were "thrown into pots that he might be cooked".Arnobius, Adversus Gentes 5.19 (p. 242) (= Orphic fr. 34 Kern).

118-120; Fowler 2013, p. 11; Plato, Cratylus 402b [= Orphic fr. 15 Kern]. To Hesiod's twelve Titans, the mythographer Apollodorus, adds a thirteenth Titan, Dione, the mother of Aphrodite by Zeus.

The surviving 2nd-century collection of Orphic Hymns (second century AD) and the Saturnalia of Macrobius Ambrosius Theodosius (fifth century) are influenced by the theories of rationalism and the syncretizing trends as well. The Orphic Hymns are a set of pre-classical poetic compositions, attributed to Orpheus, himself the subject of a renowned myth. In reality, these poems were probably composed by several different poets, and contain a rich set of clues about prehistoric European mythology.Sacred Texts, Orphic Hymns The stated purpose of the Saturnalia is to transmit the Hellenic culture Macrobius has derived from his reading, even though much of his treatment of gods is colored by Egyptian and North African mythology and theology (which also affect the interpretation of Virgil).

In Greek mythology, Praxidice (, ) is the goddess of judicial punishment and the exactor of vengeance, which were two closely allied concepts in the classical Greek world-view. The Orphic hymn to Persephone identifies Praxidice as an epithet of Persephone: "Praxidike, subterranean queen. The Eumenides’ source [mother], fair-haired, whose frame proceeds from Zeus’ ineffable and secret seeds."Orphic Hymn 29 to Persephone As praxis "practice, application" of dike "justice", she is sometimes identified with Dike, goddess of justice.

Each misdeed receives a tenfold penalty, with rewards also proportional. Elsewhere,Plato, Apologia 41 A. Plato names the judges as Minos and Rhadamanthys, but he also draws on the tenets of Orphic religion. A third judge was Aeacus; all three were once mortal kings whose excellence as rulers among the living was transferred to the dead.Radcliffe Guest Edmonds, Myths of the Underworld Journey: Plato, Aristophanes, and the 'Orphic' Gold Tablets (Cambridge University Press, 2004), p. 148.

The 'physicist' who created this trend is Le Fauconnier. Orphic Cubism is the art of painting with elements borrowed not from visual reality, but entirely created by the artist and endowed by him with a powerful reality. The works of the Orphic artists simultaneously present a pure aesthetic pleasure, a construction to the senses and a sublime meaning. This is pure art, according to Apollinaire, that includes the work of R. Delaunay, Léger, Picabia and M. Duchamp.

The translations of > the Orphic Hymn to Pluto are from Apostolos N. Athanassakis, The Orphic > Hymns (Scholars Press, 1977). The hymn is one of several examples of Greco-Roman prayer that express a desire for the presence of a deity, and has been compared to a similar epiclesis in the Acts of Thomas.Act of Thomas 50, as cited and discussed by Susan E. Myers, Spirit Epicleses in the Acts of Thomas (Mohr Siebeck, 2010), p. 174.

Orphic Hymn 28, v. 4 Perseus wears Hermes' sandals to help him slay Medusa.Gaius Julius Hyginus, Fables (LXIV) and Nonnus, Dionysiaca, (XIV, 270). According to Aeschylus, Hermes gives them to him directly.

The book The works of Aristotle (1908, p. 80 Fragments) mentioned. :Aristotle says the poet Orpheus never existed; the Pythagoreans ascribe this Orphic poem to a certain Cercon (which likely means Cercops).

A late-5th-century BC commentary on Orphic theogony, preserved by the Derveni Papyrus, quotes a poetic fragment calling the rivers the "sinews of Achelous".West 1983, pp. 92,115. According to D'Alessio, pp.

Reciting hymns to Dionysus, especially the Orphic hymns, may also be done to honour the god to celebrate. Overall, the key elements of the modern festival try to match the one in antiquity.

In the accounts of Clement, and Firmicus Maternus cited above, as well as Proclus,Proclus, Hymn to Athena 13–24; In Plato Timaeus 35a (Taylor 1820b, pp. 37–38) (= Orphic fr. 210 Kern).

After some sources, the minister involved was the last Roman Catholic priest in Seljord. The legend presents an orphic theme, and also indicates that the maids may have been seductive forest creatures (Hulders).

More recently the association of the tablets with Orphism has been defended.Bernabé, Alberto, and Ana Isabel Jiménez San Cristóbal. Instructions for the Netherworld: The Orphic Gold Tablets. Boston: Brill, 2008: pp.204—205.

"When he sits down to write," Emerson wrote, "all his genius leaves him; he gives you the shells and throws away the kernel of his thought." His "Orphic Sayings", published in The Dial, became famous for their hilarity as dense, pretentious, and meaningless. In New York, for example, The Knickerbocker published a parody titled "Gastric Sayings" in November 1840. A writer for the Boston Post referred to Alcott's "Orphic Sayings" as "a train of fifteen railroad cars with one passenger".

18; Orphic Hymn lv.10; Ptolemy Hephaestionos, i.306u, all noted by Graves. Atallah (1966) fails to find any cultic or cultural connection with the boar, which he sees simply as a heroic myth-element.

1; West 1983, p. 92 n. 39; Macrobius, Saturnalia 5.18.1-12; Servius, On Virgil's Georgics 1.8 (which ascribes the usage to Orpheus, see Orphic fr. 344 Kern); Ephorus, FGrHist 70 20a = Macrobius, Saturnalia 5.18.6-8\.

In the Hymn to Melinoe, where the father is Zeus Chthonios, either Zeus in his chthonic aspect, or Pluto; Radcliffe G. Edmonds III, "Orphic Mythology," in A Companion to Greek Mythology (Blackwell, 2011), p. 100.

2 B 16 = Bacchylides, fr. 1 B Snell-Maehler = Orphic fr. 41 Kern. As a virgin goddess, she remained unmarried and had no regular consort, though some traditions named her as the mother of Scylla.

37 n. 6 says: 'Lobeck 1892 seems to be responsible for the use of the name Zagreus for the Orphic Dionysos. As Linforth noticed, "It is a curious thing that the name Zagreus does not appear in any Orphic poem or fragment, nor is it used by any author who refers to Orpheus" (Linforth 1941:311). In his reconstruction of the story, however, Lobeck made extensive use of the fifth-century epic of Nonnos, who does use the name Zagreus, and later scholars followed his cue.

With his sister, "shining" Phoebe, Coeus fathered LetoHomeric Hymn to Delian Apollo, 61; in the Orphic Hymn to Leto she is Leto Koiantes, "Leto, daughter of Koios". and Asteria.Hesiod. Theogony, 404 ff; Pseudo-Apollodorus. Bibliotheke, 1.2.

Both the Homeric and Orphic Hymns to Pan reiterate Longus’ tale of Pan chasing Echo’s secret voice across the mountains.Hesiod and Homer, Translated by Hugh. G. Evelyn-White (2008). Hesiod, the Homeric Hymns, and Homerica. Digireads.com.

"A New Ritual of the Orphic Mysteries." The Classical Quarterly, Vol. 16, No. 2 April 1922: 79. In its beginnings, Orphism was influenced by the Eleusinian mysteries, and it adopted stories from other mythologies as its own.

Another is the Orphic Hymn to Hermes, where his association with the athletic games held is mystic in tone.Orphic Hymn 28 to Hermes. Quoted in God of Contests, Athletics, Gymnasiums, The Games. The Theoi Project: Greek Mythology.

Apollodorus, Library 2.1.2. According to the sixth century AD neoplatonist Olympiodorus, Typhon, Echidna, and Python were all the progeny of Tartarus and Gaia, with each being a cause of a specific kind of disorder, in Echidna's case, "a cause revenging and punishing rational souls; and hence the upper arts of her are those of a virgin, but the lower those of a serpent", see Taylor 1824, pp. 76-77 n. 63. In one account, from the Orphic tradition, Echidna was the daughter of Phanes (the Orphic father of all gods).

Gold orphic tablet and case found in Petelia, southern Italy (British Museum)British Museum Collection Surviving written fragments show a number of beliefs about the afterlife similar to those in the "Orphic" mythology about Dionysus' death and resurrection. Bone tablets found in Olbia (5th century BC) carry short and enigmatic inscriptions like: "Life. Death. Life. Truth. Dio(nysus). Orphics." The function of these bone tablets is unknown. Gold-leaf tablets found in graves from Thurii, Hipponium, Thessaly and Crete (4th century BC and after) give instructions to the dead.

Orphic initiates were buried with devotional texts that provided instructions for navigating the hazards of the underworld and addressing the judges; the soul who speaks correctly will be given a drink from the pool of Memory before joining the heroes who have gone before.Richard Janko, “Forgetfulness in the Golden Tablets of Memory,” Classical Quarterly 34 (1984) 89–100; W.K.C. Guthrie, "The Future Life as Seen by Orpheus," in Orpheus and Greek Religion: A Study of the Orphic Movement (New York: Norton, 1966, revised edition), pp. 148–191 online.

Zaehner, Mysticism. Sacred and Profane (1957), p.141 ("the soul as the bride of Christ").Evelyn Underhill, Mysticism (London 1911, reprint Dutton 1961), p.426: from Orphic mysteries to Christianity, "the Spiritual Marriage between God and the Soul".

36 Kern) (compare with Cornutus, Theologiae Graecae Compendium 30 p. 62, 11 Lang which also has Rhea rivive Dionysus); Diodorus Siculus, 3.62.6. Some Orphic texts identify Demeter and Rhea, see West 1983, pp. 72–74, 81–82, 93, 217.

In his Cratylus, Plato quotes Orpheus as saying that Oceanus and Tethys were "the first to marry", possibly also reflecting an Orphic theogony in which Oceanus and Tethys, rather than Uranus and Gaia, were the primeval parents.West 1983, pp.

In Greek mythology, Tartarus is both a deity and a place in the underworld. In ancient Orphic sources and in the mystery schools, Tartarus is also the unbounded first-existing entity from which the Light and the cosmos are born.

In Greek mythology, Aenete (Ancient Greek: ) was the daughter of Eusorus,Orphic Argonautica, 502 ' and wife of Aeneus, by whom she had a son, Cyzicus, the founder of the town of this name. In some traditions she is called Aenippe.

Old Book Publishing Ltd. Orphic Hymn XI. To Pan, page 35. Codex 190 of Photius' Bibliotheca states that Pan's unrequited love for Echo was placed there by Aphrodite, angry at his verdict in a beauty contest.Photius, Translated by René Henry (2003).

Other argue that the two traditions share a common origin and can even be considered a single entity, termed "Orphico-Pythagoranism." The belief that Pythagoreanism was a subset of direct descendant of Orphic religion existed by late antiquity, when Neoplatonist philosophers took the Orphic origin of Pythagorean teachings at face value. Proclus wrote: :"all that Orpheus transmitted through secret discourses connected to the mysteries, Pythagoras learnt thoroughly when he completed the initiation at Libethra in Thrace, and Aglaophamus, the initiator, revealed to him the wisdom about the gods that Orpheus acquired from his mother Calliope."Proclus, Tim. 3.168.

The Getty Museum owns an outstanding example of a 4th-century BC Orphic prayer sheet from Thessaly, a gold-leaf rectangle measuring about .As of September 17, 2008, The Getty Villa Malibu had this Orphic lamella on exhibition; information about the piece online. The burial site of a woman also in Thessaly and dating to the late 4thcentury BC yielded a pair of Totenpässe in the form of lamellae (Latin, "thin metal sheets", singular lamella). Although the term "leaf" to describe metal foil is a modern metaphorical usage,Daniel Ogden, Greek and Roman Necromancy (Princeton University Press, 2001), p. 188.

Sandon (; 1st century BC) is an Orphic philosopher mentioned in the Suda.Suda σ 90. He is described briefly as a son of Hellanikos. He has been identified with the Sandon of Tarsus mentioned by Pseudo-Lucian in the essay Macrobii ("Long Lives"),Macrobii.

Orphic mysteries are used as an example of the false cults of Greek paganism in the Protrepticus. The Protrepticus (: "Exhortation to the Greeks") is the first of the three surviving works of Clement of Alexandria, a Christian theologian of the 2nd century.

11; Plato, Cratylus 402b [= Orphic fr. 15 Kern]. Plato's apparent inclusion of Phorcys as a Titan (being the brother of Cronus and Rhea), and the mythographer Apollodorus's inclusion of Dione, the mother of Aphrodite by Zeus, as a thirteenth Titan,Apollodorus, 1.1.

11; Plato, Cratylus 402b [= Orphic fr. 15 Kern]. Plato's apparent inclusion of Phorkys as a Titan (being the brother of Cronus and Rhea), and the mythographer Apollodorus's inclusion of Dione, the mother of Aphrodite by Zeus, as a thirteenth Titan,Apollodorus, 1.1.

Another version, in the Homeric Hymn to Delian Apollo and in an Orphic hymn, states that Artemis was born before Apollo, on the island of Ortygia, and that she helped Leto cross the sea to Delos the next day to give birth to Apollo there.

Jupiter et Sémélé. Oil on canvas by Gustave Moreau, 1895. The birth narrative given by Gaius Julius Hyginus (c. 64 BC – 17 AD) in Fabulae 167, agrees with the Orphic tradition that Liber (Dionysus) was originally the son of Jove (Zeus) and Proserpine (Persephone).

His mother, Semele, died when Zeus appeared to her in a flash of lightning, and so Zeus opened his own flesh and enclosed the infant. In time, Dionysus was born "perfect" from Zeus' thigh. Dionysus Zagreus was important in Orphic theology. In Protrepticus ii.

328-329) gives Typhon fifty. In the Orphic account (mentioned above) Echidna is described as having the head of a beautiful woman with long hair, and a serpent's body from the neck down.Orphic Fragment 58 Kern = Athenagoras, Apology 20 (p. 397); van den Broek, p.

788; Parker 2002, pp. 495–496; Morford, p. 313. However, when and to what extent there existed any Orphic tradition which included these elements is the subject of open debate.See Spineto pp. 37–39; Edmonds 1999, 2008, 2013 chapter 9; Bernabé 2002, 2003; Parker 2014.

Plato, in presenting a succession of stages whereby, because of excessive liberty, men degenerate from reverence for the law, to lawlessness, describes the last stage where "men display and reproduce the character of the Titans of story".Plato, Laws 3.701bc (= Orphic fr. 9 Kern).

237 n. 1; Gantz, p. 118; Smyth, p. 459. Noting "Hades' identity as Zeus' katachthonios alter ego", Timothy Gantz thought it "likely" that Zagreus, originally, perhaps the son of Hades and Persephone, later merged with the Orphic Dionysus, the son of Zeus and Persephone.

16, No. 2 April 1922: 81. Dionysus became associated with Zagreus, and the story of having been torn apart and eaten by the Titans was applied to him as well. Omophagia was the focus of the Dionysiac mysteries, and a component of Orphic ceremonies.Tierney, Michael.

Desecravity is a technical death metal band formed in 2007 from Tokyo, Japan. The band is signed to Willowtip Records and released their full-length debut album entitled Implicit Obedience on January, 2012 and the second full-length album entitled Orphic Signs on November, 2014.

In 2013 he received a Lifetime Achievement Award from the Before Columbus Foundation. He has been writing and getting books published with an almost annual regularity since 2010. Among these titles are: FIAT LUX, 2014; Orphic cantos, 2016; and Fragments from a gone world, 2017.

504, translated from Geschichte der römischen Literatur: von Andronicus bis Boethius (1992). The unity of opposites in deity, including divine androgyny, is also characteristic of Orphic doctrine, which may have impressed itself on Stoicism.Edward Courtney, The Fragmentary Latin Poets (Oxford: Clarendon Press, 1993), pp.

A possible connection between Prajapati (and related figures in Indian tradition) and the Prōtogonos (, literally "first-born") of the Greek Orphic tradition has been proposed:Martin West, Early Greek Philosophy and the Orient. Oxford, Clarendon Press, 1971: 28-34Kate Alsobrook (2008), "The Beginning of Time: Vedic and Orphic Theogonies and Poetics". M.A. Thesis, Reviewers: James Sickinger, Kathleen Erndl, John Marincola and Svetla Slaveva-Griffin, Florida State University, pages 20, 1-5, 24-25, 40-44 According to Robert Graves, the name of /PRA-JĀ[N]-pati/ ('progeny-potentate') is etymologically equivalent to that of the oracular god at Colophon (according to MakrobiosRobert Graves : The Greek Myths. 1955. vol. 1, p.

In Greek myth, particularly Orphic thought, Phanes is the golden winged primordial being who was hatched from the shining cosmic egg that was the source of the universe. Called Protogonos (First-Born) and Eros (Love) — being the seed of gods and men — Phanes means "to bring light" or "to shine" and is related to the Greek "to shine forth" as well as the Latin "Lucifer". An ancient Orphic hymn addresses him thus: > Ineffable, hidden, brilliant scion, whose motion is whirring, you scattered > the dark mist that lay before your eyes and, flapping your wings, you > whirled about, and through this world you brought pure light.

Orphic speculation influenced the cult of Mithras at times.Clauss, M., The Roman cult of Mithras, p. 70 In Orphism, Phanes emerged from the world egg at the beginning of time, bringing the universe into existence. There is some literary evidence of the syncretism of Mithras and Phanes.

In Greek mythology, Phorcys or Phorcus (; ) is a primordial sea god, generally cited (first in Hesiod) as the son of Pontus and Gaia (Earth). According to the Orphic hymns, Phorcys, Cronus and Rhea were the eldest offspring of Oceanus and Tethys.Kerenyi, p. 42.Plato. Timaeus 40e.

Diodorus Siculus reports an allegorical interpretation of the myth of the dismemberment of Dionysus as representing the production of wine. Diodorus knew of a tradition whereby this Orphic Dionysus was the son of Zeus and Demeter, rather than Zeus and Persephone.Edmonds 1999, p. 51; Linforth, p.

5, 13, 123. It may be an epithet of the central Orphic god, Dionysus or Zagreus,Jane Ellen Harrison, Prolegomena to the Study of Greek Religion (Cambridge University Press, 1908, 2nd ed.) pp. 585–587. or of Zeus in an unusual association with the Eleusinian Mysteries.

Philophrosyne was the ancient Greek female spirit of welcome, friendliness, and kindness. Her sisters were Euthenia, Eupheme, and Eucleia. Along with her sisters, she was regarded as a member of the younger Charites. According to the Orphic fragments, Philophrosyne was the daughter of Hephaestus and Aglaia.

