Have you read Dver’s account of celebrating Anthesteria after her return to Maine? You should. It’s pretty good.
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Look who showed up for Anthesteria
A while back Galina was doing some browsing on Etsy when this statue of Dionysos caught my eye. I am very difficult to shop for, so when I showed interest she jumped on the opportunity to gift me something special. Honestly, it’s been a while so I kind of forgot all about it until the box arrived on our doorstep just as we were going out for a rambling walk through our city on this first night of Anthesteria, which she has posted about here. Later tonight he will be formally installed in my temple space – either as part of the Starry Bull shrine or the one for the Retinue. (I don’t think he fits in with the other shrines, to Dionysos Bakcheios and Lusios respectively, or the Green Way station where I keep all of my φαρμακεία accouterments under his watchful eye. But I’ll feel things out and probably divine before beginning the installation ceremony.) Regardless I think he will make a wonderful addition to the Bakcheion and I take his arrival on Pithoigia of all days as a most favorable omen.
Kala Anthesteria, Year 5!
As ἱεροποιός of the Hudson Valley Bakcheion I would like to officially wish y’all a blessèd Ἀνθεστήρια, our most important festival of Dionysian epiphany, sex and death, wine and flowers — and many other mysterious things! (Which I’ve written about extensively, both here and at The Bakcheion, not to mention my poetry collection What Flowers in the Dark which explores the diverse traditions associated with the celebration of this festival in various locales and times.) I’m going to wait on the first batch of divination for the fundraiser until Monday after the Κῆρες have been driven from the doors, but will happily pass on any prayers, petitions or well wishes you might have, dear reader, for our Lord Διόνυσος Φλέως during this holy tide of his. Just shoot me an email at email@example.com between now and Χύτροι.
Anthesteria 2020 Soundtrack
I know I’ve got a list of songs already in the Anthesteria material at the Bakcheion, but moved by the energies of the day I put together this special soundtrack for Anthesteria 2020 that I hope will help get you in the mood. Enjoy!
Anthesteria on the Black Sea
One of the most detailed studies of Northern Bakcheia is Katerina Amanatidou’s The cult of Dionysos in the Black Sea region (which I discovered only after I had already done a significant amount of my own research.) With Anthesteria coming up I was curious to see if I could find anything on how the festival was celebrated among the Greek and indigenous populations of the area, to supplement what I’ve already written here and here. This is what I found. While not all of it can be taken as direct evidence of Anthesteria observances, these passages do speak to the milieu of the festival.
In the area of city’s necropolis was unearthed the remains of a coroplastic workshop, dated from the 3rd century BC, which produced a variety of terracotta statuettes intended for the decoration of sarcophagi. Among the produced types were representations of Dionysos, of Satyrs and Maenads. A miniature mask of a smiling Silen wreathed with ivy leaves was found in the debris of the building.
Furthermore, clay figurines of Dionysos and his wife Ariadne came to light at excavations in other parts of the city. Likewise, votive reliefs made of lead and shaped as bull heads were found at the site. Those reliefs that were encircled with a decoration of grapes functioned, probably, as offerings to the god. An imported amphora neck of the Hellenistic period bearing the relief image of a Satyr’s head was also discovered. Finally, the excavations yielded an almost life-size marble statue of a Satyr and two attic red figure bell craters bearing Dionysian scenes with Satyrs and Maenads.
In the filling of a “thaviss” (a special pit where the worn out utensils of sacred premises were kept instead of being discarded) were found two statuettes that represent Silens in a squatting posture dated to the end of the 6th century B.C. The scholars correlate those finds with analogues found in the sanctuaries of Demeter and Kabeiroi which are also chthonic deities and gods functioning as protectors of farming. Finally in the same pit was discovered, beside the statuettes of various female deities, a skyphos who had on its outer surface inscribed the phrase “ΕΚΠΙΝΩΣΤΑΧΟ”, which means “drink it fast”. That phrase and the fact that the particular drinking vessel had about 2.5 liters capacity allude to the existence of the Dionysian feast of Anthesteria in which was held a wine drinking contest.
Olbia is the best archaeologically searched site in the northern Black Sea area. Dionysos was among the primary deities that were venerated in the city of Olbia as well as in its rural territory. Taking into account the epigraphic data it is assumed that a theatre functioned in Olbia despite the fact it has not yet been discovered. According to an inscription a person named Anthesterios was rewarded by the polis of Olbia with a golden wreath annually, during the celebrations of the Dionysia festival held in the city’s theatre. This corroborates the existence of the theatre and the significance of festivals in honour of Dionysos.
During the excavation of Olbia was found a bronze mirror dated around 500 BC that was possibly a grave good. In the mirror, which is decorated with bucranium and labrys, is engraved a Bacchic inscription: “Demonassa, daughter of Lenaios euai, and Lenaios, son of Demokles eiai.” Both the decoration and the inscription are elements denoting a mystic aspect of Dionysos’ cult in the context of a blessed afterlife.
Some of the terracotta figurines and miniature clay masks that were discovered in this domestic sanctuary are connected with Dionysos’ worship. These include figurines of a bearded bull, a Silen on a goat, a Satyr with goat hooves wearing a cloak and a round hat, and the masks of a bearded Dionysos and a young Dionysos.
To the west of the Poljanka settlement is located the General’skoye fortified site in which was excavated a sacred complex consisting of two structures with two rooms each. The complex functioned as a sanctuary or even a “rural” modest temple. Among the terracotta finds that were unearthed in the rooms belong two fragments of masks depicting, with high possibility, young Dionysos. The first one, which was found near an altar, preserves the lower part of the face. The other one, found in a different room, preserves the upper part of the face with lush hair and small horns, probably depicting Dionysos “the bull”. This fragment has, also, an aperture for suspension. The researchers date the series of the so-called votive masks of Dionysos in his youth found in the Cimmerian Bosporus from the 1st century BC to the 2nd century AD.
Porthmion was a small city situated near the shore of the Kerch Straits. Although the sanctuary has not been found a monumental altar was discovered with possibly related chthonic deities. Furthermore, excavations yielded among a variety of figurines representing mainly female deities, a head of great artistry portraying Dionysos in his youth. He is adorned with a wreath of vine leaves and bears an imperceptible smile.
The excavations in the second terrace of the city unearthed a cult building of the 3rd century BC, which was interpreted as a temple of Dionysos, without excluding the possibility that other deities were worshiped there too, including Aphrodite. Owing to its proximity with the central edifice of the Panticapaion rulers’ palace complex the building was identified as a temple that served the residents of the palace. The temple had a roof of tiles, its floor was covered by mortar in which were embedded black polished pebbles and the internal surface of the walls was coated with plaster and painted with a variety of colours. Most probably it was destroyed due to an earthquake in 63 BC. The bulk of the terracotta figurines discovered in the destruction layer of the sanctuary’s area is connected with Dionysian iconography such as bunches of grapes. The most remarkable is a mask of Dionysos wreathed with a band of ivy and leaves from other flowers.
The excavations in the ash hill, which covers the continental rock landscape in the center of the city, unearthed the religious area and the sanctuary of Kytaia. In the remains of a building with an altar, in a sacrificial bothros pit and in the natural and artificial clefts of the hill a great number of objects were discovered and identified as religious offerings. Those votive findings consist of pottery fragments, a lot of which bear incised dedications to Dionysos, terracotta statuettes depicting him and his companions, and clay models of bread and phalli, along with animal bones of pigs, sheep and goat.
The researchers assume that, initially, the sanctuary was devoted more generally to deities of a chthonic nature that were associated with fertility, which was also a basic characteristic of the god Dionysos. A group of terracotta figurines and small votive clay masks representing Dionysos and Silenoi, Maenads and Satyrs, the members of his entourage, testifies its worship in the sanctuary. Most notable are a small mask portraying Dionysos with beard and a diadem on his head and a figurine of an actor wearing a Silens’ mask.
As witnessed by the above mentioned archaeological data discovered in different Bosporan settlements, namely the terracotta figurines and the masks representing Dionysos and his companions, rituals in honor of Dionysos were being practiced from the 2nd- 1st century BC to the 2nd century AD in the Kerch peninsula and at the northeastern part of the Crimean Azov coast. From the 2nd – 1st centuries BC Dionysos’ chthonic functions and connection with mysteries made his cult popular in the Bosporus region. People, who were facing difficult conditions due to the natural disasters, war and economic crisis had pinned their hopes on the god’s assistance in overcoming their problems.
The inland site of Vani situated on three terraces on the slopes of a hill to the south of Rioni river is one of the most intensively researched and studied settlements of the Colchian coast. In the Hellenistic period Dionysos’ cult was especially popular and widespread among the inhabitants of Vani. That popularity is attributed by the researchers to the fact that the city and the whole region was closely linked with the cultivation of vines and wine production. During this period began the local production of fairly sizable amphorae for wine transportation that have been discovered to the north of the Black Sea area. In addition, during the early Hellenistic period a new burial practice was introduced in Vani, which was inhumation inside a large storage vessel, mainly for wine, the so-called pithos, which can be interpreted as a reflection of wine’s great significance in the life of the inhabitants.
A bronze plaque in high relief with the depiction of Dionysos Tauromorphos was found in a grave. The plaque, which is dated in the late 2nd century BC, presumably functioned as a decoration of a wooden sarcophagus. Furthermore, among the grave goods from another burial was discovered a bronze bust depicting Dionysos Botrys. Dionysos is rendered with long hair and a beard while wreathed with grape leaves and corymbs. Noteworthy in the case of Amisos is the abundance of terracotta statuettes and clay masks of Dionysos Botrys and Tauromorphos along with that of Silens, Satyrs and actors that were found in the excavations in various contexts. The figurines, which are of fine craftsmanship and quality, were being manufactured in local coroplastic workshops. The same also applies for the rather unique large sized tragedy and comedy masks, and masks representing Satyrs and Dionysos. In particular, the characteristic elements of the Dionysos Tauromorphos type of mask was two bull horns protruding out of the forehead, while in the Botrys type, the hair and the beard are rendered as bunches of grapes. In both of the types the god is depicted either young or elderly.
Apart from the terracotta figurines, the excavations brought to light a marble statue of Dionysos and coins bearing his image. The statue, which is based on an altar, is dated to the Roman period and depicts the god naked, but not barefoot, crowned with a garland made of ivy leaves and flower buds and accompanied most probably by a panther. Additionally, in some figurines Dionysos is depicted wearing a diadem of ivy leafs and flowers and a band, tainia, on his forehead. Lastly, his function as the patron deity especially of viticulture and of fertility of nature generally is also evident in Sinopean numismatics. In several coins is represented the head of Dionysos in his youth along with some of his attributes such as the thyrsos and the cista mystica.
Blast from a past Anthesteria
Dionysos rests his soft hand
on the large black wheel
of the ox-drawn carriage
Ikarios has packed full
of pine-pitch smeared kegs of fresh wine
which miraculously sprang up outside his home.
When the stranger arrived at his door
kindly Ikarios received him graciously.
He invited him to sit in the best seat,
and gave him cow’s milk to drink,
the very best the old oxherd had,
and ordered his daughter to whip up a feast
fit for a King from the East.
He shushed her when she pleaded their poverty;
“This man is no man. Can’t you see?
Give him all we have, and then some more.”
Erigone rolled her eyes, but obeyed her dear father’s order,
for she was a pious and submissive girl
(on the surface at least)
making a porridge of all the seed
and all the grain their bare cupboard contained.
She mixed in honey
and kernels of a pomegranate she’d been saving
for Her who is Below,
which stood out like ruby drops of blood in the mush.
Dionysos’ gaze did not leave her,
all through dinner and after.
Modesty blossomed in her cheeks,
painting them a becoming blush.
This just made Dionysos stare harder,
and then he smiled. He turned to Ikarios and said,
“I have a gift for you, good sir; something I think
this precious fruit of yours will especially enjoy.”
Curious Ikarios rose and went outdoors,
finding by the family’s well a giant grapevine,
snaky tendrils and plump bunches hanging down
all gleaming in the dark.
It was a thing of wonder to behold,
like no tree the man had ever seen before.
He fondled the golden grapes,
then squeezed one between his aged fingers.
Juice splashed him in the eye,
and the thing in the well let loose tittering laughter.
It stretched a spindly arm forth,
flesh moon-pale and hanging wetly from the bone,
as it offered him a cup full of a liquid dark as blood.
“Drink me,” the strange brew whispered to Ikarios,
“for you are parched with thirst, and perishing.”
“Are you sure that you’re ready for this, faithful father?” Dionysos asks
as Ikarios adjusts his foxskin cap so the sun won’t scorch his bald pate red.
“I shall share your gifts far and wide
with all my fellow man, for everyone deserves
to drink the liquor of ecstasy.”
“Teach them moderation, for not all can endure the thunderstrike unscathed.”
But Ikarios is gone already, and does not hear him.
Dionysos turns back and joins dark-eyed and dark-haired Erigone
for the few hours she has left.
A glimpse inside the Bakcheion
Since Anthesteria just wrapped, I figured I’d give y’all a guided tour of the Hudson Valley Bakcheion, formerly Galina’s library until I discovered and colonized it.
The entrance is protected by this apotropaic image:
The first thing you’ll notice upon stepping through the door is a small round table upon which I’ve placed a bowl of chernips and methods of cleansing involving the other cardinal elements. (Not shown.) Above it is a representation of the World Tree, central to both Heathenry and Orphism — though interestingly not Greco-Roman religion generally. (Also not shown.)
To the right hang icons of Liber Pater and Iðunn, to ensure that this is a fertile place for devotion.
Facing out to the creek and the many backyard shrines below is my writing desk, numerous protective charms and amulets hanging from the lintel, and a shrine to the Gods and Spirits of the Green Way. (Not shown.)
Above it hangs this icon of Dionysos Choiropsalas and a Nymph.
The center of the room consists of a divination station, where all of my tools of the trade are kept. (Not shown.) Although it’s set up to read for clients I haven’t seen anyone here in the five years that the Bakcheion has been operational, preferring to deal with strangers downstairs in the living-room or better yet out by the yard shrines.
Here is βασσάρα, guardian of the temple. She bites atheists and other impious.
That is my thyrsos next to her, and a rabbit-topped walking stick.
Here are shrines to Dionysos Lusios and Bakcheios, respectively.
Between them is Arachne. She bites too.
Next to them is my oracular throne, which is covered by a bearskin when not in use. (Not shown.)
Here is my Starry Bull shrine, the centerpiece of which consists of the books I’ve written articulating the tradition.
Normally there’s another shrine cloth and the books are better arranged, but there was an unfortunate incident involving beeswax which I need to remedy.
Dionysos Asterios got a slice of chocolate bourbon pie and a fine Spanish wine on Choes.
And here is the common shrine to Dionysos and his Retinue.
There’s more, but it’s not for public consumption.
Hope y’all had a wonderful Anthesteria!
Who Causes to Swell
I was asked a good question, namely why do we at the Bakcheion associate the epiklesis Φλέως with Dionysos during the Anthesteria, to which I replied:
Phléos means “he who causes to swell” which can be interpreted in a number of ways. Dionysos causes the fruit to become swollen with moisture on the vine; he makes the flowers rise up from the cold, barren Earth with the dead following in their wake; just as the tides became swollen with rain and burst their bounds covering the Earth in a deluge during the days of Deukalion, the sweet sailor of the wine-dark seas in his Black Ship like the one paraded through the city on a wagon, full to bursting with the blessings of Dionysos; and the swollen goatskin, slick with oil on which men danced and grappled to commemorate the slaughter of the vine-munching beast by Ikarios, who himself was killed by people full of wine and wrathful madness; as well as the giant phalloi tumescent with life’s juices which were carried through the streets causing collective erotic mania until curative dances were instituted by the Pythia, pregnant with Apollon’s prophetic utterances, etc.
Year 5 of the Bakcheion
Although I’ve had wall calendars printed every year since the opening of the Bakcheion (and for several before that) this time around I’ve opted not to. We’ll still be marking the passage of the seasons and doing stuff to celebrate Dionysos’ festivals here in the temple and through the House of Vines – I’ll just be keeping track of things electronically. For those who like to plan ahead this is what Year 5 of the Bakcheion (2023 e.v.) is going to look like. Note that since we had to add the intercalanary month Eriaphioteion everything has slid forward a couple weeks. (The fun of keeping a lunisolar calendar.) Not included are the feast days of our Heroes and Heroines, which remain the same from year to year.
White Season begins (Jan 1)
Noumenia of Kissos (Jan 22)
Lenaia (Feb 2)
Noumenia of Stephanos (Feb 21)
Anthesteria: Pithoigia (Mar 3)
Anthesteria: Choes (Mar 4)
Anthesteria: Chytroi (Mar 5)
Noumenia of Thyrsos (Mar 22)
Dionysia begins (Mar 31)
Gold Season begins (Apr 1)
Dionysia ends (Apr 7)
Noumenia of Nebris (Apr 21)
Noumenia of Kantharos (May 20)
Agrionia (Jun 16)
Noumenia of Prosopon (Jun 19)
Red Season begins (Jul 1)
Aletideia (Jul 17)
Noumenia of Kothornos (Jul 18)
Noumenia of Diktya (Aug 17)
Pannychia begins (Aug 18)
Pannychia ends (Aug 19)
Noumenia of Pelekus (Sep 15)
Black Season begins (Oct 1)
Noumenia of Botrys (Oct 15)
Oschophoria (Oct 21)
Noumenia of Boukranion (Nov 14)
Lampteria (Nov 24)
Noumenia of Athyrmata (Dec 13)
Foundation Day (Dec 31)
but he cheerfully allowed an old woman to put a charm round his neck
I just came across an interesting anecdote by Diogenes Laertius:
We hear that Bion, to whom the Scythian land of Borysthenes gave birth, denied that the Gods really exist. Had he persisted in holding this opinion, it would have been right to say, “He thinks as he pleases: wrongly, to be sure, but still he does think so.” But in fact, when he fell ill of a lingering disease and feared death, he who denied the existence of the Gods, and would not even look at a temple, who often mocked at mortals for sacrificing to deities, not only over hearth and high altars and table, with sweet savour and fat and incense did he gladden the nostrils of the Gods; nor was he content to say “I have sinned, forgive the past,” but he cheerfully allowed an old woman to put a charm round his neck, and in full faith bound his arms with leather and placed the rhamnus and the laurel-branch over the door, being ready to submit to anything sooner than die. Fool for wishing that the divine favour might be purchased at a certain price, as if the Gods existed just when Bion chose to recognize them! It was then with vain wisdom that, when the driveller was all ashes, he stretched out his hand and said “Hail, Pluto, hail!” (Lives of the Eminent Philosophers 4.55-57)
That anonymous old woman sure sounds an awful lot like an Orpheotelest, though I don’t recall seeing her mentioned in discussions of Orphism. It wouldn’t be surprising, however, since a lot of women were Orpheotelestai or otherwise participated in Orphic rites and beliefs.
Rhamnus, by the way, is buckthorn which was chewed and smeared on the lintel to banish the keres or wandering dead during Anthesteria.
Image by Jim Lyngvild.
Chthonic Dionysos and the Saints of the True Vine
Dionysos in Egypt was given the epiklesis Petempamenti meaning “He who is in the West,” with the West understood in its traditional sense as the abode of the deceased and the place where the Sun-God Prē conducted his nocturnal journey before being reborn each morning. Although this is usually interpreted as a way of emphasizing the similarities between the Greek God in his chthonic form with the indigenous Osiris who was regarded from the time of Herodotos on as the Egyptian Dionysos, I think that what we’re dealing with here is actually something else entirely – a method of differentiating the two. If Herodes, son of Demophon (the author of the text in which we find this epithet) was familiar enough with the Egyptian language to use it (and though a Greek who had distinguished himself at court and in the military he also claims several lofty religious offices including prophetes of Khnoubis and archistolistes of the temples in Elephantine and Abaton Island, among others) he would certainly have been aware of Osiris’ more standard sobriquet Khentimentiu which means “Foremost of the Westerners” in the sense of being the Chief or King of the Dead (and as such Osiris fulfills a role in his pantheon cognate to that of the Greek Haides, Lord of the Underworld). I feel that this would likely have been what he used if such was actually Herodes’ intent.
The Ephesian philosopher Herakleitos felt that Haides and Dionysos were one and the same and there are hints in the Homeric Hymn to Demeter that this may have been a more widespread belief in the ancient world than we might otherwise assume:
She was playing with the deep-bosomed daughters of Okeanos and gathering flowers over a soft meadow, roses and crocuses and beautiful violets, irises also and hyacinths and the narcissus, which Earth made to be a snare for the bloom-like Girl … The Girl was amazed and reached out with both hands to take the lovely toy; but the wide-pathed earth yawned there in the plain of Nysa and the Lord Who Receives Many with his immortal horses sprang out upon her … A long time Demeter sat upon the stool without speaking because of her sorrow, and greeted no one by word or by sign, but rested, never smiling, and tasting neither food nor drink, because she pined with longing for her deep–bosomed daughter, until careful Iambe – who pleased her moods in aftertime also – moved the Holy Lady with many a quip and jest to smile and laugh and cheer her heart. Then Metaneira filled a cup with sweet wine and offered it to Demeter; but she refused it, for she said it was not lawful for her to drink red wine. [Italics added for emphasis.]
Such an interpretation, however, poses serious mythological difficulties beginning with the fact that Haides is the elder brother of Zeus, universally regarded as the father of Dionysos. More significantly, however, there is Dionysos’ descent and harrowing of the underworld to retrieve the soul of Semele:
Those who wrote the Argolica say that when Liber received permission from his father to bring back his mother Semele from the Lower World, and in seeking a place of descent had come to the land of the Argives, a certain Hypolipnus met him, a man worthy of that generation, who was to show the entrance to Liber in answer to his request. However, when Hypolipnus saw him, a mere boy in years, excelling all others in remarkable beauty of form, he asked from him the reward that could be given without loss. Liber, however, eager for his mother, swore that if he brought her back, he would do as he wished, on terms, though, that a God could swear to a shameless man. At this, Hypolipnus showed the entrance. So then, when Liber came to that place and was about to descend, he left the crown, which he had received as a gift from Venus, at that place which in consequence is called Stephanus, for he was unwilling to take it with him for fear the immortal gift of the Gods would be contaminated by contact with the dead. When he brought his mother back unharmed, he is said to have placed the crown in the stars as an everlasting memorial. (Hyginus, Astronomica 2.5)
The strains of Orphism which make Kore-Persephone his first, divine mother:
Ah, maiden Persephoneia! You could not find how to escape your mating! No, a serpent was your mate, when Zeus changed his face and came, rolling in many a loving coil through the dark to the corner of the maiden’s chamber, and shaking his hairy chaps he lulled to sleep as he crept the eyes of those creatures of his own shape who guarded the door. He licked the girl’s form gently with wooing lips. By this marriage with the heavenly serpent, the womb of Persephone swelled with living fruit, and she bore Zagreus the horned baby, who by himself climbed upon the heavenly throne of Zeus and brandished lightning in his little hand, and newly born, lifted and carried thunderbolts in his tender fingers. (Nonnos, Dionysiaka 6.155)
Not to mention the radical differences in the two Gods’ personalities (can you imagine Haides being amused by the drunken, phallic antics of the satyrs?) and their activities (Dionysos’ tendency to travel widely and interact intimately with his followers while Haides is reclusive and remains aloof from his subjects).
