O Dionysos, Bull who was slain
and born again amid the thunderous rain
of Zeus your father, friend of men and Gods
throughout the inhabited world, plentiful giver
of fertility and the blessings of every kind of madness;
we pray that you help us remember what is important,
and forget the things that we need
no longer burden our minds with.
O Dionysos, God of those who wear white,
and immerse ourselves in your tradition,
and sing the songs that sustain the world;
each day we pray to do better, and to be better people,
that you shall gain honor through our deeds and our words.
Merciful One, we acknowledge our imperfections before you,
and, O Starry Dionysos, even though we can
still violate the taboos that have been laid upon us,
err in the performance of the sacred rites, neglect the times
we have set aside for study, prayer, and reflection,
forget the wise and simple tenets of your religion,
we still adore you, and dedicate our lives to your service.
Do not abandon us, Lord of Mount Nysa, for we are
frail and imperfect creatures who so often miss the mark.
Instead, kindly Dionysos, grant us the strength to forgive
those who have done us wrong, and the courage
to seek forgiveness when we ourselves have faltered.
Help us to practice love and understanding with our family,
our friends, the members of our thiasos, our clients,
as well as outsiders who don’t know your principles,
and the way of life which Orpheus, Pythagoras, and Euripides
have taught us to live so that we may be pleasing to you,
and successfully make the journey through the underworld
to join the other souls who revel in your train,
the women and men counted worthy to bear your name
and dance your secret mystic dances for all time.
O Dionysos, Bull whose blood intoxicates
and cleanses us so that we may lead a pious life,
proudly bearing the crown of ivy,
and shaking our thyrsos in joy,
hear our prayers and look generously upon us.

One Dionysos, now and forever!
You are great, O Successor of Zeus,
and greatly to be praised. It is joy
to worship you; thrice-joyous to become drunk
on your miraculous wine. Our heart is restless
until it rests in you, Savior of men upon the Earth,
Guide and goal of the souls who walk the labyrinth-like
path through the Underworld to Mount Nysa,
where your wild ones abide with you forever.

May the son of Semele Kallikarpos, who loves you, favor you.
May Bakcheios place his protection around you day by day.
May you dance to delirium and make ecstatic proclamations
of his names and exploits; then may Dionysos Meilichios embrace you,
and grant that you spend a long lifetime of happiness on Earth,
full of potency, prosperity and praise!

Dionysos of many names and many forms, unrivaled in power
and beneficence, grant the favors that are yours to grant:
freedom from all constraints, wisdom that confounds the wise,
poetic inspiration, abundant wealth, charisma, the fruits of ecstasy,
a long life and a good old age, and numerous other favors
so that we may come before you in joy O Dionysos, our Master,
favored son of Zeus, who is unique among the Gods of Mount Olympos,
those upon the Earth, and beneath it. You slaughtered the snake-limbed
Giants Eurytos, Porphyrion, and Alkyoneus, fearless sons of Gaia,
so what are my troubles compared to such mighty deeds, O brother
of Herakles who wields a tree-trunk like a club and Hermes who can
outwit even the all-seeing Argos? I am thankful beyond words to express
the mound of good deeds you have done for mankind, and ask that
this matter be added to the pile, Dionysos Thaleiros and Thaumatourgos.

O Dionysos who grew to manhood
in Arabian Nysa, land of a thousand spices,
I pray that you accept this incense I am offering,
and hope that its exotic scent is pleasing
to you as you are pleasing to me, God who
desires to be worshiped through the senses,
and grants sweet intoxication which releases
us from all of life’s troubles and hindrances.
As this aromatic smoke swirls and dances
around your shrine, let all other thoughts fade away,
unlocking a flood of memories of past rites
performed, and past encounters with you,
surge forth overwhelming my mind,
so that I am in the right state
to make the rest of the offerings
I have gathered for you today.

O Dionysos, God arrayed in a Hymnod’s white garb
and crowned with laurel as Leader of the Muses;
you who taught Thracian Charops mystic songs
and how to play the krotala and tympanon.
Dreamer, inspirer, exciter to frenzy, revealer;
I petition you — overcome my frustration,
and smash through any blockages within me,
so that the words I have stored up will gush forth
like an inundation of wine, like a firestorm of truth.
O Dionysos Melpomenios, you who loosen the tongue
and free the mind, guide my voice and shape my vision —
that what I write may breathe and live, and do honor
to you, my King.