Euthenia was the ancient Greek female spirit of prosperity. Her opposite was Penia and her sisters entailed Eucleia, Philophrosyne, and Eupheme. Along with her siblings, she was regarded as a member of the younger Charites. According to the Orphic fragments, her parents were Hephaestus and Aglaea.

It is an important evidence of the Thracian Orphic rituals. The sword of the Thracian king Seuthes III, found in his tomb.The hilt of the sword is in the shape of an eagle, gold inlaid. 3rd century BC,kept in the Museum of History Iskra, Kazanlak, Bulgaria.

Gantz, p. 118. However, no known Orphic sources use the name "Zagreus" to refer to Dionysus. It is possible that the association between the two was known by the 3rd century BC, when the poet Callimachus may have written about it in a now-lost source.Gantz, pp.

As summarized by Benjamin Bickley Rogers, The Comedies of Aristophanes (London, 1902), pp. xvii and 214 (note to line 1414). The play also draws on beliefs and imagery from Orphic and Dionysiac cult, and rituals pertaining to Ploutos (Plutus, "wealth").Bowie, Aristophanes, pp. 231–233, 269–271.

He later characterized this encounter as "an Orphic dismemberment. The intellectual categories upon which I had relied no longer fit. My whole being—my mindbodily being—was riven." Poteat had long pursued serious study of visual art, drama, and literature, weaving those themes deeply into his teaching.

Orpheus (; also the title used in the UK) is a 1950 French film directed by Jean Cocteau and starring Jean Marais. It is the central part of Cocteau's Orphic Trilogy, which consists of The Blood of a Poet (1930), Orpheus (1950), and Testament of Orpheus (1960).

292-298, connects Arima with the Hittite place names "Erimma" and "Arimmatta" which he associates with the Corycian cave. The b scholia to Iliad 2.783, preserving a possible Orphic tradition, has Typhon born "under Arimon in Cilicia",Kirk, Raven, and Schofield. pp. 59-60 no. 52; Ogden 2013b, pp.

J. J. Phillips (born April 2, 1944)Alan Govenar, "Mojo Hand: An Orphic Tale", in Lightnin' Hopkins: His Life and Blues, Chicago Review Press, 2010, p. 156. is an African-American poet, novelist and civil rights activist.Margaret Busby, "J. J. Phillips", Daughters of Africa, Ballantine Books, 1994, p. 667.

In retribution, Zeus strikes the Titans with a thunderbolt, turning them to ash. From these ashes, humanity is born. In Orphic belief, this myth describes humanity as having a dual nature: body (sōma), inherited from the Titans, and a divine spark or soul (psychē), inherited from Dionysus.Sandys, John, Pindar.

In it he analysed the body of texts dealing with Orpheus and the Orphics. He concluded that there was no exclusively 'Orphic' system of belief in Ancient Greece.Geoffrey Stephen Kirk, John Earle Raven, Malcolm Schofield, The Presocratic Philosophers: A Critical History with a Selection of Texts (1983), p. 21.

In his analysis of the new art movement, Apollinaire makes a distinction between four different types of Cubism; scientific, physical, orphic and instinctive. The first, Scientific Cubism, is the art of painting new ensembles with elements borrowed not from the reality of vision, but from the reality of knowledge.

In Greek mythology, Corybas (Ancient Greek: Κορύβας) is the son of Iasion and the goddess Cybele, who gave his name to the Corybantes (Koribantes), or dancing priests of Phrygia. The Korybantes were associated with Orpheus, another son of Apollo and a Mousa, founder of the closely related Orphic Mysteries.

Cicero De Natura Deorum i. 38 Others attribute this work to Prodicus of Samos, or Herodicus of Perinthus, or Orpheus of Camarina.Suda, Orpheus. Epigenes also assigns to Cercops the Orphic ἱερος λογός which was ascribed by some to Theognetus of Thessaly, and was a poem in twenty-four books.

Von Hesiod bis Parmenides.Bale.Stuttgart.Schwabe & Co. p. 29 By contrast, in the Orphic cosmogony the unaging Chronos produced Aether and Chaos and made a silvery egg in divine Aether. From it appeared the androgynous god Phanes, identified by the Orphics as Eros, who becomes the creator of the world. p.

Nymphs Finding the Head of Orpheus (1900) by John William Waterhouse A number of Greek religious poems in hexameters were attributed to Orpheus, as they were to similar miracle-working figures, like Bakis, Musaeus, Abaris, Aristeas, Epimenides, and the Sibyl. Of this vast literature, only two works survived whole: the Orphic Hymns, a set of 87 poems, possibly composed at some point in the second or third century, and the epic poem Argonautica, composed somewhere between the fourth and sixth centuries. Earlier Orphic literature, which may date back as far as the sixth century BC, survives only in papyrus fragments or in quotations. Some of the earliest fragments may have been composed by Onomacritus.

Orpheus before Pluto and Proserpina (1605), by Jan Brueghel the Elder Orpheus was regarded as a founder and prophet of the mysteries called "Orphic," "Dionysiac," or "Bacchic." Mythologized for his ability to entrance even animals and trees with his music, he was also credited in antiquity with the authorship of the lyrics that have survived as the Orphic Hymns, among them a hymn to Pluto. Orpheus's voice and lyre-playing represented a medium of revelation or higher knowledge for the mystery cults.Claude Calame, "The Authority of Orpheus, Poet and Bard: Between Tradition and Written Practice," in Allusion, Authority, and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis (De Gruyter, 2010), p. 16.

An article appeared about this work in Metropolis. Meanwhile, Fitch continued to work in the theater, mainly as a set designer for the Seattle Repertory Theater. He also wrote, directed, and designed a series of experimental shows in the Boston area, including The Potluck Supper, The Sweating Fire Alarm, and The Sweating Door Alarm. A chance meeting with Mimi Oka led to the creation of Orphicorps and a series of Orphic Feasts that eventually culminated in a French-English bilingual book called Orphic Fodder Upon his return to the US Fitch moved to New York, where together with Oka, he created two major events with the Asia Society, the Edible Still Life in Clay and Good Taste in Art.

Satyr giving a grapevine to Bacchus as a child; cameo glass, first half of the first century AD; from Italy In the Orphic tradition, the "first Dionysus" was the son of Zeus and Persephone, and was dismembered by the Titans before being reborn.Gantz, p. 118; Hard, p. 35; Grimal, s.v.

166A) (trans. Weir Smyth) Orphic Hymn 1 to Hecate Valerius Flaccus, Argonautica 6.110 It is also the last day of the month according to the lunisolar based Attic calendar used in ancient Athens. Where the time of the dark moon was seen as the in-between liminal time between months.

He also created the method of creation by mingling. He was made the ruler of the deities and passed the sceptre to Nyx. This new Orphic tradition states that Nyx later gave the sceptre to her son Uranos before it passed to Cronus and then to Zeus, who retained it.

From The New Republic Online 8 June 2005. Retrieved 6 June 2006. At the end of the text, Zeus rapes his mother Rhea, which, in the Orphic theogony, will lead to the birth of Demeter. Zeus would then have raped Demeter, who would have given birth to Persephone, who marries Dionysus.

As for Apollodorus' sources, Hard, p. 68, says that Apollodorus' version "perhaps derived from the lost Titanomachia or from the Orphic literature"; see also Gantz, p. 2; for a detailed discussion of Apollodorus' sources for his account of the early history of the gods, see West 1983, pp. 121-126.

Orphic hymn to Apollo He rides on the back of a swan to the land of the Hyperboreans during the winter months, and the absence of warmth in winters is due to his departure. During his absence, Delphi was under the care of Dionysus, and no prophecies were given during winters.

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."Homeric Hymn to Ares. ;Orphic Hymn 65 to Ares (trans. Taylor) (Greek hymns 3rd century BCE to 2nd century CE) :"To Ares, Fumigation from Frankincense.

The rhodora is presented as a flower as beautiful as the rose, but which remains humble and does not seek broader fame. The narrator relates to the flower by equally embracing humility as a Christian virtue.Yoder, R. A. Emerson and the Orphic Poet in America. Berkeley, CA: University of California Press, 1978: 83.

The word Eleusis first appears at the Orphic hymn «Δήμητρος Ελευσινίας, θυμίαμα στύρακα». Also Hesychius of Alexandria reports that the older name for Eleusis was Saesara (Σαισάρια). Saesara was the mythic daughter of Celeus (king of Eleusis when Demeter arrived for the first time) and granddaughter of Eleusinus, the first settler of Eleusis.

Study of early Orphic and Pythagorean sources, however, are more ambiguous concerning their relationship, and authors writing closer to Pythagoras' own lifetime never mentioned his supposed initiation into Orphism, and in general regarded Orpheus himself as a mythological figure.Betegh, G. (2014). Pythagoreans, Orphism and Greek Religion. A History of Pythagoreanism, 274-295.

While, according to the early 4th century AD Christian apologist Arnobius, and the 5th century AD Greek epic poet Nonnus, it is as punishment for their murder of Dionysus that the Titans end up imprisoned by Zeus in Tartarus.Arnobius, Adversus Gentes 5.19 (p. 242) (= Orphic fr. 34 Kern); Nonnus, Dionysiaca 6.206-210.

Proclus, in his commentary on Plato's Timaeus, quotes several lines of a poem (probably Orphic) which has an angry Oceanus brooding aloud as to whether he should join Cronus and the other Titans in the attack on Uranus. And, according to Proclus, Oceanus did not in fact take part in the attack.Gantz, pp.

University Press of America, Lanham 1984, p. 47. "The person who is referred to as Themistoclea in Laërtius and Theoclea in Suidas, Porphyry calls Aristoclea." Ancient authorities furthermore note the similarities between the religious and ascetic peculiarities of Pythagoras with the Orphic or Cretan mysteries,Iamblichus, Vit. Pyth. 25; Porphyry, Vit. Pyth.

After his younger brother arrived, Dino was overlooked by his mother and had to fight for her affection.Salomon, I.L. Preface, 'Orphic Songs'. City Lights Books, 1998, p. xvii. In 1900, at approximately fifteen years of age, Campana was diagnosed with the first symptoms of nervous disturbances, was medicated and sent to an asylum.

A 2nd-century Roman sarcophagus shows the mythology and symbolism of the Orphic and Dionysiac Mystery schools. Orpheus plays his lyre to the left. Early Greek discussion of the concept dates to the 6th century BCE. An early Greek thinker known to have considered rebirth is Pherecydes of Syros (fl. 540 BCE).

Gottfried Hermann, Orphica (Leipzig, 1805), p. 340. This duality may be implicit, like the explanation offered by Servius for why the poplar leaf has a light and dark side to represent Leuke ("White"), a nymph loved by Pluto. The Orphic text poses interpretational challenges for translators in this passage.Hermann, Orphica, p. 340.

Orphism as a movement was short-lived, essentially coming to an end before World War I. In spite of the use of the term the works categorized as Orphism were so different that they defy attempts to place them in a single category.Christopher Green, 2009, Cubism, MoMA, Grove Art Online, Oxford University Press Artists intermittently referred to as Orphists by Apollinaire, such as Léger, Picabia, Duchamp and Picasso, independently created new categories that could hardly be classified as Orphic. The term Orphism most obviously embraced paintings by František Kupka, Robert Delaunay and Sonia Delaunay, if limited to implications imposed by color, light, and the expression of non-representational compositions. Even Robert Delaunay thought this description misrepresented his intentions, though his temporary classification as Orphic had proved successful.

The Derveni papyrus, found in Derveni, Macedonia (Greece) in 1962, contains a philosophical treatise that is an allegorical commentary on an Orphic poem in hexameters, a theogony concerning the birth of the gods, produced in the circle of the philosopher Anaxagoras, written in the second half of the fifth century BC. Fragments of the poem are quoted making it "the most important new piece of evidence about Greek philosophy and religion to come to light since the Renaissance". The papyrus dates to around 340 BC, during the reign of Philip II of Macedon, making it Europe's oldest surviving manuscript. The historian William Mitford wrote in 1784 that the very earliest form of a higher and more cohesive ancient Greek religion was manifest in the Orphic poems.Mitford, p.

When the primordial elements came together by orderly cyclonic force, they produced a generative sphere, the "egg" from which the primeval Orphic entity Phanes is born and the world is formed. The release of Phanes and his ascent to the heavenly top of the world-egg causes the matter left in the sphere to settle in relation to weight, creating the tripartite world of the traditional theogonies:Van Amersfoort, "Traces of an Alexandrian Orphic Theogony," pp. 16–17. > Its lower part, the heaviest element, sinks downwards, and is called Pluto > because of its gravity, weight, and great quantity (plêthos) of matter. > After the separation of this heavy element in the middle part of the egg the > waters flow together, which they call Poseidon.

Kupka was an abstract artist who lived during the nineteenth and twentieth centuries. Though his role in the advent of abstract art is given much less emphasis, his work is just as crucial as that of the more celebrated abstractionists including Mondrian, Kandinsky, Malevich, and Delaunay. The influential art critic Guillaume Apollinaire labeled Kupka as an Orphic artist, and Kupka claimed to begin his Orphic artwork in 1911. As Hajo Düchting writes, Apollinaire used the term Orphism to describe “a new kind of joyously sensuous art, whose roots were in Cubism and which had a tendency towards abstraction.” Orphism also alluded to the myth of Orpheus and referenced the artist’s creative innovation through the sensuous interplay of color and light and color and music.

Rhadamanthys was the judge of the Elysion, and this idea probably predates some later Orphic beliefs. It seems that, in Crete, some festivals corresponded to later Greek festivals.Walter Burkert (1985), Greek religion, p. 42 An agrarian procession is depicted on the "Harvesters' Vase", or "Vase of the Winnowers", which was found in Hagia Triada.

Von Frank, Albert J. Ralph Waldo Emerson: The Major Poetry. Cambridge, MA: Harvard University Press, 2015: 32. The poem is clearly divided in half: The first eight lines present the situation and implies the question in the subtitle while the following eight lines present an answer.Yoder, R. A. Emerson and the Orphic Poet in America.

The texts used by the composer are the original preserved Orphic hymns. For this project he consulted renowned Thracologist Alexander Fol, who wrote the programme notes. To date Arnaoudov has produced numerous symphonies, oratorios, concertos and has won several international prizes. He currently teaches in the Theatre and Music departments of New Bulgarian University.

117-118; Fowler 2013, p. 11; Plato, Timaeus 40d–e. In his Cratylus, Plato quotes Orpheus as saying that Oceanus and Tethys were "the first to marry", possibly also reflecting an Orphic theogony in which Oceanus and Tethys, rather than Uranus and Gaia, were the primeval parents.West 1983, pp. 118-120; Fowler 2013, p.

117-118; Fowler 2013, p. 11; Plato, Timaeus 40d–e. In his Cratylus, Plato quotes Orpheus as saying that Oceanus and Tethys were "the first to marry", possibly also reflecting an Orphic theogony in which Oceanus and Tethys--rather than Uranus and Gaia--were the primeval parents.West 1983, pp. 118-120; Fowler 2013, p.

The first, "Orphic" Dionysus is sometimes referred to with the alternate name Zagreus (). The earliest mentions of this name in literature describe him as a partner of Gaia and call him the highest god. The Greek poet Aeschylus considered Zagreus either an alternate name for Hades, or his son (presumably born to Persephone).Sommerstein, p.

The exception is a fragment of the lost Orphic theogony, which preserves part of a myth in which Zeus mates with his mother, Rhea, in the form of a snake, explaining the origin of the symbol on Hermes' staff. Their daughter is said to be Persephone, whom Zeus in turn mates with to conceive Dionysus.

Some Orphic poems were ascribed to Brontinus. One was a poem On Nature (Physika),Clement of Alexandria, Stromata, i. 131; Suda, Orpheus another was a poem called The Robe and the Net which was also ascribed to Zopyrus of Heraclea.Kathleen Freeman, (1959), The pre-Socratic philosophers: a companion to Diels, Fragmente der Vorsokratiker, page 6.

Entry on "Alder," Encyclopedia of Indo-European Culture (Taylor & Francis, 1997), p. 11; Xavier Delamarre, Dictionnaire de la langue gauloise (Éditions Errance, 2003). Celebrants of the Bacchic rites wore a wreath of poplar leaves to honor the chthonic aspect of Dionysus.Alberto Bernabé and Ana Isabel Jiménez San Cristóbal, Instructions for the Netherworld: The Orphic Gold Tablets (Brill, 2008), pp.

Zeus was none the worse for this experience. The similarities between Zeus swallowing Metis and Cronus swallowing his children have been noted by several scholars. This also caused some controversy in regard to reproduction myths. Hesiod's account is followed by Acusilaus and the Orphic tradition, which enthroned Metis side by side with Eros as primal cosmogenic forces.

None of these sources mention any actual eating, but other sources do. Plutarch says that the Titans "tasted his blood",Plutarch, On the Eating of Flesh 996 B–C. the 6th century AD Neoplatonist Olympiodorus says that they ate "his flesh",Olympiodorus, In Plato Phaedon 1.3 (= Orphic fr. 220 Kern); translated by Edmonds 1999, p. 40.

The sculptures of the Temple of Zeus at Olympia have as their unifying iconographical conception the dikē of Zeus,. and in poetry she is often the attendant (paredros) of Zeus.Sophocles, Oedipus at Colonus, 1377; Plutarch, Life of Alexander 52; Orphic hymn 61. 2. In the philosophical climate of late 5th century Athens, dikē could be anthropomorphised.

Eupheme () was the ancient Greek female spirit of words of good omen, praise, acclaims, shouts of triumph, and applause. Her opposite was Momus and her sisters were Euthenia, Eucleia, and Philophrosyne. Along with her sisters, she was regarded as a member of the younger Charites. According to the Orphic fragments, Eupheme's parents were Hephaestus and Aglaea.

Dino Campana (20 August 1885 – 1 March 1932) was an Italian visionary poet. His fame rests on his only published book of poetry, the Canti Orfici ("Orphic Songs"), as well as his wild and erratic personality, including his ill-fated love affair with Sibilla Aleramo. He is often seen as an Italian example of a poète maudit.

A pinax from Locri depicting Persephone (Roman Proserpina) and Hades (Roman Pluto) enthronedAlberto Bernabé and Ana Isabel Jiménez San Cristóbal, Instructions for the Netherworld: The Orphic Gold Tablets (Brill, 2008), p. 275. As praetor in 200, Minucius was assigned to Bruttium (modern-day Calabria), where he investigated thefts from the temple of Proserpina at Locri.Livy 31.12.1–5 and 13.1.