And yet Dionysos is unquestionably a chthonic deity and a lord of souls. He offers deliverance to the dead, intervening on their behalf with Persephone and the underworld judges:
Now you have died and now you have been born, thrice blessed one, on this very day. Say to Persephone that Bakchios himself freed you. A bull you rushed to milk. Quickly, you rushed to milk. A ram you fell into milk. You have wine as your fortunate honor. And rites await you beneath the earth, just as the other blessed ones. (Gold tablet from Pelinna)
Dionysos is the cause of release, whence the God is also called Lusios. And Orpheus says: “Men performing rituals will send hekatombs in every season throughout the year and celebrate festivals, seeking release from lawless ancestors. You, having power over them, whomever you wish you will release from harsh toil and the unending goad.” (Damascius, Commentary on the Phaedo 1.11)
He gathers his initiates about him in an eternal symposion:
Still more heroic are the blessings which Musaeus and his son bestow upon the righteous from the Gods. They conduct them into Haides, and lay them on couches, and establish a kind of symposium of saints, and set garlands on their heads, and make them live for ever in a state of intoxication, esteeming the fairest reward of virtue to be an eternity of drunkenness. […] But the most astounding of all these arguments concerns what they have to say about the Gods and virtue. They say that the Gods, too, assign misfortune and a bad life to many good people, and the opposite fate to their opposites. Begging priests and prophets frequent the doors of the rich and persuade them that they possess a God–given power founded on sacrifices and incantations. If the rich person or any of his ancestors has committed an injustice, they can fix it with pleasant things and feasts. Moreover, if he wishes to injure some enemy, then, at little expense, he’ll be able to harm just and unjust alike, for by means of spells and enchantments they can persuade the Gods to serve them. And they present a hubbub of books by Musaeus and Orpheus, offspring as they say of Selene and the Muses, according to which they arrange their rites, convincing not only individuals but also cities that liberation and purification from injustice is possible, both during life and after death, by means of sacrifices and enjoyable games to the deceased which free us from the evils of the beyond, whereas something horrible awaits those who have not celebrated sacrifices. (Plato, Republic 363c; 364a–365b)
The dead walk the earth and revel with the living during Dionysos’ Anthesteria festival:
On the day of the festival of Dionysos during the month of Anthesterion the souls of the departed come up. (Photios s.v. polluted days)
Those who had survived the great deluge of Deukalion boiled pots of every kind of seed, and from this the festival gets its name. It is their custom to sacrifice to Hermes Khthonios. No one tastes the pot. The survivors did this in propitiation to Hermes on behalf of those who had died. (Theopompos, in the Scholia to Aristophanes’ Acharnians 1076)
But some have the proverb as follows: ‘to the door, Keres; Anthesteria is not inside,’ since the souls were going throughout the city in the Anthesteria. (Photios s.v. To the door Kares, it’s no longer Anthesteria)
Further, Dionysian motifs are prominent in the funerary art of the Hellenistic and Roman periods; he himself experienced multiple deaths and rebirths; he is closely associated with caves, darkness, depths, violence and the uncanny in all of its forms; and lastly Dionysos presides over the fertility of the vegetable world whose seeds must be buried and nourished deep within the earth like the dead before sending up their wealth of fruit.
Thus while we may regard Dionysos as chthonic and even a Lord or Prince of the underworld, it is clear that he is not the supreme ruler of those below, the position held by Haides or Osiris. And this I suspect is why he was hailed as Petempamenti not Khentimentiu. He dwells down below, but it is not his permanent residence. A portion of the dead belong to him – those who have undergone his mysteries or who like Semele and Ariadne he has ransomed – but not all of them, nor is he overly concerned with the mechanics and politics of how the underworld operates on a regular basis. He so clearly resembles the tenebrous sovereign that it is easy to mistake the one for the other – but he also possesses abundant qualities that clearly differentiate them. And what’s more, Dionysos embodies the totality of life, oversees all of its manifold manifestations while death is conventionally understood as the antithesis of life. Of course everything common is wrong, and this limited view is no different. Perceived from one side of the divide death and life seem polar opposites – but shift your perspective and you’ll see that they have the same ultimate source and are constantly flowing into each other until they are impossible to separate. This is nowhere more apparent than in the food chain where all life exists through the consumption of other life that it, in turn, may feed still more forms of life. As the embodiment of life Dionysos necessarily must also be the embodiment of death, with no part of the process alien to him. The West where Dionysos dwells is both the End and the Beginning of Life – or as the Orphics of Olbia expressed it βίος – θανατος – βίος – Διονυσος.
This Dionysos is dark and still and somber, the quiet amid the storm, the masked pillar around which those filled with his frenzy dance and shout in ecstatic celebration. He is not completely immobile – his movements are just slow like the shoots of a plant triumphantly rising up through the soil, like the gradual formation of stalactites in a cave, like the procession of the stars through the heavens. The face of this Dionysos is always concealed in shadows, except for his eyes which are bright with the flames of madness and gaze into the depths of your soul and beyond. His voice echoes across a vast chasm even when he is nearer to you than your next heartbeat. There is an impenetrable denseness to his spirit, a gloom so black and so full of painful memories that even he has difficulty bearing its weight. He is ancient beyond all reckoning and yet remains unwearied by all that he has witnessed and experienced. His heart is fierce with love for the fragile and ephemeral things of this world, rejoicing and suffering along with them. He cannot turn his face away from them – he must witness it all, even if it makes him mad.
And though part of him remains forever down in the caverns deep beneath the earth, another part extends upwards into our world, surrounded by an innumerable host. The lusty satyrs, the madwomen, the nymphs who nurse him and the dead who belong to him, an invisible troop of wild spirits that march unseen but clearly heard in his processions, who race through the fields and forests and city streets on certain especially dark nights in pursuit of the victims of the hunt.
Depictions of a solitary Dionysos are rare unless he’s disguised himself so that he can walk unnoticed among men on one of his grand adventures, like when the Pirates found him on the beach. Otherwise Dionysos is surrounded by a frenzied throng. In early Greek art this thiasos could be depicted “realistically” as a group of mainades, masked men and priests reveling around the God or some kind of cultic representation of him such as a pillar draped with vegetation or else more “fantastically” with Dionysos surrounded by other Gods and Goddesses as well as nymphs, silens, satyrs, centaurs and other creatures of myth. Interestingly, these two versions of the thiasos were originally kept separate. You could find satyrs mingling with mortal mainades as long as Dionysos was out of the picture but when he’s there you get one or the other. This convention is found only in the earliest depictions of the scene – later artists tended to follow the example of the workshops in Sicily and Magna Graecia who were all about blurring boundaries. It’s also here that we find a new element introduced into the thiasos – the dead and initiates in the mysteries who may represent either living or deceased persons. The location of the revelry is also changed. Previously the scenes were set in sacred precincts or on mountains, usually Olympos, Nysa or Kithairon depending on who’s accompanying him. But the Italian artists brought the proceedings down into the otherworld. This may explain why they had no trouble representing mortals alongside the dead and divinities for when you’ve gone underground such distinctions no longer seem as important as they once did.
Around the seventh century before the common era this motif begins to find literary expression through the likes of Herakleitos, Pindar, the Orphic and Homeric poets, Sophokles, Euripides and Aristophanes – sometimes the appearance of this phantom troop was reported as actual fact, as we find in Herodotos, Diodoros, Plutarch and Pausanias. During the Hellenistic period the thiasos becomes wed to the custom of the triumphant procession thanks in no small part to the political theatrics of Alexander the Great who consciously sought to emulate his divine progenitor. The Ptolemies, the Attalids, Caesar and Mark Antony all followed in his footsteps and exploited Dionysian associations and pageantry to full effect.
In the dwindling days of the Roman Empire we discover another permutation of this motif – the mortal revelers and the dead are left out of visual and literary representations of the thiasos. It’s just Gods and nymphs and mythical creatures once more – often with the addition of erotes or putti, those obnoxious chubby little winged brats that are all over the place in Late Antique, Medieval and Renaissance art. For a few hundred years the theme remains fairly constant then you start seeing mortal mainades again. Then all of a sudden it merges with depictions of the Wild Hunt and you also start finding fairies and goblins and similar beings mixed into the thiasos. Although most of this was taking place in the visual arts – and Dionysos may well be the most popular Classical figure in Christian art after Herakles and the Sibyls – you can trace the same evolving currents in literature.
And for me Dionysos Petempamenti or Chthonios is intimately connected with this retinue. Even when I’m directly interacting with him I can sense the others in the background – this strange, mad company of many kinds of spirits. On several occasions they have come through him and taken possession of me and I’ve worked closely with small pockets of them in the past, though for the most part they remain this sort of shadowy collective.
Lastly, I think when a devout Dionysian dies they are given the choice of joining this crazy, intoxicated band of misfit spirits. You can always go elsewhere – Haides is a very large place, and it borders other underworld kingdoms – but I, for one, look forward to painting my face white, putting on an ivy crown and leaping into the midst of those who dance and fuck and hunt and drink forever, the Saints of the True Vine.
The Mighty Bull of the Two Lands
There is a startling array of evidence which suggests some kind of link between the Egyptian Osiris and the Greek Dionysos. What I have done with this article is to collect as much of that evidence as I could, so that the reader can determine what sort of connection there may be between the two. I have no theological axe to grind, no hidden agenda in presenting this information, nor do I intend to persuade my audience one way or another. It may be, as certain ancient authors felt, that the two of them were in fact the same God, perceived through slightly different cultural lenses. Then again, it may also be that they are only Gods who share similar roles, myths, histories, and spheres of influence while remaining completely separate, autonomous individuals. And then again, it may be that their similarities are highly inflated, perceived only because the reader desires to see a connection between them, and conveniantly disregards those areas where they differ. Although I have my own personal theories, I have tried to keep these out as much as possible, for I do not feel that it is my place to dictate such an important matter for the reader. I have simply provided the information for you to draw your own conclusions – and would recommend that if this is a pressing issue for you, that you go directly to the Gods and ask them themselves. I think the answers you receive will be most interesting indeed.
A preliminary note: Although in personal usage, particularly devotions and prayers, I employ a more authentically Egyptian form of the God’s name, I have opted in this article to use Osiris instead of Wesir, Asr, Osr, etc. This is because this name will likely be more familiar to my general reading audiece, and because a signifigant portion of the material that I included already contained that name, and I felt that it would be aeshetically uneven to continually have to switch back and forth between the two.
The Testimony of Ancient Authors
There are numerous ancient authors who assert the essential unity of these two Gods.
“There is only the difference in names between the festivals of Bacchus and those of Osiris, between the Mysteries of Isis and those of Demeter.” – Diodorus Siculus, The Library of History, 1.13
“Osiris, they say, was reared in Nysa, a city of Arabia Felix near Egypt, being a son of Zeus; and the name which he bears among the Greeks is derived both from his father and from the birthplace, since he is called Dionysos.” – Diodorus Siculus 1.15
“Osiris has been given the name Sarapis by some, Dionysos by others, Pluto by others, Ammon by others, Zeus by some, and many have considered Pan to be the same God; and some say that Sarapis is the God whom the Greeks call Pluto.” – Diodorus Siculus 1.25
“That Osiris is identical with Dionysos who could more fittingly know than yourself, Clea? For you are at the head of the Thyiades of Delphi, and have been consecrated by your father and mother in the holy rites of Osiris.” – Plutarch, On Isis and Osiris, 35
“It is proper to identify Osiris with Dionysos.” – Plutarch, On Isis and Osiris, 28
“Dionysos was the first to bring from India into Egypt two bulls, one named Apis and the other Osiris.” – Phylarchus
“Dionysos and Osiris are the same, who are called Epaphus” – Mnaseas
“For no Gods are worshipped by all Egyptians in common except Isis and Osiris, who they say is Dionysos; these are worshipped by all alike.” – Herodotus, The Histories, 2.42
“Osiris is he who is called Dionysos in the Greek tongue.” – Herodotus 2.144
Cicero included Osiris among the many Gods equated with Dionysos by the Greeks. (De Natura Deorum 3.21)
“He [Kadmos future king of Thebes in Greece and grandfather of Dionysos] showed forth the Euian secrets of Osiridos (Osiris) the wanderer, the Aigyptian Dionysos. He learned the nightly celebration of their mystic art, and declaimed the magic hymn in the wild secret language, intoning a shrill alleluia. While a boy in the temple full of stone images, he had come to know the inscriptions carved by artists deep into the wall.” – Nonnos, The Dionysiaca 4.268
Under the entry for ‘Osiris’ in Suidas’ Lexicon we read the following: “Some say he was Dionysos, others say another – who was dismembered by the daimon Typhon and became a great sorrow for the Egyptians, they kept the memory of his dismemberment for all time.”
In a dedicatory stela erected by a Ptolemaic-era prophet of Chnubis, Dionysos is called Petempamenti, “He who is in Amenti”, a title usually reserved for Osiris. (E. R. Bevan, The House of Ptolemy, 295)
Whether as a result of this equation, or on his own and through his own name, Dionysos has long been associated with Egypt and her neighbors. For instance, Hesychius located Nysa, the mythical birthplace of Dionysos, variously in Egypt, Ethiopia, or Arabia. (Lexicon 742) Hesiod locates the mysterious city of Nysa “near the streams of Aegyptus” (Frag. 287) as do the author of the first Homeric Hymn to Dionysos and Apollonius Rhodius (Argonautica 2.1214). Herodotus placed Nysa alternately in Egypt (3.97) or Arabia (3.111) with which Diodorus Siculus was in agreement (1.15).
According to Apollodorus (Library1.6.3), Ovid (Metamorphoses 5.319ff), and Hyginus (Fabulae 152) among others, during the battle of Zeus and Typhon, the Gods were forced to flee Mount Olympos and take up residence in Egypt, where they took on the shapes of animals in order to conceal themselves. Hermes became an ibis, Aphrodite a dove, Apollo a hawk, and Dionysos a goat. This myth was, in all likelihood, an attempt by the Greeks to explain the predominance of zoomorphic Gods in Egypt, as the ancient author Lucian shrewdly perceived (On Sacrifices, 14).
Later on, Dionysos was said to return to Egypt during his wanderings, where he was kindly received by King Proteus (Apollodorus 2.29), and founded the oracle of Zeus-Ammon. (Statius’ Thebaid 3.476) Hyginus tells the story in greater detail:
“When Liber was hunting for water in Egypt, and hadn’t succeeded, a ram is said to have sprung suddenly from the ground, and with this as guide he found water. So he asked Jupiter to put the ram among the stars, and to this day it is called the equinoctial ram. Moreover, in the place where he found water he established a temple which is called the temple of Jupiter-Ammon.” (Fabulae 133)
Herodotus insisted that Dionysos and his worship had been brought from Egypt into Greece:
“Melampos was the one who taught the Greeks the name of Dionysos and the way of sacrificing to him and the phallic procession; he did not exactly unveil the subject taking all its details into consideration, for the teachers who came after him made a fuller revelation; but it was from him that the Greeks learned to bear the phallus along in honor of Dionysos, and they got their present practice from his teaching. I say, then, that Melampos acquired the prophetic art, being a discerning man, and that, besides many other things which he learned from Egypt, he also taught the Greeks things concerning Dionysos, altering few of them; for I will not say that what is done in Egypt in connection with the God and what is done among the Greeks originated independently: for they would then be of an Hellenic character and not recently introduced.” (2.49)
Herodotus claimed that the people of Meroe, in Ethiopia, “worship no other Gods but Zeus and Dionysos,” (2.29) while the Arabians believed only in Dionysos and Aphrodite Ourania, whom, he informs us, they called “Dionysos, Orotalt; and Aphrodite, Alilat.” (3.8) In Libya they celebrated a festival called the Astydromia or “Town-running”, which was sacred to Dionysos and the Nymphs and was, Suidas informs us, “like the birthday celebration of the city, and a Theodaisia festival.” [An ancient Dionysos festival connected with wine] And Anacreon says that one of the titles of Dionysos was Aithiopais, meaning “The Ethiopian”.
After the Ptolemies came to power in Egypt, Dionysos was one of the most popular Gods. He was the tutelar deity of their Dynasty – Ptolemy IV even adopted the title “Neos Dionysos” (Oxyrhynchus, ii No. 236b) – and under their reign, numerous temples and theaters were erected to him, including a few that are still standing, despite the best efforts of Christians and Moslems over the centuries. It was the destruction of Dionysos’ temple in Alexandria by a mob of insane, violent Christians instigated by the Bishop Theophilus which inspired the remaining Pagans of the city to rise to the defense of the Serapeum. (Gibbon’s The Decline and Fall of the Roman Empire, XXVIII) Under Ptolemy IV Philopator, Egypt became a center of Dionysian mysteries. This King sent out an edict decreeing that “those who perform initiations for Dionysos” should travel to Alexandria and register there, declaring “from whom they have received the sacred things, up to three generations, and to hand in the hieros logos in a sealed exemplar.” Additionally, he required that the Egyptian Jews in the nomos of Arsinoe be initiated into the mysteries of Dionysos in order to “receive the same civic rights as the Alexandrians.” (3 Maccabbees 2.30)
Dionysos and his myths were a favorite subject of Egyptian artists – especially scenes depicting his courtship of Ariadne and his sojourn under the sea with Thetis – and many lovely murals, frescoes, and tapestries have been preserved. The Egyptian Nonnos of Panopolis wrote his monumental collection of the God’s myths the Dionysiaca – preserving some in the only form that has come down to us – in the 4th century C.E.
Almost not born
According to Plutarch, “They say that the Sun, when he became aware of Rhea’s intercourse with Cronus, invoked a curse upon her that she should not give birth to a child in any month or year; but Hermes, being enamoured of the Goddess, consorted with her. Later, playing at draughts with the moon, he won from her the seventieth part of each of her periods of illumination, and from all the winnings he composed five days, and intercalated them as an addition to the three hundred and sixty days. The Egyptians even now call these five days intercalated and celebrate them as the birthdays of the Gods. They relate that on the first of these days Osiris was born, and at the hour of his birth a voice issued forth saying, ‘The Lord of All advances to the light.'” (On Isis and Osiris, 12)
While Apollodorus relates the following story about Hera’s attempts to thwart the birth of Dionysos:
“But Zeus loved Semele and bedded with her unknown to Hera. Now Zeus had agreed to do for her whatever she asked, and deceived by Hera she asked that he would come to her as he came when he was wooing Hera. Unable to refuse, Zeus came to her bridal chamber in a chariot, with lightnings and thunderings, and launched a thunderbolt. But Semele expired of fright, and Zeus, snatching the sixth-month abortive child from the fire, sewed it in his thigh. On the death of Semele the other daughters of Cadmus spread a report that Semele had bedded with a mortal man, and had falsely accused Zeus, and that therefore she had been blasted by thunder. But at the proper time Zeus undid the stitches and gave birth to Dionysos, and entrusted him to Hermes. And he conveyed him to Ino and Athamas, and persuaded them to rear him as a girl. But Hera indignantly drove them mad, and Athamas hunted his elder son Learchus as a deer and killed him, and Ino threw Melicertes into a boiling cauldron, then carrying it with the dead child she sprang into the deep. And she herself is called Leucothea, and the boy is called Palaemon, such being the names they get from sailors; for they succour storm-tossed mariners. And the Isthmian games were instituted by Sisyphus in honor of Melicertes. But Zeus eluded the wrath of Hera by turning Dionysos into a kid, and Hermes took him and brought him to the Nymphs who dwelt at Nysa in Asia, whom Zeus afterwards changed into stars and named them the Hyades.” (3.4.3)
Concerning Osisirs, Diodorus Siculus wrote, “Osiris was the first, they record, to make mankind give up cannibalism; for after Isis had discovered the fruit of both wheat and barley which grew wild over the land along with the other plants but was still unknown to man, and Osiris had also devised the cultivation of these fruits, all men were glad to change their food, both because of the pleasing nature of the newly-discovered grains and because it seemed to their advantage to refrain from their butchery of one another.” (1.14)
Similarly, he wrote the following concerning Dionysos: “Some writers of myth, however, relate that there was a second Dionysos who was much earlier in time than the one we have just mentioned. For according to them there was born of Zeus and Persephone a Dionysos who is called by some Sabazios and whose birth and sacrifices and honours are celebrated at night and in secret, because of the disgraceful conduct which is a consequence of the gatherings. They state also that 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, this being the reason why they also represent him as wearing a horn.” (4.4.1)
Tieresias, in Euripides’ Bacchae says Dionysos “discovered and bestowed on humankind the service of drink, the juice that streams from the vine clusters; humans have but to take their fill of wine, and the sufferings of an unhappy race are banished.” (279-82)
Hyginus in his Fabulae writes, “When Father Liber [Dionysos] went out to visit men in order to demonstrate the sweetness and pleasantness of his fruit, he came to the generous hospitality of Icarius and Erigone. To them he gave a skin full of wine as a gift and bade them spread the use of it in all the other lands.” (130)
Philochorus wrote, “Amphictyon, King of Athens, learned from Dionysos the art of mixing wine and was the first to mix it. So it was that men came to stand upright, drinking wine mixed, whereas before they were bent double by use of unmixed wine.” (FGrH 328 F 173)
And there are numerous references – too many to recount here – to Dionysos instituting the cultivation of the vine in various localities within the Greek world. (Apollodorus and Pausanias recount most of these in a fairly coherent order.)