O Dionysos Phileleos, please accept my veneration though
my words are clumsily spoken, and I cannot always recall
all of the things I am supposed to do at your shrine.
I was born into a society which does not teach its people
proper reverence, and I am lacking in mentors or wise models
to emulate. I do what I can with what I have, and I am
figuring things out as I go along, striving always to improve
the quality of the worship I offer to you and your blessed family,
for my heart swells with love of you, and I wish only to give you the best,
for you have been so gracious and understanding with me,
though I am just one person, alone, fumbling in the dark.
O Dionysos Euphrōn, I pray, increase my knowledge and confidence;
with every rite performed let it become easier to approach you
and conduct worship in the ways which are proper, and pious,
and pleasing to you, the God of the Bacchants, whom I hope one day
to be worthy to be counted among, that I may spend both this and the
life to come in joy and perfect celebration with my own kind. Io evohe!

The Starry Ram now has its own soundtrack. It tells a story, if you have ears to hear. 

Although multiple systems can be found throughout the Greek Magical Papyri and other writings from late antiquity, Claire Chandler provides a system of planetary and musical notation associations for the Greek vowels which Diane Touliatos worked out in her article “Nonsense Syllables in the Music of the Ancient Greek and Byzantine Traditions” published in The Journal of Musicology 7, no. 2 (1989) that I am partial to:

Alpha = Moon = D
Epsilon = Mercury = C
Eta = Venus = B flat
Iota = Sun = A
Omicron = Mars = G
Upsilon = Jupiter = F
Omega = Saturn = E

She also shares this explanation of how the vowels functioned in PGM XIII from Patricia Cox Miller’s “In Praise of Nonsense” from Classical Mediterranean Spirituality, ed. A. H. Armstrong (London: Routledge & Kegan Paul, 1986), p. 482:

When the God who is ‘an invisible symbol’ breaks into human speech, his sounds are the echoes of the alphabet, the vowels.

An example of which is the following:

Lord, I imitate you by saying the 7 vowels; enter and hear me!

A
EE
ĒĒĒ
IIII
OOOOO
YYYYYY
ŌŌŌŌŌŌŌ

ABRŌCH
BRAŌCH
CHRAMMAŌTH
PROARBATHŌ
IAŌ
OYAEĒIOYŌ

This could be fun to play around with, especially applied to “birdglyphic” and the enchanting language of falcons, as well as other operations from the PGM.

Here is a gazetteer of Bacchic iconography taken from The Pagan Image of Greco-Roman Palestine and Surrounding Lands by Pau Figueras:

Tel Abil (IG 281-731). City of the Roman Decapolis. In tombs of a nearby necropolis, there are paintings of mythological animals; a fresco showing Hermes leading the deceased to the Underworld; a sacrificial scene with an altar and the feet of a Satyr; Dionysian symbols combined with rosettes, dolphins and busts of unknown deities. One tomb has two sculptured lions and two female Sphinxs at the entrance.

Achziv Gr. Ekdippon. Other interesting objects include a sculpted limestone mask with Pan’s head, a pottery figurine representing Dionysus sustained by a Satyr, and a finger ring depicting a dancing Dionysus with thyrsus and panther. A relief on a Roman sarcophagus shows the deceased’s bust flanked by two rosettes and two winged Erotes holding torches. 

Ashkelon. Other pagan elements on the sarcophagi include a symbolic fight between lions and bulls, and bull masks (bucrania). An interesting sculptured slab, possibly from a lintel, has the relief of two mythological figures. One is Pan inside a pointed oval, the other probably Dionysus among vine leaves and grapes.

Boukolonpolis (IG 194-734). Hellenistic city, named after the “Boukoloi” which conducted sacred rites in honor of Dionysus in his bull-form.

Capitolias (Jordan) Some coins feature Dionysus holding thyrsus and oinochoe, at times accompanied by a panther.

Kibbutz Erez, near Gaza (IG 159-607). In the kibbutz premises, fragmentary mosaic depicting part of Dionysus’ procession (pompe), with possible eschatological significance.

Gadara. Dionysus and his retinue were represented in a monument on the main street. Together with the marble head of a Dionysus statue, presently preserved in Jerusalem. Also fragmentary statues of a Bacchant and a Satyr were recovered. Another basalt sarcophagus is decorated with reliefs of Atargatis (?) among vine branches and grape bunches.