S. Miller, Two Groups of Thessalian Gold Page 25 (Berkeley: University of California Press, 1979) Among other archaeological evidence of the religious significance of Pelinna are two Orphic gold tablets (lamellae) found in 1985 on the site of Petroporos,Instructions for the netherworld: the Orphic gold tablets By Alberto Bernabé, Alberto Bernabé Pajares, Ana Isabel Jiménez San Cristóbal Page 61 dating to the late fourth century BCE.For the Greek text of one of the lamellae, see PHI Greek Inscriptions 37:497A It seems to have been a place of some importance even in the time of Pindar. Alexander the Great passed through the town in his rapid march from Illyria to Boeotia. It did not revolt from the Macedonians together with the other Thessalians after the death of Alexander the Great.

Zagreus, p. 456. Dionysus was the patron god of the Orphics, who they connected to death and immortality, and he symbolized the one who guides the process of reincarnation. The Orphic Dionysus is sometimes referred to with the alternate name Zagreus (). The earliest mentions of this name in literature describe him as a partner of Gaia and call him the highest god.

Painted wood panel depicting Serapis, who was considered the same god as Osiris, Hades, and Dionysus in Late Antiquity. Second century AD. In the Greek interpretation of the Egyptian pantheon, Dionysus was often identified with Osiris.Rutherford 2016, p. 67. Stories of the dismemberment of Osiris and the re-assembly and resurrection by Isis closely parallel those of the Orphic Dionysus and Demeter.

316; Diodorus Siculus, 3.62.6–8 (= Orphic fr. 301 Kern); 3.64.1. This parentage was explained allegorically by identifying Dionysus with the grape vine, Demeter with the earth, and Zeus with the rain, saying that "the vine gets its growth both from the earth and from rains and so bears as its fruit the wine which is pressed out from the clusters of grapes".

Sacred rites were held, in which the celebrants howling and feigning insanity tore to pieces a live bull with their teeth, and the basket in which boy's heart had been saved, was paraded to the blaring of flutes and the crashing of cymbals.Firmicus Maternus, De errore profanarum religionum 6.1-5 pp. 54-56 Forbes (= Orphic fr. 214 Kern); Linforth, pp.

3, 1.3.1. suggests an Orphic tradition in which the Titan offspring of Oceanus and Tethys consisted of Hesiod's twelve Titans, with Phorkys and Dione taking the place of Oceanus and Tethys.Gantz, p. 743. According to Epimenides, the first two beings, Night and Aer, produced Tartarus, who in turn produced two Titans (possibly Oceanus and Tethys) from whom came the world egg.

297–298; Guthrie, p. 82; also see Ogden, p. 80. For a detailed examination of many of the ancient sources pertaining to this myth see Linforth, pp. 307–364. The most extensive account in ancient sources is found in Nonnus, Dionysiaca 5.562–70, 6.155 ff., other principle sources include Diodorus Siculus, 3.62.6–8 (= Orphic fr. 301 Kern), 3.64.1–2, 4.4.1–2, 5.75.

Plato, in his Timaeus, provides a genealogy (probably Orphic) which perhaps reflected an attempt to reconcile this apparent divergence between Homer and Hesiod, in which Uranus and Gaia are the parents of Oceanus and Tethys, and Oceanus and Tethys are the parents of Cronus and Rhea and the other Titans, as well as Phorcys.Gantz, pp. 11–12; West 1983, pp.

3, 1.3.1. suggests an Orphic tradition in which the Titan offspring of Oceanus and Tethys consisted of Hesiod's twelve Titans, with Phorcys and Dione taking the place of Oceanus and Tethys.Gantz, p. 743. According to Epimenides, the first two beings, Night and Aer, produced Tartarus, who in turn produced two Titans (possibly Oceanus and Tethys) from whom came the world egg.

12, 28; West 1983, p. 130; Orphic fr. 135 Kern. Oceanus seemingly also did not join the Titans in the Titanomachy, the great war between the Cronus and his fellow Titans, and Zeus and his fellow Olympians, for control of the cosmos; and following the war, although Cronus and the other Titans were imprisoned, Oceanus certainly seems to have remained free.

Plato, in his Timaeus, provides a genealogy (probably Orphic) which perhaps reflected an attempt to reconcile this apparent divergence between Homer and Hesiod, in which Uranus and Gaia are the parents of Oceanus and Tethys, and Oceanus and Tethys are the parents of Cronus and Rhea and the other Titans, as well as Phorcys.Gantz, pp. 11–12; West 1983, pp.

Orphic mysteries are used as an example of the false cults of Greek paganism in the Protrepticus. The Protrepticus is, as its title suggests, an exhortation to the pagans of Greece to adopt Christianity. Within it, Clement demonstrates his extensive knowledge of pagan mythology and theology. It is chiefly important due to Clement's exposition of religion as an anthropological phenomenon.

Emerson wrote to Margaret Fuller, then editor, that they might "pass muster & even pass for just & great". He was wrong. Alcott's so-called "Orphic Sayings" were widely mocked for being silly and unintelligible; Fuller herself disliked them, but did not want to hurt Alcott's feelings. In the first issue, for example, he wrote: On July 26, 1840, Abby May gave birth again.

She was said to be the daughter of Zeus and Asteria, according to Musaeus; the daughter of Aristaeus the son of Paion, according to Pherecydes; the daughter of Nyx, according to Bacchylides; while in Orphic literature, she was said to be the daughter of Demeter.Scholiast on Apollonius of Rhodes, Argonautica 3.467 = Pherecydes, fr. 44 Fowler = FGrHist 3 fr. 44 = Vorsokr.

Gold are frequently found in graves. In a Thessalian burial of the 4th century B.C., a gold had been placed on the lips of a woman, presumed from her religious paraphernalia to be an initiate into the Orphic or Dionysiac mysteries. The coin was stamped with a Gorgon's head.K. Tasntsanoglou and George M. Parássoglou, "Two Gold Lamellae from Thessaly," Hellenica 38 (1987) 3–16.

The voice of light that Apollinaire mentioned in his poems was a metaphor for inner experiences. Though not fully articulated in his poems, the voice of light is identified as a line that could be colored and become a painting. The Orphic metaphor thus represented the artist’s power to create new structures and color harmonies, in an innovative creative process that combined to form a sensuous experience.

Even after Apollinaire had separated from the Delaunays and Orphism had lost its novelty as a new art form, the Delaunays continued painting in their personal shared style. They may not have always called their work Orphic, but the aesthetics and theories were the same. Robert continued painting while Sonia delved into other media, including fashion, interior and textile design, all within the realm of Orphism.

Greeks of the Classical Age knew of several poems about the war between the gods and many of the Titans. The dominant one, and the only one that has survived, is the Theogony attributed to Hesiod. The Titans also played a prominent role in the poems attributed to Orpheus. Although only scraps of the Orphic narratives survive, they show interesting differences from the Hesiodic tradition.

Eucleia or Eukleia (Greek: Ευκλεια) was the ancient Greek female personification of glory and good repute. Along with her sisters, Eupheme, Philophrosyne and Euthenia, she was likely regarded as a member of the younger Charites. According to Plutarch, Eucleia may have also been used as an epithet of Artemis.Plutarch, Aristides, 20.5-6 According to an Orphic rhapsody fragment, Eucleia's parents were Hephaestus and Aglaea.

However, when and to what extent there existed any Orphic tradition which included these elements is the subject of open debate.See Spineto pp. 37–39; Edmonds 1999, 2008, 2013 chapter 9; Bernabé 2002, 2003; Parker 2014. The 2nd century AD biographer and essayist Plutarch, makes a connection between the sparagmos and the punishment of the Titans, but makes no mention of the anthropogony, or Orpheus, or Orphism.

According to Apollodorus, Rhea gave the infant Zeus to the nymphs Adrasteia and Ida, daughters of Melisseus, leader of the Kuretes of Crete, to nurse, and they fed Zeus on the milk of the goat Amalthea.Apollodorus, 1.1.6-7\. Compare with Orphic fragments 105, 151 Kern. According to Hyginus, Ida and Adrastea (along with Amalthea) were daughters of Oceanus, whom "others say they were the daughters of Melisseus".

In Homeric and other texts he is imprisoned with the other Titans in Tartarus. In Orphic poems, he is imprisoned for eternity in the cave of Nyx. Pindar describes his release from Tartarus, where he is made King of Elysium by Zeus. In another version, the Titans released the Cyclopes from Tartarus, and Cronus was awarded the kingship among them, beginning a Golden Age.

The so-called Orphic gold tablets are perhaps the best-known example. Totenpässe are placed on or near the body as a phylactery, or rolled and inserted into a capsule often worn around the neck as an amulet. The inscription instructs the initiate on how to navigate the afterlife, including directions for avoiding hazards in the landscape of the dead and formulaic responses to the underworld judges.

Metrodorus of Cos (; fl. c. 460 BC) was the son of Epicharmus. Like several of his family he addicted himself partly to the study of Pythagorean philosophy, partly to the science of medicine. He wrote a treatise upon the works of Epicharmus, in which, on the authority of Epicharmus and Pythagoras himself, he maintained that the Doric was the proper dialect of the Orphic hymns.

237 n. 1; Gantz, p. 118; Smyth, p. 459. Scholar Timothy Gantz noted that Hades was often considered an alternate, cthonic form of Zeus, and suggested that it is likely Zagreus was originally the son of Hades and Persephone, who was later merged with the Orphic Dionysus, the son of Zeus and Persephone, owing to the identification of the two fathers as the same being.

The Republic 364c–d. Those who were especially devoted to these rituals and poems often practiced vegetarianism and abstention from sex, and refrained from eating eggs and beans — which came to be known as the Orphikos bios, or "Orphic way of life".Moore, p. 56: "the use of eggs and beans was forbidden, for these articles were associated with the worship of the dead".

Connected, perhaps identical with, this was a treatise on Corybantic Rites, quoted by the late Orphic poem Argonautica. # A Descent into Hades, ascribed to Herodicus of Perinthus, or to Cercops the Pythagorean, or to the unknown Prodicus of Samos. # Other treatises were: an Astronomy or Astrology, otherwise unknown; Sacrificial Rites, doubtless giving rules for bloodless sacrifices; Divination by means of sand, Divination by means of eggs; on Temple-building (otherwise unknown); On the girding on of Sacred Robes; and On Stones, said to contain a chapter on the carving of precious stones entitled The Eighty Stones; a version of this work, of late date, survives. It treats of the properties of stones, precious and ordinary, and their uses in divination. The Orphic Hymns are also mentioned in Suidas’ list, and a Theogony in 1200 verses, perhaps one of those versions which differed from the Rhapsodiae.

Ananke, by Gilbert Bayes. In Orphic mythology, Ananke is a self-formed being who emerged at the dawn of creation with an incorporeal, serpentine form, her outstretched arms encompassing the cosmos. Ananke and Chronos are mates, mingling together in serpent form as a tie around the universe. Together they have crushed the primal egg of creation of which constituent parts became earth, heaven and sea to form the ordered universe.

According to a certain Epigenes,This Epigenes has been tentatively identified with Epigenes, the follower of Socrates, see Blum, p. 180; Edmonds 2013, p.14. the three Moirai, or Fates, were regarded in the Orphic tradition as representing the three divisions of Selene, "the thirtieth and the fifteenth and the first" (i.e. the crescent moon, full moon, and dark moon, as delinted by the divisions of the calendar month).

The hymns, of uncertain date but probably composed in the 2nd or 3rd century AD, are liturgical texts for the mystery religion known as Orphism. In the hymn, Melinoë has characteristics that seem similar to Hecate and the Erinyes,Edmonds, "Orphic Mythology," pp. 84–85. and the name is sometimes thought to be an epithet of Hecate.Ivana Petrovic, Von den Toren des Hades zu den Hallen des Olymp (Brill, 2007), p.

Greek terracotta figurine of Baubo, of the face-in-torso type. She is holding a lyre from Priene, Anatolia. Baubo (Ancient Greek: Βαυβώ) is an old woman in Greek mythology which appears particularly in the myths of the early Orphic religion. Known as the Goddess of Mirth, she was bawdy and sexually liberated, and is said to have jested with Demeter, when Demeter was mourning the loss of her daughter, Persephone.

Plato, in his Timaeus, provides a genealogy (probably Orphic) which perhaps reflected an attempt to reconcile this apparent divergence between Homer and Hesiod, with Uranus and Gaia as the parents of Oceanus and Tethys, and Oceanus and Tethys as the parents of Cronus and Rhea and "and all that go with them", plus Phorcys.Gantz, pp. 11–12, 743; West 1983, pp. 117-118; Fowler 2013, p. 11; Plato, Timaeus 40d–e.

400 BC), one of the pre-Socratic philosophers, makes Eros the first of all the gods to come into existence."First of all the gods she devised Erōs." (Parmenides, fragment 13.) (The identity of the "she" is unclear, as Parmenides' work has survived only in fragments. The Orphic and Eleusinian Mysteries featured Eros as a very original god, but not quite primordial, since he was the child of Night (Nyx).

Anna Afonasina, Shamanism and the Orphic traditionFritz Graf, Apollo Shamans like Abaris and Aristeas were also the followers of Apollo, who hailed from Hyperborea. In myths, the tears of amber Apollo shed when his son Asclepius died became the waters of the river Eridanos, which surrounded Hyperborea. Apollo also buried in Hyperborea the arrow which he had used to kill the Cyclopes. He later gave this arrow to Abaris.

Hesiod described Tartaros as being "in a recess (muchos) of broad-wayed earth". Hermann S. Schibli thinks the five muchoi were actually harboured within Chthonie, or at least were so initially when Chronos disposed his seed in the five "nooks". Alongside Chthonie and Chronos, Pherecydes held a power called Zas. Zas (Zeus), comparable with the Orphic Eros in function, and as such a personification of masculine (sexual) creativity.

Bromius in ancient Greece was used as an epithet of Dionysus/Bacchus. It signifies "noisy", "roaring", or "boisterous", from , to roar. According to Richard Buxton, Bromius (Bromios) is another name for a fundamental divine figure that precedes Ouranus and Night in Orphic myth. This alternative view to Hesiod was discovered by a fragmentary papyrus discovered in Derveni, Macedonia (Greece) in 1962, which is referred to as the Derveni papyrus.

In the myth of Cyparissus, a youth was transformed into a cypress, consumed by grief over the accidental death of a pet stag.Ovid, Metamorphoses 10.106ff.; Servius, note to Vergil's Georgics 1.20. A "white cypress" is part of the topography of the underworld that recurs in the Orphic gold tablets as a kind of beacon near the entrance, perhaps to be compared with the Tree of Life in various world mythologies.

The Neoplatonist Proclus (5th century AD) considered Pluto the third demiurge, a sublunar demiurge who was also identified variously with Poseidon or Hephaestus. This idea is present in Renaissance Neoplatonism, as for instance in the cosmology of Marsilio Ficino (1433–99),Entry on "Demiurge," The Classical Tradition (Harvard University Press, 2010), p. 256. who translated Orphic texts into Latin for his own use.Entry on "Orpheus," The Classical Tradition, p. 665.

To Dionysus Bassareus :A Hymn :Come, blessed Dionysius [Dionysos], various nam'd, bull-fac'd, begot from Thunder, Bacchus [Bakkhos] fam'd. Bassarian God, of universal might, whom swords, and blood, and sacred rage delight: In heav'n rejoicing, mad, loud-sounding God, furious inspirer, bearer of the rod: By Gods rever'd, who dwell'st with human kind, propitious come, with much-rejoicing mind. : :Orphic Hymn XLV. To Liknitus Bacchus [Liknitos Dionysus] :The Fumigation from Manna.

In one scene guards sent to control the Maenads witness them pulling a live bull to pieces with their hands. Later, after King Pentheus has banned the worship of Dionysus, the god lures him into a forest, to be torn limb from limb by Maenads, including his own mother Agave. According to some myths, Orpheus, regarded as a prophet of Orphic or Bacchic religion, died when he was dismembered by raging Thracian women.

The b scholia to Iliad 2.783, preserving a possibly Orphic tradition, has Typhon born in Cilicia, as the offspring of Cronus. Gaia, angry at the destruction of the Giants, slanders Zeus to Hera. So Hera goes to Zeus' father Cronus (whom Zeus had overthrown) and Cronus gives Hera two eggs smeared with his own semen, telling her to bury them, and that from them would be born one who would overthrow Zeus.

In the Orphic tradition, the unaging Chronos was "engendered" by "earth and water", and produced Aether and Chaos, and an egg.West, p. 178. The egg produced the hermaphroditic god Phanes who gave birth to the first generation of gods and is the ultimate creator of the cosmos. Pherecydes of Syros in his lost ("the seven recesses"), around 6th century BC, claimed that there were three eternal principles: Chronos, Zas (Zeus) and Chthonie (the chthonic).

In Athens, Aphrodite, who had an earlier, pre-Olympic existence, was called Aphrodite Urania the "eldest of the Fates" according to Pausanias (x.24.4). Some Greek mythographers went so far as to claim that the Moirai were the daughters of Zeus—paired with Themis ("fundament"), as Hesiod had it in one passage.Hesiod, Theogony, 904. In the older myths they are daughters of primeval beings like Nyx ("night") in Theogony, or Ananke ("necessity") in Orphic cosmogony.

Nevertheless, she is somehow made to laugh, and breaking her fast, finally accepts the offered food and drink. There are two versions of the story. In the earliest version, given in the Homeric Hymn to Demeter, an old servant woman Iambe makes Demeter laugh by telling her obscene jokes. In an apparent later Orphic version of the story, the old woman Baubo makes Demeter laugh by lifting her skirts (an anasyrma) thereby exposing her genitals.

On Triton and Other Matters: An Interview with Samuel R. Delany It is also loosely linked to other books by him (particularly Neveryóna) in its references to "the modular calculus", a vaguely described future mathematics that would analyze analogies, fictional constructs, and possibly human personalities. The most recent US edition from Wesleyan University Press (1996) has a foreword by the postmodern novelist Kathy Acker, focusing on Trouble on Triton as Orphic fiction.

In Orphism, Persephone is believed to be the mother of the first Dionysus. In Orphic myth, Zeus came to Persephone in her bedchamber in the underworld and impregnated her with the child who would become his successor. The infant Dionysus was later dismembered by the Titans, before being reborn as the second Dionysus, who wandered the earth spreading his mystery cult before ascending to the heavens with his second mother, Semele.Edmonds, R.G. III. (2011).