Peaceful Conquest of the World
“Of Osiris they say that, being of a beneficent turn of mind, and eager for glory, he gathered together a great army, with the intention of visiting all the inhabited earth and teaching the race of men how to cultivate the vine and sow wheat and barley; for he supposed that if he made men give up their savagery and adopt a gentle manner of life he would receive immortal honours because of the magnitude of his benefactions. And this did in fact take place, since not only the men of his time who received this gift, but all succeeding generations as well, because of the delight which they take in the foods which were discovered, have honoured those who introduced them as Gods most illustrious.” – Diodorus Siculus I.17
Dionysos also gathered together a great army, comprised of his Nurses, Satyrs, Panes, Seilenoi, Mainades, Nymphs, and mortals who came to join him. (Nonnos’ Dionysiaca) They set out to “visit men in order to demonstrate the sweetness and pleasantness of his fruit … he gave a skin full of wine as a gift and bade them spread the use of it in all the other lands.” -(Hyginus Fabulae 130) and also to spread the worship of the Meter Kybele which included mysteries, nocturnal orgies, ecstatic trances, and wild dances. Dionysos “travelled over the whole earth civilizing it without the slightest need of arms, but most of the peoples he won over to his way by the charm of his persuasive discourse combined with song and all manner of music.” (Plutarch, On Isis and Osiris, 13) When confronted by the Indian army, the Goat-God Pan who travelled in Dionysos’ train gave a great shout, filling them with panic, and the army dropped their weapons and fled, thus allowing Dionysos to conquer India without even having to shed a drop of blood. (Nonnos, however, tells a different story, and glories in the bloodthirstiness of Dionysos’ battle with the Indians.)
Diodorus Siculus wrote, “And the discovery of the vine, they say, was made by Osiris and that, having further devised the proper treatment of its fruit, he was the first to drink wine and taught mankind at large the culture of the vine and the use of wine, as well as the way to harvest the grape and to store the wine.” (1.15)
Osiris was called “Lord of Drunkeness at the Wag-festival”, which took place during the season of the grape harvest, shortly before the inundation. (Sigfrid Hoedel-Hoenes, Life and Death in Ancient Egypt, pg. 114) And wine was frequently offered to him, for instance, in the stela of Thutmose the doorkeeper, from the 18th Dynasty, we find that “water, a cool breeze and wine” are to be given to “the spirit of the inundation” and Horemheb offers Osiris wine in order to be granted the “gift of life, each day, like Ra”. Vines could be depicted in funerary monuments associated with Osiris, the most famous example belonging to the 18th Dynasty Mayor of Thebes Sennefer, whose tomb was known for its stunningly beautiful depiction of a grape arbor as the “tombeau des vignes”. The ceiling of his tomb is covered in vines and grapes painted with utmost care, reaching down into the shrine of Osiris within the burial chamber, as if originating from the realm of the God of life and vegetation.
Wine offers a clear connection between Crete, the earliest home of Dionysos, and Egypt, as Carl Kerenyi observes, “The Minoan hieroglyph for wine, an ideogram in Linear B, is similar to the Egyptian hieroglyph of the same meaning. It recalls that form of grape arbor which is represented on a picture of the wine harvest at the time of the Eighteenth Dynasty.” (Dionysos: Archetype of Indestructable Life, pg. 56)
Wine is so intimately linked with Dionysos that scarcely anyone speaks of the God without mentioning it. It shares his nature, for like the God it is “fiery” (Euripides Alkestis 757), “wild” (Aeschylus Persians 614), and “madness-inspiring” (Plato Laws 7.773 d), and yet it brings “great joy to mankind” (Homer Iliad 14.325). Perhaps the best description of the powers of wine are to be found in a hymn of the Roman poet Horace, “You move with soft compulsion the mind that is so often dull; you restore hope to hearts distressed, give strength and horns to the poor man. Filled with you he trembles not at the trunculence of kings or the soldiers’ weapons.” (3.21) Like the God, it is not complete without a second birth, and suffers immeasurably before it attains its final form. Achilles Tatius called wine “the blood of the God” (The Adventures of Leucippe and Clitophon 2.2) and Nonnos compared it to the tears of the God. (7.367) Wine was said to spring up miraculously whenever the God approached (Homeric Hymn 7) and the female followers of Dionysos caused “the earth to flow with milk, with wine, with the nectar of bees,” (Euripides’ Bacchae 708). Wine was poured out in libations to the Gods, drunk at symposia, and used by intiates to attain a mystical union with Dionysos. Euripides equated Dionysos with wine itself, saying, “As a God Dionysos himself is poured out to the Gods.” (Bacchae, 284)
Strabo believed that barley beer was a drink peculiar to the Egyptians, and the cultivation of beer was attributed to Osiris by Didorus Siculus. An inscription dating from 2200 BCE says, “The mouth of a perfectly contented man is filled with beer.” And beer formed part of the traditional Egyptian offering formula, “O you who give bread and beer to beneficent souls in the house of Osiris, do you give bread and beer at the two periods to the soul of N who is with you.” We read that the bread and the beer of Osiris make the eater immortal, (Book of the Dead, 40) an idea which is frequently elaborated. In the Pyramid Text of Teta, Osiris Teta “receives thy bread which decayeth not, and thy beer which perisheth not.” In the Text of Pepi II, the aspirant prays for “thy bread of eternity, and thy beer of everlastingness. (390)
Although wine is the drink usually associated with Dionysos, we find beer connected with him as well through his allonymns Sabazius and Bromios. Sabazius was the Thracian-Phrygian form of Dionysos, a wild, bearded God of fertility, snakes, and ritual ecstacy, whose followers attained union with him by drinking seba, beer, much as Dionysos’ followers drank wine. Additionally, the Emperor Julian wrote a rather witty epigram upon discovering ‘wine made from barley’, that is beer, found in Gaul:
“Who are you, and whence, Dionysos? For by the true Bacchus, I do not recognize you: I know only the son of Zeus. He smells of nectar, you smell of the goat. Truly the Celts must have made you from grain only for lack of grapes. Therefore we should call you Demetrios, not Dionysos. rather born of grain [than of fire], and Bromos, not Bromios” (Epigram IX, 638 Greek Anthology )
Ivy, Vines, and Grapes
In the papyrus of Nebseni, written about 1550 B.C.E., Osiris is depicted sitting in a shrine, from the roof of which hang clusters of grapes; and in the papyrus of the royal scribe Nakht we see the God enthroned in front of a pool, from the banks of which a luxuriant vine, with many bunches of grapes, grows towards the green face of the seated deity. Hellanicus maintains that the vine was discovered first in Plithine, a city of Egypt and the physician Philomides says that the vine had been brought from the Red Sea into Greece (Athenaios 1.34a, 15.675)
According to Diodorus Siculus , “The discovery of ivy is also attributed to Osiris by the Egyptians and made sacred to this God, just as the Greeks also do in the case of Dionysos. And in the Egyptian language, they say, the ivy is called khenosiris, the ‘plant of Osiris’ and for purposes of dedication is preferred to the vine, since the latter sheds its leaves while the former ever remains green.” (1.17.4.)
These two plants are especially sacred to Dionysos.
Homer calls Dionysos Kissokomes or “ivy-crowned” (Hymn 26) and Pindar calls him Kissophoros or “Ivy-bearing” (Olympian Ode 2.50). The Acharnian deme, which was supposedly the first place where the plant grew up, was more explicit, and simply called him Kissos or “Ivy”. (Pausanias 1.31.6) The plant was wrapped around the thyrsoi of the God and his followers, and draped around the life-size mask of Dionysos in Icaria. According to the scholion on Euripides’ Phoenician Women 65, ivy appeared simultaneously with the birth of Dionysos in order to protect the infant from the flames of lightning which consumed his mother. Arrian in his Anabasis says that there was no ivy to be found in all of Asia, except for Mount Meros and Nysa in India as a token that the God had been there. (5.1.6) In the Hellenistic period, Initiates in his Mysteries had themselves tattooed with ivy-leaves (3 Maccabbees 2.29) and decorated their tombstones with it. According to Plutarch, ivy had the power to insight madness, “For women possessed by Bacchic frenzies rush straightway for ivy and tear it to pieces, clutching it in their hands and biting it with their teeth; so that not altogether without plausibility are they who assert that ivy, possessing as it does an exciting and distracting breath of madness, deranges persons and agitates them, and in general brings on a wineless drunkenness and joyousness in those that are precariously disposed towards spiritual exaltation.” (Roman Questions, 112)
Vines are a prominant feature in the iconography of Dionysos. His statues were frequently draped in it, and the maenads twined vines as well as ivy around their fennel stalks in order to create the sacred wand of Dionysos, the thyrsos. Homer describes how the plant creeped up the mast of the pirate ship as Dionysos’ wrath was made manifest. (Homeric Hymn 7) Alcaeus said that no plant should be planted in preference to vine, and both Horace (Carmine 1.18.1) and Ennius (Trag. 124.5) called the vine sacred. But the most famous association of the vine with Dionysos are the miraculous “one-day vines” which Walter Otto describes as follows: “These flowered and bore fruit in the course of a few hours during the festivals of the epiphany of the God. A choral song in Euripides’ Phoenissae … sings of the twin peaks lit up by the fire of the Bacchic festival and the vine which ‘daily bears its yield of juicy thick grape clusters.’ As Sophocles tells us in his Thyestes, on Euboea one could watch the holy vine grow green in the morning. By noon the grapes were already forming, they grew heavy and dark in colour, and by evening the ripe fruit could be cut down, and the drink could be mixed. We discover from the scholia of the Iliad that this occurred in Aigai at the anual rite in honor of Dionysos, as the women dedicated to the God performed the holy rites. And finally Euphorion knew of a festival of Dionysos in Achaean Aigai in which the sacred vines blossomed and ripened during the cult dances of the chorus so that already by evening considerable quantities of wine could be pressed.” (Dionysos: Myth and Cult, pg. 98-99)
The Ivied Rod
The thyrsos is the supreme symbol of Dionysos, carried by all of his devotees. It is a stalk of fennel or other wood, topped by a pine-cone, and wreathed with ivy. It is a powerful tool, through which the God’s coursing, vibrant, ecstatic sexuality manifests. “The maenads, followers of Dionysos, pound the ground with the thyrsos, which drips honey and causes milk and wine to gush up from the earth; a phenomenon into which it is not difficult to read sexual symbolism.” (Delia Morgan, Ivied Rod: Gender and the Phallus in Dionysian Religion)
The thyrsos, also, is found in possession of Osiris. Before Lucius is initiated into the mysteries of Osiris, the God visits him in a dream, prefaced by an encounter with one of the God’s devotees. He was “clad in linen and bearing an ivied thyrsos and other objects, which I may not name.” (Apuleius’ Metamorphoses, 27)
Plutarch also attests to thyrsoi connected with Osiris. “For they fasten skins of fawns about themselves, and carry thyrsoi, and indulge in shoutings and movements exactly as do those who are under the spell of the Dionysiac ecstacies.” (On Isis and Osiris, 35)
And Lewis Spence informs us that, “A pine cone often appears on monuments as an offering presented to Osiris.” (Ancient Egyptian Myths and Legends p. 72)
Barley and Corn
John Ferguson describes a common practice associated with Osiris, “Effigies made of vegetable mould and stuffed with corn were buried in graves or placed between the legs of mummies. In a representation at Philae we see the dead body of Osiris with stalks of corn springing from it, watered by a priest. There is an inscription: ‘This is the form of him whom one may not name, Osiris of the mysteries, who springs from the returning waters.'” – An Illustrated Encyclopaedia of Mysticism and the Mystery Religions
This is given a poignant meaning by Coffin Text 330, where it says, “For I live and grow in the corn … I cover the earth, whether I live or die I am Barley. “
Diodorus Siculus describes how Osiris was associated with the grain, and how its harvesting was attended by rites of mourning:
“As proof of the discovery of these fruits they offer the following ancient custom which they still observe: Even yet at harvest time the people make a dedication of the first heads of the grain to be cut, and standing beside the sheaf beat themselves and call upon Isis, by this act rendering honour to the Goddess for the fruits which she discovered, at the season when she first did this. Moreover in some cities, during the Festival of Isis as well, stalks of wheat and barley are carried among the other objects in the procession, as a memorial of what the Goddess so ingeniously discovered at the beginning.” (1.14)
And in the Contendings of Heru and Set, Osiris declares, “It is I who created the barley and wheat to make the Gods live, and after the Gods, the herd of man.” (1.14.12)
Grain and barley are not the usual plants associated with Dionysos, but they have their place within his realm as well. For instance, Apollodoros says that Dionysos granted the daughters of Anius, the King of Delos, the power to cause wine, olive oil, and corn to rise up from the earth. (E 3.10) Additionally, grain, barley, and corn were connected with him in cult. The liknon, the fan-shaped winnowing basket in which the God resided, was often shown filled with grain in addition to grapes, other first-fruits, and the phallus. Bacchus’ image was drawn round the fields in a chariot and crowned by the matrons (Augustine, De civitate Dei, VII. 21). Pausanias records that in honor of Dionysos Aisumnetes, a group of children would go down to the river Melikhos “wearing on their heads garlands of corn-ears.” (7.20.1) At the Haloa, a festival he shared with Demeter, phallic cakes were made out of the grain to honor him, and at Eleusis, when the single sheaf of wheat was harvested in silence (Hippolytus 5.8.39) there were those who saw in it a manifestation of Dionysos-Iakkhos, “Hail the green ear that is harvested .. Bacchos, the shepherd of the shining stars.” (9.8)
Trees and Vegetation in General
Robert Graves observed that the character of Osiris as a tree-spirit was represented very graphically in a ceremony described by Firmicus Maternus. A pine-tree having been cut down, the centre was hollowed out, and with the wood thus excavated an image of Osiris was made, which was then buried like a corpse in the hollow of the tree. Further connections with vegetation can be enumerated:
“O thou lord of food, thou prince of green herbs,” – The Lamentations of Isis and Nephthys
“Through thee the world waxeth green in triumph.” – Papyrus of Ani, 2.
Osiris is hailed as “the Lord of the Acacia Tree” – Papyrus of Ani, 19.
The body of Osiris becomes enclosed in the trunk of a tree and is associated with the Djed pillar in Utterance 574.
Similarly, Dionysos was connected with all vegetation and green growth, not just the vine and and its alcohol-producing fruit.
A fragment of Pindar’s preserved in Plutarch reads, “May gladsome Dionysos swell the fruit upon the trees, the hallowed splendor of harvest-time.” Plutarch also informs us that Dionysos is worshipped “almost everywhere in Greece” as Dendrites “Tree God”. (On Isis and Osiris, 34) Dionysos’ image was found inside of a plane tree which had been split asunder in Magnesia, and the Corinthians were given an oracle by Apollo at Delphi to worship the pine tree “as the God” whereupon they had a statue of Dionysos carved out of its wood. (Pausanias 2.27) Dionysos was called Sykites, “Fig-God”, the wood from which phalloi were carved. The scholiast to Aristophanes’ Frogs mentions that the myrtle was sacred to Dionysos, and Ovid says that “Bacchus loves flowers”, (Fasti 5.345) specifically roses and violets, according to Pindar (Frag. 75) This is not surprising considering his epithets Anthios “Blossoming” and Euanthes “He Who Makes Grow” or his festival the Anthesteria which celebrated the return of life to the earth.
Aristotle observed that everything nourishing is moist, that warmth arises out of moisture, and that the seeds of all living things have a moist nature. (Metaphysics 1.983 B) So it is not surprising to find Dionysos associated with this element. According to Plutarch Dionysos was “the lord and master not only of wine, but of the nature of every sort of moisture” (On Isis and Osiris, 35) And he calls him outright Hyes “Moisture”. (34) Philolaus said that Dionysos held sway over moist and warm creation, whose symbol was wine, it being a moist and warm element, and Varro declared that the soverignty of Dionysos was not only to be recognized in the juice of fruits whose crowning glory was wine, but also in the sperms of living creatures.
Tradition furnishes us with many connections to water. Dionysos was attended by the Halia or “sea women” who assisted him in his battle against Perseus at Argos. Nonnos relates how, “In the Erythraian Sea, the daughters of Nereus cherished Dionysos at their table, in their halls deep down under the waves. So he remained in the hall deep down in the waves under the waters, and he lay sprawled among the seaweed in Thetis’ bosom.” (Dionysiaca 21.170) At Brasia, it was said that Dionysos had washed ashore in a chest and at Methymna on Lesbos, fishermen found a prosopan “face” or “mask” of olive wood in their nets, which was afterwards worshipped in a procession to honor Dionysos Phallen. (Pasuanias 3.24.3-4, 10.19.3) Dionysos was said to come to Athens “from across the sea” on a dark ship on the second day of the Anthesteria, and Homer tells the story of Dionysos’ attempted kidnapping by the pirates, and his turning them into dolphins. (Homeric Hymn 7) In Pagasae he was worshipped as Pelagios “God of the sea”, in Chios, Sparta, and Sicyon as Aktaios “God of the Seacoast”. He also had his grottoes, as at Euboea (Pausanias 2.23.1) and his temple En Limnais “in the marshes” (Athenaios 11.465 A).
Osiris, too, was connected with water, as Plutarch observed in his On Isis and Osiris: “all kinds of moisture are called the ‘efflux of Osiris.’ Therefore a water-pitcher is always carried first in his processions, and the leaf of a fir-tree represents both Osiris and Egypt.” (36)
He was especially connected with the Nile, whose cyclic rise and fall found parallels in the God’s own life: “As to what they relate of the shutting up of Osiris in a box, this appears to mean the withdrawal of the Nile to its own bed. This is the more probable as this misfortune is said to have happened to Osiris in the month of Hathor, precisely at that season of the year when, upon the cessation of the Etesian or north winds the Nile returns to its own bed, and leaves the country everywhere bare and naked.” (Plutarch On Isis and Osiris, 39)
Herodotus called the Nile the “gift of Osiris” and Pausanias related that, “When the Nile begins to rise, the Egyptians have a tradition that it is the tears of Isis which make the river rise and irrigate the fields” (10.32)
The Pyramid Texts also speak of the Nile in connection with Osiris: “They come, the waters of life which are in the sky. They come, the waters of life which are in the earth. The sky is aflame for you, the earth trembles for you, before the divine birth of Osiris. The two mountains are split apart. The God comes into being, the God has power in his body. The month is born, the fields live.” (2063) And “O Osiris! The inundation is coming; abundance surges in. The flood-season is coming, arising from the torrent isssuing from Osiris, O King may Heaven give birth to thee as Orion!” (2113-2117) And in a hymn to Osiris, Rameses IV says “You are the Nile, Gods and men live from your outflow.”
In Egypt, there were a number of sacred bulls who were associated with Osiris. Perhaps the most famous of all of these was the bull God known to the Egyptians as Hapi and to the Greeks as Apis. According to Aelian, Hapi was held in the greatest of honour from the time of the first Pharaoh (De Natura 11.10) while in all probability his cult stretched back to Predynastic times.
According to Herodotus, the Apis bull was conceived by lightning and was recognized by the following signs: “it is black, and has a square spot of white on its forehead, and on the back the figure of an eagle, and in the tail double hairs, and on the tongue a beetle.” (3.28) Plutarch said that “on account of the great resemblance which the Egyptians imagine between Osiris and the moon, its more bright and shining parts being shadowed and obscured by those that are of darker hue, they call the Apis the living image of Osiris”. (On Isis and Osiris, 43) The bull, Herodotus says, was “a fair and beautiful image of the soul of Osiris”. Diodorus similarly states that Osiris manifested himself to men through successive ages as Apis. “The soul of Osiris migrated into this animal”, he explains.
The fusion of Osiris and Apis was known as Asar-Apis, which became in Greek Sarapis or Serapis. It is often claimed that the cult of Serapis was invented by Ptolemy I in order to provide a deity which both his Greek and Egyptian subjects could worship in common. However, the union of Asar-Api is found in an inscription from the 18th Dynasty where he is hailed as “the great God, Khent-Amentet, the lord of life forever,” – an equation which predates Alexander’s conquest of Egypt by almost a thousand years. However, it wasn’t until Ptolemaic times that the cult of this syncretic deity truly came to prominance. According to Plutarch (On Isis and Osiris, 28), Ptolemy Soter had a dream in which he beheld a huge statue. Afterwards he communicated his dream to certain close associates of his, who remembered seeing a statue exactly like it at Sinope. The King sent for the statue, and when it was shown to Timotheus, an Eleusinian priest, and Manetho an Egyptian, they said that it resembled the Greek Hades, because of the three-headed dog Kerberos which attended it, but also that it resembled Asar-Api. Ptolemy established the cult of Serapis at Alexandria, building a huge temple for him there which also possessed a library that was said to contain over 300,000 volumes. Serapis’ worship was successful, in that both Greeks and Egyptians felt that they were worshipping their own native deity, but his cult really took off once it spread West into Rome, where it became one of the ancient world’s most popular religions, patronized by Emperors such as Otho, Caligula (under whom the first Serapeum was built at Rome), and Gaius Julius Verus Maximinus, as well as people from all ranks of society. Serapis acquired the attributes and symbols of a number of Greek and Roman Gods – he was depicted in the traditional form of Zeus/Iuppiter, complete with long beard and lightning-bolts, from Asklepios he gained the power to heal and his serpent companions, from Helios he took the solar-crown and dominion of the heavens, from Hades he became Lord of the Underworld and gained Kerberos as a companion, and from Dionysos he was given a thyrsos, ivy, and the kantharos, as well as rule over nature. A number of authors came to equate Dionysos and Serapis, most notably Diodorus Siculus (1.25) and Plutarch (On Isis and Osiris, 28). However, Serapis and his origins in the Apis bull were not Osiris’s only connection with this most holy and powerful of creatures.
Plutarch informs us that the Mnevis Bull, which was kept at Heliopolis was “second only to the Apis” and that “like Osiris, it was black in colour,” (On Isis and Osiris, 34). In temple inscriptions the two are actually identified through the names “Mnevis-Osiris” and “Mnevis-Wennefer” (Richard H. Wilkinson, The Complete Gods and Goddesses of Ancient Egypt, 174). Ammianus Marcellinus claimed that the Mnevis was sacred to the Sun as Apis was sacred to the Moon, and in the Pyramid Texts he was regarded as the ba of Re and linked with Re-Atum, not unlike Osiris himself. In Utterance 307 we read, “I am the wild bull of the grassland, the bull with the great head who comes from Heliopolis. I come to you the wild bull of the grassland, for it is I who generates you, and continuously generates you.”
In the vignettes of Chapter 148 of the Book of the Dead, Osiris is connected with Kai Imentet, the Bull of the West, or Heavenly Bull, who was said to be the husband of seven cows, which accompanied him in his travels.
Another bull connected with Osiris (and which suggests a strong link with Dionysos as well) was the sacred bull of Hermonthis, whose name was variously given as Pacis, Bacchis, Bakha and Onuphis. (The last, found in Aelian 8.11, was in all likelihood a corruption of Osiris Un-nefer, according to Budge.) The Bacchis bull was said to change its colour every hour of the day (Macrobius Saturnalia 1.26), and was regarded as “an image of the sun shining on the other side of the world, i.e. the Underworld.” (E. A. Wallis Budge, Gods of the Egyptians vol II, pg 352.) He was further styled “Bull of the Mountain of the Sunrise, and the Lion of the Mountain of Sunset” providing an interesting link with Dionysos which runs deeper than the similarity of their names.