Gerasa, (IG 284-687). City of the Roman Decapolis on the Chrysorhoa river. A number of Greek inscriptions mentioning gods and temples were found among the ruins indicating the worship of Artemis, Tyche, Dusares-Dionysus, Zeus, and the Heroes. There was a temple-theater north of the city. A limestone figure of an eagle with a snake around its leg and looking at its face possibly represents the conflict between those two animals (a symbol of the fight of underground forces against the visible cosmos). The identification of Dusares with Dionysus gave occasion to an annual celebration of the “miracle of Cana” in the fountain of its West court. In the so-called Mosaic of Muses and Poets (third century CE), those figures were represented in the four sides of the frame accompanied by Erotes, Seasons, garlands and birds, while the central subject was the Bacchic procession, with Dionysus, Satyrs and Maenads. The dedication on a portrait-statue of an Agorothetes of Gerasa was made by a trade union of Dionysus’ technitae, probably referring to actors and artists. There are also pottery lamps with the depiction of Dionysus leaning on his thyrsus and holding an oinochoe or wine flask. Other lamps are decorated with Satyr heads, and Silenus and Pan’s masks. A pottery object having the shape of a phallus is accompanied by the figures of Silenus, Eros, Psyche and Nike (?), and was probably used in Dionysian processions. 

Halutza, in the Northern Negev. Two fragmentary carved bone artifacts from the Byzantine period were discovered in the last excavations conducted in Halutza. One depicts a nude female figure, probably a Nereid, offering a coffer to a missing figure, possibly Aphrodite Anadyomene. Another bone fragment, discovered in the ruins of the theater, depicts a naked man in profile. The thyrsus he is holding in his hand indicates that it represented the god Dionysus.

Hefer Valley. In the center of the Sharon plain,  some 15 km south of Caesarea. Impressd on the four sides of a lead coffin, images of Eros, jumping dolphins, a young Dionysus with thyrsus, a female Sphinx upon column, a female figure standing on a mask and two felines supporting a kantharos surmounted by a large bunch of grapes.

Heshbon. A double panel mosaic from the fifth or sixth century was discovered in 1915 in Tel esh-Sheikh by J. Clédat. The upper register shows the story of Phaedra and Hippolytus, with all its main components. The lower register has two scenes: the upper one depicts Dionysus in his triumphal procession. Seated by a vine on his triumphal chariot, which is dragged by a male Centaur playing the Phrygian flute and a female one playing a lyre, and lead by a naked and winged Eros, Dionysus is spilling wine to a small panther at his feet. In front of him are Papposilenus riding a donkey, a dancing male Bacchant called Skirtos (the dancer) and a Maenad. In the lower scene there appears a naked and drunken Heracles sustained by a young servant with a stick. Heracles is holding a club with his right hand, while from his left shoulder hangs the head of the Nemean lion. He is preceded by the figures of Pan, a nude herald holding an animal skin on his left shoulder and playing a horn, and a dressed Grace dancing and playing a cymbal. An allegorical, eschatological significance for this mosaic has been suggested.

Jerusalem. The God of the Jews was compared to Zeus Sabazios and Dionysus. Jews were compulsed to participate in the mensual sacrifices made in the temple on the king’s birthday and in the processions celebrated in honor of Dionysus.

Madaba (Jordan). Also in the acropolis, a mosaic panel shows Heracles strangling the lion of Nemea, and another has a dancing Bacchant and Satyr. Another panel of the same mosaic floor has a Dionysian kantharos with emerging vine, flanked by a pair of peakocks and a pair of sheep.

Mamre. The oak of Mamre or Terebinth was venerated up to the time of Constantius, but part of it was still seen by the pilgrim Arculf late in the seventh century CE. Pagan cultic ceremonies celebrated there on occasion of market days are confusedly recorded by Syncellus. Graffiti, as well as the sculptured heads of Hermes and Dionysus found in the excavations of Mamre, attest to the ancient pagan cults’ hold in that place.

Philippopolis (Syria). The mystical wedding of Ariadne and Dionysus, with a drunken Heracles sitting on the floor.

Rabbath ‘Ammon. City of the Roman Decapolis. The limestone head of a young man crowned with vine leaves could indicate that the deceased was a member of a Dionysian thiasos.