The Scholiast, commenting on the passage, says that there exist on Mt. Haemus certain writings of Orpheus on tablets. There is also a reference, not mentioning Orpheus by name, in the pseudo-Platonic Axiochus, where it is said that the fate of the soul in Hades is described on certain bronze tablets which two seers had brought to Delos from the land of the Hyperboreans. This is the only evidence for any ancient Orphic writings.

Three principal versions are recognized by modern scholars; all three are mentioned by the Neo-Platonist Damascius (fifth-sixth centuries AD). These are: # Rhapsodiae, epic lays, said by Damascius to give the usual Orphic theology. These are mentioned also in Suidas’ list, as ‘sacred discourses in twenty-four lays’, though he attributes this work to Theognetus the Thessalian (unknown) or Cercops the Pythagorean. This is now referred to as the Rhapsodic Theogony.

A notable use of a danake occurred in the burial of a woman in 4th- century BC Thessaly, a likely initiate into the Orphic or Dionysiac mysteries. Her religious paraphernalia included gold tablets inscribed with instructions for the afterlife and a terracotta figure of a Bacchic worshipper. Upon her lips was placed a gold danake stamped with the Gorgon’s head.K. Tasntsanoglou and George M. Parássoglou, "Two Gold Lamellae from Thessaly," Hellenica 38 (1987) 3–16.

In the Orphic HymnsOrphic Hymn 29 to Persephone Praxidike was identified with Persephone, Soter with Zeus, and their daughters Praxidikai with the Erinyes. Aeschylus references Soter as the husband of Peitharchia and father of Eupraxia.Aeschylus, Seven Against Thebes 223 ff Soteria (Σωτηρία), personification of the abstract concept of safety and salvation, was also worshipped by the Greeks. She had a sanctuary in Patrae, which was believed to have been founded by Eurypylos of Thessaly.

Sardonyx cameo of a Ptolemaic prince as Hermes, Cabinet des médailles, Paris Several writers of the Hellenistic period expanded the list of Hermes's achievements. Callimachus said that Hermes disguised himself as a Cyclops to scare the Oceanids and was disobedient to his mother. One of the Orphic Hymns Khthonios is dedicated to Hermes, indicating that he was also a god of the underworld. Aeschylus had called him by this epithet several times.

"The Rhodora" shows the beginnings of Emerson's thoughts on humanity's connection with the natural world which would be greater expressed in his essay "Nature" in 1836.Yoder, R. A. Emerson and the Orphic Poet in America. Berkeley, CA: University of California Press, 1978: 84. Emerson describes the titular rhodora mostly through the sense of sight by focusing on color, particularly its vibrancy in contrast with the dark pool, though he ignores other senses like smell and sound.

As for Apollodorus' sources, Hard, p. 68, says that Apollodorus' version "perhaps derived from the lost Titanomachia or from the Orphic literature"; see also Gantz, p. 2; for a detailed discussion of Apollodorus' sources for his account of the early history of the gods, see West 1983, pp. 121-126. According to Apollodorus, they were the first offspring of Uranus and Gaia, (unlike Hesiod who makes the Titans the eldest) followed by the Cyclopes, and the Titans.Apollodorus, 1.1.1-3.

The name is first mentioned with certainty in the Orphic papyrus from Gurôb, a Dionysian mysteries text of the late 3rd century BCE. The mythographer Otto Gruppe suggested the Phanes-myth appeared in its original form in Babylonia. Thence it spread over the Near East, and took root particularly in Syria and Asia Minor. The gods of Babylon themselves were not imported, but the myth was attached to the local deities of the districts to which it spread.

The intoxication that they sought was that of "enthusiasm," of union with the god. They believed themselves, in this way, to acquire mystic knowledge not obtainable by ordinary means. This mystical element entered into Greek philosophy with Pythagoras, who was a reformer of Orphism as Orpheus was a reformer of the religion of Dionysus. From Pythagoras Orphic elements entered into the philosophy of Plato, and from Plato into most later philosophy that was in any degree religious.

Mystery cults were a special aspect of religion in Ancient Greece, so named for the great level of secrecy associated with them. Unlike the rest of religious life in Ancient Greece, the rituals, practices and knowledge of mystery cults were only supposed to be available to their initiates, so relatively little is known about the mystery cults of Ancient Greece. Some of the major schools included the Eleusinian mysteries, the Dionysian mysteries and the Orphic mysteries.

Many statues and other invaluable items are kept in the nearby Dion's archaeological museum.Hellenic Republic, Ministry of culture and sports, Onassis Foundation US, 2016: Gods and Mortals at Olympus. Edited by Dimitrios Pandermalis, Pimblia and Leivithra, two other towns in Olympus' region, are related to Orpheus and the "Orphic" mysteries. According to a tradition Orpheus, son of Apollo and Calliope (one of the Muses), taught here the mystic ceremonies of worship of Dionysus (also known as Bacchus).

Before the late nineteenth century, reincarnation was a relatively rare theme in the West. In ancient Greece, the Orphic Mysteries and Pythagoreans believed in various forms of reincarnation. Emanuel Swedenborg believed that we leave the physical world once, but then go through several lives in the spiritual world — a kind of hybrid of Christian tradition and the popular view of reincarnation. More recently, many people in the West have developed an interest in and acceptance of reincarnation.

The Blood of a Poet () (1930) is an avant-garde film directed by Jean Cocteau, financed by Charles de Noailles and starring Enrique Riveros, a Chilean actor who had a successful career in European films. Photographer Lee Miller made her only film appearance in this movie, which features an appearance by the famed aerialist Barbette. It is the first part of The Orphic Trilogy, which is continued in Orphée (1950) and concludes with Testament of Orpheus (1960).

Melinoë is described in the invocation of the Orphic Hymn as krokopeplos, "clad in saffron" (see peplos), an epithet in ancient Greek poetry for moon goddesses.In the Iliad (8.1 and 19.1), the dawn goddess Eos is krokopeplos; Eva Parisinou, "Brightness Personified: Light and Divine Image in Ancient Greece," in Personification In The Greek World: From Antiquity To Byzantium (Ashgate, 2005), p. 34. In the hymns, only two goddesses are described as krokopeplos, Melinoë and Hecate.Morand, pp.

The intoxication that they sought was that of "enthusiasm," of union with the god. They believed themselves, in this way, to acquire mystic knowledge not obtainable by ordinary means. This mystical element entered into Greek philosophy with Pythagoras, who was a reformer of Orphism as Orpheus was a reformer of the religion of Dionysus. From Pythagoras Orphic elements entered into the philosophy of Plato, and from Plato into most later philosophy that was in any degree religious.

In Greek religious practice, Pluto is sometimes seen as the "chthonic Zeus" (Zeus ChthoniosNoel Robertson, Religion and Reconciliation in Greek Cities: The Sacred Laws of Selinus and Cyrene (Oxford University Press, 2010), p. 102, citing passages from the Orphic Hymns, throughout which Plouton is the ruler of the underworld, and Hades is the name of the place itself. or Zeus CatachthoniosHewitt, "The Propitiation of Zeus," p. 74, asserts that "Zeus Catachthonius seems certainly to be Pluto." Other deities to whom the title Katachthonios was affixed include Demeter, Persephone, and the Furies; Eugene Lane, "The Epithets of Men," Corpus monumentorum religionis dei Menis: Interpretation and Testimonia (Brill, 1976), vol. 3, p. 77, citing the entry on Katachthonioi in Roscher, Lexikon II, i, col. 998ff.), or at least as having functions or significance equivalent to those of Zeus but pertaining to the earth or underworld.Zeus Chthonius and Pluto are seen as having "the same significance" in the Orphic Hymns and in the Dionysiaca of Nonnus (6.156ff.), by Hewitt, "The Propitiation of Zeus," p. 74, note 7.

He taught Damascius, who describes Asclepiodotus in disparaging terms, in part because of his disregard for oracular lore: > Asclepiodotus' mind was not perfect, as most people thought. He was > extremely sharp at raising questions, but not so acute in his understanding. > His was an uneven intelligence, especially when it came to divine matters - > the invisible and intelligible concept of Plato's lofty thought. Even more > wanting was he in the field of higher wisdom - the Orphic and Chaldean lore > which transcends common sense.

The American painters Patrick Henry Bruce and Arthur Burdett Frost, two of Delaunay's pupils, strove to create a similar art-form circa 1912. The Synchromists Morgan Russell and Stanton Macdonald-Wright wrote their own manifestos in an attempt to distance themselves from the Orphism of Robert Delaunay, but their art at times inevitably appeared Orphic. Essentially a stylistic sub-category of Abstract art created by Apollinaire, Orphism was an elusive term from which artists included within its scope persistently attempted to detach themselves.

The ancient-mythic, the Dionysian- Bacchic, the Orphic-secret, the physiological-regenerative, Christian, erotic and maternal, national and competitive, the universal, peaceful-conciliatory element were the poetic themes of Sikelianos that were made objects of research and interpretative effort by Takis Dimopoulos, in the form of finding and indicating the fundamental 'axes' of Sikelianos' poetry."Δημόπουλος, Τάκης". Στο: Μιχάλης Γ. Μερακλής, Κάρολος Μητσάκης, Βάλτερ Πούχνερ, Αλέξης Ζήρας, Λαμπρινή Κουζέλη (επιμ.), Λεξικό νεοελληνικής λογοτεχνίας: πρόσωπα, έργα, ρεύματα, όροι, Πατάκης, 2007, σ. 494.

In fact, Lazzarelli goes further, to associate NeoPlatonic angels and _daimones_ with Christian angels, God's love with Orphic love, and Christian piety with Hermetic piety. Thus, his work was part of a wider attempt to stress the common roots and beliefs of _all_ religions, including Islam and Judaism, that characterised the Renaissance. Accordingly, Walker tells us that, "From the Kabbalah Lazzarelli quotes an allegory, which he says is in the _Sepher Yezira_ ".DP Walker, _Spiritual and Demonic Magic, from Ficino to Campanella_ , p68.

Apollodorus, 1.1.3, 1.3.1. Dione is also the mother of Aphrodite by Zeus in the Iliad, 5.370, 3.374; but in the Theogony, 191-200, Aphrodite was born from the foam which formed around Uranus' severed genitals when Cronus threw them into the sea. Plato's inclusion of Phorkys, apparently, as a Titan, and the mythographer Apollodorus's inclusion of Dione, suggests an Orphic tradition in which the canonical twelve Titans consisted of Hesiod's twelve with Phorkys and Dione taking the place of Oceanus and Tethys.

As for Apollodorus' sources, Hard, p. 68, says that Apollodorus' version "perhaps derived from the lost Titanomachia or from the Orphic literature"; see also Gantz, p. 2; for a detailed discussion of Apollodorus' sources for his account of the early history of the gods, see West 1983, pp. 121-126. According to Apollodorus, the Cyclopes were born after the Hundred-Handers, but before the Titans (unlike Hesiod who makes the Titans the eldest and the Hundred-Handers the youngest).Apollodorus, 1.1.1-3.

Freeman, Kathleen. Ancilla to the Pre-Socratic Philosophers, Harvard University Press (1948), p. 1. Nymphs Listening to the Songs of Orpheus (1853) by Charles Jalabert In addition to serving as a storehouse of mythological data along the lines of Hesiod's Theogony, Orphic poetry was recited in mystery-rites and purification rituals. Plato in particular tells of a class of vagrant beggar-priests who would go about offering purifications to the rich, a clatter of books by Orpheus and Musaeus in tow.Plato.

"Orpheus also invented the mysteries of Dionysus, and having been torn in pieces by the Maenads he is buried in Pieria." and prescribed the mystery rites preserved in Orphic texts. Pindar and Apollonius of RhodesApollonius, Argonautica, passim. place Orpheus as the harpist and companion of Jason and the Argonauts. Orpheus had a brother named Linus, who went to Thebes and became a Theban.Apollodorus, Library and Epitome, 2.4.9, This Linus was a brother of Orpheus; he came to Thebes and became a Theban.

Magnum Chaos, wood-inlay by Giovan Francesco Capoferri at the Basilica di Santa Maria Maggiore in Bergamo, based on a design by Lorenzo Lotto. The Greco-Roman tradition of prima materia, notably including the 5th and 6th century Orphic cosmogony, was merged with biblical notions (Tehom) in Christianity and inherited by alchemy and Renaissance magic. The cosmic egg of Orphism was taken as the raw material for the alchemical magnum opus in early Greek alchemy. The first stage of the process of producing the philosopher's stone, i.e.

In the 1880s Gnostic connections with neo-Platonism were proposed. Ugo Bianchi, who organised the Congress of Messina of 1966 on the origins of Gnosticism, also argued for Orphic and Platonic origins. Gnostics borrowed significant ideas and terms from Platonism, using Greek philosophical concepts throughout their text, including such concepts as hypostasis (reality, existence), ousia (essence, substance, being), and demiurge (creator God). Both Sethian Gnostics and Valentinian Gnostics seem to have been influenced by Plato, Middle Platonism, and Neo-Pythagoreanism academies or schools of thought.

Hypnos and Thanatos carrying the body of Sarpedon from the battlefield of Troy; detail from an Attic white-ground lekythos, ca. 440 BC. Winged Eros Thanatos, with reversed torch and crossed legs (3rd century BC, Stoa of Attalus, Athens) An Orphic Hymn that invoked Thanatos, here given in late 18th century translation: > To Death, Fumigation from Manna. Hear me, O Death, whose empire unconfin'd > extends to mortal tribes of ev'ry kind. On thee, the portion of our time > depends, whose absence lengthens life, whose presence ends.

Yet even these authentic poems may include interpolations. For example, the first ten verses of the Works and Days may have been borrowed from an Orphic hymn to Zeus (they were recognised as not the work of Hesiod by critics as ancient as Pausanias).J. A. Symonds, Studies of the Greek Poets, p. 167. Some scholars have detected a proto-historical perspective in Hesiod, a view rejected by Paul Cartledge, for example, on the grounds that Hesiod advocates a not- forgetting without any attempt at verification.

Other myths reinforce traditions that entrance of souls to the underworld requires a proper observation of ceremony, such as the ancient Greek story of the recently dead Patroclus haunting Achilles until his body could be properly buried for this purpose.Radcliffe G. Edmonds, III, Myths of the Underworld Journey: Plato, Aristophanes, and the 'Orphic' Gold Tablets (2004), p. 9. Persons having social status were dressed and equipped in order to better navigate the underworld.Jon Mills, Underworlds: Philosophies of the Unconscious from Psychoanalysis to Metaphysics (2014), p. 1.

Empedocles as portrayed in the Nuremberg Chronicle Although acquainted with the theories of the Eleatics and the Pythagoreans, Empedocles did not belong to any one definite school. An eclectic in his thinking, he combined much that had been suggested by Parmenides, Pythagoras and the Ionian schools. He was a firm believer in Orphic mysteries, as well as a scientific thinker and a precursor of physics. Aristotle mentions Empedocles among the Ionic philosophers, and he places him in very close relation to the atomist philosophers and to Anaxagoras.

"This is probably the richest tomb of a Thracian king ever discovered in Bulgaria. Its style and its making are entirely new to us as experts," said Georgi Kitov, the head of the team. The Kosmatka Tomb represents a remarkable Thracian heroon built accordingly to the Orphic traditions of the end of the 5th or beginning of the 4th century BCE. Serving also as a symbolic tomb of Seuthes III, it contained an enormous treasure, exhibited now in the Iskra Museum and Art Gallery.

For this reason, what glimpses we do have of the older Greek mysteries have been understood as reflecting certain archaic aspects of common Indo-European religion, with parallels in Indo-Iranian religion. The mystery schools of Greco-Roman antiquity include the Eleusinian Mysteries, the Dionysian Mysteries, and the Orphic Mysteries. Some of the many divinities that the Romans nominally adopted from other cultures also came to be worshipped in Mysteries, for instance, Egyptian Isis, Persian Mithras from the Mithraic Mysteries, Thracian/Phrygian Sabazius, and Phrygian Cybele.

Pseudo-Hesiod, Shield of Heracles, 220. The Homeric hymn to Hermes from a somewhat later date (520 B.C.) does not explicitly state the sandals were winged, though they allowed him to leave no footprints while committing his theft of Apollo's cattle. According to one estimation, it was around 5th century B. C. when the winged sandals came to be regarded as common (though not indispensable) accouterments of the god Hermes. One later instance which refers to the sandals being winged is the Orphic Hymns XXVIII to Hermes (3c. B.C.–2c. C.E.).

Argonautica Orphica () is a Greek epic poem dating from the 5th–6th centuries CE. It is narrated in the first person in the name of Orpheus and tells the story of Jason and the Argonauts. It is not known who the real author is. The poem is found in manuscripts either on its own or together with the Orphic Hymns and other hymns such as the Homeric Hymns and those of Proclus and Callimachus. The poem was lost, but in the fifteenth century it was found and copied in a manuscript (Codex Matritensis gr.

Pseudo-Apollodorus, Bibliotheca Library and Epitome, 1.3.2. "Orpheus also invented the mysteries of Dionysus, and having been torn in pieces by the Maenads he is buried in Pieria." Evidence suggests that many sources and rituals typically considered to be part of the similar Orphic Mysteries actually belong to Dionysian mysteries. Some scholars have suggested that, additionally, there is no difference between the Dionysian mysteries and the mysteries of Persephone, but that these were all facets of the same mystery religion, and that Dionysus and Persephone both had important roles in it.

Knucklebones, widely used for divination, are common in burials; see, for instance, Jenifer Neils, "The Morgantina Phormiskos," American Journal of Archaeology 96 (1992) 225–235. As playthings of the Child Zagreus, knucklebones are among the sacred objects in Dionysiac religion, which may also account for their inclusion; on these toys, see Clement of Alexandria, Protrepticus 2.17.2, and W.K.C. Guthrie, Orpheus and Greek Religion: A Study of the Orphic Movement (New York: Norton, 1966, revised edition), pp. 120–126. Gold leaves and unguentaria were the grave gifts in a burial chamber at Kourion in Cyprus.