Dionysos was represented as having bull horns (Sophocles Fragment 959) and Ion of Chios refers to him as the “indominatble bull-faced boy” (Athenaios 2.35 d-e) like the author of Orphic Hymn 45 who invokes Dionysos as the “bull-faced God conceived in fire”. The women of Elis sought Dionysos to come “storming on your bull’s foot” and hailed him as the Axie Taure “Worthy Bull”. In Euripides’ Bacchae, the Theban maenads ask him to appear as a bull (1017) and Pentheus discovers that in place of the effiminant stranger he had thought he’d imprisoned in the palace, there is a mighty and ferocious bull in his place. At Pergamon and elsewhere, priests of Dionysos were called boukoloi and arkhiboukoloi (IPergamon nos. 485-88) and the sacred marriage of Dionysos and the Basillina was celebrated in the boukoleion or sacred cow-shed at Athens. (Aristotle Constitution of the Athenians 3.5)
The panther is perhaps Dionysos’ favorite animal. It is almost universally depicted in his train, pulling his chariot, ferociously tearing apart his enemies such as Lykourgos, laying docilely at his feet, or as Philostratus tells us, “leaping as gracefully as the Bacchantes”. (Imag. 1.19.4) The panther was even said to have a fondness for wine. (Oppian Cynegetica 3.80) Its intractable savagery was compared to that of Dionysos’ own. (Athenaios 2.38e)
However, Dionysos was also connected with the lion, in whose guise he appears to frighten the pirates in the 7th Homeric Hymn and the daughters of Minyas. In this form, he fought in the battle against the Giants (Horace Carmina 2.19.23) and it was as a lion that the Theban women sought him in Euripides’ Bacchae, “Appear as a bull, or as a many-headed dragon, or as a lion breathing fire!” (1017) In Roman times, both the lynx and tiger were added to his train.
There aren’t many references linking Osiris to wild cats, though the Egyptians knew lion-Goddesses such as Sekhmet and Menhit. However, Osiris is depicted as having a lion-shaped sarcophagus at Dendera, and Plutarch linked him with this animal, “The Sun is consecrated to Osiris, and the lion is worshipped, and temples are ornamented with figures of this animal, because the Nile rises when the sun is in the constellation of the Lion.” (On Isis and Osiris, 38) And in the Contendings of Heru and Set, Osiris is hailed as the “lion who hunts for himself,” (1.14. 7)
Jan Bergman observed that, “The most decisive divine confrontation encountered in Egyptian religious thought is without doubt that between Ra and Osiris. As the princial representation of sky and earth, life and death, light and darkness, day and night, they constitute one another’s necessary compliment. Without some form of union between them, the Egyptian world view would have been hopelessly divided and the rhythm of life broken.”
In the Book of the Dead (clxxxi), we find the following lines, “Homage to thee, O Governor of Amentet, Un-Nefer, lord of Ta-tchesert, O thou who art diademed like Re, verily I come to see thee and rejoice at thy beauties. His disk is thy disk; his rays of light are thy rays of light; his Ureret crown is thy Ureret crown; his majesty is thy majesty, his risings are thy risings …” and continues in that vein for quite some time.
Osiris was considered to be the ba or soul of Ra, as we see from the inscription in the tomb of Nefertari, “Osiris who rests in Ra and Ra that rests in Osiris” and he was also connected with the Sun through its nightly journey in the Duat or Underworld. This was often depicted quite beautifully on coffins. For instance, we frequently find on the bottom of coffins and in the center of the lid pictures of Nut, Goddess of the sky and mother of Osiris. The images of Nut encircled the entire coffin, and the coffin probably represented the womb of the Goddess. Being buried in the womb of the Goddess implied being reborn in the underworld as Osiris. The sun myths also contain the idea that the Sun God’s journey through the underworld occurs through the body of Nut. Thus the deceased is identified with the Sun God because both are reborn through Nut. Osiris was also thought to be the mummy of the Sun God. In the same way that the soul of the dead had to return to the body every night to be revived for a new day, the Sun God had to be united with Osiris every night. Thus the deceased, Osiris, and the Sun God merged.
Didorus Siculus said that the sun was often identified with Osiris and the moon with Isis (1.11) and Plutarch observed, “Furthermore they everywhere show an anthropomorphic statue of Osiris with erect phallus because of his procreative and nourishing nature. They adorn his statues with flame-coloured clothes, regarding the sun as the body of the power of good and as the visible light of a substance which can only be spiritually felt.” (On Isis and Osiris, 201)
Dionysos has his solar associations as well. The most explicit statement of this comes from the Roman author Macrobius, who outright calls Dionysos-Liber the sun. (Saturnalia, I, 17-23) More subtly, you find Dionysos and his brother Apollon, who from the 5th century B.C.E. had been connected with the sun, linked, and even equated at times. Plutarch said that they had equal shares at Delphi, and Aischylos speaks of “Ivy-Apollo, Bakchios, the sooth-sayer” (Fragment 86) while Euripides in his Lykymnios speaks of “Lord, laurel-loving Bakhios, Paean Apollo, player on the lyre” (Fragment 480). Perhaps the earliest point of contact, however, comes from the Thracian prophet and musician, Orpheus.
The following, which I have always found terribly beautiful, was posted to the Thiasos Dionysos e-list by Lysiodorus, a Dionysian priest:
“The inspired scholar Peter Kingsley, who has traced the idea of the Chthonic Sun among the Greeks as far back as Parmenides, makes the profound suggestion (I scent the trace of a Dionysiac Muse in this inspiration) that when Orpheus, servant of Apollon and Dionysos and Helios– a triple dedication that has confused many from antiquity to the present day (but which doesn’t seem strange or conflicting if They can all be identified as Aspects of each other)– climbed to the peak of Mount Pangaion every morning to be the first to greet the Sun rising from the Eastern Gates of the Underworld, it was because the Solar shaman-priest wished to be illuminated by hearing His God whisper in the ecstatic beauty of dawn what mysteries He had learned on His nocturnal journey through the Underworld (Mysteries the Sun/ Dionysos/ Apollon could share with the Thracian mystic because it was a Chthonic initiatory journey, let us not forget, that Orpheus himself had made).”
Black is beautiful
For the ancient Egyptians, the colour black symbolized both death and the underworld on the one hand, and fertility, resurrection, and the fullness of life on the other. (April McDevitt Color in Ancient Egyptian Mythology) Likely, this association derived from the rich black, alluvial soil left after the flooding of the Nile. Herodotus (2.12) observed that the Egyptians drew a distinction between the habitable area of the Nile Valley, and the dry, barren wastes of the desert which surrounded them, calling the first Kemet “The Black Land”, and the latter Deshret or the “Red Land”, and Plutarch attests that this was the name that they used in referring to their land: “Egypt, moreover, which has the blackest of soils, they call by the same name as the black portion of the eye, Khemia.” (On Isis and Osiris33)
Because Osiris was connected with the flooding of the Nile and the rich black soil that it left behind, he was naturally depicted with a dark complexion (On Isis and Osiris 22) as we often see in funerary monuments, for instance that of Rameses IX or the basalt statue from the tomb of Psamtik. Further, he was called Kem “The Black One”, Kem Ho “He of the Black Face”, and Kem Wer “The Great Black One”. (E. A. Wallis Budge, An Egyptian Hieroglyphic Dictionary)
Dionysos could also be depicted in a similar manner. For instance, at Eleutherai, Dionysos was said to have appeared to the daughters of the King in the guise of a dark goat, after which he was called Melanaigis “He of the Black Goat Skin”. (Suida, Lexicon s.v. Melan). Additionally, Dionysos was known as Khthonios or “He Who is Beneath the Earth” as well as Nyktelios “The Nocturnal One”, and Nyktipolos “The Night-Stalker”. Additionally, Polemon speaks of a Dionysos Morychos or “Dark Dionysos” worshipped at Syracuse.
What Green skin you have
In the Book of the Dead, as translated by E. A. Wallis Budge, there are a number of references to Osiris’s green colour. He is described as “Golden of limbs, blue of head, emerald upon both of his sides…” (pg. 10) and said to be “encircled by an emerald light” (pg. 254) The earth is said to “Becometh green through thee … in triumph before the hand of Neberter,” (pg. 253) and “Thou hast come with thy splendours, and thou hast made heaven and earth bright with thy rays of pure emerald light.” (pg. 250)
Dionysos was called Anthios “The Blossoming One”, Kissokomes “Crowned with Ivy”, Perikionios “He Who is Entwined Around the Pillars”, and Korymbophoros “The Cluster-laden”. He made his appearance amid the ripening of fruit and the vibrant hues of spring, and was always depicted with a crown of ivy or laurel, and ivy dripping off of him.
Sex saturates the Dionysian world-view. The Samians worshipped Dionysos Enorkes “the Betesticled” or “In the Balls”. (Hesychius s.v. Enorkes) And at Sicyon the God’s lustiness was honored by the title Dionysos Khoiropsalas “Cunt-Plucker”. (Polemon Historicus, FHG 3.135.42) We see this side of the God manifest in the uncomplicated and unapologetic phallicism of his male companions, the satyrs. Hesiod calls the satyrs a “race of lazy, good-for-nothings,” (Catalogue of Women Fragment 123) and in Attic vase-paintings they are almost always depicted in a state sexual arousal, frollicking in phallic dances to the accompaniment of pipes and drums, chasing after nymphs, or attempting (unsuccessfully) to initiate romantic liasons with the female votaries of Dionysos. Their eroticism is exaggerated, comical, and rarely finds satisfaction. Nor does their sexuality necessarily need the presence of women for arousal – satyrs are depicted as resorting to masturbation, strange contrivances, bestiality, etc. for release – and sometimes they are simply there with their large, erect members (as opposed to traditional Greek aeshetics which seemed to prefer small, unerect penises) as if the act of sex was an afterthought. It is horniness for the sake of horniness, reveling in the presence and excitement of the phallus, in the thrill and chase and wild exuberance of sensuality, a celebration of the body, of pleasure, in and of itself, whether it ever reaches completion in the act of coitus.
The phallus is ubiquiotus in the worship of Dionysos. According to Plutarch, the things carried in the earliest rites of Dionysos were: “A wine jar, a vine, a basket of figs, and then the phallus,” (Moralia 527D) According to Aristophanes, Phales, the phallus personified, was the “friend and constant companion” of Dionysos, and accompanied him in processions and sacred dances. (Acharnians 263) Herodotus says that Melampos, who supposedly introduced Dionysos’ worship into Greece, instituted phallic processions in his honor. (2.49) At Methymna on Lesbos there was a cult of Dionysos Phallen in which a wooden trunk with a face on it was carried in procession. (Pasuanias 10.19.3) Each colony sent a phallus regularly to the Athenian Dionysia, and at Delos large wooden phalloi were carried in processions. And Herakleitos speaks of the phallic songs which would be shameful if they were not sung in honor of Dionysos. (Fragment 15) We even have a fragment of one of those songs from the Delian poet Semos, who sings of Dionysos, “Give way, make room for the God! For it is his will to stride exuberantly erect through the middle.”
Dionysos’s sexual rapaciousness is well attested in mythology. His most famous lover was the Cretan princess Ariadne, with whom he had numerous children – at one count, almost twelve of them. (Homer Iliad 18.590-92, Apollodorus 1.9.17) But she was by no means his only lover. By Aphrodite he was said to have sired Priapos (Pausanias 9.31.2), by Nikaia, Telete (Dionysiaca 16.392), by Aura, Iakkhos (Dionysiaca 48.887), by Koronis, the Younger Charities (Dionysiaca 15.87), by Althaia, Deianeira (Apollodorus 1.64), by Physkoa, Narkaios (Pausanias 5.16.6). Additionally, he was said to have wooed Beroe, after whom the city in Lebanon was named (Dionysiaca 42.1f) and Pallene, who had wrestled and slain all previous suitors. Nor were his amorous encounters limited only to women – Dionysos was also said to have loved the young satyr Ampelos (Ovid Fasti 3.407), the sentry to the underworld Prosymnos (Clement of Alexandria Protreceptic 2.34.5) and the poet Phanocles even wrote, “Bacchus on hills the fair Adonis saw, and ravished him, and reaped a wondrous joy.”
Orgiastic rites were frequently attributed to Dionysos. For instance, Livy recounts the allegations of the Roman Senate in their suppression of the Bacchanalia as follows, “When wine had inflamed their feelings, and night and the mingling of the sexes and of different ages had extinguished all power of moral judgement, all sorts of corruption began to be practiced, since each person had ready to hand the chance of gratifying the particular desire to which he was naturally inclined… [N]o sort of crime, no kind of immorality, was left unattempted. There were more obscenities practiced between men than between men and women.” (Roman History 39.8, 13) In the Akharnians, Aristophanes has Dikaiopolis jokingly refer to his daughter’s involvement in Dionysian revels, “Happy he who shall be your possessor and embrace you so firmly at dawn that you fart like a weasel.” The chorus of Sophocles’ Oedipus the King (1105-9) wonders if the King may have been conceived during a Dionysian orgy on mount Helicon, and Plutarch asserts that Alexander the Great was likely conceived during one of Queen Olympias’ Bacchic orgies, for which she had a great fondness, where the God appeared in the form of a giant snake. (Alexander 2-3) And Augustine speaks of a high degree of licentiousness carried on at Dionysos’ festivals. (The City of God 7.21) In Euripides’ Bacchae, Dionysos is said to “have the charm of Aphrodite in his eyes” (236), and Pentheus suspects that the maenads “prefer Aphrodite to Bacchus in their rites” (215), although the messenger who has come back from observing the rites of the maenads flatly denies any such allegation, saying that they worship “in all modesty. They weren’t as you described-all drunk on wine or on the music of their flutes, hunting for Aphrodite in the woods alone.” (685-87)
Sexuality is just as important in the realm of Osiris. He is called, “the Lord of the Phallus and the ravisher of women” (The Book of the Dead, CLXVIII, 15) and “the mummy with a long member,” in which form he is frequently depicted in funerary art. The phallus was even carried in processions to honor Osiris, according to Plutarch. “Moreover, when they celebrate the festival of the Pamylia which, as has been said, is of a phallic nature, they expose and carry about a statue of which the male member is triple; for the God is the Source, and every source, by its fecundity, multiplies what proceeds from it.” (On Isis and Osiris, 36) In the Pyramid Texts, it is said, “Your sister Isis comes to you rejoicing for love of you. You have placed her on your phallus and your seed issues into her.” (Utt. 366, sect 632) Nor was it just Isis with whom Osiris was said to have erotic encounters. Plutarch recounts a secret liason that Osiris had with his sister Nephthys, “Isis found that Osiris had loved and been intimate with her sister while mistaking her for herself, and saw a proof of this in the garland of melilot which he had left with Nephthys.” (On Isis and Osiris) This scene is hinted at in the Great Magical Papyrus of Paris, where we find the following line, “I have discovered a secret: Yes, Nephthys is having intercourse with Osiris.” (PGM 4.100-02) It is often suggested that this myth was a later invention, perhaps inspired by Greek stories of infidelities among the Gods – however, in the 183rd Chapter of the Book of the Dead a quarrel between Nephthys and Isis is recorded, which clearly predates the Greek presence in Egypt, and for which there is no other mythological explanation.
God of Joy
Firmicus Maternus records the symbolon of Osiris’ Roman initiates (mystai) as “Be of good cheer, O mystai, for the God is saved, and we shall have salvation from our woes.” (The Error of the Pagan Religions, 2.21). According to Plutarch, Osiris is “laughter-loving,” (On Isis and Osiris, 18) and in The Great Hymn to Osiris, the following is proclaimed: “There is joy everywhere, all hearts are glad, every face is happy, and everyone adoreth his beauty.”
According to Nonnos, the God Aion complained to Zeus about the laborious, care-ridden life of mortals. Zeus declared that he would beget a son who was to dispell the cares of the human race, and bring them a message of joy. (Dionysiaca 7:7) This was Dionysos, who according to Euripides in the Bacchae, “ends our worries” (450), “keeps the household safe and whole though the other Gods dwell far off in the air of heaven” (466-67) and is a “lover of peace” (500). For, as Horace said, “Who prates of war or want after taking wine?” (Carmina 1) Wine is the tangible symbol and fluid vehicle of the God. When people wish to speak of his blessings, they use wine to symbolize it. Hence we have, “Wine is mighty to inspire new hopes and wash away bitter tears of care.” (Horace, Carmina 4) “Wine frees the soul of subservience, fear, and insincerity; it teaches men how to be truthful and candid with one another.” (Plutarch’s Symposia 7.10.2) And Aristophanes adds, “When men drink wine they are rich, they are busy, they push lawsuits, they are happy, they help their friends.” (The Knights) Dionysos’ blessing is for everyone – male and female, young and old. (Euripides’ Bacchae 205) And it is very important – for “where Dionysos is not, love perishes, and everything else that is pleasant to man.” (Bacchae 769)
Osiris “was the subject of what was known as the Abydos passion play, a yearly ritual performed during the period of the Old Kingdom and until about AD 400. The Abydos passion play depicts the slaying of Osiris and his followers by his brother Seth, the enactment of which apparently resulted in many real deaths. The figure of Osiris, symbolically represented in the play, is then torn to pieces by Seth, after which his remains are gathered by his wife Isis and son Horus, who subsequently restore him to life. The play thus follows the pattern of birth, death, and resurrection, and it also echoes the cycle of the seasons.” – Encyclopaedia Britannica
“The world’s earliest report of a dramatic production comes from the banks of the Nile. It is in the form of a stone tablet preserved in a German museum and contains the sketchy description of one, I-kher-nefert (or Ikhernofret), a representative of the Egyptian king, of the parts he played in a performance of the world’s first recorded “Passion” Play somewhere around the year 2000 B.C.E.” (Alice B. Fort & Herbert S. Kates, Minute History of the Drama, p. 4).
Similarly, drama in Greece was thought to have developed out of early rituals commemorating the death and dismemberment of Dionysos. Long after the plays enacted ceased to be about Dionysos directly, the theater was still considered sacred to him, new productions were debuted at the Dionysias, and his priests were always given the choicest of seats.
John M. Allegro notes, “At the beginning of the fifth century BC tragedy formed part of the Great Dionysia, the Spring festival of Dionysos Eluethereus. Three poets competed, each contributing three tragedies and one satyric play. The latter was performed by choruses of fifty singers in a circle, dressed as satyrs, part human, part bestial, and bearing before them huge replicas of the erect penis, as they sang dithyrambs.” (The Sacred Mushroom and the Cross)
Mysteries and Initiation
Both Gods had Mysteries associated with them, and mystai who sought initiation into a special relationship with the God.
Marvin W. Meyer describes the Hellenistic mysteries as follows, “[They] were secret religious groups composed of individuals who decided, through personal choice, to be initiated into the profound realities of one deity or another. Unlike the official religions, in which a person was expected to show outward, public allegiance to the local gods of the polis or state, the mysteries emphasized an inwardness and privacy of worship within closed groups. The person who chose to be initiated joined an association of people united in their quest for personal salvation.” (The Ancient Mysteries: A Sourcebook, pg. 4)
The term “initiation” comes from the Latin word initiare, which is a late Hellenistic translation of the Greek verb myein, whence our word mystery comes from. The main Greek term for initiation, myesis, is also derived from the verb myein, which means “to close.” It refers to the closing of the eyes which was possibly symbolic of entering into darkness prior to reemerging and receiving light and to the closing the lips which was possibly a reference to the vow of silence taken by all initiates. Another Greek term for initiation was telete. In his Immortality of the Soul Plutarch writes that “the soul at the moment of death, goes through the same experiences as those who are initiated into the great mysteries. The word and the act are similar: we say telentai “to die” and telestai “to be initiated”.”
Cicero wrote, “For by means of mysteries we have been transformed from a rough and savage way of life to a state of humanity, and have been civilized. Just as they are called initiations, so in actual fact we have learned from them the fundamentals of life, and have grasped the basis not only for living with joy but also for dying with a better hope.” (On the Laws 2.14.36)
Dionysos was the Mystery-God par excellence in Greece. Not only did he have mysteries of his own, but he was a central figure in the Eleusinian Mysteries, as well as said to have been the founder and prophet of those belonging to the Magna Mater Kybele or Rhea.
Although it was previously thought that Dionysian mysteries only developed in the later Hellenistic and Roman Age, Walter Burkert informs us that, “We find evidence for Bacchic mysteries from the sixth to the fourth century with centers at Miletus and the Black Sea, in Thessaly and in Macedonia, Magna Graecia, and Crete; we find special rituals (teletai) performed as private initiations by itinerant charismatics to serve as “cures” for various afflictions, good both for this life and for the Beyond, combined with gatherings of private clubs (thiasoi) presenting themselves to the public in procession (pompe). The experience of ecstacy, mania, is crucial.” (Bacchic Teletai in Masks of Dionysos, pg. 260)
John M. Allegro in The Sacred Mushroom and the Cross, writes, “The female votaries of the phallus god Bacchus were known as the Bacchants…They were characterized by extreme forms of religious excitement interspersed with periods of intense depression. At one moment whirling in a frenzied dance, tossing their heads, driving one another on with screaming and the wild clamor of musical instruments, at another sunk into the deepest lethargy, and a silence so intense as to become proverbial. The Bacchants both possessed the god and were possessed by him; theirs was a religious enthusiasm in the proper sense of the term, that is, ‘god-filled’. Having eaten the Bacchus or Dionysos, they took on his power and character…”
John Ferguson adds, “In their ecstasy they would range through the mountains in dizzying dances, and tear some animal apart with their bare hands and ate it raw. There is no doubt that this was a communion in the god’s own body and blood; indeed at one center the god was worshipped under the cult-title Raw. The inspiration of the god was believed to confer miraculous power, and, as often, as belief in miracles leads to the performance of miracles. We hear of them caught in a snowstorm so that their clothes were frozen stiff, but rescued unharmed, or falling asleep from sheer exhaustion in an enemy village during wartime, and being protect for their holiness.” (An Illustrated Encyclopaedia of Mysticism and the Mystery Religions)
Proclus wrote that, “The teletai cause sympathy of the souls with the ritual in a way that is unintelligible to us, and divine, so that some of the initiands are stricken with panic, being filled with divine awe; others assimilate themselves to the holy symbols, leave their own identity, become at home with the Gods, and experience divine possession.”