Scythopolis. Beth She’an, Nysa Scythopolis (city coins), Baithsan, Ar. Beisan (IG 247-711). Main city of the Decapolis. According to Pliny the Elder, the city was once called Nysa because Dionysus buried his nurse there. Many of the city coins add the name Nysa to Scythopolis. From literature, we know the existence of some temples in Hellenistic and Roman Scythopolis, such as those of Zeus, the largest and central-most one, of Dionysus, and of the Dioscuri. Other buildings in the same area could also be related to pagan worship. Mythological figures and scenes are represented on a number of recovered daily-life objects and artistic works: Hexagonal altar, dedicated to Dionysus as city-founder on an inscription, decorated with his face and that of god Pan. A stone relief of Heracles holding Hydra’s head. A second altar to Dionysus found in the theater. Some coins from Scythopolis show Dionysus’ head. Others show Dionysus naked and pouring wine to a panther or “with a chlamys flying behind him”, or “wearing a panther’s skin…, holding in his right hand a short thyrsus pointing down towards the head of a small figure.” Other coins depict Tyche standing and Dionysus being born from Zeus’ thigh. Nysa nursing baby Dionysus and holding a wine jar is depicted on a coin from Gordian’s time. A sculptured ‘Janiform’ or double head of Dionysus, found in the last excavations. A small relief of the same god, fully dressed, was found in Beth Shean in the late 1930s and is preserved up till now in a private collection in Jerusalem. From a Roman limestone base found in secondary use a headmask of Silenus protrudes within a garland.

Sepphoris. In Lower Galilee. Gr, Diokaisareia, Ar. Saffuriye (IG 226-739). Among the objects recovered in recent excavations are bronze figurines of Pan and of Prometheus,  bronze bull statuettes, a small bronze altar, and a rhyton in the form of a winged horse, from the fourth century BC. There are also the famous mosaics, including the washing of the infant Dionysus, his education by the Nymphs of Nysa, his wedding, his triumphal procession, Heracles assaulting a woman, the drinking contest between Dionysus and Heracles, and Dionysus’ drunkness and vomiting. Among other representations, there’s a scene depicting the production of wine, a Nilotic scene with some youngsters stoning a crocodile, and a beautiful woman’s face among foliage. In the main hall of another private villa, probably later than the former one, the emblem of a large mosaic features the scene of a seated Orpheus playing the lyre, surrounded by a number of listening animals. 

Exodus 3:11-15
But Moses said to God, “Who am I that I should go to Pharaoh and that I should bring the Israelites out from Egypt?” And he said, “Because I am with you, and this will be the sign for you that I myself have sent you: When you bring the people out from Egypt, you will serve God on this mountain.” But Moses said to God, “Look, if I go to the Israelites and I say to them, ‘The God of your ancestors has sent me to you,’ and they say to me, ‘What is his name?’ then what shall I say to them?” And God said to Moses, “Ehyeh Asher Ehyeh [I am what I will become],” and added, “Here is what to say to the people of Israel: Ehyeh [I Will Be] has sent me to you.” And God said again to Moses, “So you must say to the Israelites, “Yahweh, the God of your ancestors, the God of Abraham, the God of Isaac, and the God of Jacob, has sent me to you. This is my name forever, and this is my remembrance from generation to generation.”

I was having a conversation with a friend, and made the passing remark that I considered Jesus to be a colleague, which they said was hubristic (although they are a polytheist of Jewish extraction, and not even a Christian.) I certainly didn’t mean it that way. 

I consider Jesus, in addition to being a religious teacher with Essene and Pharisee sympathies, to have been a vagabond spirit-worker and magician who specialized in exorcism and healing, and was able to carry his God and lived out the “Neos Dionysos” archetype to a T. In other words he was basically a Jewish Orpheotelest, one of many who were active in 1st century Judaea. (In addition to the plethora of magical texts and paraphernalia that have come to light, a bunch of people were buried with gold lamellae similar to the Bacchic Orphic ones found in graves in Northern Greece, Crete, and Southern Italy. In fact, the Judaean examples most closely resemble the Cretan, especially since both employed epistomia.) The Talmud even says that Jesus studied magic in Egypt, and had charaktēres cut/tattooed on his forearms by which he was able to perform miraculous feats. I wonder if that preserves an authentic tradition that circulated about Jesus, or if the Rabbis had in mind Ptolemy’s pathway to citizenship offer which necessitated undergoing initiation into the Dionysian mysteries and receiving the ivy-leaf tattoo of the Bakchoi which many of the Hellenized Jews accepted, pissing off the Hasmonean (and pro-Seleukid) camp. Incidentally, I have six tattoos on my forearms, potent symbols representing mysteries of the Starry Bull tradition. I won’t say whether they have magical functions as well.  