Herberto Helder's poetry and fiction is very visual, and has connections with Surrealism, still his style is difficult to define; he was a practitioner of experimental poetry and some call him an orphic or visionary poet (that somehow reminds Ezra Pound). Considered one of the most important contemporary Portuguese poets his poetry is not yet enough studied by academics due to the obscurity of his personality itself (he refused to take literary prizes or have media exposure) and the complexity of his paradoxal work that has a strange enchantment.

"To descend into the cave of Trophonios" became a proverbial way of saying "to suffer a great fright". This saying is alluded to in Aristophanes' Clouds. Several ancient philosophers, including Heraclides Ponticus, wrote commentaries on the cult of Trophonios that are now lost. Trophonios has been of interest to classical scholars because the rivers of Lethe and Mnemosyne have close parallels with the Myth of Er at the end of Plato's Republic, with a series of Orphic funerary inscriptions on gold leaves, and with several passages about Memory and forgetting in Hesiod's Theogony.

In 1955, Swedish director Ingmar Bergman earned a Jury Prize at the Cannes Film Festival with Smiles of a Summer Night and followed the film with masterpieces The Seventh Seal and Wild Strawberries. Jean Cocteau's Orphée, a film central to his Orphic Trilogy, starred Jean Marais and was released in 1950. French director Claude Chabrol's Le Beau Serge is now widely considered the first film of the French New Wave. Notable European film stars of the period include Brigitte Bardot, Sophia Loren, Marcello Mastroianni, Max von Sydow, and Jean-Paul Belmondo.

The orgia of both Dionysian worship and the cult of Cybele aim at breaking down barriers between the celebrants and the divinity through a state of mystic exaltation:Giulia Sfameni Gasparro, Soteriology and Mystic Aspects in the Cult of Cybele and Attis (Brill, 1985), p. 53 and 11–19. Dionysian mask Initiates of the Orphic and Bacchic orgia practiced distinctive burial customs (see Totenpass) expressive of their beliefs in an afterlife; for instance, it was forbidden for the dead to wear wool.According to Herodotus 2.81, as cited by Graf and Johnston, Ritual Texts, p. 159.

In the Orphic hymn to the Muses, it is Erato who charms the sight. Since the Renaissance she has mostly been shown with a wreath of myrtle and roses, holding a lyre, or a small kithara, a musical instrument often associated with Apollo. In Simon Vouet's representations, two turtle-doves are eating seeds at her feet. Other representations may show her holding a golden arrow, reminding one of the "eros", the feeling that she inspires in everybody, and at times she is accompanied by the god Eros, holding a torch.

Farnese Faun, Louvre (Ma 664) In Ancient Greek Mythology, Satyrs are male companions to Dionysus, the god of grape harvest, ritual madness, theater, and fertility. As followers of Dionysus, satyrs are known for their love of wine, women, and playing music on their pipes or flutes. Famous satyrs in mythology include Silenus, a satyr nurse to the Dionysus and a demi-god of excessive drunkenness and Tityri, a flute-playing satyr in the train of Dionysus. Satyrs are referenced in The Homeric Hymns, Aesop's Fables, The Orphic Hymns, Ovid's Metamorphoses and Fasti, and Virgil's Georgics.

Beyond this, a hall with a recently renovated polychrome marble floor led to the house. The two flights of stairs leading to the foyer and the upper tiers were decorated with six large-scale paintings by Léon Gaud representing six types of music : military, pastoral, religious, light, Orphic and Dionysian. These panels, of a highly academic nature, alternated with medallion portraits of famous composers. All the decorative elements of the upper vestibule (door frames leading to the balconies, ceiling panels) were lost in the great fire of 1951.

160 remarks that while "many sources speak of Dionysus' being 'rent apart' ... those who use more precise language say that he was cut up with a knife". him to pieces. The pieces were then boiled, roasted and partially eaten, by the Titans. But Athena managed to save Dionysus' heart, by which Zeus was able to contrive his rebirth from Semele. Although the extant Orphic sources do not mention the name “Zagreus” in connection with this dismembered Dionysus (or anywhere else), the (c. 3rd century BC) poet Callimachus perhaps did.

43.117 Pfeiffer (= fr. 43b.34 Harder); Harder, p. 368; Gantz, p. 118; West 1983, pp. 152–153; Linforth, p. 310. The first certain identification of Zagreus with the dismembered Dionysus, occurs in the writings of the late 1st century – early 2nd century AD biographer and essayist Plutarch,Linforth, pp. 311, 317–318; Plutarch, The E at Delphi 389 A. while the c. 5th century AD Greek epic poet Nonnus' Dionysiaca, which tells the story of this Orphic Dionysus, calls him the "older Dionysos ... illfated Zagreus",Nonnus, Dionysiaca 5.564–565.

The main part of the text is a commentary on a hexameter poem ascribed to Orpheus, which was used in the mystery cult of Dionysus by the 'Orphic initiators'. Fragments of the poem are quoted, followed by interpretations by the main author of the text, who tries to show that the poem does not mean what it literally says. The poem begins with the words "Close the doors, you uninitiated", a famous admonition to secrecy, also quoted by Plato. The interpreter claims that this shows that Orpheus wrote his poem as an allegory.

7.104; Pausanias describes it as the most fertile mountain in Thessaly, and well supplied with fountains. Ancient authors differed in their descriptions of the town's location. Both Pseudo-Scylax and Strabo seem to place it on the right bank of the Peneius near the exit of the vale of Tempe, and consequently at some distance from the sea;Periplus of Pseudo-Scylax, p. 12 but in Apollonius Rhodius and in the Orphic poems Homolium is described as situated near the sea-shore, and in Apollonius even another town, Eurymenae, is placed between Homolium and Tempe.

In Homer's Odyssey, Odysseus encounters the "dread Persephone" in Tartarus when he visits his dead mother. Odysseus sacrifices a ram to the cthonic goddess Persephone and the ghosts of the dead who drink the blood of the sacrificed animal. In the reformulation of Greek mythology expressed in the Orphic Hymns, Dionysus and Melinoe are separately called children of Zeus and Persephone.Orphic Hymn 26, 71 Groves sacred to her stood at the western extremity of the earth on the frontiers of the lower world, which itself was called "house of Persephone".

Besides the artists of whom Apollinaire writes in preceding chapters, there were other artists and writers alike attached, "whether willingly or not", to the Cubist movement. Scientific Cubism was defended by Ricciotto Canudo, Jacques Nayral, André Salmon, Joseph Granié, Maurice Raynal, Marc Brésil, Alexandre Mercereau, Pierre Reverdy, André Tudesq, , Georges Deniker, Jacques Villon, and Louis Marcoussis. Physical Cubism was supported in the press by the writers listed above, in addition to , Olivier Hourcade, Jean Marchand, Auguste Herbin, and Véra. Orphic Cubism was defended by Max Goth, Pierre Dumont and .

Campana's poetry is a new poetry in which sounds, colors and music are blended in a powerful vision. The line is undefined, an expressive articulation of monotony, but at the same time full of dramatic images of annihilation and purity. The title of Campana's only published work alludes to the Orphic hymns, a literary genre developed in ancient Greece between the second and third century AD and characterized by a non-classical theogony. Also prayers to the gods (especially the god Phanes) are characterized by spells to prevent evil and misfortune.

Common features of underworld myths are accounts of living people making journeys to the underworld, often for some heroic purpose. Other myths reinforce traditions that entrance of souls to the underworld requires a proper observation of ceremony, such as the ancient Greek story of the recently dead Patroclus haunting Achilles until his body could be properly buried for this purpose.Radcliffe G. Edmonds, III, Myths of the Underworld Journey: Plato, Aristophanes, and the 'Orphic' Gold Tablets (2004), p. 9. Persons having social status were dressed and equipped in order to better navigate the underworld.

It is unclear how the doctrine of metempsychosis arose in Greece. It is easiest to assume that earlier ideas which had never been extinguished were utilized for religious and philosophic purposes. The Orphic religion, which held it, first appeared in Thrace upon the semi-barbarous north-eastern frontier. Orpheus, its legendary founder, is said to have taught that soul and body are united by a compact unequally binding on either; the soul is divine, immortal and aspires to freedom, while the body holds it in fetters as a prisoner.

41 Nevertheless, Pletho came to be considered one of the most important influences on the Italian Renaissance. Marsilio Ficino, the Florentine humanist and the first director of the Accademia Platonica, paid Plethon the ultimate honour, calling him 'the second Plato', while Cardinal Bessarion speculated as to whether Plato's soul occupied his body. Plethon may also have been the source for Ficino's Orphic system of natural magic. While still in Florence, Pletho wrote a volume titled Wherein Aristotle disagrees with Plato, commonly called De Differentiis, to correct the misunderstandings he had encountered.

Portrait of Thomas Taylor by Sir Thomas Lawrence, about 1812, from the National Gallery of Canada, Ottawa. In the background the Acropolis of Athens is silhouetted against a fiery sky, and by Taylor's left hand is a copy of his translation of the works of Plato.Artwork Page: Thomas Taylor Lawrence's painting of Taylor is described Thomas Taylor (15 May 17581 November 1835) was an English translator and Neoplatonist, the first to translate into English the complete works of Aristotle and of Plato, as well as the Orphic fragments.

In Greek mythology, Eurus, the east wind, was the only wind not associated with one of the three Greek seasons. Eurus is also the only one of these four Anemoi not mentioned in Hesiod's Theogony or in the Orphic Hymns. In Native American Iroquois culture, the east wind is said to be brought by O-yan-do-ne, the Moose spirit, whose breath blows grey mist and sends down cold rains upon the earth. The Authorized King James Version of the English Old Testament makes some 17 references to the east wind.

The other themes are a mixture of Orphic and modern myth: for > example, cars that talk (the radio receivers in cars). Orphée is a realistic > film; or, to be more precise, observing Goethe's distinction between reality > and truth, a film in which I express a truth peculiar to myself. If that > truth is not the spectator's, and if his personality conflicts with mine and > rejects it, he accuses me of lying. I am even astonished that so many people > can still be penetrated by another's ideas, in a country noted for its > individualism.

Elizabeth Sewell (March 9, 1919 – January 12, 2001) was a British-American critic, poet, novelist, and professor who often wrote about the connections between science and literature. Among her published works were five books of criticism, four novels, three books of poetry, and many short stories, essays, and other work in periodicals in North America and Europe. Of her books, the most widely held by libraries is The Orphic Voice: Poetry and Natural History. Sewell completed the requirements for a bachelor of arts from Cambridge University in 1942.

Jacob Bryant's Orphic Egg (1774)Robert Graves, in his 1955 book The Greek Myths, imaginatively reconstructs a Pelasgian creation myth involving Ophion as a serpent created by a supreme goddess called Eurynome dancing on the waves. She is fertilized by the serpent and in the form of a dove lays an egg on the waters about which Ophion entwines until it hatches and the world issues forth. Then Ophion and Eurynome dwell on Mount Olympus until Ophion boasts that he made the world alone. Eurynome, as punishment, kicked out his teeth and banished him to the underworld.

In one Orphic myth, Kronos bites off Ouranos's genitals in exactly the same manner that Kumarbi does to Anu in the Hittite myth. Nonetheless, Robert Mondi notes that Ouranos never held mythological significance to the Greeks comparable with Anu's significance to the Mesopotamians. Instead, Mondi calls Ouranos "a pale reflection of Anu", noting that "apart from the castration myth, he has very little significance as a cosmic personality at all and is not associated with kingship in any systematic way." According to Walter Burkert, an expert on ancient Greek religion, direct parallels also exist between Anu and the Greek god Zeus.

As Linforth noticed, "It is a curious thing that the name Zagreus does not appear in any Orphic poem or fragment, nor is it used by any author who refers to Orpheus" (Linforth 1941:311). In his reconstruction of the story, however, Lobeck made extensive use of the fifth- century CE epic of Nonnos, who does use the name Zagreus, and later scholars followed his cue. The association of Dionysos with Zagreus appears first explicitly in a fragment of Callimachus preserved in the Etymologicum Magnum (fr. 43.117 P), with a possible earlier precedent in the fragment from Euripides Cretans (fr.

In reply to a letter from the Camaldolese prior and scholar St. Ambrose Traversari, he says that he brought back 238 manuscripts. These contained all of Plato, all of Plotinus, all of Proclus, much of Iamblichus, many of the Greek poets, including Pindar, and a great deal of Greek history, including volumes of Procopius and Xenophon which had been given to him by the emperor. Also, he had the poems of Callimachus and Oppian, and the Orphic verses; and the historical works of Dio Cassius, Diodorus Siculus, and Arrian. Most of the works were hitherto unknown in the West.

The Los Angeles Times reviewer wrote in 1986: "Mojo Hand anticipates the lessons of much recent black women's fiction--here, the women hold things together, often literally tying random moments of humor and beauty into an at least tolerable daily tapestry. Phillips' novel is true to its African and Greek antecedents, showing the uncanny links between musical, mystical and sexual intoxication. The moral ambiguities of these ties have rarely been so economically, knowingly, or eloquently portrayed as here."James A. Snead, "Mojo Hand: An Orphic Tale by J. J. Phillips" (review), Los Angeles Times, April 20, 1986.

The Derveni papyrus is an ancient Macedonian papyrus roll that was found in 1962. It is a philosophical treatise that is an allegorical commentary on an Orphic poem, a theogony concerning the birth of the gods, produced in the circle of the philosopher Anaxagoras. It was composed near the end of the 5th century BC, and "in the fields of Greek religion, the sophistic movement, early philosophy, and the origins of literary criticism it is unquestionably the most important textual discovery of the 20th century."Richard Janko, "The Derveni Papyrus: An Interim Text", Zeitschrift für Papyrologie und Epigraphik, 141 (2002), p.

Egyptian garment panel featuring Dionysiac themes, 5th century. The popularity of the cult of Dionysus, introduced to Egypt by the early Ptolemy rulers in the 3rd century BC, continued into early Byzantine times (4th-7th century), The Cult of Dionysus was strongly associated with satyrs, centaurs, and sileni, and its characteristic symbols were the bull, the serpent, tigers/leopards, the ivy, and the wine. The Dionysia and Lenaia festivals in Athens were dedicated to Dionysus, as well as the Phallic processions. Initiates worshipped him in the Dionysian Mysteries, which were comparable to and linked with the Orphic Mysteries, and may have influenced Gnosticism.

Archaeological finds include Italic-Hellenic walls, amphorae, tombs and the remains of an ancient necropolis with votive statues related to the Orphic cult. Between the 7th and 5th century BC, Greek colonists arrived here, as testified by numerous remains and again by toponyms of Greek origin. In Roman times, Latin colonists settled in the area overlooking the village, along the river valley Vitravo, starting an intense colonization of the land. Pallagorio during the 1930s In the Middle Ages, the village, concentrated in the districts of "Valle" and "Cucinaro", took the name of "San Giovanni in Palagorio".

On the oracle and for the passage in which Aion Plutonius is named, see Irad Malkin, Religion and Colonization in Ancient Greece (Brill, 1987), p. 107, especially note 87. Gilles Quispel conjectured that this figure results from the integration of the Orphic Phanes into Mithraic religion at Alexandria, and that he "assures the eternity of the city," where the birth of Aion was celebrated at the sanctuary of Kore on 6 January."On this day and at this hour the Virgin gave birth to Aion": Gilles Quispel, "Hermann Hesse and Gnosis," in Gnostica, Judaica, Catholica: Collected Essays (Brill, 2008), p.

He was made the ruler of the deities and passed the sceptre to Nyx. This new Orphic tradition states that Nyx later gave the sceptre to her son Uranos before it passed to Cronus and then to Zeus, who retained it. According to Aristophanes, whence Phanes is called Eros, he was born from an egg created by Nyx and placed in the boundless lap of Erebus, after which he mates with Chaos and creates the flying creatures. This passage seeks to demonstrate that the flying creatures are considered older than all other living creatures, even older than the other gods.

477–478, note 2. Psyche Opening the Golden Box (1903) by the pre-Raphaelite artist John William Waterhouse Before embarking on her descent, Psyche receives instructions for navigating the underworld: The two coins serve the plot by providing Psyche with fare for the return; allegorically, this return trip suggests the soul’s rebirth, perhaps a Platonic reincarnation or the divine form implied by the so-called Orphic gold tablets. The myth of Charon has rarely been interpreted in light of mystery religions, despite the association in Apuleius and archaeological evidence of burials that incorporate both Charon’s obol and cultic paraphernalia.

Because, through all the blight of human woe, Under Robigo's rust, and Clotho's shears, The mind of man still keeps its argosies, Lacedaemonian Helen wakes her tower, Echo replies, and lamentation loud Reverberates from Thrace to Delos Isle; Itylus grieves, for whom the nightingale Sweetly as ever tunes her Daulian strain. And over Tenedos the flagship burns. How shall men loiter when the great moon shines Opaque upon the sail, and Argive seas Rear like blue dolphins their cerulean curves? Samos is fallen, Lesbos streams with fire, Etna in rage, Canopus cold in hate, Summon the Orphic bard to stranger dreams.

In the late 1990s, a cemetery in northwest Greece yielded objects dating from the mid-4th to the early 3rd centuries B.C., including oinochoai, unguentaria, a wreath with thin gold leaves (sometimes associated with Orphic religion), a gold , and a silver obol with a winged Pegasus.David Blackman, "Archaeology in Greece 1999–2000", Archaeological Reports 46 (1999–2000), p. 67. A gold of Geta dating 199–200 A.D. was among objects — including potsherds, animal bones and shells, and bronze coins —retrieved from a well in the center of a cemetery in central Macedonia. The well was surrounded by a paved floor and housed by a stone structure.

In the 1950s there were a few major fantasy films, including Darby O'Gill and the Little People and The 5,000 Fingers of Dr. T., the latter penned by Dr. Seuss. Jean Cocteau's Orphic Trilogy, begun in 1930 and completed in 1959, is based on Greek mythology and could be classified either as fantasy or surrealist film, depending on how the boundaries between these genres are drawn. Russian fantasy director Aleksandr Ptushko created three mythological epics from Russian fairytales, Sadko (1953), Ilya Muromets (1956), and Sampo (1959). Japanese director Kenji Mizoguchi's 1953 film Ugetsu Monogatari draws on Japanese classical ghost stories of love and betrayal.

When Hermes invents the lyre in the Homeric Hymn to Hermes, the first thing he does is sing about the birth of the gods.Homeric Hymn to Hermes, 414–435 Hesiod's Theogony is not only the fullest surviving account of the gods but also the fullest surviving account of the archaic poet's function, with its long preliminary invocation to the Muses. Theogony also was the subject of many lost poems, including those attributed to Orpheus, Musaeus, Epimenides, Abaris, and other legendary seers, which were used in private ritual purifications and mystery-rites. There are indications that Plato was familiar with some version of the Orphic theogony.