A Twelfth Dynasty inscription says, “Anubis sanctifies the hidden mystery of Osiris, in the sacred valley of the Lord of Life. The mysterious Initiation of the Lord of Abydos.” And the teachings of Merikare advise the priest to, “Visit the temple, observe the mysteries, enter the shrine, eat bread in God’s house.”
The great center for Osirian mysteries in Egypt was Abydos, which was said to hold the tomb of the God, and to which people made annual pilgrimages to take part in the great celebrations. Craig M. Lyons writes about the mysteries as they were celebrated at Abydos: “We know that at all the temples of Osiris his Passion was re-enacted at his annual festivals. On a stele at Abydos erected in the XIIth Dynasty by one I-KherNefert, a priest of Osiris during the reign of Usertsen III (Pharaoh Sesostris), about 1875 B.C.E., we find a description of the principal scenes in the Osiris mystery-drama. I-Kher-Nefert himself played the key role of Horus. In the first scene, Osiris is treacherously slain, and no one knows what has become of his body; thereupon all the onlookers weep, rend their hair, and beat their breasts. Isis and Nephthys recover the remnants, reconstitute the body, and return it to the temple. The next scene, in which Thoth, Horus, and Isis accomplish the revivification, undoubtedly occurs within the sacred precincts, and is therefore not witnessed by the populace. However, in due course the resurrected Osiris emerges at the head of his train; at this glorious consummation, the anguish and sorrow of the people are turned into uncontrollable rejoicing. Horus thereupon places his father in the solar boat so that he may, since he has already been born a second time, proceed as a living god into the eternal regions. This was the great “coming forth by day” of which we read so often in The Book of the Dead. The climax of the play was the great battle in which Horus defeated Set and which is described so vividly by Herodotus (History, II, 63).”
Although much of the Osirian mysteries was performed openly – in stark contrast to the Greek and Roman mysteries – secrecy attended the holiest portion of them. For instance, Herodotus wrote, “On this lake they enact by night the story of the god’s sufferings, a rite which the Egyptians call the Mysteries. I could say more about this, for I know the truth, but let me preserve a discreet silence.” (2.171.1) And Plutarch says that he must “leave undisturbed what may not be told” ( On Isis and Osiris, 35)
The mysteries of Isis and Osiris spread beyond the fertile Nile valley, and found great success in the Roman west. During the reign of Ptolomy Soter, Isis became so popular in Greece that a great temple was built for her at the foot of the Acropolis; and in the ensuing centuries, as we learn from Pausanias, almost every Greek city and village had its Isis-temple. Under the Emperor Caligula, Isis was admitted into Rome, and her worship became so popular that only Christianity and Mithraism rivaled her in number of adherants. Central to her worship was the celebration of the mysteries concerning the death and revivification of her husband, Osiris. The Christian author Firmicus Maternus, describes the Roman mysteries of Osiris as follows: “In the sanctuaries of Osiris, his murder and dismemberment are annually commemorated with great lamentations. His worshipers beat their breasts and gash their shoulders. When they pretend that the mutilated remains of the god have been found and rejoined they turn from mourning to rejoicing.” (Error of the Pagan Religions, 22.1)
The initiate found in the story of the God’s suffering, and his transformation by Isis, a hope that he, too, might be reborn and transformed.
Apuleius, an initiate in these mysteries, describes his experience as follows:
“I approached the confines of death. I trod the threshold of Proserpine; and borne through the elements I returned. At midnight I saw the Sun shining in all his glory. I approached the Gods below and the Gods above, and I stood beside them, and I worshipped them.” (Metamorphoses, 11.23)
In Ionia, Katagogia festivals were celebrated to honor the return of Dionysos, whose image was ceremoniously escorted by priests and priestesses. In Athens the image of Dionysos was driven to his sanctuary in a ship on wheels, most probably during the Anthesteria festival on the day of Khoes. Pausanias describes the procession of Dionysos Eleuthereus’ image from a little temple in the Academy to his sanctuary before the eve of the City Dionysia (1.29.2).
Carl Kerenyi observes, “The core of this ritual procession has its analogies in the religious and cultural history of Egypt, where Gods in their chapels were borne by barks which the gods’ servants carried on their backs. What in Greece was an anomaly, limited to the cult of Dionysos, was held to be the most natural thing in the world in Egypt, where the Nile was the main avenue of communication.” (Dionysos: Archetype of Indestructable Life, pg 167)
Additionally, processions in which representations of the phallus were carried about were quite common for Dionysos. According to Aristophanes, Phales, the phallus personified, was the “friend and constant companion” of Dionysos, and accompanied him in processions and sacred dances. (Acharnians 263) Herodotus says that Melampos, who supposedly introduced Dionysos’ worship into Greece, instituted phallic processions in his honor. (2.49) At Methymna on Lesbos there was a cult of Dionysos Phallen in which a wooden trunk with a face on it was carried in procession. (Pasuanias 10.19.3)
Both sorts of processions played an important role in the worship of Osiris, as Emily Teeter observed in Egypt and the Egyptians: “During festivals the statue of the god was removed from his sanctuary and placed in a portable shrine which was, in turn, placed on a boat. These ritual craft could be quite large; indeed, the texts from Tutankhamun claim that it was carried by eleven pairs of priests. The sacred boat processions might circumambulate the temple or make a pilgrimage from one temple to another, accompanied by temple personnel and local residents who sang, danced, and acclaimed the god.” (Chapter 6)
From a Middle Kingdom stela belonging to the high official Ikhernofret, we learn that the second day of the Osirian mysteries at Abydos consisted of a great procession, where a shrine inlaid with gold, lapis lazuli, silver, and bronze was carried on a bark called ‘neshmet‘ through the funerary complex and to a number of different localities. At Philae, the statue of Osiris was carried in procession from his temple to the neighboring temple of Isis, where a hieros gamos or sacred marriage was likely celebrated. Plutarch reports that pitchers carrying water from the Nile were borne at the head of Osiris’ processions (On Isis and Osiris, 36) and he says that at the Pamylia festivals, “a statue of the god with a triple phallus is carried about” (37). Herodotus attests to phallic processions in honor of Osiris as well (2.49) where women used to go about the villages singing songs in his praise and carrying obscene images of him which they set in motion by means of strings.
Death and Dismemberment
E. A. Wallis Budge observed that “the story of Osiris is nowhere found in a connected form in Egyptian literature, but everywhere, and in texts of all periods, the life, sufferings, death, and resurrection of Osiris are accepted as facts universally admitted.” (The Book of the Opening of the Mouth pg 9)
Despite the seeming prohibition on discussing the death of the God – although the Greek traveler Herodotus had observed the annual mysteries commemorating Osiris’ death he felt that he must keep a “discreet silence” regarding their content (2.171.1) – we find many suggestive hints in material such as the Pyramid and Coffin Texts, and in the Book of the Dead. For instance, Utterance 532 from the Pyramid Texts mentions that Osiris was struck down by Set. Pyramid Text 819a reads, “This Great One had fallen on his side; he had been thrown down.” PT 1005a-b says, “Osiris had been placed on his side by his brother Set, but the one who is in Nedit will move because his head has been put back in place by Re.” PT 1255-56a-b reads, “Isis came. Nephthys came. The one of the West, the other of the East, the one as a tern, the other as a kite. They found Osiris as his brother had flung him on the ground in Nedit.” PT 1007e reads, “Horus struck the one who struck you, bound the one who bound you.” PT 1544-1545a-b reads, “O Osiris who is here! I hit for you the one who had hit you as an ox. I killed the one who had killed you as a breeding bull. I broke the one who had submitted you to the Red Bull of Upper Egypt. The one who had shot you with an arrow is now shot. The one who stunned you is now stunned.” The Coffin Texts speak of the drowning of Osiris by Set: “permit me to have water as Set had water when he committed a flight against Osiris on the night of the great storm.” (353) Coffin Text 4.396a-b speaks of a great cataclysmic storm and the brutal waters of Set which drowned Osiris. And CT 184 speaks of Osiris being “put in a box, in a chest, in a bag.” And in the Pyramid Text of Unas we find perhaps the most explicit mention of Set’s attack on Osiris in Egyptian literature, “Unas hath weighted his words with the hidden god who hath no name, on the day of hacking in pieces the firstborn.”
However, it was not until the Greek author Plutarch that these various traditions were brought together and given a cohesive form. His narrative on the death and dismemberment of Osiris by Set runs as follows:
“It is said that Osiris, when he was king, at once freed the Egyptians from their primitive and brutish manner of life; he showed them how to grow crops, established laws for them, and taught them to worship Gods. Later he civilized the whole world as he traversed through it, having very little need of arms, but winning over most of the peoples by beguiling them with persuasive speech together with all manner of song and poetry. That is why the Greeks thought he was the same as Dionysos.
“When he was away Typhon conspired in no way against him since Isis was well on guard and kept careful watch, but on his return he devised a plot against him, making seventy-two men his fellow-conspirators and having as helper a queen who had come from Ethiopia, whom they name Aso. Typhon secretly measured the body of Osiris and got made to the corresponding size a beautiful chest which was exquisitely decorated. This he brought to the banqueting-hall, and when the guests showed pleasure and admiration at the sight of it, Typhon promised playfully that whoever would lie down in it and show that he fitted it, should have the chest as a gift. They all tried one by one, and since no one fitted into it, Osiris went in and lay down. Then the conspirators ran and slammed the lid on, and after securing it with bolts from the outside and also with molten lead poured on, they took it out to the river and let it go to the sea by way of the Tanitic mouth, which the Egyptians still call, because of this, hateful and abominable. They say that all these events occurred on the seventeenth day of the month of Athyr, when the sun passes through the scorpion, in the twenty-eighth year of the reign of Osiris. But some state that this was the period of his life rather than of his reign.
“The first to hear of the misfortune and to spread the news of its occurrence were the Pans and Satyrs who live near Khemmis, and because of this, the sudden disturbance and excitement of a crowd is still referred to as ‘panic’. When Isis heard of it she cut off there and then one of her locks and put on a mourning garment; accordingly the city is called Coptos to this day. Others think that the name indicates deprivation; for they use koptein to mean ‘to deprive’, and they suggest that Isis, when she was wandering everywhere in a state of distress, passed by no one without accosting him, and even when she met children, she asked them about the chest. Some of these had happened to see it and they named the river-mouth through which Typhon’s friends had pushed the box to the sea. For this reason the Egyptians believe that children have the power of divination, and they take omens especially from children’s shouts as they play near the temples and say whatever occurs to them.
“When Isis found that Osiris had loved and been intimate with her sister while mistaking her for herself, and saw a proof of this in the garland of melilot which he had left with Nephthys, she searched for the child (for Nephthys had exposed it instantly upon giving birth to it, in fear of Typhon); and when Isis found it with the help of dogs which had led her on with difficulty and pain, it was reared and became her guard and attendant, being called Anubis. He is said to keep watch over the gods as dogs do over men. They say that she learned as a result of this that the chest had been cast up by the sea in the land of Byblos and that the surf had brought it gently to rest in a heath-tree. Having shot up in a short time into a most lovely and tall young tree, the heath enfolded the chest and grew around it, hiding it within itself. Admiring the size of the tree, the king cut off the part of the trunk which encompassed the coffin, which was not visible, and used it as a pillar to support the roof. They say that Isis heard of this through the divine breath of rumour and came to Byblos, where she sat down near a fountain, dejected and tearful. She spoke to no one except the queen’s maids, whom she greeted and welcomed, plaiting their hair and breathing upon their skin a wonderful fragrance which emanated from herself. when the queen saw her maids she was struck with longing for the stranger’s hair and for her skin, which breathed ambrosia; and so Isis was sent for and became friendly with the queen and was made nurse of her child. The king’s name, they say, was Malcathros; some say that the queen’s name was Astarte, others Saosis, and others Neinanous, whom the Greeks would call Athenais.
“They say that Isis nursed the child, putting her finger in its mouth instead of her breast, but that in the night she burned the mortal parts of its body, while she herself became a swallow, flying around the pillar and making lament until the queen, who had been watching her, gave a shriek when she saw her child on fire, and so deprived it of immortality. The goddess then revealed herself and demanded the pillar under the roof. She took it from beneath with the utmost ease and proceeded to cut away the heath-tree. This she then covered with linen and poured sweet oil on it, after which she gave it into the keeping of the king and queen; to this day the people of Byblos venerate the wood, which is in the temple of Isis. The goddess then fell upon the coffin and gave such a loud wail that the younger of the king’s sons died; the elder son she took with her, and placing the coffin in a boat, she set sail. When the river phaedrus produced a somewhat rough wind towards dawn, in a fit of anger she dried up the stream.
“As soon as she happened on a deserted spot, there in solitude she opened the chest and pressing her face to that of Osiris, she embraced him and began to cry. She then noticed that the boy had approached silently from behind and had observed her, whereupon she turned round and full of anger gave him a terrible look. The boy was unable to bear the fright, and dropped dead. Some say that it did not happen so, but, as we said before, that he fell into the sea and is honoured because of the goddess, being the same person as the Maneros of whom the Egyptians sing in their banquets. Some say the boy was called [Palaestinus or] Pelousius and that the city founded by the Goddess (Pelusium) was named after him; also that the Maneros of whom they sing was the discoverer of music and poetry. Others again say that it is not the name of a man at all, but an expression such as comes naturally to men as they drink and make merry: ‘The best of luck to this and that!’ For this sentiment, signified by the word Maneros, is expressed by the Egyptians on all festive occasions. For instance, there is the image of a dead man which is carried round in a chest and shown them: this is not, as some assume, a memorial of the suffering of Osiris, but they say that thus they exhort their inebriated companions to use the present and enjoy it, since everyone will very soon be like the image seen; this is why they bring it into the feast.
“Having journeyed to her son Horus who was being brought up in Buto, Isis put the box aside, and Typhon, when he was hunting by night in the moonlight, came upon it. He recognized the body, and having cut it into fourteen parts, he scattered them. When she heard of this, Isis searched for them in a papyrus boat, sailing through the marshes. That is why people who sail in papyrus skiffs are not harmed by crocodiles, which show either fear or veneration because of the goddess. From this circumstance arises the fact that many tombs of Osiris are said to exist in Egypt, for the goddess, as she came upon each part, held a burial ceremony. Some deny this, saying that she fashioned images and distributed them to each city as though she was giving the whole body, so that he (Osiris) might be honoured by more people and that Typhon, if he overcame Horus, when he sought for the true tomb, might be baffled in his search because many tombs would be mentioned and shown. The only part of Osiris which Isis did not find was his male member; for no sooner was it thrown into the river than the lepidotus, phagrus and oxyrhynchus ate of it, fish which they most of all abhor. In its place Isis fashioned a likeness of it and consecrated the phallus, in honour of which the Egyptians even today hold festival.” (On Isis and Osiris, 13-18)
The commemoration of these events formed the basis for the mysteries of Osiris at Abydos, which Plutarch described as “gloomy, solemn, and mournful sacrifices” (On Isis and Osiris, 69) and those of Isis and Osiris in the Roman West. Julius Firmicus Maternus, a Latin Christian writer of the fourth century, declared: “In the sanctuaries of Osiris, his murder and dismemberment are annually commemorated with great lamentations. His worshipers beat their breasts and gash their shoulders. When they pretend that the mutilated remains of the god have been found and rejoined they turn from mourning to rejoicing.” (Error of the Pagan Religions, 22.1)
Similar stories were told about the death and dismemberment of Dionysos.
Plutarch informs us that the “Phrygians believe that the god sleeps in winter and is awake in summer, and with Bacchic frenzy they celebrate in the one season the festival of his being lulled to sleep Kateunasmous and in the other his being aroused or awakened Anegerseis. The Paphlagonians declare that he is fettered and imprisoned during the winter, but that in the spring he moves and is freed again.” (On Isis and Osiris 69) More explicitly, an oracle which preceded the founding of the Dionysian colony of Perinthos said, “After Bakhos, who cried ‘euhoi’ is struck, blood and fire and dust will mix.” Himeros speaks of the death of the God in the following manner, “Dionysos lay there struck down, still moaning under the blow. The vine hung down, the wine was disconsolate, the grape as though bathed in tears.” (Orationes XLV 4)
Pausanias informs us of who the instigators of the God’s murder were, “From Homer the name of the Titans was taken by Onomacritos, who in the orgies he composed for Dionysos made the Titans the authors of the God’s sufferings.” (8.37.5)
Diodorus Siculus adds more detail to the story: “The Titans, who are the Sons of Gaia, tore to pieces Dionysos-Zagreus, the child of Zeus and Persephone, and boiled him, but his members were brought together again by Demeter and he experienced a new birth as if for the first time. And with these stories, the teachings agree which are set forth in the Orphic poems and are introduced into their rites, but it is not lawful to recount them in detail to the uninitiated.” (3.62)
From Hyginus we get an even more full account: “Liber, son of Jove and Proserpina, was dismembered by the Titans, and Jove gave his heart, torn to bits, to Semele in a drink. When she was made pregnant by this, Juno, changing herself to look like Semele’s nurse, Beroe, said to her: ‘Daughter, ask Jove to come to you as he comes to Juno, so you may know what pleasure it is to sleep with a God.’ At her suggestion Semele made this request of Jove, and was smitten by a thunderbolt.” (Fabulae 167)
But the fullest account of the story was preserved in Nonnos’ monumental treatment of the God’s myths, the Dionysiaca, as follows:
“[Demeter hid Persephone in a cave in Sicily to try to prevent her mating with any of the Gods] Ah, maiden Persephoneia! You could not find how to escape your mating! No, a drakon was your mate, when Zeus changed his face and came, rolling in many a loving coil through the dark to the corner of the maiden’s chamber, and shaking his hairy chaps: he lulled to sleep as he crept the eyes of those creatures of his own shape who guarded the door. He licked the girl’s form gently with wooing lips. By this marriage with the heavenly drakon, the womb of Persephone swelled with living fruit, and she bore Zagreus the horned baby, who by himself climbed upon the heavenly throne of Zeus and brandished lightning in his little hand, and newly born, lifted and carried thunderbolts in his tender fingers.
“But he did not hold the throne of Zeus for long. By the fierce resentment of implacable Hera, the Titans cunningly smeared their round faces with disguising chalk, and while he contemplated his changeling countenance reflected in a mirror they destroyed him with an infernal knife. There where his limbs had been cut piecemeal by the Titan steel, the end of his life was the beginning of a new life as Dionysos. He appeared in another shape, and changed into many forms: now young like crafty Kronides shaking the aegis-cape, now as ancient Kronos heavy-kneed, pouring rain. Sometimes he was a curiously formed baby, sometimes like a mad youth with the flower of the first down marking his rounded chin with black. Again, a mimic lion he uttered a horrible roar in furious rage from a wild snarling throat, as he lifted a neck shadowed by a thick mane, marking his body on both sides with the self-striking whip of a tail which flickered about over his hairy back. Next, he left the shape of a lion’s looks and let out a ringing neigh, now like an unbroken horse that lifts his neck on high to shake out the imperious tooth of the bit, and rubbing, whitened his cheek with hoary foam. Sometimes he poured out a whistling hiss from his mouth, a curling horned serpent covered with scales, darting out his tongue from his gaping throat, and leaping upon the grim head of some Titan encircled his neck in snaky spiral coils. Then he left the shape of the restless crawler and became a tiger with gay stripes on his body; or again like a bull emitting a counterfeit roar from his mouth he butted the Titans with sharp horn. So he fought for his life, until Hera with jealous throat bellowed harshly through the air – that heavy-resentful step-mother! And the gates of Olympos rattled in echo to her jealous throat from high heaven. Then the bold bull collapsed: the murderers each eager for his turn with the knife chopt piecemeal the bull-shaped Dionysos.
“After the first Dionysos had been slaughtered, Father Zeus learnt the trick of the mirror with its reflected image. He attacked the mother of the Titans with avenging brand, and shut up the murderers of horned Dionysos within the gate of Tartaros: the trees blazed, the hair of suffering Gaia was scorched with heat. He kindled the East: the dawnlands of Baktria blazed under blazing bolts, the Assyrian waves est afirethe neighbouring Kaspion Sea and the Indian mountains, the Red Sea rolled billows of flame and warmed Arabian Nereus. The opposite West also fiery Zeus blasted with the thunderbolt in love for his child; and under the foot of Zephyros the western brine half-burn spat out a shining stream; the Northern ridges – even the surface of the frozen Northern Sea bubbled and burned: under the clime of snowy Aigokeros the Southern corner boiled with hotter sparks.
“Now Okeanos poured rivers of tears from his watery eyes, a libation of suppliant prayer. Then Zeus clamed his wrath at the sight of the scorched earth; he pitied her, and wished to wash with water the ashes of ruin and the fiery wounds of the land.
“Then Rainy Zeus covered the whole sky with clouds and flooded all the earth.” (6.155)
According to Philodemos, after Dionysos was torn apart by the Titans, Rhea the mother of the Gods, sought for the dismembered pieces, and then put them back together again. (De pietate 44) Diodorus Siculus wrote that Demeter (who was often equated with Rhea and Isis) gathered together the pieces, drawing a parallel to the vine which after it has been heavily pruned during the wine harvest, must be restored by the earth in order for it to bear fruit once again in due season. (3.62.7-8)
The dismemberment and reconstitution of Dionysos was given deep, eschatological signifigance in the Bacchic and Orphic mysteries.
The Neoplatonic philosopher Olympiodoros wrote that when Zeus burned up the Titans with his lightning-bolts a vapor arose, soot formed, and from the soot, a stuff. Of this stuff men were made. “Our body is Dionysian, we are a part of him, since we sprang from the soot of the Titans who ate his flesh.” (Olympiodors In Platonis Phaedonem comentarii 61C)
Plato wrote that during Dionysian initiation, the initiates “search eagerly within themselves to find the nature of their God, they are successful, because they have been compelled to keep their eyes fixed upon the God … they are inspired and receive from him character and habits, so far as it is possible for a man to have part in God.”
Macrobius in the Saturnalia observed that, “In their Mystery-tradition Dionysos is represented as being torn limb from limb by the fury of the Titans, and after the pieces have been buried, as coming together again and whole and one. By offering itself for division from its undivided state, and by returning to the undivided from the divided, this Dionysian process both fulfills the duties of the cosmos and also performs the mysteries of its own nature.”