When I drew a comparison I wasn’t thinking about his posthumous apotheosis. Which isn’t problematic for me, since at least half of the divinities I venerate either started off as human, or had human incarnations (Dionysos included) though I’ll leave it to the Christians to work out the specifics of Jesus’ Godhead. I didn’t factor it in because I am not currently or have any intention of becoming any sort of God (unless merging with Dionysos is on the table, which it could be if you interpret Bacchic eschatology a certain way.)

So I’m not really sure where the charge of hubris came from. I don’t believe that I’m obligated to adopt the Christian view of Jesus (especially since there have always been a plurality of Christianities with competing conceptions) so I don’t see anything wrong with interpreting his mission through a Bacchic Orphic lens i.e. as a wonder-working itinerant religious specialist like Melampos, Empedokles, Apollonios or of course Orpheus himself. For me that is a respectable category to be placed in.  

I’ve got a post I’ve been working on about Dionysos in the Jezreel Valley, but after this week’s (and especially today’s) news, all I can do is recite this passage from Psalm 12:7-9:

אִ֥מְר֣וֹת יְהֹוָה֮ אֲמָר֢וֹת טְהֹ֫ר֥וֹת כֶּ֣סֶף צָ֭רוּף בַּעֲלִ֣יל לָאָ֑רֶץ מְ֝זֻקָּ֗ק שִׁבְעָתָֽיִם׃
אַתָּֽה־יְהֹוָ֥ה תִּשְׁמְרֵ֑ם תִּצְּרֶ֓נּוּ ׀ מִן־הַדּ֖וֹר ז֣וּ לְעוֹלָֽם׃
סָבִ֗יב רְשָׁעִ֥ים יִתְהַלָּכ֑וּן כְּרֻ֥ם זֻ֝לּ֗וּת לִבְנֵ֥י אָדָֽם׃ {פ}

The utterances of Yahweh are pure utterances,
silver refined in a furnace in the earth, purified seven times.
You, O Yahweh, will guard them;
you will protect them from this generation forever.
On every side the wicked prowl,
as vileness is exalted among humankind.

And pray that the machinations of the spirit of this age, Amalek, continue to be thwarted. 

There’s always more to the story. For instance, the sparagmos of Saul goes back to the war between Jeroboam and Rehoboam. And to understand Bethel you must know about Kuntillet ʿAjrud. But what lurks behind all of these?

1 Kings 12:20-33
When all the Israelites heard that Jeroboam had returned, they sent and called him to the assembly and made him king over all Israel. Only the tribe of Judah remained loyal to the house of David.

When Rehoboam arrived in Jerusalem, he mustered all Judah and the tribe of Benjamin—a hundred and eighty thousand able young men—to go to war against Israel and to regain the kingdom for Rehoboam son of Solomon.

But this word of God came to Shemaiah the man of God: “Say to Rehoboam son of Solomon king of Judah, to all Judah and Benjamin, and to the rest of the people, ‘This is what the Lord says: Do not go up to fight against your brothers, the Israelites. Go home, every one of you, for this is my doing.’” So they obeyed the word of the Lord and went home again, as the Lord had ordered.

Then Jeroboam fortified Shechem in the hill country of Ephraim and lived there. From there he went out and built up Peniel.

Jeroboam thought to himself, “The kingdom will now likely revert to the house of David. If these people go up to offer sacrifices at the temple of the Lord in Jerusalem, they will again give their allegiance to  Rehoboam king of Judah, and they will kill me.”

After seeking advice, the king made two golden calves. He said to the people, “It is too much for you to go up to Jerusalem. Here are your Gods, Israel, who brought you up out of Egypt.” One he set up in Bethel, and the other in Dan. And this thing became a sin; the people came to worship the one at Bethel and went as far as Dan to worship the other.