If the artistic, doomed Agnes matches Orpheus as well as Bergman, Agnes' mother may correspond to Eurydice (representing "the green world"). P. Adams Sitney concluded that Cries and Whispers tells of an "Orphic transformation of terror into art, of the loss of the mother into the musical richness of autumnal color". The sisters' Aunt Olga uses the magic lantern to narrate "Hansel and Gretel", and Sitney connected this with "the gift of fairy tales—and thereby the psychic- defense machinery for exteriorising infantile and Oedipal terrors". In the folk tale "Cinderella", the wicked stepsisters' bleeding feet as a metaphor for menstruation is magnified by Karin's cutting of her vulva.

He has won many international and national awards, including the Grand Prix of the European Broadcasting Union (1985), the Golden Harp Prize from Jeunesses Musicales (1985), the Special Prize of the Union of Bulgarian Composers (1986), and the Carl Maria von Weber International Prize for Music (1989). He is the author of scientific and theoretical articles in music, as well as of reviews in musical and scientific periodicals, mainly in the spheres of the aesthetics of modernism and postmodernism, communications in the music, the contemporary arts, musical semiotics, and the theory of contemporary music. In 2000 Gega New released a CD with Arnaoudov's music called "Thyepoleo. Orphic Mysterial Rites".

Iacchus; Smith, s.v. Iacchus. This Orphic Dionysus was, as an infant, attacked and dismembered by the Titans, but later reborn as Dionysus, the wine-god son of Zeus and Semele, the daughter of Cadmus, the first king of Thebes. As noted above, Sophocles mentions "Iacchus of the bull's horns", and according to the 1st-century BC historian Diodorus Siculus, it was this older Dionysus who was represented in painting and sculpture with horns, because he “excelled in sagacity and was the first to attempt the yoking of oxen and by their aid to effect the sowing of the seed”.Jiménez San Cristóbal 2013, pp. 279-280; Diodorus Siculus, 4.4.

One account of this second version, suggests the possible involvement of Iacchus.Farnell, pp. 147-148, is dismisive of Iacchus' involvement, saying "It is of no importance that a late and reckless composer of an 'Orphic' hymn chooses to introduce him into the old Eleusinian myth of Baubo", noting that "the soundness of the text may be doubted, see Lobeck, Aglaoph." The 2nd-century Christian apologist Clement of Alexandria, in giving an account of this story, attributes the following lines of verse to Orpheus: :This said, she drew aside her robes, and showed :A sight of shame; child Iacchus was there, :And laughing, plunged his hand below her breasts.

The scope of the collection spans early avant-garde graphic works with pencil, pastel, and watercolours on paper, to his films, with extensive clips from his "Orphic Trilogy". As well as Cocteau's work, the museum contains a collection of 240 original photographic prints by Lucien Clergue relating to the work of Cocteau, mostly taken during the filming of Testament of Orpheus. The work Cocteau left upon his death in 1963 was catalogued by Annie Guédras, who identified at least three dozen fakes and copies among the pieces, some of which were destined for Wunderman's donation to the museum. The museum did eventually withdraw the works in question.

This marble head, sometimes thought to be the work of Praxiteles, probably depicts Eubuleus In ancient Greek religion and myth, Eubuleus (Ancient Greek Εὐβουλεύς Eubouleus means "good counsel"Rosemarie Taylor-Perry, The God Who Comes: Dionysian Mysteries Revisited (Algora, 2003), p. 10. or "wise in counsel"Robin Hard. The Routledge Handbook of Greek Mythology (2004) ) is a god known primarily from devotional inscriptions for mystery religions. The name appears several times in the corpus of the so-called Orphic gold tablets spelled variously, with forms including Euboulos, Eubouleos and Eubolos.Fritz Graf and Sarah Iles Johnston, Ritual Texts for the Afterlife: Orpheus and the Bacchic Gold Tablets (Routledge, 2007), pp.

In the Orphic tablets, Eubuleus is invoked four times along with Eucles ("Good Fame"), following a declaration in the first line to the Queen of the Underworld, Persephone. He is also invoked in the Gurôb Papyrus of the mid-3rd century BC. Graf and Johnston, Ritual Texts, p. 189. Because Eubuleus seems to be a human being in the narrative alluded to by the scholiast to Lucian, he has sometimes been considered a hero who received cult veneration, as are Triptolemus and even Iacchos.William Henry Denham Rouse, Greek Votive Offerings: An Essay in the History of Greek Religion (Cambridge University Press, 1902), p. 28.

In an earlier version, Hecate rescued Persephone. On an Attic red-figured bell krater of c. 440 BC in the Metropolitan Museum of Art, Persephone is rising as if up stairs from a cleft in the earth, while Hermes stands aside; Hecate, holding two torches, looks back as she leads her to the enthroned Demeter.The figures are unmistakable, as they are inscribed "Persophata, Hermes, Hekate, Demeter"; Gisela M. A. Richter, "An Athenian Vase with the Return of Persephone" The Metropolitan Museum of Art Bulletin 26.10 (October 1931:245–248) The 10th-century Byzantine encyclopedia Suda introduces a goddess of a blessed afterlife assured to Orphic mystery initiates.

In the Orphic religion, gold leaves with verses intended to help the deceased enter into an optimal afterlife were often buried with the dead. Persephone is mentioned frequently in these tablets, along with Demeter and Euklês, which may be another name for Plouton. The ideal afterlife destination believers strive for is described on some leaves as the "sacred meadows and groves of Persephone". Other gold leaves describe Persephone's role in receiving and sheltering the dead, in such lines as "I dived under the kolpos [portion of a Peplos folded over the belt] of the Lady, the Chthonian Queen", an image evocative of a child hiding under their mother's apron.

In the winter of 1914, convinced he could no longer recover the manuscript, Campana decided to rewrite everything, relying on memory and his sketches. In a few days, working at night and at the cost of huge mental effort, he managed to rewrite the poetry, albeit with modifications and additions. In the spring of 1914, with the help of a local printer of religious tracts, Campana was finally able to self-publish the collection 'Orphic Songs' at his own expense, the title a reference to the mythic figure of Orpheus, the first of poet-musicians. The first edition constituted around 500 copies (originally meant to be 1,000).

Aelian (second century AD) gave the chief reason against believing in them: at the time when Orpheus is said to have lived, the Thracians knew nothing about writing. It came therefore to be believed that Orpheus taught, but left no writings, and that the epic poetry attributed to him was written in the sixth century BC by Onomacritus. Onomacritus was banished from Athens by Hipparchus for inserting something of his own into an oracle of Musaeus when entrusted with the editing of his poems. It may have been Aristotle who first suggested, in the lost De Philosophia, that Onomacritus also wrote the so-called Orphic epic poems.

Both Persephone (as Persephassa and "Kore out of Tartaros") and Anubis are key-holders throughout the Greek Magical Papyri. Jesus Christ, as the conqueror of death and Hades, holds keys in the Book of Revelation 1:18; see Walter A. Elwell and Philip W. Comfort, Tyndale Bible Dictionary (Tyndale, 2001), p. 561. Aeacus (Aiakos), one of the three mortal kings who became judges in the afterlife, is also a kleidouchos (κλειδοῦχος), "holder of the keys," and a priestly doorkeeper in the court of Pluto and Persephone.For extensive notes on Aiakos, see Radcliffe Guest Edmonds, Myths of the Underworld Journey: Plato, Aristophanes, and the 'Orphic' Gold Tablets (Cambridge University Press, 2004), p.

The description of the cypress as "white" (Greek leukē), since the botanical tree is dark, is symbolic, evoking the white garments worn by initiates or the clothing of a corpse, or the pallor of the dead. In Orphic funeral rites, it was forbidden to make coffins of cypress.Bernabé and Jiménez San Cristóbal, Instructions for the Netherworld, pp. 25–28. The tradition of the mystery religions favors Pluto as a loving and faithful partner to Persephone, in contrast to the violence of Hades in early myths, but one ancient myth that preserves a lover for him parallels the abduction and also has a vegetative aspect.

Proclus, in his commentary on the Cratylus of Plato, provides passages from the Orphic Rhapsodies that give two different genealogies of the Eumenides, one making them the offspring of Persephone and Pluto (or Hades) and the other reporting a prophecy that they were to be born to Persephone and Apollo (Robertson, Religion and Reconciliation, p. 101). The Augustan poet Vergil says that Pluto is the father of Allecto the Fury, whom he hates.Vergil, Aeneid 7.327: odit et ipse pater Pluton ... monstrum. The lack of a clear distinction between Pluto and "chthonic Zeus" confuses the question of whether in some traditions, now obscure, Persephone bore children to her husband.

Instead he made his reputation by bringing the Orphic doctrine from North-Eastern Hellas to Magna Graecia, and creating societies for its diffusion. The real weight and importance of metempsychosis in Western tradition is due to its adoption by Plato. In the eschatological myth which closes the Republic he tells the myth how Er, the son of Armenius, miraculously returned to life on the twelfth day after death and recounted the secrets of the other world. After death, he said, he went with others to the place of Judgment and saw the souls returning from heaven, and proceeded with them to a place where they chose new lives, human and animal.

Translation H.G.Evelyn White (1914): 116, 736-744 The notion of temporal infinity was familiar to the Greek mind from remote antiquity in the religious conception of immortality. p 83 The conception of the "divine" as an origin influenced the first Greek philosophers.The phrase: "Divine is that which had no beginning, neither end" is attributed to Thales In the Orphic cosmogony, the unaging Chronos produced Aether and Chaos and made in divine Aether a silvery egg, from which everything else appeared. p.24 In the mythological cosmogonies of the Near East, the universe is formless and empty and the only existing thing prior to creation was the water abyss.

Many of the tape parts of his pieces include the composer's own keening falsetto and gambuh playing (such as "Fog Tropes" and "Gradual Requiem" (1980)). Some of his works were produced in coordination with the assistance of noted Norwegian photographer, James Bengston of Studio Nord in Oslo. He has written for the Kronos Quartet: Voces Resonae (1984) and Fog Tropes II (1982), featured in the film "Shutter Island," and for the Orpheus Chamber Orchestra: Orphic Memories (2006). He joined the music faculty at The Evergreen State College and later moved to New Haven, Connecticut, where he is now a professor at the Yale School of Music.

Testament of Orpheus () is a 1960 black-and-white film with a few seconds of color film spliced in. Directed by and starring Jean Cocteau, who plays himself as an 18th-century poet, the film includes cameo appearances by Pablo Picasso, Jean Marais, Charles Aznavour, Jean-Pierre Leaud, and Yul Brynner. It is considered the final part of The Orphic Trilogy, following The Blood of a Poet (1930) and Orphée (1950). One critic described it as a "wry, self- conscious re-examination of a lifetime's obsessions" with Cocteau placing himself at the center of the mythological and fictional world he spun throughout his books, films, plays and paintings.

Sources for this are primarily Ovid's Metamorphoses and to a lesser extent Virgil's Georgics. The principle of Ovidian transformations can also be found in and especially between the sonnets. During the first sonnet of Orphic singing, the speech of the forest and the animals is "transformed" into a girl in the second sonnet: And almost a girl it was who emerged / from this joyful unity of song and lyre... During the second sonnet, the focus shifts from the girl to the world: She slept the world... The cycle also contains biblical allusions, including a reference to Esau. Other themes involve animals, peoples of different cultures, and time and death.

Cernat, p.39, 45. See also Boia, p.326, 364-365 This hostile attitude further irritated his various adversaries, who found it ironic that the former enemy of Symbolism had come to be perceived by the general public as the leading authority on modernism.Cernat, p.64, 134, 144 Gravitating between Sburătorul and Contimporanul were various new poets with eclectic tastes, who cultivated a poetry based on the aesthetics of mystery and formal purism. These "hermeticist" or "Orphic" authors, having as their leading representatives Ion Barbu and the younger Dan Botta, moved its international reference point back to the roots of Symbolism, with Edgar Allan Poe.

According to the hymn, she brings night terrors to mortals by manifesting in strange forms, "now plain to the eye, now shadowy, now shining in the darkness", and can drive mortals insane. The purpose of the hymn is to placate her by showing that the Orphic initiate understands and respects her nature, thereby averting the harm she has the capacity for causing. The translation of Thomas Taylor (1887) has given rise to a conception of Melinoe as half-black, half-white, representing the duality of the heavenly Zeus and the infernal Pluto. This had been the interpretation of Gottfried Hermann in his annotated text of the hymns in 1805.

Of the twenty-two pieces, only twelve have survived, conserved at the National Museum of Romanian History, in Bucharest: a large eagle-headed fibula and three smaller ones encrusted with semi-precious stones; a patera, or round sacrificial dish, modelled with Orphic figures Campbell, Joseph. The Masks of God: Creative Mythology. 1968. surrounding a seated three-dimensional goddess in the centre; a twelve-sided cup, a ring with a Gothic runic inscription, a large tray, two other necklaces and a pitcher. Two of the targets are classified as monuments of architecture, both in the village of Pietroasele: a stone fountain dating from 1892 and a viticulture research station built in 1893.

Beltran Masses was renowned as a master of colour and the psychological portrait, as well as a painter of seductive images of women. Born in Cuba, where his mother’s family had lived for nearly two centuries, his family returned to Spain to live in Barcelona, when he was seven years old - the painter’s Spanish heritage would influence his oeuvre deeply while he sometimes referenced the tropical exoticism of Cuba in the settings for some of his subjects. His paintings are rich with musical and poetic references influenced by ‘Greek mythology, orphic mysteries and fantasies of Asia, where we are led by Gustave Moreau’ remarked Louis Vauxcelles.Sur l'oeuvre de Beltran Massés, F. Paillart, Paris, 1924, p. 49.

Other syncretic materials from this period include an Orphic Hymn to Helios; the so-called Mithras Liturgy, where Helios is said to rule the elements; spells and incantations invoking Helios among the Greek Magical Papyri; a Hymn to Helios by Proclus; Julian's Oration to Helios, the last stand of official paganism; and an episode in Nonnus' Dionysiaca.Wilhelm Fauth, Helios Megistos: zur synkretistischen Theologie der Spätantike (Leiden:Brill) 1995. Helios in these works is frequently equated not only with deities such as Mithras and Harpocrates, but even with the monotheistic Judaeo-Christian god. The last pagan emperor of Rome, Julian, made Helios the primary deity of his revived pagan religion, which combined elements of Mithraism with Neoplatonism.

The intent was to connect the Kabbalistic use of Hebrew letters in divination with his own "magical theory of language" in which "he believes that words have a real, not conventional, connection with things and can exert power over them"DP Walker, _Spiritual and Demonic Magic, from Ficino to Campanella_ , p69. \- another significant aspect of Hermetic mysticism that had its roots in Pythagorean and NeoPlatonic belief, and that he wished to integrate into the Christian message. Thus, Walker firmly associates Lazzarelli with the tradition of NeoPlatonic and Orphic magic, theurgy and ritual that emerged during the 15th century in Renaissance Italy, and that was widely debated amongst intellectuals and theologists of the time.

Jacob Bryant's Orphic Egg (1774)The world egg, cosmic egg or mundane egg is a mythological motif found in the cosmogonies of many cultures that is present in proto-Indo-European culture and other cultures and civilizations. Typically, the world egg is a beginning of some sort, and the universe or some primordial being comes into existence by "hatching" from the egg, sometimes lain on the primordial waters of the Earth.Anna‐Britta Hellborn, "The creation egg", Ethnos: Journal of Anthropology, 1, 1963, pp. 63-105. Eggs symbolize the unification of two complementary principles (represented by the egg white and the yolk) from that life or existence, in its most fundamental philosophical sense, emerges.

Consequently, when they are separated again by Strife, this is not cause for lament: it is the liberation of the elements from the unnatural and forced condition brought about by Love and a return to immortality and purity. This reading of Empedocles is highly suggestive of similar Orphic and Pythagorean views of incarnation, divinisation, and death. Parmenides, in turn, travels to the depths of the underworld—the world of death—and meets a goddess whom Kingsley identifies as Persephone, the queen of the dead. It is only by making this journey that Parmenides is able to learn the truth about reality and mortal opinion and return to the world of the living with his prophetic message.

He lived in Athens as a vegetarian bachelor, prosperous and generous to his friends, until the end of his life, except for a voluntary one-year exile, which was designed to lessen the pressure put on him by his political-philosophical activity, little appreciated by the Christian rulers; he spent the exile traveling and being initiated into various mystery cults. He was also instructed in the "theurgic" Neoplatonism, as derived from the Orphic and Chaldean Oracles. His house has been discovered recently in Athens, under the pavement of Dionysiou Areopagitou Street, south of Acropolis, opposite the theater of Dionysus. He had a great devotion to the goddess Athena, who he believed guided him at key moments in his life.

89: "But the very early inhabitants of Greece had a religion far less degenerated from original purity. To this curious and interesting fact, abundant testimonies remain. They occur in those poems, of uncertain origin and uncertain date, but unquestionably of great antiquity, which are called the poems of Orpheus or rather the Orphic poems [Note: Particularly in the Hymn to Jupiter, quoted by Aristotle in the seventh chapter of his Treatise on the World]; and they are found scattered among the writings of the philosophers and historians." The idea of a religion "degenerated from original purity" expressed an Enlightenment idealisation of an assumed primitive state that is one connotation of "primitivism" in the history of ideas.

Death of Orpheus by Mexican artist Antonio García Vega Vinicius de Moraes' play Orfeu da Conceição (1956), later adapted by Marcel Camus in the 1959 film Black Orpheus, tells the story in the modern context of a favela in Rio de Janeiro during Carnaval. Jean Cocteau's Orphic Trilogy – The Blood of a Poet (1930), Orpheus (1950) and Testament of Orpheus (1959) – was filmed over thirty years, and is based in many ways on the story. Philip Glass adapted the second film into the chamber opera Orphée (1991), part of an homage triptych to Cocteau. Nikos Nikolaidis' 1975 film Evrydiki BA 2O37 is an innovative perspective on the classic Greek tragedy of Orpheus and Eurydice.