Plutarch, in On the E at Delphi 23, wrote, “As for his passage and distribution into waves and water, and earth, and stars, and nascent plants and animals, they hint at the actual change undergone as a rending and dismemberment, but name the God himself Dionysos or Zagreus or Nyctelios or Isodaites. Deaths too and vanishings do they construct, passages out of life and new births, all riddles and tales to match the changes mentioned. So they sing to Dionysos dithyrambic strains, charged with sufferings and a change wherein are wanderings and dismemberment. For Aeschylus says, ‘In mingled cries the dithyramb should ring, With Dionysos revelling, its King.’ (Fr. 392) But Apollo has the Pæan, a set and sober music. Apollo is ever ageless and young; Dionysos has many forms and many shapes as represented in paintings and sculpture, which attribute to Apollo smoothness and order and a gravity with no admixture, to Dionysos a blend of sport and sauciness with seriousness and frenzy: ‘God that sett’st maiden’s blood. Dancing in frenzied mood, Blooming with pageantry! Evoe! we cry,’ So do they summon him, rightly catching the character of either change. But since the periods of change are not equal, that called “satiety” being longer, that of “stint” shorter, they here preserve a proportion, and use the Pæan with their sacrifice for the rest of the year, but at the beginning of winter revive the dithyramb, and stop the Pæan, and invoke this God instead of the other, supposing that this ratio of three to one is that of the ‘Arrangement’ to the ‘Conflagration’.”
Put into a chest to be drowned
According to the earliest traditions about the death of Osiris, he was placed in a chest and drowned. (The dismemberment into 14 pieces is quietly passed over.) Plutarch tells the story in the following manner:
“When he was away Typhon conspired in no way against him since Isis was well on guard and kept careful watch, but on his return he devised a plot against him, making seventy-two men his fellow-conspirators and having as helper a queen who had come from Ethiopia, whom they name Aso. Typhon secretly measured the body of Osiris and got made to the corresponding size a beautiful chest which was exquisitely decorated. This he brought to the banqueting-hall, and when the guests showed pleasure and admiration at the sight of it, Typhon promised playfully that whoever would lie down in it and show that he fitted it, should have the chest as a gift. They all tried one by one, and since no one fitted into it, Osiris went in and lay down. Then the conspirators ran and slammed the lid on, and after securing it with bolts from the outside and also with molten lead poured on, they took it out to the river and let it go to the sea by way of the Tanitic mouth, which the Egyptians still call, because of this, hateful and abominable.” (On Isis and Osiris, 13)
A similar story is recounted by the Greek traveler Pausanias of Dionysos:
“The inhabitants of Brasiae have a story, found nowhere else in Greece, that Semele, after giving birth to her son by Zeus, was discovered by Kadmos and put with Dionysos into a chest, which was washed up by the waves in their country. Semele, who was no longer alive when found, received a splendid funeral, but they brought up Dionysos. For this reason the name of their city, hitherto called Oreiatae, was changed to Brasiai after the washing up of the chest to land; so too in our time the common word used of the waves casting things ashore is ekbrazein. The people of Brasiae add that Ino in the course of her wanderings came to the country, and agreed to become the nurse of Dionysos. They show the cave where Ino nursed him, and call the plain the garden of Dionysos” (3.24.3-4)
Various Localities for their Tombs
“Regarding the shrines of Osiris, whose body is said to have been laid in many different places. For they say that Diochites is the name given to a small town, on the ground that it alone contains the true tomb; and that the prosperous and influential men among the Egyptians are mostly buried in Abydos, since it is the object of their ambition to be buried in the same ground with the body of Osiris. In Memphis, however, they say, the Apis is kept, being the image of the soul of Osiris, whose body also lies there. The name of this city some interpret as ‘the haven of the good’ and others as meaning properly the ‘tomb of Osiris.’ They also say that the sacred island by Philae at all other times is untrodden by man and quite unapproachable, and even birds do not alight on it nor fishes approach it; yet, at one special time, the priests cross over to it, and perform the sacrificial rites for the dead, and lay wreaths upon the tomb, which lies in the encompassing shade of a persea-tree, which surpasses in height any olive. Eudoxus says that, while many tombs of Osiris are spoken of in Egypt, his body lies in Busiris; for this was the place of his birth; moreover, Taphosiris requires no comment, for the name itself means ‘the tomb of Osiris.'” – Plutarch, On Isis and Osiris 20-21
Likewise, Dionysos was said to have his tomb in various locations. Philochorus says that his grave was “in Delphi near Golden Apollo”. (Fragment 22) Plutarch informs us that at Delphi the remains of Dionysos rested near the place where the oracle was, and that the Hosioi made a secret sacrifice in the temple of Apollo at the very same time as the Thyiads were awakening Liknites, the infant Dionysos in the cradle. (On Isis and Osiris 35) Clement of Alexandria was informed that there was a grave of Dionysos at Thebes (Recognitions 10.24) while others believed that he had been buried along with Ariadne at Argos (Pausanias 2.23.8), and at Lerna, it was believed that Dionysos had been cast into the lake and drowned
In the Roman mysteries of Isis and Osiris, the initiates (mystai) shared the grief and the joy of Isis, who sought for the body of Osiris and finally found and embalmed him. (Plutarch, On Isis and Osiris 27) According to Firmicus Maternus, the cry of the devotees at the culimnation of these mysteries, the Inventio Osiridis or “Finding of Osiris”, which took place during November in Rome, was heureamen synchairomen, “We have found! We rejoice together!” (The Error of the Pagan Religions, 2.9)
Over a millenia before that, one finds evidence of this central feature of Osiris’s mysteries in the Pyramid texts. For instance, Utterances such as 478, 482, 532, and 535, for example tell of Isis searching for the body of Osiris, while utterance 364 describes the gathering together of the body parts by Nephthys leading to his resurrection. The exclamation of the Roman mystai is even echoed in one of these ancient verses:
“… says Isis. “I have found!” says Nephthys when they had found Osiris on his side on the river bank (Pyramid Texts Utterance 2144a-b)
According to Plutarch (Quaest. Rom. 102), during the Agrionia festival, the women searched for the lost Dionysos, and at last called out to one another that he had escaped to the Muses, and had concealed himself with them. Philodemos informs us that after Dionysos was torn apart by the Titans, Rhea the mother of the Gods, sought for the dismembered pieces, and then put them back together again. (De pietate 44) While Diodorus Siculus wrote that Demeter (who was often equated with Rhea and Isis) gathered together the pieces, drawing a parallel to the vine which after it has been heavily pruned during the wine harvest, must be restored by the earth in order for it to bear fruit once again in due season. (3.62.7-8)
Something Bad Happens to their Penis
“The Aigyptians in their myths say that in ancient times the Titans formed a conspiracy against Osiris and slew him, and then, taking his body and dividing it into equal parts among themselves, the slipped them secretly out of the house, but this organ alone they threw into the river, since no one of them was willing to take it with him. But Isis tracked down the murder of her husband, and after slaying the Titanes and fashioning the several pieces of his body into the shape of a human figure, she gave them to the priests with orders that they pay Osiris the honours of a god, but since the only member she was unable to recover was the organ of sex she commanded them to pay to it the honours of a god and set it up in their temples in an erect position.” -Diodorus Siculus 4.6.1
Carl Kerenyi suggests that Dionysos, like Osiris, was a castrated God. He begins his discussion by suggesting that Dionysos’ birth from the thigh of Zeus metaphorically referred to this. “The logic of the Greek version of the myth is marred only by the substitution of the thigh birth for the God’s self-emasculation, a terrible but not meaningless act. The invention of a birth from the thigh of Zeus had its function in Greece: to cover over the God’s lavish gift at the expense of his own body. The myth cruelly emphasized the eternally necessary self-sacrifice of male virility to the feminine sex, and hence to the human race as a whole. One account of the concrete mission of the Dionysian religion – in its more masculine form, the mysteries of the Kabeiroi – tells us that the murderers of the God brought his male organ in a basket ffrom northern Greece to Italy. ‘For this reason,’ Clement of Alexandria, our Christian source concludes, ‘certain persons, not inapropriately, equate Dionysos with Attis, because he too was separated from his reproductive organ.’ (Protrepticus 2.19.4) Eunuchism was as characterisitic of Dionysos as Attis. It was one of the secret components of the Dionysian religion, but to the conoisseurs of the Dionysos cult cited by Clement it was an open secret.” (Dionysos: Archetype of Indestructable Life, pg 276-77)
Lord of the Underworld
The The Lamentations of Isis and Nephthys hail Osiris as “Thou Lord of the Underworld,” and Plutarch wrote, “There is a doctrine which modern priests hint at, but only in veiled terms and with caution: namely that this god (Osiris) rules and reigns over the dead, being none other than he whom the Greeks call Hades and Pluto.” (On Isis and Osiris, 78)
Vincent Bridges observed that “As early as 3,000 B.C.E, Osirian funeral artifacts appeared at Abydos. Within a few hundred years, the 1st Dynasty kings of a unified Egypt built tombs and cenotaphs at Abydos in order to be near the tomb of Osiris and the gateway to the Land of the Dead. From then on, Abydos was the center of the Osirian mysteries. (Abydos, the Osireion and Egyptian Sacred Science)
Jaromir Malek observed, “The dead king is…in the Pyramid Texts also identified with the God Osiris. Osiris was originally a chthonic deity. At first, he perhaps assimilated the God Anedjti, and became connected with the town of Djedu (Busiris) in the central Delta, and very early on also Iunu (Heliopolis). His importance grew rapidly, and he may have, as early as the Fourth Dynasty, influenced the changes in the royal pyramid-complexes. In private tombs Osiris began to be mentioned in the Fifth Dynasty, which is also the earliest date at which he was represented in human form. He quickly acquired the status of the universal God of the nether-world, with Djedu (Busiris) and Abdju (Abydos) as his main cult centers. In Abdju, he assimilated the original God Khentiamentiu.” (In the Shadow of the Pyramids)
Osiris as Lord of the Underworld is so well-known, that it hardly bears delving into here. (Especially when this is dealt with more extensively under the God’s demise and the individual’s identification with him in the afterlife.) However, what is not so commonly known is Dionysos’ associations with the Underworld, despite the extensive material on the subject.
An Apulian volute crater of the Darius Painter depicts Dionysos at the head of his thiasos, joining hands with Hades who is enthroned in his aedicula opposite a standing Persephone. This could be interpreted a number of different ways – a visual representation of the mystery that Herakleitos revealed in his oft-quoted but little understood line “Hades and Dionysos, for whom they go mad and rage, are one and the same,” (Fragment 115) or, as Fritz Graf writes in Dionysian and Orphic Eschatology, “Dionysos interceding with the powers beyond on behalf of his initiates.” (pg. 256 in Masks of Dionysos)
As Walter Otto observed, tradition has much to say about Dionysos the God who visits or even lives in the world of the dead. Horace described how the fearsome Kerberos, guardian of the Underworld quietly watched as Dionysos entered with his golden horn, and even licked his feet as he left. (Carmine 2.19) Numerous authors tell the story of how Dionysos descended into the underworld to bring his mother Semele back to the world of the living. In Aristophanes’ The Frogs, Dionysos goes down to the Underworld and joins the Eleusinian mystai in their sacred songs and dances. According to Orphic Hymn 46, he himself grew up in Persephone’s home, and Hymn 53 says that he sleeps in the house of Persephone during the long intervals before his reappearances. Clement of Alexandria (Protreptikos 2.16) cites the ancient myth whereby Persephone is the mother of the first Dionysos, the Horned Child Zagreus, and there are hints in the Homeric Hymn to Demeter that the God who ravishes Kore and steals her away to his underworld realm is actually Dionysos. (The abduction occurs at Nysa, and later when Demeter in her wandering is offered a drink of wine she angrily refuses.) Both Hades and Dionysos share a number of epithets. Dionysos is called Khthonios or “Underworld” as well as Nyktelios “The Nocturnal One”, Melanaigis “Of the Black Goat Skin”, and Polygethes “Giver of Riches” – all titles traditionally belonging to Hades. Euripides speaks of “Bacchantes of Hades” (Hecuba 1077) and Aeschylus calls the Erinyes “Maenads” (Eumenides, 500). Euripides compared the maenads to ghosts, calling them both nyktipoloi “night-stalkers”, since both became active only after sunset. (Ion 717, 10458-49) And when we turn to actual cult and funerary practices, we see that this connection remains just as strong.
The Neoplatonic Olympiodoros preserves a hexametrical fragment of Orpheus concerning Dionysos’ power over the dead, “Men send perfect hecatombs in all hours during the year, and they perform rites, striving after deliverence from unlawful ancestors. But thou having power over them, you will deliver whomever you wish from difficult suffering and limitless frenzy.” (OF 232)
Additionally, the Orphics sought Dionysos’ intercessary power over Persephone, the Queen and Judge of the Dead. They believed that by undergoing initiation and learning certain secret phrases, they could pass unscathed through the Underworld and find a better existence there. “And then, you will go a long way, a holy one, where also the others – the mytai and bakkhoi – walk in fame.” (Hipponium lamella, 15-16) Numerous texts such as this, inscribed on gold leaves, were buried with the dead to help them find their way through the Underworld. Others believed that in becoming a Bakkhos or Bakkhes, they would not have to face the pangs of death, but live on eternally in a Bacchic state. According to Plato, the Orphics believed that in death they would partake in an eternal symposia with ever-flowing wine. “Still grander are the gifts of heaven which Mousaios and his son vouchsafe to the just; they take them down into the world below, where they have the saints lying on couches at a feast, everlastingly drunk, crowned with garlands; their idea seems to be that an immortality of drunkeness is the highest meed of virtue.” (Republic 2.6) And others still found solace in the face of death through Dionysian imagery, whether they held to the eschatological beliefs of the Orphics and similar groups or not. At any rate, Dionysos played an important role in death and funerary practices for the Greeks and Romans.
Susan Guettel Cole informs us that his symbolism connected with death and life is found everywhere: “in vase paintings, wall and floor decoration, reliefs carved on sarcophagi, and ornamentation on tombs and graves.” (Dionysos and the Dead, pg. 278 in Masks of Dionysos) She goes on to inform us that “There are about seventy-five sepulchral inscriptions that refer to Dionysos, Dionysiac activities, Bacchic organizations, or Bacchic mysteries.” (pg. 278) And those are simply the ones that have come to light thus far! She also mentions that “Bacchic organizations took responsibility for the burial of members. They tended the graves of their leaders and officilas, but members without rank were also provided with tombstones and rites at the grave.” (pg. 285)
We have an inscription from one of these groups, the Iobacchoi of Athens, dating from the second century of our era. It states:
“And if any Iobacchus die, a wreath shall be provided in his honor not exceeding five denarii in value, and a single jar of wine shall be set before those who have attended the funeral; but anyone who has not attended may not partake of the wine.”
A group of devotees of Dionysos (bebakkheumenoi) at Cumae had their own seperate burial ground (LSS no. 120) and a Campnian bakkhe even had her sarcophagus made in the shape of a meanad. (Hern 1972, 82) An initiate from Southern Italy appears entwined with vines on her sarcophagus, presumably symbolising the intoxicating bliss of the hereafter
Some of the Dionysian funerary inscriptions are truly beautiful, for instance: At Hermopolis Magna in the second century a father found such comfort in the ripening of the grape and the change of seasons that he decided not to weep for his daughter taken by the nymphs in death. (Susan Guettel Cole, Dionysos and the Dead, pg. 282 in Masks of Dionysos) In Egypt, the vines of Bacchus were said to mourn for a barkeeper who had poured “honey-sweet wine for all mortals, the drops that stop pain.” (Susan Guettel Cole, Dionysos and the Dead, pg. 282 in Masks of Dionysos) And at Phillipi we find a Latin funerary inscription that suggests that the dead youth will be restored or refreshed (repartus) in the Elysian Fields, dancing as a satyr with the tattooed mystai of Bromios. (CIL 3, no. 686)
Although both Dionysos and Osiris were said to have been murdered, they both were able to regain their power and life.
An inscription from Thasos describes Dionysos as a God who renews himself and returns each year rejuvenated. (Susan Guettel Cole, Dionysos and the Dead, pg. 280 in Masks of Dionysos) The Christian author Justin Martyr, in his Dialogue with Trypho the Jew grudgingly observed that, “Bacchus, son of Jupiter, being torn in pieces, and having died, rose again.” Plutarch informs us that the “Phrygians believe that the God sleeps in winter and is awake in summer, and with Bacchic frenzy they celebrate in the one season the festival of his being lulled to sleep Kateunasmous and in the other his being aroused or awakened Anegerseis. The Paphlagonians declare that he is fettered and imprisoned during the winter, but that in the spring he moves and is freed again.” (On Isis and Osiris 69) Diodorus Siculus says that after being torn apart by the Titans, Dionysos was pieced back together again by Demeter, and “he experienced a new birth as if for the first time.” (3.62) Macrobius in the Saturnalia observed that, “In their Mystery-tradition Dionysos is represented as being torn limb from limb by the fury of the Titans, and after the pieces have been buried, as coming together again and whole and one. By offering itself for division from its undivided state, and by returning to the undivided from the divided, this Dionysian process both fulfills the duties of the cosmos and also performs the mysteries of its own nature.”
Dirk Obbink observes, “Dionysos is poured out, expended in ritual, yet returns, and is present to be poured again in each new year’s vintage. In Dionysos’ sanctuaries, fountains flow with wine, vine bloom and produce overnight. In this very domesticated view Dionysos represents the perpetualy full cup, from which, when mixed with water in a civilized fashion, humans can drink as much as they like.” (Dionysos Poured Out, pg. 86, in Masks of Dionysos) At Phillipi we find a Latin funerary inscription that suggests that the dead youth will be restored or refreshed (repartus) in the Elysian Fields, dancing as a satyr with the tattooed mystai of Bromios. (CIL 3, no. 686) Another indication of this are the Orphic bone tablets found at Olbia with the words bios – thanatos – bios inscribed on them – meaning that death (thanatos) is a passage between two phases of life bios.
And on the revivification of Dionysos, Walter Otto poetically wrote, “And when he opens his eyes, when he rouses himself, when he grows into glorious maturity, he will fill their hearts with a heavenly terror, their limbs with a maddening desire to dance.” (Dionysos: Myth and Cult, pg. 81)
While it is true that Osiris, unlike Dionysos, did not return bodily to the earth, but remained a powerful being in the Underworld, he regained his power, strength, and vitality through the ministrations of his sisters Isis and Nephthys, as we see in Coffin Text 74:
“Ah Helpless One! Ah Helpless One Asleep! Ah Helpless One in this place which you know not-yet I know it! Behold, I have found you [lying] on your side the great Listless One. ‘Ah, Sister!’ says Isis to Nephthys, ‘This is our brother, Come, let us lift up his head, Come, let us [rejoin] his bones, Come, let us reassemble his limbs, Come, let us put an end to all his woe, that, as far as we can help, he will weary no more. May the moisture begin to mount for this spirit! May the canals be filled through you! May the names of the rivers be created through you! Osiris, live! Osiris, let the great Listless One arise! I am Isis.’ ‘I am Nephthys. It shall be that Horus will avenge you, It shall be that Thoth will protect you -your two sons of the Great White Crown- It shall be that you will act against him who acted against you, It shall be that Geb will see, It shall be that the Company will hear. Then will your power be visible in the sky. And you will cause havoc among the [hostile] Gods, for Horus, your son, has seized the Great White Crown, seizing it from him who acted against you. Then will your father Atum call ‘Come!’ Osiris, live! Osiris, let the great Listless One arise!’
R. T. Rundle Clark writes, “Osiris, however, is immanent. He is the sufferer with all mortality but at the same time he is all the power of revival and fertility in the world. He is the power of growth in plants and of reproduction in animals and human beings. He is both dead and the source of all living. Hence to become Osiris is to become one with the cosmic cycles of death and rebirth” (Myth and Symbol of Ancient Egypt, pg. 97)
Of Osiris it was written, “O you four Gods who stand at the supports of the sky, my father Osiris the King has not died in death, for my father Osiris the King possesses a spirit in the Horizon!” (Pyramid Text 556) And in the Coffin Texts we find the deceased identified with Osiris proclaiming, “I enter in and reappear through you, I decay in you, I grow in you … I am not destroyed.” (330) and, “Homage to thee, O my divine father Osiris, thou hast thy being with thy members. Thou didst not decay, thou didst not become worms, thou didst not diminish, thou didst not become corruption, thou didst not putrefy, and thou didst not turn into worms…. I shall not decay, and I shall not rot, I shall not putrefy, I shall not turn into worms, and I shall not see corruption before the eye of the god Shu. I shall have my being, I shall have my being; I shall live, I shall live; I shall germinate, I shall germinate, I shad germinate; I shall wake up in peace; I shall not putrefy, my intestines shall not perish; I shall not suffer injury; mine eye shall not decay; the form of my visage shall not disappear. My body shall be established, and it shall neither Lad into ruin nor be destroyed on this earth.” The King, again identified with Osiris, is hailed, “O! King, come, you also, tell of this going of yours that you may become a spirit thereby, that you may be great thereby, that you may be strong thereby, that you may be a soul thereby, that you may have power thereby.” (Pyramid Text 666)
Worshippers become Identified with the God
As Dirk Obbink writes in Dionysos Poured Out, “In the worship of Dionysos by private groups the eschatological message of Dionysian ritual (including sacrifice) was the imaginative acquisition of a lasting Dionysiac identity, either as a member of the God’s eternal entourage or through identification with one of the God’s mythical roles.” (Masks of Dionysos, pg. 69)
According to Euripides, “He who leads the throng becomes Bacchus,” (Bacchae 115) and Plato wrote that during the Dionysian initiations, the initiates “search eagerly within themselves to find the nature of their God, they are successful, because they have been compelled to keep their eyes fixed upon the God … they are inspired and receive from him character and habits, so far as it is possible for a man to have part in God.” Uniting with God was also an idea shared by the Stoics of that era. Seneca wrote, “God is near you, he is with you, he is within you.” We know from the Inscriptions of the Iobacchoi that certain members held the title of Bakkhos, and we find a female devottee who was addressed as a Bakkhes. The Neoplatonic philosopher Olympiodoros wrote, “Our body is Dionysian, we are a part of him, since we sprang from the soot of the Titans who ate his flesh.” (In Platonis Phaedonem comentarii 61C)
Often, the deceased were depicted in the form of Dionysos. For instance, the statue of M. Marius Trophimus, hierophant at Melos, was shown wearing a panther skin, holding a thyrsos, and wreathed with a crown of grape leaves. Two statues of Archelaus in this form have come to light at Lerna – one dedicated by his friends and placed in the sanctuary of Deo, the other by his wife was placed in a temple of Luaios. In Dascylium the thiasoi of mystai dedicated a relief “with the figure of Bromius”, showing one of their members as Dionysos, carrying a thyrsos and standing by a tree. In Rome a mother and father showed the image of Dionysos on the sarcophagus of their child with the inscription, “I am called Saturninus; my mother and father set me up from a child to the representation of Dionysos.” (IGUR no. 1324) Apuleius describes a widow who had a picture of her dead husband represented in the costume of Dionysos. (Metamorphoses 8.7) And the Emperor Caligula was even said to have had his likeness made in the guise of Dionysos. (Athenaios 4.148b-c)
E. A. Wallis Budge in The Legend of Osiris writes, “Osiris was the God through whose sufferings and death the Egyptian hoped that his body might rise again in some transformed or glorified shape, and to him who had conquered death and had become the king of the other world the Egyptian appealed in prayer for eternal life through his victory and power. In every funeral inscription known to us, from the Pyramid Texts down to the roughly written prayers upon coffins of the Roman period, what is done for Osiris is done also for the deceased, the state and condition of Osiris are the state and condition of the deceased; in a word, the deceased is identified with Osiris. If Osiris lives forever, the deceased will live for ever; if Osiris dies, then will the deceased perish.”