Jeroboam built shrines on high places and appointed priests from all sorts of people, even though they were not Levites. He instituted a festival on the fifteenth day of the eighth month, like the festival held in Judah, and offered sacrifices on the altar. This he did in Bethel, sacrificing to the calves he had made. And at Bethel he also installed priests at the high places he had made. On the fifteenth day of the eighth month, a month of his own choosing, he offered sacrifices on the altar he had built at Bethel. So he instituted the festival for the Israelites and went up to the altar to make offerings.

1 Samuel 4:5-8
When the ark of the Lord’s covenant came into the camp, all Israel raised such a great shout that the ground shook. Hearing the uproar, the Philistines asked, “What’s all this shouting in the Hebrew camp?”When they learned that the ark of the Lord had come into the camp, the Philistines were afraid. “Gods have come into the camp,” they said. “Oh no! Nothing like this has happened before. We’re doomed! Who will deliver us from the hand of these mighty Gods? They are the Gods who struck the Egyptians with all kinds of plagues in the wilderness. Be strong, Philistines! Be men, or you will be subject to the Hebrews, as they have been to you. Be men, and fight!”

1 Samuel 28:13
The king said to her, “Don’t be afraid. What do you see?”

The woman said, “I see Gods coming up from the underworld.”

1 Samuel 31:1-13
Now the Philistines fought against Israel; and the men of Israel fled from before the Philistines, and fell slain on Mount Gilboa. Then the Philistines followed hard after Saul and his sons. And the Philistines killed Jonathan, Abinadab, and Malchishua, Saul’s sons. The battle became fierce against Saul. The archers hit him, and he was severely wounded by the archers. Then Saul said to his armorbearer, “Draw your sword, and thrust me through with it, lest these uncircumcised men come and thrust me through and abuse me.” But his armorbearer would not, for he was greatly afraid. Therefore Saul took a sword and fell on it. And when his armorbearer saw that Saul was dead, he also fell on his sword, and died with him. So Saul, his three sons, his armorbearer, and all his men died together that same day. And when the men of Israel who were on the other side of the valley, and those who were on the other side of the Jordan, saw that the men of Israel had fled and that Saul and his sons were dead, they forsook the cities and fled; and the Philistines came and dwelt in them. So it happened the next day, when the Philistines came to strip the slain, that they found Saul and his three sons fallen on Mount Gilboa. And they cut off his head and stripped off his armor, and sent word throughout the land of the Philistines, to proclaim it in the temple of their idols and among the people. Then they put his armor in the temple of the Ashtoreths, and they fastened his body to the wall of Beit She’an. Now when the inhabitants of Jabesh Gilead heard what the Philistines had done to Saul, all the valiant men arose and traveled all night, and took the body of Saul and the bodies of his sons from the wall of Beit She’an; and they came to Jabesh and burned them there. Then they took their bones and buried them under the tamarisk tree at Jabesh, and fasted seven days.

“Antikeimenos” is koinē Greek for adversary. The Bacchic Orphic spell in the last post incorporates Greek, Latin, Hebrew, Egyptian, Syriac, Mandaean, and other material to banish the influence of hostile entities in one’s life and promote protection, healing, luck and potency. Feel free to use or adapt it as needed. (Though you should know what the verses do within the structure of the incantation before tweaking it.)

ΑΩ ΑΩ ΑΩΑΩΑΩ ΩΑ ΩΑ

Οὐδὲν ἄρα οὕτως βεβαίως δεδήσεται, οὐ νόσῳ, οὐκ ὀργῇ, οὐ τύχῃ οὐδεμιᾷ, ὃ μὴ οἷόν τ᾽ ἔσται λῦσαι τῷ Διονύσῳ.

וַיִּיצֶר יְהוָה אֱלֹהִים אֶת־הָאָדָם עָפָר מִן־הָאֲדָמָה
וַיִּפַּח בְּאַפָּיו נִשְׁמַת חַיִּים וַיְהִי הָאָדָם לְנֶפֶשׁ חַיָּה.