Orphic Games. Punk- Macrame, created by Boris Yukhananov and his students from MIR-5, has emerged as one of this director's most ambitious and radical projects in both composition and conception. Based on the myth of Orpheus and plays by Jean Cocteau and Jean Anouilh, this single work, consisting of 33 acts, and arranged in 12 performances according to the principle of frescoes, plays in one space and, in its entirety, is virtually inaccessible to a single spectator. This mixed composition of multiple fragments composed by young directors from MIR-5 evolved and entered into complex relationships with one another over a six-day period on the main stage of the Stanislavsky Electrotheatre.

Roy Kotansky, "Incantations and Prayers for Salvation on Inscribed Greek Amulets," in Magika Hiera: Ancient Greek Magic and Religion, edited by Christopher A. Faraone and Dirk Obbink (Oxford University Press, 1991), p. 116. The Getty Museum owns an outstanding example of a 4th-century BC Orphic prayer sheet from Thessaly, a gold-leaf rectangle measuring about 1 by 1½ inches (2.54 by 3.81 cm), that may be viewed online. Several of these prayer sheets have been found in positions that indicate placement in or on the deceased's mouth. A functional equivalence with the Charon's piece is further suggested by the evidence of flattened coins used as mouth coverings (epistomia) from graves in Crete.

The Orphic school, a mystery cult that originated in Thrace and spread to Greece in the 5th century BCE, held similar beliefs about the early days of man, likewise denominating the ages with metals. In common with the many other mystery cults prevalent in the Graeco-Roman world (and their Indo-European religious antecedents), the world view of Orphism was cyclical. Initiation into its secret rites, together with ascetic practices, was supposed to guarantee the individual's soul eventual release from the grievous circle of mortality and also communion with god(s). Orphics sometimes identified the Golden Age with the era of the god Phanes, who was regent over the Olympus before Cronus.

Even the words of the oracles never turned into a sacred text. Other texts were specially composed for religious events, and some have survived within the lyric tradition; although they had a cult function, they were bound to performance and never developed into a common, standard prayer form comparable to the Christian Pater Noster. An exception to this rule were the already named Orphic and Mystery rituals, which, in this, set themselves aside from the rest of the Greek religious system. Finally, some texts called () (sacred texts) by the ancient sources, originated from outside the Greek world, or were supposedly adopted in remote times, representing yet more different traditions within the Greek belief system.

Sonia Terk Delaunay and Robert Delaunay, a husband and wife duo, were to become the main protagonists of the Orphic movement, Robert Delaunay also studied different styles of painting, such as Abstract Art. In their earlier works, their styles focused on Fauvist colors with various degrees of abstraction; particularly evident in Sonia's Finnish Girl (1907) and Robert's Paysage au disque (1906). The former painting relies heavily on bright colors and smooth transitions between forms, while the latter relies on color and mosaic-like brushstrokes painted under the influence of Jean Metzinger, also a Neo-Impressionist (with highly Divisionist and Fauve components) at the time. Their works became increasingly identifiable by the 'simultaneous' contrasting of colors and the tendency towards non-representation.

An eagle-shaped fibula Eagle-shaped middle fibulae, worn in pairs by gothic women The gold patera Frontispiece of Alexandru Odobescu's Trésor de Petroasa (1889), by Henri Trenk. The Pietroasele Treasure (or the Petrossa Treasure) found in Pietroasele, Buzău, Romania, in 1837, is a late fourth-century Gothic treasure that included some twenty-two objects of gold, among the most famous examples of the polychrome style of Migration Period art. Of the twenty-two pieces, only twelve have survived, conserved at the National Museum of Romanian History, in Bucharest: a large eagle-headed fibula and three smaller ones encrusted with semi-precious stones; a patera, or round sacrificial dish, modelled with Orphic figures Campbell, Joseph. The Masks of God: Creative Mythology. 1968.

Domninus of Larissa, Syria was, simultaneously with Proclus, a pupil of Syrianus. Domninus is said to have corrupted the doctrines of Plato by mixing up with them his private opinions. This called forth a treatise from Proclus, intended as a statement of the genuine principles of Platonism.Damascius, Life of Isidore in the Suda, Domninos Marinus writes about a rivalry between Domninus and Proclus about how Plato's work should be interpreted, > [Syrianus] offered to discourse to them on either the Orphic theories or the > oracles; but Domninus wanted Orphism, Proclus the oracles, and they had not > agreed when Syrianus died...Bulmer-Thomas (1970-1990) The Athenian academy eventually choose Proclus' interpretation over Domninus' and Proclus would later become the head of the Academy.

According to some versions of his mythos, he was the son of Apollo, and during his last days, he shunned the worship of other gods and devoted himself to Apollo alone.Alberto Bernabé, Miguel Herrero de Jáuregui, Ana Isabel Jiménez San Cristóbal, Raquel Martín Hernández, Redefining Dionysos Poetry containing distinctly Orphic beliefs has been traced back to the 6th century BCBackgrounds of Early Christianity by Everett Ferguson, 2003, page 162, "Orphism began in the sixth century BCE" or at least 5th century BC, and graffiti of the 5th century BC apparently refers to "Orphics".W. K. C. Guthrie, The Greeks & Their Gods (Beacon, 1954), p. 322; Kirk, Raven, & Schofield, The Presocratic Philosophers (Cambridge, 1983, 2nd edition), pp. 21, 30–31, 33; Parker, "Early Orphism", pp.

Plutarch writes that Persephone was identified with the spring seasonPlutarch, Moralia (On Isis and Osiris, Ch. 69) and Cicero calls her the seed of the fruits of the fields. In the Eleusinian Mysteries, her return from the underworld each spring is a symbol of immortality, and hence she was frequently represented on sarcophagi. In the religions of the Orphics and the Platonists, Kore is described as the all- pervading goddess of natureOrphic Hymn 29.16 who both produces and destroys everything, and she is therefore mentioned along with or identified as other such divinities including Isis, Rhea, Ge, Hestia, Pandora, Artemis, and Hecate.Schol. ad. Theocritus 2.12 The Orphic Persephone is said to have become by Zeus the mother of Dionysus, Iacchus, Zagreus, and the little-attested Melinoe.

One of the major themes of Campana, which is present at the beginning of the "Orphic Songs" in the early prose parts - "The Night", "Journey and Return" - is the obscurity between dream and wakefulness. Adjectives and adverbs return with the repetitive insistence of a dreamer's speech: a dream, however, that is interrupted by startling shifts in tone (as in the poem "The Skylight"). In the second part - the nocturne of "Genoa", all the basic mythic figures and scenes that will preoccupy Campana return: port cities, barbaric mother figures, enormous prostitutes, windy plains, the captive teenager. Even in his prose poems, the use of repetition, superlatives, and keywords, as well as the effect of resonance in prepositions, create a strong scene.

Because of the pervasiveness of the Orpheus myth, many interpretations are in conversation with previous interpretations as well: Pina Bausch's dance-opera Orpheus und Euridike displays original choreography set to Gluck's Orfeo ed Euridice. Baz Luhrmann, in DVD commentaries for his 2001 film Moulin Rouge!, characterizes the film as, in part, a tale of an Orphic hero (in this case a songwriter) who embarks upon a visit to the underworld (in this case the demi-monde around Paris' Montmartre) in search of his fortune and ultimately to attempt the rescue of his doomed love. The film adapts a widely known piece from Jacques Offenbach's comedic operetta Orphée aux enfers (Orpheus in the Underworld), identified with the once-popular can-can music hall dance.

Martin Litchfield West, (23 September 1937 – 13 July 2015) was a British philologist and classical scholar. He wrote on ancient Greek music, Greek tragedy, Greek lyric poetry, the relations between Greece and the ancient Near East, and the connection between shamanism and early ancient Greek religion, including the Orphic tradition. This work stems from material in Akkadian, Phoenician, Hebrew, Hittite, and Ugaritic, as well as Greek and Latin. In 2001, West produced an edition of Homer's Iliad for Teubner, accompanied by a study of its critical tradition and overall philology, entitled Studies in the Text and Transmission of the Iliad; a further volume on The Making of the Iliad appeared ten years later for Oxford University Press, and one on "The Making of the Odyssey" in 2014.

The Orphic religion, which taught reincarnation, about the 6th century BC, organized itself into mystery schools at Eleusis and elsewhere, and produced a copious literature.Linforth, Ivan M. (1941) The Arts of Orpheus Arno Press, New York, Long, Herbert S. (1948) A Study of the doctrine of metempsychosis in Greece, from Pythagoras to Plato (Long's 1942 Ph.D. dissertation) Princeton, New Jersey, Long, Herbert S. (16 February 1948) "Plato's Doctrine of Metempsychosis and Its Source" The Classical Weekly 41(10): pp. 149—155 Orpheus, its legendary founder, is said to have taught that the immortal soul aspires to freedom while the body holds it prisoner. The wheel of birth revolves, the soul alternates between freedom and captivity round the wide circle of necessity.

Cary Grant as Roger O. Thornhill in North by Northwest (1959) European cinema experienced a renaissance in the 1950s following the deprivations of World War II. Italian director Federico Fellini won the first foreign language film Academy Award with La Strada and garnered another Academy Award with Nights of Cabiria. In 1955, Swedish director Ingmar Bergman earned a Jury Prize at the Cannes Film Festival with Smiles of a Summer Night and followed the film with masterpieces The Seventh Seal and Wild Strawberries. Jean Cocteau's Orphée, a film central to his Orphic Trilogy, starred Jean Marais and was released in 1950. French director Claude Chabrol's Le Beau Serge is now widely considered the first film of the French New Wave.

Melinoë (; ) is a chthonic nymph or goddess invoked in one of the Orphic Hymns and represented as a bringer of nightmares and madnessOrphic Hymn 70 or 71 (numbering varies), as given by Richard Wünsch, Antikes Zaubergerät aus Pergamon (Berlin, 1905), p. 26: Μηλινόην καλέω, νύμφην χθονίαν, κροκόπεπλον, ἣν παρὰ Κωκυτοῦ προχοαῖς ἐλοχεύσατο σεμνὴ Φερσεφόνη λέκτροις ἱεροῖς Ζηνὸς Κρονίοιο ᾗ ψευσθεὶς Πλούτων᾽ἐμίγη δολίαις ἀπάταισι, θυμῷ Φερσεφόνης δὲ διδώματον ἔσπασε χροιήν, ἣ θνητοὺς μαίνει φαντάσμασιν ἠερίοισιν, ἀλλοκότοις ἰδέαις μορφῆς τὐπον έκκπροφανοῦσα, ἀλλοτε μὲν προφανής, ποτὲ δὲ σκοτόεσσα, νυχαυγής, ἀνταίαις ἐφόδοισι κατὰ ζοφοειδέα νύκτα. ἀλλἀ, θεά, λίτομαί σε, καταχθονίων Βασίλεια, ψυχῆς ἐκπέμπειν οἶστρον ἐπὶ τέρματα γαίης, εὐμενὲς εὐίερον μύσταις φαίνουσα πρόσωπον. . Melinoë is the ancient Greek goddess of Propitiation--the offerings made to the deceased by family and friends.

1016) :Plato, describes the idea of the good, or the Godhead, sometimes teleologically, as the ultimate purpose of all conditioned existence; sometimes cosmologically, as the ultimate operative cause; and has begun to develop the cosmological, as also the physico- theological proof for the being of God; but has referred both back to the idea of the Good, as the necessary presupposition to all other ideas, and our cognition of them. (p. 402) The book The Works of Aristotle (1908, p. 80 Fragments) mentioned :Aristotle says the poet Orpheus never existed; the Pythagoreans ascribe this Orphic poem to a certain Cercon (see Cercops). Bertrand Russell (1947) noted :The Orphics were an ascetic sect; wine, to them, was only a symbol, as, later, in the Christian sacrament.

A mosaic of Dionysus fighting the Indians in the Palazzo Massimo at Rome, fourth century AD. In the Orphic tradition, Dionysus was, in part, a god associated with the underworld. As a result, the Orphics considered him the son of Persephone, and believed that he had been dismembered by the Titans and then reborn. The myth of the dismemberment of Dionysus was alluded to as early as the fourth century BC by Plato in his Phaedo, in which Socrates claims that the initiations of the Dionysian Mysteries are similar to those of the philosophic path. Late Neoplatonists such as Damascius explored the implications of this at length.Damascius, Commentary on the Phaedo, I, 1–13 and 165–172, see in translation Westerink, The Greek Commentaries on Plato's Phaedo, vol.

As a supplication or prayer it implies to call upon God, a god, goddess, or person, etc. When a person calls upon God, a god, or goddess to ask for something (protection, a favour, his/her spiritual presence in a ceremony, etc.) or simply for worship, this can be done in a pre-established form or with the invoker's own words or actions. An example of a pre-established text for an invocation is the Lord's Prayer. All religions in general use invoking prayers, liturgies, or hymns; see for example the mantras in Hinduism and Buddhism, the Egyptian Coming Out by Day (aka Book of the Dead), the Orphic Hymns and the many texts, still preserved, written in cuneiform characters on clay tablets, addressed to Shamash, Ishtar, and other deities.

The Sumerians, as well as later Mesopotamian peoples, believed that all mortals went to the same afterlife: Kur, a cold, dark, cavern deep beneath the earth. Kur was miserable for all people and a person's actions during life had no impact whatsoever on how he or she would be treated in the afterlife. The idea of a final readjustment beyond the grave, which would rectify the sharp contrast so often observed between the conduct and the fortune of men, was prevalent among all nations in pre-Christian times. Such was the doctrine of metempsychosis or the transmigration of souls, as a justification of the ways of God to man, prevailing among the Hindus of all classes and sects, the Pythagoreans, the Orphic mystics and the Druids among the Celts.

The major stories about him are centered on his ability to charm all living things and even stones with his music (the usual scene in Orpheus mosaics), his attempt to retrieve his wife Eurydice from the underworld, and his death at the hands of the maenads of Dionysus who tired of his mourning for his late wife Eurydice. As an archetype of the inspired singer, Orpheus is one of the most significant figures in the reception of classical mythology in Western culture, portrayed or alluded to in countless forms of art and popular culture including poetry, film, opera, music, and painting.Geoffrey Miles, Classical Mythology in English Literature: A Critical Anthology (Routledge, 1999), p. 54ff. For the Greeks, Orpheus was a founder and prophet of the so-called "Orphic" mysteries.

Along with Léger he identified these three with a new tendency, which he labelled Orphic Cubism or Orphism and which he considered of special significance for the future. Painters such as Gleizes, Metzinger, Delaunay and Duchamp were powerful influences alongside Picasso, Braque, Gris and Léger in the development of art related to Cubism in Russia, Czechoslovakia, Italy, the Netherlands, Britain, Spain and the USA.Christopher Green, Cubism, Origins and application of the term, MoMA, Grove Art Online, Oxford University Press, 2009 The Salon d’Automne of 1912 led to a debate on Cubism in the Chambre des Députés: since the exhibition was held in the State’s Grand Palais, the State was seen as subsidizing Cubism. It was against this background of public anger and revolt that Gleizes and Metzinger wrote Du "Cubisme".

Patout Burns, "Death and Burial in Christian Africa," paper delivered to the North American Patristics Society, May 1997. Pope Gregory I, in his biography of Benedict of Nursia, tells the story of a monk whose body was twice ejected from his tomb; Benedict advised the family to restore the dead man to his resting place with the viaticum placed on his chest. The placement suggests a functional equivalence with the Goldblattkreuze and the Orphic gold tablets; its purpose — to assure the deceased’s successful passage to the afterlife — is analogous to that of Charon’s obol and the Totenpässe of mystery initiates, and in this case it acts also as a seal to block the dead from returning to the world of the living.Bonnie Effros, Caring for Body and Soul (Penn State Press, 2002), p.

Melinoe is a chthonic nymph, daughter of Persephone, invoked in one of the Orphic Hymns and propitiated as a bringer of nightmares and madness.Orphic Hymn 70 or 71 (numbering varies), as given by Richard Wünsch, Antikes Zaubergerät aus Pergamon (Berlin, 1905), p. 26: Μηλινόην καλέω, νύμφην χθονίαν, κροκόπεπλον, ἣν παρὰ Κωκυτοῦ προχοαῖς ἐλοχεύσατο σεμνὴ Φερσεφόνη λέκτροις ἱεροῖς Ζηνὸς Κρονίοιο ᾗ ψευσθεὶς Πλούτων᾽ἐμίγη δολίαις ἀπάταισι, θυμῷ Φερσεφόνης δὲ διδώματον ἔσπασε χροιήν, ἣ θνητοὺς μαίνει φαντάσμασιν ἠερίοισιν, ἀλλοκότοις ἰδέαις μορφῆς τὐπον έκκπροφανοῦσα, ἀλλοτε μὲν προφανής, ποτὲ δὲ σκοτόεσσα, νυχαυγής, ἀνταίαις ἐφόδοισι κατὰ ζοφοειδέα νύκτα. ἀλλἀ, θεά, λίτομαί σε, καταχθονίων Βασίλεια, ψυχῆς ἐκπέμπειν οἶστρον ἐπὶ τέρματα γαίης, εὐμενὲς εὐίερον μύσταις φαίνουσα πρόσωπον. She may also be the figure named in a few inscriptions from Anatolia,Jennifer Lynn Larson, Greek Nymphs: Myth, Cult, Lore (Oxford University Press, 2001), p. 268.

The myth theme of not looking back, an essential precaution in Jason's raising of chthonic Brimo Hekate under Medea's guidance,Apollonius of Rhodes, Argonautica, book III: "Let no footfall or barking of dogs cause you to turn around, lest you ruin everything", Medea warns Jason; after the dread rite, "The son of Aison was seized by fear, but even so he did not turn round..." (Richard Hunter, translator). is reflected in the Biblical story of Lot's wife when escaping from Sodom. More directly, the story of Orpheus is similar to the ancient Greek tales of Persephone captured by Hades and similar stories of Adonis captive in the underworld. However, the developed form of the Orpheus myth was entwined with the Orphic mystery cults and, later in Rome, with the development of Mithraism and the cult of Sol Invictus.

Dionysus has numerous sacred animals, such as the leopard or bull. Other sacred animals include: Lions and other big cats, goats, donkies, and serpents. The bull and goat and their "enemies", the panther (or any big cat – after the Greeks colonized part of India, Shiva's tiger sometimes replaced the traditional panther or leopard) and the serpent (probably derived from Sabazius, but also found in North African cults); in addition, the dolphin, the lion, and the bee. Bulls Dionysus’s association with bulls is found in multiple epithets. In The Bacchae, Penthus, who opposed his worship in the god’s origin city of Thebes, saw horns upon Dionysus’s head as he started to go mad. Dionysus’s epithets connected to bulls are as follows: Taurokephalos/Taurokranos/Taurometôpos Greek: Ταυροφαγος; a surname of Dionysus in the Orphic mysteries. (Orph. Hymn. 51.