Ancient Egyptian literature furnishes us with many examples of this identification:
“This King is Osiris, this Pyramid of the King is Osiris, this construction of his is Osiris…” – Pyramid Texts, Utterance 600.
“BECOMING THE COUNTERPART OF OSIRIS. I indeed am Osiris, I indeed am the Lord of All, I am the Radiant One, the brother of the Radiant Lady; I am Osiris, the brother of Isis.” – Coffin Texts, Spell 227
Being an Osiris, Ani expects a resurrection like that of the God, and therefore addresses himself as follows: “O thou . . . whose limbs cannot move, like unto those of Osiris! Let not thy limbs be without movement; let them not suffer corruption; let them not pass away; let them not decay; and let them be fashioned for me as if I were myself Osiris” (Ibid., XLV). The same aspirant continues: “The mighty Khu taketh possession of me . . . Behold, I am the God who is Lord of the Duat” (Ibid., X). And again: “I am the Great One, son of the Great One…. The head of Osiris was not taken from him, let not the head of Osiris Ani be taken from him. I have knit myself together; I have made myself whole and complete; I have renewed my youth; I am Osiris, the lord of eternity” (Ibid., XLIII).
But perhaps the most beautiful expression of this idea is to be found in Coffin Text 330, where we find:
“Whether I live or die I am Osiris, I enter in and reappear through you, I decay in you, I grow in you, I fall down in you, I fall upon my side. The Gods are living in me for I live and grow in the corn that sustains the Honoured Ones. I cover the earth, whether I live or die I am Barley.”
Beware of the Lake
In the Pyramid Texts, Unas is advised of a challenging situation he will encounter near a lake in the Underworld:
“O Unas, beware of the Lake ! To say four times : “The messengers of your ka have come to you, the messengers of your father have come to you, the messengers of Re have come to you. Go after your sun ! … Forget those who shall speak evil against the name of Unas, for when you go up, they are predestined by Geb to be a despised one of his city, he shall flee and falter. You are to purify yourself with the cool water of the stars, and you will climb down upon ropes of brass, on the arms of Horus, in his name He-of-the-Henu-barge.” (Utterance 214. 136-38)
A parallel to this is found in the Orphic lamella found at Petelia in Southern Italy:
“You will find a spring on the left of the halls of Hades, and beside it a white cypress growing. Do not even go near this spring. And you will find another, from the Lake of Memory, flowing forth with cold water. In front of it are guards. You must say, ‘I am the child of Ge and starry Ouranos; this you yourselves also know. I am dry with thirst and am perishing. Come, give me at once cold water flowing forth from the Lake of Memory.’ And they themselves will give you to drink from the divine spring, and then thereafter you will reign with the other heroes.”
Judgement in the Afterlife
Chapter 125 of the Book of the Dead is entitled, “What is to be said when one reaches this Hall of Truth.” This spell was intended to prepare the deceased for his trial in the Hall of Judgement in the Underworld. In the vignette that accompanies the spell, the deceased stands at the far right facing Ma`at, the goddess embodying Truth and Order, as his heart is weighed against the feather of Ma`at by Horus and Anubis. Sitting above the scene are the 42 Gods who judge the dead. Thoth, the ibis-headed scribe of the Gods, records the verdict as Osiris, seated on the throne at left, watches on. The creature Amamet, facing the King of the Dead, would devour the deceased if he were found to be unworthy.
Pindar wrote, “From whom Persephone will accept atonement for ancient grief, their souls she will send forth again into the upper sun in the ninth year.” (Frag. 133) This “ancient grief” felt by Persephone likely refers to the death and dismemberment of her child, the first Dionysos who was called by the ancient Orphic poets Zagreus. An Orphic lamella from Thurii reads:
“Pure I come from the pure, Queen of those below the earth, and Eukles and Eubouleus and the other gods and daimons; For I boast that I am of your blessed race. I have paid the penalty on account of deeds not just; Either Fate mastered me or the Thunderer, striking with his lightning. Now I come, a suppliant, to holy Phersephoneia, that she, gracious, may send me to the seats of the blessed.”
Times of their festivals
Rural Dionysia : last half of Poseideon (around December):
Beginning December – 18th Tybi – Going forth of the Netjeru of Abydos
Lenaia : Gamelion 12-15 (around January):
Beginning January – 17th Mechir – Day of keeping the things of Osiris in the hands of Anpu
End January – 6th Pamenot – Festival of Jubilation for Osiris in Busiris
Anthesteria : Anthesterion 11-13 (around February):
Middle February – 28th Pamenot – Feast of Osiris in Abydos
Middle February – 30th Pamenot – Feast of Osiris in Busiris; The Doorways of the Horizon are opened
Greater (or City) Dionysia : Elaphebolion 9-13 (around March):
Middle March – 30th Parmutit – Offerings to Ra, Osiris, Heru, Ptah, Sokar and Atum
Oschophoria : Pyanepsion 7 (around October):
End October – 11th Koiak – Feast of Osiris in Abydos
One of the most disturbing rites associated with Dionysos was that of sporagmos “tearing apart” and omophagia “eating the raw flesh” of a sacrificial victim. Porphyry reproduced the following from Euripides’ Cretans, now lost: “Pure has my life been since that day when I became an initiate of Idaean Zeus and herdsman of night-wandering Zagreus; and having accomplished the raw feasts and held the torches aloft to the Mountain-Mother, yea torches of the Kuretes, I was raised to the holy estate and called a Bacchus.” Plutarch wrote of “the mysteries . . . in which the eating of raw flesh, and the tearing in pieces of victims . . . are in use . . . and the human sacrifices offered of old” (On The Cessation of the Oracles, 14). Clement of Alexanderia declares that “the Bacchanals hold their orgies in honor of the frenzied Dionysos . . . by the eating of raw flesh” (Exhortation, 2). And Arnobius describes the feasts of the “wild Bacchanalians, which are named in the Greek omophagia . . . in which with seeming frenzy and the loss of your senses, you twine snakes about you; and to show yourselves full of the divinity and majesty of the god, tear in pieces the flesh with gory mouths” (Against the Gentiles 5.19).
In Euripides’ Bacchae the maenads know “the joy of the red quick fountain, the blood of the hill-goat torn.” And they “Quaff the goat’s delicious blood, a strange, a rich, a savage food.” At other times the sacrificial animal was not a goat as Demosthenes tells us: “spotted fawns were torn in pieces for a certain mystic or mysterious reason.” (Fragment preserved in Photius’ Lexicon). The maenads wore a cloak made from the skin of the fawn, and Dionysos himself is depicted as tearing a fawn apart in several Attic vases. More commonly, however, the Dionysian victim was a bull. This was particularly the case in Crete where, to quote Firmicus Maternus, “the Cretans rend a living bull with their teeth, and they simulate madness of soul as they shriek through the secret places of the forest with discordant clamors.”
The devotees tore asunder the slain beast and devoured the dripping flesh in order to assimilate the life of the god resident in it. Raw flesh was living flesh, and haste had to be made lest the divine life within the animal should escape. So the feast became a wild, barbaric, frenzied affair. It could even find expression in cannibalism. Porphyry knew a tradition that in Chios a man was torn to pieces in the worship of Dionysos Omadios, the “Raw One.” At Potniae, according to Pausanias, a priest of Dionysos was once slain by the inhabitants and a plague was sent upon them in punishment. They sought relief, and the Delphian oracle told them that a beautiful boy must be sacrificed to the deity. Immediately afterward, Dionysos let it be known that he would accept a goat as a substitute. This story records the ancient transition in cult practice from the cannibal to the animal feast. Also in the fearful fate that met Pentheus at the hands of his own mother, as recorded by Euripides, there is a late literary echo of the primitive cannibalistic ritual.
As Harold Willoughby writes in Pagan Regeneration, “To focus attention on these savage features, however, is to miss entirely the significance of the crude ceremonial. The real meaning of the orgy was that it enabled the devotee to partake of a divine substance and so to enter into direct and realistic communion with his god. The warm blood of the slain goat was “sacred blood,” according to Lactantius Placidus. The god Dionysos was believed to be resident temporarily in the animal victim. One of the most remarkable illustrations of this ritual incarnation of the god was described by Aelian. Of the people of Tenedos, he said: “In ancient days they used to keep a cow with calf, the best they had, for Dionysos, and when she calved, they tended her like a woman in childbirth. But they sacrificed the newborn calf, having put cothurni on its feet.” The use of the tragic buskins symbolized the conviction that the god was temporarily incarnate in the calf–pious opinion did not doubt that. Primitive logic easily persuaded men that the easiest way to charge oneself with divine power was to eat the quivering flesh and drink the warm blood of the sacred animal. Some went farther and sought to assimilate themselves to deity by wearing the skin of the animal. The central meaning of the celebration was that it enabled the devotee to enter into direct and realistic communion with his God.” (Chapter 3)
We find a similar practice connected with Osiris in the afterlife. In one of the oldest of the Pyramid Texts, that belonging to Unas from the 5th Dynasty (cir. 2500 B.C.E.e.) we find the famous Cannibal Hymn:
“Unas hath weighted his words with the hidden God who hath no name, on the day of hacking in pieces the firstborn. Unas is the lord of offerings, the untier of the knot, and he himself maketh abundant the offerings of meat and drink. Unas devoureth men and liveth upon the Gods, he is the lord of envoys, whom he sendeth forth on his missions. He who cuteth off hairy scalp, who dwelleth in the fields, tieth the Gods with ropes… The Akeru Gods tremble, the Kenemu whirl, when they see Unas a risen Soul, in the form of a God who lives upon his fathers and feeds upon his mothers…. He eats men, he feeds on the Gods . . . he cooks them in his fiery cauldrons. He eats their words of power, he swallows their spirits. . . What he finds on his path, he eats eagerly.”
As E. A. Wallis Budge wrote in his translation of the Book of the Dead, “Here all creation is represented as being in terror when they see the deceased king rise up as a soul in the form of a God who devours ‘his fathers and mothers’; he feeds upon men and also upon Gods. He hunts the Gods in the fields and snares them; and when they are tied up for slaughter he cuts their throats and disembowels them. He roasts and eats the best of them, but the old Gods and Goddesses are used for fuel. By eating them he imbibes both their magical powers, and their Spirit-souls. He becomes the ‘Great Power, the Power of Powers, and the God of all the great Gods who exist in Spirit-bodies in heaven. He carries off the hearts of the Gods, and devours the wisdom of every God; therefore the duration of his life is everlasting and he lives to all eternity, for the Heart-souls of the Gods and their Spirit-souls are in him.”
Having partaken of this dynamic sacrament, Unas becomes an Osiris and is admitted to the company of the Gods. A parallel passage is found in the Pyramid Text of Pepi II, who, it is said, “seizeth those who are in the following of Set . . . he breaketh their heads, he cutteth off their haunches, he teareth out their intestines, he diggeth out their hearts, he drinketh copiously of their blood!’ (Line, 531 ff.).
Additionally, in the CLXXXI Chapter of the Book of the Dead we find the bloody sacrifice of captives and the sacramental rending and eating of the sacred bovine, which symbolized Osiris.
Linked with Isis
Ignoring the equation of Osiris and Dionysos for the moment, there is some interesting evidence linking Dionysos and Isis.
For instance, in Naples, Italy there is a Temple to Isis, which was reconstructed by Numerius Popidius Ampliatus, who also set up a statue of Dionysos there, and had frescoes of Bacchic revelry depicted alongside the more traditional Egyptian motifs. In the late period, when syncreticism and the multiplicity of faiths in the Roman Empire had reached a high point, we find a Mithraic Pater who was also an Initiate of Isis and an Archibukolos of Dionysos and at Rome a bilingual hexameter text praises a woman who was priestess of Dionysos and attendant of Isis. (ICUR no. 1150). More to the point, these two deities had been linked by ancients in numerous ways. For instance, Ariston in his The Foreign Settlements of the Athenians, tells us that Dionysos is said to be the son of Zeus and Isis and “to be called not Osiris but Arsaphes, the name denoting manliness.” Anticleides said that Isis was the daughter of Prometheus and cohabited with Dionysos. And in the Orphic Hymn XLI, Dionysos-Iacchos is said to be “exulting in the fertile plains with thy dark mother Isis, where she reigns, with nurses pure attended, near the flood of sacred Egypt, thy divine abode.” And of course, lest we forget, the two were brought together through the tumultuous affairs of Cleopatra VII and Antony – for as Cicero wrote: “Oh yes, he is no longer a worshipper of Dionysos, he is Dionysos! And in the East Dionysos is god, not merely of intoxication, but counterpart to their Aphrodite, the wellspring of life itself, in short, Antony is become Bacchus to Cleopatra’s Isis!”
Alan Gardiner suggests that the Djed pillar represents “a column imitating a bundle of stalks tied together,” (Egyptian Grammar, p. 502) but also suggests that the hieroglyph shows “vertebrae conventionally depicted”. It is used in the word pesed, meaning “back” or “spine”. (Alan Gardiner, Egyptian Grammar, p. 566, also Faulkner, A Concise Dictionary of Middle Egyptian, p. 95.)
According to E. A. Wallis Budge, the Djed is the oldest symbol of Osiris, and symbolizes his backbone and his body in general. He states that originally Osiris was probably represented by the Djed alone, and that he had no other form. He regards the Djed hieroglyph as a conventional representation of a part of his spinal column and gives its meaning as “to be stable, to be permanent, abiding, established firmly, enduring.” (Egyptian Hieroglyphic Dictionary, vol. 2, p. 913)
Walter Otto describes a similar item connected with Dionysos and the wine-mixing festival that took part on Khoes during the Anthesteria. “The large mask of the God hung on a wooden column, and the wine was not just mixed and ladeled up in front of it, but it was also presented with the first draught. A long robe (or a double robe) extends down from beneath the bearded head, and this gives one the impression of a full-figured idol. Ivy sprigs are brushed up over the mask much like the crown of a tree; and ivy twines around the unobstructed parts of the wooden column or grows up from its base, at times even growing out, like tree branches, from the robe of the god himself.” (Dionysos: Myth and Cult, pg. 86)
Bob Brier observed that “While in temple service, priests purified themselves before they came in contact with the deity. To be pure, or clean in a religious sense, even the most common order of priest, the wab priest, had to shave off all the hair on his body. On temple reliefs and tomb paintings, priests are always depicted as shaven-headed.” (Ancient Egyptian Magic, pg. 37)
Plutarch explained the custom as follows, “Most people have failed to notice this very common and small point, why it is that the priests cut off their hair … some say that they shave their heads as a mark of sorrow, but the real reason is as Plato says, ‘It is not right for the impure to touch the pure’ (Phaedo, 67B); no surplus matter from food and no dung is holy or pure, and it is from surplus matter that wool, fur, hair and claws arise and grow.” (On Isis and Osiris 4)
According to Herodotus, some priests of Dionysos also practiced ritual shaving. “And they say that they wear their hair as Dionysos does his, cutting it round the head and shaving the temples.” (3.8)
Connection with Royalty
According to Diodorus Siculus, Osiris ruled Egypt as an earthly King and gave to them “the greater part of their laws.” (3.2) Egyptian tradition offers much in support of this view: a Middle Kingdom Coffin Text reads, “You are crowned Lord of the West after having governed Egypt and the inhabitants of the earth.” (CT I 189f-g) and an inscription at the temple of Dendera praises Osiris as the “Lord of Egypt, who governed the inhabitants of the desert, who governed the foreign regions as King, who stopped the massacre of the Two Lands.” (X. 240, 2-3) The Pharoah believed that he had received his crown from Osiris – “Ho! King Neferkere! How beautiful is this! How beautiful is this, which thy father Osiris has done for thee ! He has given thee his throne, thou rulest those of the hidden places (the dead), thou leadest their august ones, all the glorious ones follow thee (Pyr. 2022-3). Wherepon the King was depicted carrying the crook and flail of Osiris as symbols of his apropriateness to rule.
Nebet Mirjam has summarized the Ancient Egyptian views on Kingship as follows:
“The mediator between humans and gods was the king. At his crowning, a new king became transformed into a living god, a concept which of course went through changes in the more than 3000 year long history of ancient Egypt, but nevertheless was the basis for the prevailing religious, economic and social structure. The theory which this based itself on was that when the king, called the Living Heru, died, he passed over to the Kingdom of Osiris (Osiris) and left the kingship in the hands of his son, just as the myth of Osiris (Osiris), Isis (Isis) and Heru (Horus) describe. The newly ascended king becomes the Living Heru (Horus) at the moment of his coronation, and is thereby transformed into a divine status. So the Divine Kingship rests on mythical precedence and on two generations – a transmission of status from father to son as laid out by the gods in the beginning of time. One important distinction should be made; it is the office of the king which is sacred, the office is eternal but the person holding it is human and of course he changes through time.”
Dionysos plays a similar role with Kingship in Greece and Asia Minor. He was, himself, descended from Kadmos, the King of Thebes (Euripides Bacchae, 3) and his sons by Ariadne, a Cretan Princess (Homer Iliad 18.590-92, Apollodorus 1.9.17), were considered Kings and founders of cities in their own right. (Oenopion ruled Chios, Agrius ruled Calydon, Thoas and Staphylos founded cities after sailing with the Argonauts, etc.) In Sophocles’ Oedipus the King (1105-9), it is suggested that Oedipus may have been a child of Dionysos and one of the Nymphs of Mount Helicon (though clearly this was not the case). Dionysos took the place of the Calydonian King Oeneus, and bore Deaneira by Althaea (Apollodorus 1.7.10-1.8.2) much the same way that he was annually married to the wife of the Arkhon Basileus (“King Ruler”) during the Anthesteria festival (Aristotle Constitution of the Athenians 3.5). During his travels, Dionysos is said to have visited a number of Kings and their households – Amphiktyon in Athens (Pausanias 1.2.5), the daughters of King Minyas in Orchomenus (Pausanias 9.26.4-5), Lykourgos in Thrace (Homer’s Iliad 6.130-140), Proteus of Argos (Apollodorus 3.5.1), Pentheus (Euripides’ Bacchae) and Polydorus (Pausanias 9.5.3-4) of Thebes, and Perseus of Mycenae (Pausanias 2.23.7) to name only the most famous. (It is worth noting, however, that many of these encounters were hardly felicitous.) And according to Herodotus, the Scythian King Skyles sought to be initiated into the mysteries of Dionysos Bakkhios after which his countrymen saw him “playing the Bakkhos” (4.72).
According to Plutarch (Alexander 2-3) the Macedonian Queen Olympias was “addicted” to Orphic-Bacchic mysteries, and was seen handling winnowing baskets and snakes, hence the story that she was impregnated by a God in the form of a snake to give birth to Alexander the Great. Walter Burkert informs us that “the prominence of Bacchic cults in Macedonia and its surroundings at that time is made clear by archaeological evidence, by remarkable “Bacchic” monuments that have come to light in funerary contexts, such as the gilded krater of Derveni, used as an urn, or tombs painted with Dionysiac scenes, such as the one recently discovered at Potidaea.” (Bacchic Teletai in Masks of Dionysos, pg. 262) According to Herodotus, the Dionysian connection with the Macedonian royal line goes back much further, to the house of the Argeade, who set out in conquest from the Gardens of Midas, where Silenus dwells, to conquer Macedonia. (8.137-38) When Alexander the Great set out to conquer the world, he was, according to Plutarch, simply following in the footsteps of his mythical ancestor, Dionysos. In On the Fortune of Alexander Plutarch puts the following words in Alexander’s own mouth, “I imitate Herakles, and emulate Perseus, and follow in the footsteps of Dionysos, the divine author and progenitor of my family, and desire that victorious Greeks should dance again in India and revive the memory of the Bacchic revels among the savage mountain tribes beyond the Caucasus.” Alexander’s mother made sure that during his foreign travels and contact with their religious traditions he did not forget his family cults, “both the Argadistika and the Bakkhika” (Athenaeus 15.659-60) It would seem that he did not, for under Alexander’s successors, the Ptolemies, Seleukids, and Attalids, Dionysos’ worship rose ro great prominence in Egypt, Syria, and Pergamon and was intimately linked with their claims to Kingship.
The Ptolemaic Kings in Egypt claimed descent from Dionysos through Arsinoe, whose ancestry branched off from the Macedonian royal house (Satyrus F. H. G. iii p165). The Macedonians were descdents of Herakles and his wife Dianaira, who was a daughter of Dionysos (Diodorus Sicculus 7.15), thus Dionysos came to be their divine ancestor and the tutelar deity of their Dynasty. As early as Ptolemy II this theme was proclaimed in his great procession, where the glory of Dionysos is said to radiate upon the Kings of Egypt. (Kallixenus FGrH 627) Ptolemy IV made the most of this connection. I have already discussed how he gave royal patronage to the mysteries of Dionysos, attempting to codify and standardize them, but it was also said that he had himself branded with the ivy-leaf, and played the tympanon in Dionysos’ honor at the royal residence (Plutarch Kleomenes 33), and even had himself called “Neos Dionysos” and renamed several demes in Alexandria after the God – most notably Bacchias (modern-day Umm-el’ Atl) and Dionysias (Kasr Kurun). His work on behalf of the God did not go unnoticed outside of Egypt – Bakkhistai from Thera passed a decree, about 150 B.C.E.E, by which the envoy of the Egyptian King together with his wife and descendants were given divine honors by their thiasos. (OCG no.735)
The Attalid Kings of Pergamon claimed a similar descent. Pausanias (10.15.3) refers to an oracle of a prophetess called Phaennis, which referred to Attalos as “son of the bull fostered by Zeus” that is Dionysos, and the Delphic oracle made the link even more explicit, referring to the Pergamene King as Taurokeron, or “bull-horned”. The Attalids issued official coins minted at Pergamon with the kiste or mystic basket of the Dionysian mysteries, from which a snake can be seen to emerge. The worship of Dionysos Kathegemon or “The Leader” was installed by the Kings, with the priesthood drawn directly from the royal family. (IPergamon no. 248) At Teos, near Pergamon, there was a cult of Dionysos Setaneios (also meaning “Leader”) with its mystai and oregeones, and in 230-200 B.C.E.E the city tried to gain international recognition for its right to sanctuary on behalf of its ancient cult to Dionysos the Leader, claiming that “the city and its land were sacred to the God”. It was from Teos that the Dionysian tekhnitai or “actors” spread, those crafters of ritual processions which were so intimately linked with the rule of Hellenistic Kings in the East.