Άσκι Κατάσκι Λιξ Τετράξ Δαμναμενεύς Αίσιον

אָ֭כֵן רֽוּחַ־הִ֣יא בֶאֱנֹ֑ושׁ וְנִשְׁמַ֖ת שַׁדַּ֣י תְּבִינֵֽם׃

Άφουχα Αφεικά Ακειφά Αχειφά Ακούφα

בִּדְבַ֣ר יְ֭הֹוָה שָׁמַ֣יִם נַעֲשׂ֑וּ וּבְר֥וּחַ כׇּל־צְבָאָֽם׃

Άσαρή Ασαρού Αχθάνου Αράναρχού Αρουντή

אִם־ יָשִׂ֣ים אֵלָ֣יו לִבֹּ֑ו רוּחֹ֥ו וְ֝נִשְׁמָתֹ֗ו אֵלָ֥יו יֶאֱסֹֽף
כָּל־ בָּשָׂ֔ר יָמ֥וּת יַחְדָּ֖ו וְאָדָ֥ם לְעָפָֽר יָשֻֽׁבוּ

Uhiia zakin el kulhun eubadia!
Uhiia zakin el kulhun eubadia!
Uhiia zakin el kulhun eubadia!

በእግዚአብሔር ቸርነት ዲዮናስዮስ የሕይወት እስትንፋስን ወስዶ በተራራው ላይ እንዲጨፍር ዳዊት በሳንባው ላይ ያደረሰውን ጉዳት ፍታ። አዮ ዲዮኒሶስ አዮ ኢቮሄ

Λυκοῦργος
Λυκοῦργο
Λυκοῦργ
Λυκοῦρ
Λυκοῦ
Λυκο
Λυκ
Λυ
Λ

Δ νόσος Δ νόσος Δ νόσος Δ

Δ ὑγιεία Δ ὑγιεία Δ ὑγιεία Δ

Alpha Lēōn Phōnē Anēr. Hatherneklēsia Hathernebouni Labisakhthi Khōmokhoukhi Isi Souse Mounte Tntōreō Iō Best Bastai Ribat Khribat
Oerēsibat Khamarei Khurithbath Souerē Tharthathabaaththa Thath
Bathath Lathai Akhra Abathai Aē Satōr Aretō Tenet Ōtera Rōtas.

וַיַּשְׁלִ֙יכוּ֙ אִ֣ישׁ מַטֵּ֔הוּ וַיִּהְי֖וּ לְתַנִּינִ֑ם וַיִּבְלַ֥ע מַטֵּֽה־אַהֲרֹ֖ן אֶת־מַטֹּתָֽם
וַיֶּֽחֱזַק֙ לֵ֣ב פַּרְעֹ֔ה וְלֹ֥א שָׁמַ֖ע אֲלֵהֶ֑ם כַּאֲשֶׁ֖ר דִּבֶּ֥ר יְהֹוָֽה

καὶ θεὸς οὐρεσίφοιτος ὄφιν θάμβησε δοκεύων
οἰνωπῇ ῥαθάμιγγι πεφυρμένον ἀνθερεῶνα:
καὶ στικταῖς φολίδεσσι μετάτροπον ὁλκὸν ἑλίξας
πετραίην βαθύκολπον ἐδύσατο γείτονα χειήν,
εὔιον ἀθρήσας, ὄφις αἰόλος. εἰσορόων δὲ
Βάκχος ἐρευθαλέης ἐγκύμονα βότρυν ἐέρσης
ὀμφαίης ἐνόησε παλαίτερα θέσφατα Ῥείης.
καὶ σκοπέλους ἐλάχηνε, πεδοσκαφέος δὲ σιδήρου
θηγαλέῃ γλωχῖνι μυχὸν κοιλήνατο πέτρης:
λειήνας δὲ μέτωπα βαθυνομένων κενεώνων
τάφρον ἐυσταφύλοιο τύπον ποιήσατο ληνοῦ,
βότρυας ἀμώων νεοθηλέας ὀξέι θύρσῳ,
τεύχων ὀψιγόνοιο τύπον γαμψώνυχος ἅρπης.