By Hellenistic times Apollo had become closely connected with the Sun in cult and Phoebus (Greek Φοῖβος, "bright"), the epithet most commonly given to Apollo, was later applied by Latin poets to the sun-god Sol. The identification became a commonplace in philosophic texts and appears in the writing of Parmenides, Empedocles, Plutarch and Crates of Thebes among others, as well as appearing in some Orphic texts. Pseudo-Eratosthenes writes about Orpheus in Catasterismi, section 24: :But having gone down into Hades because of his wife and seeing what sort of things were there, he did not continue to worship Dionysus, because of whom he was famous, but he thought Helios to be the greatest of the gods, Helios whom he also addressed as Apollo. Rousing himself each night toward dawn and climbing the mountain called Pangaion, he would await the Sun's rising, so that he might see it first.

The work is a dialogue between Lazzarelli and King Ferdinand of Aragon, whom Lazzarelli is initiating into "a mystery which is both Christian and Hermetic - early in the dialogue Lazzarelli tells him: 'Christianus ego sum o Rex: et Hermeticum simul esse non pudet'..."DP Walker, _Spiritual and Demonic Magic, from Ficino to Campanella_ , pp64-5. Using Orphic hymns, the king is prepared for "the final revelation of the mystery". The 'Crater' here is the Platonic Krater, envisioned by both Plato and the NeoPlatonists as the cosmic crucible in which all souls were created, and that was also represented in the Christian narrative of the Holy Grail. Since the aim of the initiation was to reveal "the kingdom of Israel (which poets call the Golden Age), for which Jesus Christ taught his disciples to pray", DP Walker, _Spiritual and Demonic Magic, from Ficino to Campanella_ , p67.

The Derveni krater, height : 90.5 cm (35 ½ in.), 4th century BC The Dionysian Mysteries of mainland Greece and the Roman Empire are thought to have evolved from a more primitive initiatory cult of unknown origin (perhaps Thracian or Phrygian) which had spread throughout the Mediterranean region by the start of the Classical Greek period. Its spread was associated with the dissemination of wine, a sacrament or entheogen with which it appears always to have been closely associated (though mead may have been the original sacrament). Beginning as a simple rite, it evolved quickly within Greek culture into a popular mystery religion, which absorbed a variety of similar cults (and their gods) in a typically Greek synthesis across its territories; one late form was the Orphic Mysteries. However, all stages of this developmental spectrum appear to have continued in parallel throughout the eastern Mediterranean until late in Greek history and forcible Christianization.

Costanzo is passionate about interdisciplinary collaboration, and in 2018 created an art installation with multimedia fashion and art company Visionaire, producer Cath Brittan, artist George Condo, fashion designer Raf Simons (Chief Creative Officer of Calvin Klein), choreographer Justin Peck, dancers David Hallberg and Patricia Delgado, and other artists including James Ivory, Pix Talarico, Maurizio Catellan, Pierpaolo Ferrari, Mark Romanek, Mickalene Thomas, Daniel Askill, AES+F, and Chen Tianzhuo. He recently helped create two unique collaborations with Kabuki and Noh actors in a presentation of The Tale of Genji, with sold-out runs in Tokyo and Kyoto. His has curated and produced two sold-out runs of performances for National Sawdust including Aci, Galatea e Polifemo, and Orphic Moments which traveled to the Salzburger Landestheater, and then Lincoln Center's Rose Theater with MasterVoices. At Princeton, Costanzo also created a pasticcio about castrati in collaboration with choreographer Karole Armitage and filmmaker James Ivory, which was chronicled by the documentarian Gerardo Puglia.

The tragedy is inspired by the ancient Greek myth of Orpheus and this is stated by the announcement to his faithful followers and comrades that he will perform a sacrifice to the God at the top of mount Paggaio with the risk of execution and dismemberment by the sacred Maenads of Dionysus. The personae speaking are Orpheus, the First Leader of the Chorus A and the Second Leader of the Chorus B (the latter two as representatives of the large chorus of faithful-comrades following Orpheus). This tragedy has the structure of the early types of this genre, showing higher correlations with the dithyramb (exchange of responses – partly improvised – between the leader of the chorus or the leaders of the chorus and other persons outside the chorus) that evolves into a tragedy, more than a tragedy (with distinct principles and structure) itself. Sikelianos, influenced by the Orphic theology and its founder and leader, Orpheus, places him as Hierophant – officiant in the myth, with clear references to Dionysus.

Campbell also noted several similarities between the story of Jonah and that of Jason in Greek mythology. The Greek rendering of the name Jonah is Jonas, which differs from Jason only in the order of sounds—both os are omegas suggesting that Jason may have been confused with Jonah. Gildas Hamel, drawing on the Book of Jonah and Greco-Roman sources—including Greek vases and the accounts of Apollonius of Rhodes, Gaius Valerius Flaccus and Orphic Argonautica—identifies a number of shared motifs, including the names of the heroes, the presence of a dove, the idea of "fleeing" like the wind and causing a storm, the attitude of the sailors, the presence of a sea-monster or dragon threatening the hero or swallowing him, and the form and the word used for the "gourd" (kikayon). Hamel takes the view that it was the Hebrew author who reacted to and adapted this mythological material to communicate his own, quite different message.

He is, however, distinguished from his predecessors, whom he so admires, in making less frequent application of Orphic, Hermetic, Chaldean, and other Theologumena of the East; partly in proceeding carefully and modestly in the explanation and criticism of particular points, and in striving with diligence to draw from the original sources a thorough knowledge of the older Greek philosophy. His commentaries can, therefore, be regarded as the richest in their contents of any that have come down to us concerning Aristotle. But for them, we should be without the most important fragments of the writings of the Eleatics, of Empedocles, Anaxagoras, Diogenes of Apollonia, and others, which were at that time already very scarce,Simplicius, in Phys. Ausc. f. 31. as well as without many extracts from the lost books of Aristotle, Theophrastus and Eudemus: but for them we should hardly be able to unriddle the doctrine of the Categories, so important for the system of the Stoics.

An emphasis on religious and cultural tolerance is shown throughout the work, emphasizing that the root of all religions is the same. These common traits and symbols in all religions are explained in detail, beginning with the Orphic Egg or Cosmic Egg, and then moving towards ancient Egyptian, Phoenician, Buddhist, and Hindu texts, and the Abrahamic religions. A copy of Morals and Dogma was given to every new member of the Southern Jurisdiction from the early 1900s until 1969 (although some local Scottish Rite bodies offered copies through the mid-1970s), when it was deemed "too advanced to be helpful to the new Scottish Rite member." In 1974 it was initially replaced by Clausen's Commentaries on Morals and Dogma, written by Henry Clausen, 33°, Sovereign Grand Commander, which in 1988 was itself replaced by A Bridge To Light, by Rex Hutchens, 33°, G∴C∴, which book continues to be given to initiates into the Scottish Rite in the Southern Jurisdiction.

Jacob Bryant's Orphic Egg (1774) Graves's imaginatively reconstructed "Pelasgian creation myth" features a supreme creatrix, Eurynome, "The Goddess of All Things", who rises naked from Chaos to part sea from sky so that she can dance upon the waves. Catching the north wind at her back and rubbing it between her hands, she warms the pneuma and spontaneously generates the serpent Ophion, who mates with her. In the form of a dove upon the waves she lays the Cosmic Egg and bids Ophion to incubate it by coiling seven times around until it splits in two and hatches "all things that exist ... sun, moon, planets, stars, the earth with its mountains and rivers, its trees, herbs, and living creatures". In the soil of Arcadia the Pelasgians spring up from Ophion's teeth, scattered under the heel of Eurynome, who kicked the serpent from their home on Mount Olympus for his boast of having created all things.

One of the accusations of heresy against the Phrygian Christian movement known as the Montanists was that they sealed the mouths of their dead with plates of gold like initiates into the mysteries;J.-B. Chabot, Chronique de Michel le Syrien, Patriarque jacobite d’Antioche (1166–99), vol. 4 (Paris 1910), cited and discussed by Susanna Elm, "‘Pierced by Bronze Needles’: Anti- Montanist Charges of Ritual Stigmatization in Their Fourth-Century Context," Journal of Early Christian Studies 4 (1996), p. 424. factual or not, the charge indicates an anxiety that Christian practice be distinguished from that of other religions, and again suggests that Charon’s obol and the "Orphic" gold tablets could fulfill a similar purpose.This point was argued by Maria Guarducci, in Rendiconti della Pontificia Accademia Romana di Archeologia 15 (1939) 87ff, as referenced by Marcus N. Tod, "The Progress of Greek Epigraphy, 1941–1945," Journal of Hellenic Studies 65 (1945), p. 89.

However the Harpies plagued him, deliverance from this curse motivated Phineus's involvement in the voyage of the Argo.. Those accounts in which Phineus is stated to have blinded his sons, add that they had their sight restored to them by the sons of Boreas,Orphic Argonautica', 674 or by Asclepius.Scholia ad Pindar, Pythian Odes 13.96 When the ship landed by his Thracian home, Phineus described his torment to the crew and told them that his brothers-in-law, the wing-footed Boreads, both Argonauts, were fated to deliver him from the Harpies.Apollonius of Rhodes, Argonautica 2.234–9 Zetes demurred, fearing the wrath of the gods should they deliver Phineus from divine punishment, but the old seer assured him that he and his brother Calais would face no retribution.Apollonius of Rhodes, Argonautica 2.244–61 A trap was set: Phineus sat down to a meal with the Boreads standing guard, and as soon as he touched his food the Harpies swept down, devoured the food and flew off.

The Greeks had no religious texts they regarded as "revealed" scriptures of sacred origin, but very old texts including Homer's Iliad and Odyssey, and the Homeric hymns (regarded as later productions today), Hesiod's Theogony and Works and Days, and Pindar's Odes were regarded as having authorityBurkert (1985), Introduction:2; Religions of the ancient world: a guide and perhaps being inspired; they usually begin with an invocation to the Muses for inspiration. Plato even wanted to exclude the myths from his ideal state described in the Republic because of their low moral tone. While some traditions, such as Mystery cults, did uphold certain texts as canonic within their own cult praxis, such texts were respected but not necessarily accepted as canonic outside their circle. In this field, of particular importance are certain texts referring to Orphic cults: multiple copies, ranging from 450 BC–250 AD, have been found in various locations of the Greek world.

Jean Cocteau insisted on calling himself a poet, classifying the great variety of his works – poems, novels, plays, essays, drawings, films – as "poésie", "poésie de roman", "poésie de thêatre", "poésie critique", "poésie graphique" and "poésie cinématographique".Francis Steegmuller "Jean Cocteau: A Brief Biography", Jean Cocteau and the French Scene, Abbeville Press 1984 He is best known for his novels Le Grand Écart (1923), Le Livre Blanc (1928), and Les Enfants Terribles (1929); the stage plays La Voix Humaine (1930), La Machine Infernale (1934), Les Parents terribles (1938), La Machine à écrire (1941), and L'Aigle à deux têtes (1946); and the films The Blood of a Poet (1930), Les Parents Terribles (1948), Beauty and the Beast (1946), Orpheus (1949), and Testament of Orpheus (1960), which alongside Blood of a Poet and Orpheus constitute the so-called Orphic Trilogy. He was described as "one of [the] avant-garde's most successful and influential filmmakers" by AllMovie.

Some gods, and especially the Muses, represented specific aspects or elements of music. The 'inventions' or 'findings' of all ancient Greek instruments were accredited to the gods as well. The performance of music was integrated into many different modes of Greek story-telling and art related to mythology, including drama, and poetry, and there are a large number of ancient Greek myths related to music and musicians. In Greek mythology: Amphion learned music from Hermes and then with a golden lyre built Thebes by moving the stones into place with the sound of his playing; Orpheus, the master-musician and lyre-player, played so magically that he could soothe wild beasts; the Orphic creation myths have Rhea "playing on a brazen drum, and compelling man's attention to the oracles of the goddess"; or Hermes [showing to Apollo] "... his newly-invented tortoise-shell lyre and [playing] such a ravishing tune on it with the plectrum he had also invented, at the same time singing to praise Apollo's nobility that he was forgiven at once ..."; or Apollo's musical victories over Marsyas and Pan.

Within a fragment of the Orphic poetry, quoted by Natalis Comes, Melitta is spoken of as a hive, and called Seira, or the hive of Venus: > Let us celebrate the hive of Venus, who rose from the sea: that hive of many > names: the mighty fountain, from whence all kings are descended; from whence > all the winged and immortal Loves were again produced. From the works of Hesychius, it is clear that the word Seira among other interpretations signified Melitta, a bee; also a hive, or house of Melitta, "[s]uch is the sense of it in this passage: and [she] was thus represented in ancient mythology, as being the receptacle, from whence issued that swarm, by which the world was peopled". With that said, Seira was none other than the goddess Demeter, the supposed mother of mankind; who was also styled as Melitta and Melissa, and was looked upon as the Venus of the East. This Deity, Melitta, was the same as Mylitta, the well-known Venus of the Babylonians and Arabians.

Orphic mosaics were found in many late-Roman villas Orphism (more rarely Orphicism; ) is the name given to a set of religious beliefs and practicesSexuality in Greek and Roman Culture by Marilyn B. Skinner, 2005, page 135, "[...] of life, there was no coherent religious movement properly termed 'Orphism' (Dodds 1957: 147–9; West 1983: 2–3). Even if there were, [...]" originating in the ancient Greek and Hellenistic world,Three Faces of God by David L. Miller, 2005, Back Matter: "[...] assumed that this was a Christian trinitarian influence on late Hellenistic Orphism, but it may be that the Old Neoplatonists were closer [...]" as well as from the Thracians,History of Humanity: From the seventh century B.C.E. to the seventh century C.E. Routledge reference, Siegfried J. de Laet, UNESCO, 1996, , pp. 182–183. associated with literature ascribed to the mythical poet Orpheus, who descended into the Greek underworld and returned. Orphics revered Dionysus (who once descended into the Underworld and returned) and Persephone (who annually descended into the Underworld for a season and then returned).

Pherecydes of Syros's Heptamychia is the first attested mention of Ophion. The story was apparently popular in Orphic poetry, of which only fragments survive. Apollonius of Rhodes in his Argonautica (1.495f) summarizes a song of Orpheus: :He sang how the earth, the heaven and the sea, once mingled together in one form, after deadly strife were separated each from other; and how the stars and the moon and the paths of the sun ever keep their fixed place in the sky; and how the mountains rose, and how the resounding rivers with their nymphs came into being and all creeping things. And he sang how first of all Ophion and Eurynome, daughter of Oceanus, held the sway of snowy Olympus, and how through strength of arm one yielded his prerogative to Cronos and the other to Rhea, and how they fell into the waves of Oceanus; but the other two meanwhile ruled over the blessed Titan-gods, while Zeus, still a child and with the thoughts of a child, dwelt in the Dictaean cave; and the earthborn Cyclopes had not yet armed him with the bolt, with thunder and lightning; for these things give renown to Zeus.

Oannes first appeared from the sea to teach the Babylonians the art of writing, sciences and crafts, the building of cities, the surveying of land, the observation of the stars, and the sowing and harvesting of all kinds of grains and plants. He was believed to have been "reincarnated" several times. Berossos, priest of the Temple of Bel, in Babylon, knew of as many as six such reincarnations.Orpheus the fisher; comparative studies in Orphic and early Christian cult symbolism, J. M. Watkins, London, 1921 In addition, “procreative deities, either male or female, played a part in the birth of other deities or great personages, such as the Ugaritic tradition of Lady Asherah, ‘the Progenitress of the gods’; Mami, 'the Mother-womb, the one who creates mankind'; Father Nanna, the 'begetter of gods and men'; the Assyrian traditions that Tukulti-Urta was created by the gods in the womb of his mother and that Sennacherib's birth was assisted by Ea, who provided a 'spacious womb', and Assur, 'the god, my begetter'; and the North Arabian myth of the mother goddess who was responsible for Dusares.

The poetry of Hölderlin, widely recognized today as one of the high points of German literature, was little known or understood during his lifetime, and slipped into obscurity shortly after his death; his illness and reclusion made him fade from his contemporaries' consciousness—and, even though selections of his work were published by his friends during his lifetime, it was largely ignored for the rest of the 19th century. Hölderlin's autograph of the first three stanzas of his ode "Ermunterung" ("Exhortation") Like Goethe and Schiller, his older contemporaries, Hölderlin was a fervent admirer of ancient Greek culture, but for him the Greek gods were not the plaster figures of conventional classicism, but wonderfully life-giving actual presences, yet at the same time terrifying. Much later, Friedrich Nietzsche would recognize Hölderlin as the poet who first acknowledged the Orphic and Dionysian Greece of the mysteries, which he would fuse with the Pietism of his native Swabia in a highly original religious experience. Hölderlin developed an early idea of cyclical history and therefore believed political radicalism and an aesthetic interest in antiquity, and, in parallel, Christianity and Paganism should be fused.

According to some sources, Aeneas (shown here with the Penates in a 4th-century illustration) was one of the novensiles The proliferation of deities among the Romans was mocked by the Church Fathers: Tertullian took a euhemerizing approach in explaining why the gods of the Romans kept multiplying; they were all, he said, merely people (homines) with birthplaces (civitatibus, in quibus nati sunt) and tombs (sepulti).Tertullian, Apologeticus 10.2–4. Oddly, given questions of Christian theology pertaining to the human and divine nature of Jesus (see discussion at Incarnation (Christianity), Hypostatic union, Communicatio idiomatum, Jesus in Christianity: Humanity, Christology: Person of Christ, and Seventh-day Adventist theology: The human nature of Jesus Christ), Tertullian also remarks that if Saturn, who as far as he can determine was the most ancient god, "were a man, he had undoubtedly a human origin; and having a human origin, he was not the offspring of heaven and earth" (tamen, si homo Saturnus, utique ex homine, et quia ab homine, non utique de Caelo et Terra, Apolog. 10.9). The language in the last phrase seems to echo the Orphic prayer formula "I am the child of Earth and starry Heaven" (Γῆς παῖς εἰμι καὶ Ούρανοῦ ἀστερόεντος), for which see Totenpass: Interpretation.