וּמִן־אֲנָשָׁא֩ לָ֨ךְ טָֽרְדִ֜ין וְֽעִם־חֵיוַ֧ת בָּרָ֣א מְדֹרָ֗ךְ
עִשְׂבָּ֚א כְתוֹרִין֙ לָ֣ךְ יְטַֽעֲמ֔וּן וְשִׁבְעָ֥ה עִדָּֽנִ֖ין יַחְלְפ֣וּן עֲלָ֑ךְ
כתיב עֲלָ֑יךְ עַ֣ד דִּֽי־תִנְדַּ֗ע דִּֽי־שַׁלִּ֚יט עִלָּאָה֙ כתיב עִלָּיאָ֙
בְּמַלְכ֣וּת אֲנָשָׁ֔א וּלְמַ֥ן דִּֽי־יִצְבֵּ֖א יִתְּנִנָּֽהּ

ὦ σχέτλι᾽, ὡς οὐκ οἶσθα ποῦ ποτ᾽ εἶ λόγων.
μέμηνας ἤδη: καὶ πρὶν ἐξέστης φρενῶν.
στείχωμεν ἡμεῖς, Κάδμε, κἀξαιτώμεθα
ὑπέρ τε τούτου καίπερ ὄντος ἀγρίου
ὑπέρ τε πόλεως τὸν θεὸν μηδὲν νέον
δρᾶν. ἀλλ᾽ ἕπου μοι κισσίνου βάκτρου μέτα,
πειρῶ δ᾽ ἀνορθοῦν σῶμ᾽ ἐμόν, κἀγὼ τὸ σόν:
γέροντε δ᾽ αἰσχρὸν δύο πεσεῖν: ἴτω δ᾽ ὅμως,
τῷ Βακχίῳ γὰρ τῷ Διὸς δουλευτέον.
Πενθεὺς δ᾽ ὅπως μὴ πένθος εἰσοίσει δόμοις
τοῖς σοῖσι, Κάδμε: μαντικῇ μὲν οὐ λέγω,
τοῖς πράγμασιν δέ: μῶρα γὰρ μῶρος λέγει.

הרבה הֶ֭רֶב כַּבְּסֵ֣נִי מֵעֲוֺנִ֑י וּֽמֵחַטָּאתִ֥י טַהֲרֵֽנִי
כִּֽי־פְ֭שָׁעַי אֲנִ֣י אֵדָ֑ע וְחַטָּאתִ֖י נֶגְדִּ֣י תָמִֽיד
לְךָ֤ לְבַדְּךָ֨  חָטָאתִי֮ וְהָרַ֥ע בְּעֵינֶ֗יךָ
עָ֫שִׂ֥יתִי לְ֭מַעַן תִּצְדַּ֥ק בְּדׇבְרֶ֗ךָ תִּזְכֶּ֥ה
הֵן־אֱ֭מֶת חָפַ֣צְתָּ בַטֻּח֑וֹת וּ֝בְסָתֻ֗ם חׇכְמָ֥ה תוֹדִיעֵֽנִי
תְּחַטְּאֵ֣נִי בְאֵז֣וֹב וְאֶטְהָ֑ר תְּ֝כַבְּסֵ֗נִי וּמִשֶּׁ֥לֶג אַלְבִּֽין
תַּ֭שְׁמִיעֵנִי שָׂשׂ֣וֹן וְשִׂמְחָ֑ה תָּ֝גֵ֗לְנָה עֲצָמ֥וֹת דִּכִּֽיתָ

Ιω Ερεβεθ Ιω Πακερβεθ Ιω Βολκοσεθ
Ιω Απομπς Παταθναζ Ακουβια
Σεθ-Τυφων Ακτιοφις Σεμιαζά

. מי ייתן והארס יתפרץ. מי ייתן והשיגעון
יכבוש את דוד, ויהיה חופשי מפצעיו. מי ייתן
והנחש יתכווץ, יתייבש, וישכב רפוי בחוסר
אונים, מבלי שיוכל עוד לפגוע או לחדור
לאיש. מי ייתן והכאב ייעלם. מי ייתן
והאויב ייחלש. מי ייתן והצורר יטבע
בייאושו. מי ייתן ולתוקפן לא יהיה שלום. מי ייתן
ותסבול כאב שמעולם לא
סבלת קודם לכן, מקור הבלבול וההונאה.
לך. לך. לך. לך. אל תענה את דוד, ואל תקווה
שוב לעולם. בחושך שבחוץ איתך.

ΧΧΧ ΛΛΛ ΟΟΟ ΑΑΑ ΩΩΩ

Ἀβαλῶ. Ἀριμοῦν. Ιδουθαὴλ.
Θαρσελεὴν. Ναχὼθ. Αἰδουνὰφ.
Τελετελώη. Νοθ. Παχ. Κνεφ.

ΙΘΝ. ΟΥΘ. SSS. ΔΔΔΔΔΔ. ΙΙΙIIIIII.