Prohibition on Wool
Bob Brier observed, “Priests were not permitted to wear wool, since wool came from animals, and animals obviously were unclean. They wore only fine linen, stored in special rooms of the temples and cared for by other priests whose function it was to assure their cleanliness.” (Ancient Egyptian Magic, pg. 38)
Plutarch explained the custom as follows, “Most people have failed to notice this very common and small point, why it is that the priests cut off their hair and wear linen clothes; some do not bother at all to understand these practices, while others say that the priests abstain from the use of wool, as from mutton, because they hold the sheep in reverence; that they shave their heads as a mark of sorrow and that they wear linen because of the colour produced by the flax in blossom, which is like the sky-blue of the upper air that surrounds the earth. There is only one true reason for all this. ‘It is not right’, as Plato says (Phaedo, 67B), ‘for the impure to touch the pure’; no surplus matter from food and no dung is holy or pure, and it is from surplus matter that wool, fur, hair and claws arise and grow. It would therefore be absurd for the priests, while removing their own hair by shaving and making the whole body evenly smooth, to put on and wear the hair of animals.” (On Isis and Osiris 4)
Herodotus points out a similar tradition connected with Dionysos: “But nothing woolen is brought into temples, or buried with them: that is impious. They agree in this with practices called Orphic and Bacchic, but in fact Egyptian and Pythagorean: for it is impious, too, for one partaking of these rites to be buried in woolen wrappings. There is a sacred legend about this” (2.81.1)
Abstention from Meat
The Orphics, a reactionary movement which attempted to modifiy the ‘primitive’ forms of Dionysian worship, abstained from all animal flesh, as we see in the following lines from Euripides’ play The Cretans, which form the ‘confession’ of one who had been initiated in the mysteries of Orpheus and became a Bacchos: “Robed in pure white, I have borne me clean from man’s vile birth and coffined clay, and exiled from my lips alway touch of all meat where life hath been.”
According to Porphyry, “The Egyptian priests abstained from eating fish, one-hoofed quadrupeds or such as had more than two divisions in their hoofs and no horns, and all carnivorous birds.” (De Abstinentia 4.7)
In many places, the prohibition against eating fish – which truly applied only to the priesthood, since fish has always been a staple in the diet of the poor – arose because the fish was said to have eaten the penis of Osiris. Plutarch, in On Isis and Osiris testifies to this, “And this is not the least of their reasons for the great dislike which they have for fish, and they even make the fish a symbol of ‘hatred,’.” (32)
Crook and Flail
Charles York Miller informs us, “The crook (heqa) was carried by Kings, Gods and high officials. It derived from a shepherd’s staff, and in this form, it was carried by Anedijti, the shepherd God. Later, it was depicted as a smaller sceptre, and it came to denote the carrier as a ‘ruler’. The crook is often depicted being held with the flail across the chest. Opinions differ regarding the origin of this symbol, it possibly representing a shepherd’s whip or a fly-whisk. It was associated with the Gods Osiris and Min, but when carried by kings it symbolised authority, hence the combination with the crook denoting the ‘authority and power of the ruler’.”
Both of these symbols are part of the repertory of Dionysian imagery. The cowherd’s crook (kalaurops) was carried by Dionysian priests or boukoloi during processions, and were probably used during initiation ceremonies as well. It was even depicted on a funerary plaque for a Dionysian initiate named Herophilus, alongside a switch or flail. (Susan Guettel Cole, Dionysos and the Dead) The flail is also depicted in the context of an initiation at the Villa of the Mysteries in Pompeii, where the initiate is being flogged by a winged spirit in preparation for receiving the vision of the unveiled liknon.
Although Dionysos is not associated with any birds, the Amyklaians invoked him as Psilax, from the Doric word psila meaning “winged”. (Pausanias 3.19.6)
Similarly, Osiris usually appears as a mumiform being or a bull – but occassionally will be represented with wings, as a hawk, or as the winged solar disc through his syncreticism with Re. (E. A. Budge, Gods of the Egyptians)
Appears in Dreams
Dreaming was very important in ancient Egypt. Their word for dream rswt, is etymologically connected to the root meaning “to be awake”. It was written with a symbol representing an open eye, not unlike the hieroglyph for Osiris’s name. It was felt that the dreamer could travel beyond his body and communicate with the Gods and spirits in this state. During Hellenistic times, dream schools flourished in the temples of Serapis. And from the 2nd century BCE we have papyri recording the dream diaries of Ptolemaios, who lived for many years in katoche, or sacred retreat, in the temple of Serapis at Memphis. Osiris visited his initiate Lucian in a dream, commanding that he undergo further rites of initiation, and persue a career as a lawyer in Rome. (Apuleius, Metamorphoses27-30) Additionally, according to Robert Moss in Dreaming Like an Egyptian, “A rightful king must be able to travel between the worlds. In the heb sed festival, conducted in pharaoh’s thirtieth year, the king was required to journey beyond the body, and beyond death, to prove his worthiness to continue on the throne. Led by Anubis, pharaoah descended to the Underworld. He was directed to enter death, “touch the four sides of the land”, become Osiris, and return in new garments – the robe and the spiritual body of transformation.”
Additionally, Dionysos was said to appear in dreams.
“There is a legend that after the death of Sophocles the Lacedaemonians invaded Attica, and their commander saw in a vision Dionysos, who bade him honor, with all the customary honors of the dead, the new Siren. He interpreted the dream as referring to Sophocles and his poetry, and down to the present day men are wont to liken to a Siren whatever is charming in both poetry and prose.
“The likeness of Aeschylus is, I think, much later than his death and than the painting which depicts the action at Marathon Aeschylus himself said that when a youth he slept while watching grapes in a field, and that Dionysos appeared and bade him write tragedy. When day came, in obedience to the vision, he made an attempt and hereafter found composing quite easy.” (Pausanias 1.21.1-2)
And he was even able to heal people through dream incubation:
“They celebrate orgies, well worth seeing, in honor of Dionysos, but there is no entrance to the shrine, nor have they any image that can be seen. The people of Amphikleia say that this god is their prophet and their helper in disease. The diseases of the Amphikleans themselves and of their neighbors are cured by means of dreams. The oracles of the god are given by the priest, who utters them when under the divine inspiration.” -Pausanias 10.33.11
Worshipped from time immemorial
“Up to the present no evidence has been deduced from the hieroglyphic texts which enables us to say specifically when Osiris began to be worshipped, or in what town or city his cult was first established, but the general information which we possess on this subject indicates that this god was adored as the great god of the dead by dynastic Egyptians from first to last.” (E. A. Wallis Budge, The Gods of the Egyptians pg. 116.)
Dionysos was not a late-comer to Greece, as so many seem to believe. He was clearly known in all of his particulars to the Minoans and Mykeneans, as is attested by the appearance of his name on a clay tablet at Pylos: di-wo-nu-so-jo. Another tablet speaks of “Eleuther, son of Zeus” to whom two oxen were sacrificed jo-i-je-si me-za-na e-re-u-te-re di-wi-je-we qu-o and even of wo-no-wa-ti-si or oinoatisi “Women of Oinoa, Place of Wine” showing that already the wine-god had his female attendants in the thirteenth century BCE. Further, as Thucydides said, the “Old Dionysia” or Anthesteria was common to all the Ionians – hence it must have preceded the migration of the Ionian tribes. The oldest sanctuaries in Athens were to Dionysos of the Swamps. And Dionysos is found even in Homer, where it “speaks of him in the same manner in which it speaks of the deities who have been worshipped since time immemorial, however the poet himself and his audience may feel about him.” (Walter Otto, Dionysos pg 54)
Shared Epithets and Invocations
Referring to Osiris, Richard W. Wilkinson says, “Both the meaning of the God’s name and his exact origins are enigmatic.” (The Complete Gods and Goddesses of Ancient Egypt, 118)
Similarly, there is no agreement about the meaning and origin of the name of Dionysos. It seems not to be a personal name at all, but rather a title – and the ancients offered numerous speculative interpretations. Some suggested that it meant ‘The God from Nysa’, (Diodorus Siculus I.15) or ‘The Limp of Zeus’ (from an obscure Thracian word and on account of the fact that the child had been sewn into Zeus’ thigh) or even ‘The Divine Intelligence’ (from Dios nous Macrobius, Saturnalia 1:18) – and almost 2,000 years later, we are no closer to understanding the meaning of this most enigmatic of God’s names.
Etymologically, Osiris’s name may be derived from the Egyptian word useru meaning “Mighty One” (Wilkinson, 118) which suggests a connection to Dionysos’ Eleusinian epithet Brimos also meaning “Strong or Mighty One”. As we shall see, this was not the only epithet or cult-title that the two seemed to share.
“Hail to you Osiris of many names,” – The Great Hymn to Osiris
“Come, blessed Dionysos, many-named master of all.” – Orphic Hymn 45
“… of holy forms, of secret rites in temples.” – The Great Hymn to Osiris
“… ineffable, secretive, and two-formed … Lord of triennial feasts.” – Orphic Hymn 30
“O thou great one of two-fold strength,” – The Great Hymn to Osiris
“Mighty and many-shaped God,” – Orphic Hymn 50
“The two lands with one consent cry out unto thee with cries of joy.” – The Great Hymn to Osiris
“You are honored by all the Gods and by all the men who dwell upon the earth. Come, blessed and leaping God, and bring much joy to all.” – Orphic Hymn 45
“First-born son” – The Book of the Dead Chap. Cxxviii
“O firstborn, thrice begotten,” – Orphic Hymn 30
“Lord of the two horns” – The Book of the Dead Chap. Clxxxi
“Bacchic lord, two-horned and two-shaped.” – Orphic Hymn 30
“Thou art gentler than the Gods.” – The Lamentations of Isis and Nephthys
Euripides calls Dionysos the “most gentle” of Gods (Bacchae, 860) and at Naxos he was invoked as Meilichios, “the Gentle”.
“Thou who art of terrible majesty,” – The Lamentations of Isis and Nephthys Additionially, in the Middle Kingdom, there exist in the Coffin Texts descriptions of Osiris that conjure up a picture of a threatening demon. He glories in slaughter, utters malignant spells against a dead person, and runs a ‘mafia’ consisting of executioners called ‘Osiris’s butcherers painful of fingers’ or ‘Osiris’s fishermen'” (George Hart, A Dictionary of Egyptian Gods and Goddesses, pg. 155).
Euripides calls Dionysos “most terrible” (Bacchae, 860) and he had numerous horrific and frightening epithets, including Agrios “The Wild One”, Anthroporraistes “The Render of Humans”, Nyktipolos “The Night-Stalker”, Omadios “He of the Raw Feast”, and Omestes “Eater of Raw Flesh”.
“Thou Babe of beautiful appearance, come thou to us in peace.” – The Lamentations of Isis and Nephthys
Dionysos was the Divine Child of Eleusis, the beautiful child in the Liknon who was cared for, and later Awakened, by his Nurses.
“O lover of women,” – Lamentations of Isis and Nephthys
Dionysos is often described as a woman’s God. He is contantly surrounded by women – Goddesses, Nymphs, Muses, Mainades, Thyiades, etc. Two of his most important myths revolve around his love for women and their love for him – his marriage to Ariadne and the raising of his mother from the land of the dead to the realm of the Gods. He was a missionary in the cult of Meter Kybele, and even had many feminine epithets, including Gynis “The Womanly” and Arsenothelys “The Bisexual”. In Southern Italy, women saw death as an erotic adventure, in which they would be united forever in loving embrace with their God.
Osiris was called Neb Ankh, “Lord of Life”, while Dionysos was understood to be Zoe “Indestructable Life” itself.
Osiris was called Lord of Wholeness, while Dionysos is sought to “come in wholeness to noble Tmolus”. ( 48) Further, the rites of Dionysos have wholeness as their mission – to restore balance to the world, to bring out the hidden, repressed parts of ourselves, and purge unhealthy madness through katharsis that we might live lives of wholeness and happiness.
Osiris was the “Lord of All” while Dionysos’ worship was open to everyone, from all ranks of society (Euripides’ Bacchae 205) and he was called Aisumnetes “impartial power over all” (Pausanias 7.19.21).
Osiris was called “The Begetter”, while Dionysos was called Auxites, “Giver of Increase”.
Osiris was hailed as “Osiris in Battle” while Dionysos was called Areion “War-like” and said to “delight in bloody swords”. (Orphic Hymn 45)
Osiris was called Neb “Lord”, and Ser, Prince, while Dionysos was called Anax “Lord”, and was the earthly child of princess Semele, the daughter of the Theban King Kadmos.
Osiris was called “The One in the Tree” just as Dionysos was called Endendrites “He in the Tree”.
Osiris is called p3wty n t3wy tm df3 k3w “Primeval god of the two lands, perfect of nourishment and sustenance”, while Dionysos is called, “Primeval … wrapt in foliage, decked with grape-clusters.” – Orphic Hymn 30
Osiris is hailed as Neb Neheh djet “Lord of Eternity” while Dionysos is said to “stride the earth forever” (Sophocles, Oedipus at Colonnus)
Osiris is the Nisut Netjeru or King of the Gods, just as Dionysos, briefly, sat upon the throne of Zeus and ruled over all the Gods and men. (Nonnos’ Dionysiaca, 6.155)
Osiris is called Neb-er-tcher “Lord of the Outermost Limit”, just as Arrian speaks of Dionysos having traveled to the “furthest reaches of the earth,” (Anabasis 5.1.1)
Osiris was called Sa Nut “Child of Heaven” and Sa Geb “Child of Earth”, just as the Bacchic initiate was to instruct the Guardians in the underworld that after having become identified with Dionysos he was to be known as a “child of Earth and of starry Heaven”.
Osiris is called Hr st=f m t3 dsr “Who is upon his throne in the sacred land” just as the Orphics celebrated Thronismoi Bakchika, the “Rite of the Enthronement of Bacchus”.
Many of Osiris’s epithets link him to various cities. For instance, he is called Khenti Abdju “Foremost of Abydos”, Khenti Djedu “Foremost of Busiris”, “He Who Dwells in Iunu”, and so forth. Similarly, many of Dionysos’ epithets were linked to various cult centers belonging to him: Eleuthereus “Of Eleutherai”, Kalydonion, “Of Calydon”, Kresios “The Cretan”, and so forth. And of course, both Osiris and Dionysos were connected with Thebes – the one in Boiotia, the other in Egypt.
Utterance 419 speaks of, “the Imperishable Stars, the followers of Osiris,” while Sophocles hails Dionysos as, “thou leader of the choral dance of the fire-breathing stars.” (Antigone 1146)
There is an interesting parallel in the following paradoxical lines. Clement of Alexandria gives the symbolon of Dionysos thusly: tauros drakontos kai pater taurou drakon, “The bull is father of the serpent, and the serpent father of the bull.” In the Pyramid texts we find, “To say the words : “The bull falls because of the sDH-snake, the sDH-snake falls because of the bull. Fall, roll together” (Utt. 289 430)
And that concludes the evidence I’ve gathered linking these two Gods. It is certainly a considerable amount of material, and suggests more than a casual similarity between them. However, as you will see in a forthcoming article, there are also a number of areas where these two Gods diverge – and at times quite profoundly.
Paths to Dionysos
This is one of my older pieces; there are a few things in it I’d phrase differently today, or not at all. But in general it holds up fairly well, and addresses some things I’ve been discussing with folks over the last couple days so I wanted to share it here.
Quintus Aurelius Symmachus, one of the last defenders of Classical paganism remarked, “What matters the path by which one seeks the truth? One road alone does not suffice to attain so great a mystery!”
Although his wisdom could be applied to many things, it holds especially true when we are approaching the God Dionysos, who is the mystery of all mysteries. I cannot tell you the number of times I’ve received e-mails from people who have begun to feel a call from Dionysos but stop dead in their tracks because they are afraid of what heeding such a call might do to them, or feel that they could never be a true Dionysian, by which they usually mean either a drunken mystic sensualist or a wild woman who leaves behind her home and family to rave with the God on the mountain-top and consume the raw flesh of freshly killed animals. And these people are probably right: it isn’t within their nature to act in such a way, or to radically commit themselves to tearing down the walls of fear and inhibition that they have spent a life-time building up. But that doesn’t mean that there is no place for the God within their lives, or that they can’t benefit in even a small way from having a relationship with him.
In Euripides’ famous play the Bakchai, the headstrong young king Pentheus believed that there was only one way to worship Dionysos and that was through drunken debauchery and madness. The wise Tieresias, who was a blind seer dedicated to Apollo, advised him that there was more to the God than what one might at first surmise. In addition to being the lord of the vine he is a God of all vegetative life, a kindly benefactor to humankind, he brought joy and merriment to care-worn hearts, he is a strong God, and warlike, who was able to conquer large parts of the world, and while he enjoyed festive celebration and sensuality, that wasn’t the only way that he could be honored. In fact, he goes on to say:
“Dionysos does not, I admit, compel a woman to be chaste. Always and in every case it is her character and her nature that keeps a woman chaste. But even in the rites of Dionysos the chaste woman will not be corrupted.” (Bakchai 315)
That is an important line. It shows that what matters lies in the heart of each individual. Dionysos helps us find our authentic self, the part of us which too often becomes dulled and corrupted and hidden under layers of fear and social respectability. Dionysos is the God who awakens us, who brings us fully to life, and the means of accomplishing that, and the form that it will take when manifested, differs from person to person. For some, intoxication and revelry are the doors through which we pass into wholeness: others find a quieter, more contemplative approach works best for them. Dionysos doesn’t want us to pretend to be something we’re not, to offer him false worship because we think this, and only this will be pleasing to him. He wants us to unfold the truth within us, to strip away the lies and false exterior and revel in wholeness with him. And he won’t force us to do something we don’t want to or aren’t ready to: a chaste woman will remain chaste within his rites.
When we look at the mythology connected with Dionysos, we find this truth that there are many paths which lead to him amply reflected. The way of the Mainad and the way of the mystic may stand out most prominently, but there are others of equal importance.
For instance, we find the way of Tieresias himself, which I call the path of philia or friendship. For such a person, Dionysos must always remain on the periphery. They are devoted primarily to another God, whose demands on them are of central importance. To embrace Dionysos completely would be to forsake the relationship they already have with their God, to violate their principles, to go against their own innate psychology. Dionysos does not want this. He respects his family and their territorial claims, and he would not cross that boundary even if he could.
Instead what he offers to such people is temporary release. A time of license and celebration, which once completed reverts back to normal life. Such a person may have fond feelings for Dionysos, but nothing more. No intense devotion, no strong commitment. They may do a lot to contribute to the work of the God, for instance by helping to put on festivals for him, by writing poetry, by telling others about Dionysos, by helping those who are truly devoted to the God – but all their efforts are those of an outsider.
And Dionysos looks fondly upon this sort of work. They have much to contribute, for he is a social God, the God of the throng and crowd, the God whose mania spreads among large groups of people, the God who, according to Euripides, wishes to receive honors from all. If his worship was reserved for only the few who are intensely devoted to him, none of this would be possible. In fact, the really good rituals that he so enjoys would never come to be, for there are all sorts of details that need to be taken care of which the diehard mystics would probably overlook. Stuff such as organization, acquiring goods, setting up things, getting people together, etc. Other Gods inspire the sort of people that are good at handling these little details, but Dionysos benefits from their presence at his ceremonies.
And Dionysos, in turn, can help these people strengthen their relationship to their own Gods. Many times people have described Dionysos as a gateway God. He may be the first one that catches their interest, that starts them along the path of Hellenismos, that helps them deal with certain issues and tears down mental blockages, but after that they don’t feel any deep connection to him. Instead, another God rises up in prominence for them, someone who more properly fills their spiritual needs, someone who inspires that deep, committed devotion on their part. They often become confused and saddened: where did Dionysos go? Did I do something wrong and that’s why he disappeared? Since he was the first, why do I feel so much more for ____?
Although these thoughts are natural, and may be important steps on the introspective path, it is also important to remember that Dionysos is a fluid God who comes and goes as he will, and who has a very strong working relationship with the other Gods. They will often do things for each other when one of them is better suited to the task than the others. So it’s quite possible that that’s what lies behind this: you were never meant to be a Dionysian, but rather a friend of Dionysos.
Related to this path, but different from it is the way of the Satyr. For these people, Dionysos is first, foremost, and in the end, a God of exuberance, joy, celebration, sex, drunkenness, and reveling. Although they may be aware that there’s more to the God, it doesn’t really matter. They need to unwind and let go, and he’s there to help them. This is the face of the God that is seen most prominently in our wider culture. In fact, most people know Dionysos only as the drunken frat-boy party God.
At first this bothered me because I was aware of the deeper complexity of the God – saw him, in fact, primarily as a dark, dangerous, mysterious force of liberation and spiritual ecstasy. I thought they were ignorant and had only the shallowest of relationships with him. But maybe that is exactly what they most need and therefore it’s what the God provides them with.
We live in a society that thrives on control and repression. From birth we are bombarded with messages that tell us our bodies are bad and that everything we do with them is sinful, that we can’t trust our instincts, that to let go is weak and disgusting, that we will never be good enough, thin enough, pretty enough, and that the only value lies in transcendence, in controlling our every thought and action, in lifting ourselves out of the muck and looking up to heaven for our redemption.
The Satyr stands in direct and radical opposition to this. In the face of seriousness he bellows with laughter. To those who would hold up an idealized impossible image of beauty, he flaunts his grotesque obesity and says this flesh, too, is beautiful. He affirms that there is nothing wrong with enjoying yourself, in experiencing the pleasures of life to their fullness, that man is an animal and he shouldn’t try to hide that or pretend otherwise. That sex, food, and drink are good things in and of themselves, that they don’t need to be given a polite spiritualizing coat of whitewash to be tolerated.
True, such a path may not be fulfilling to all, but it has its value and its place within the Dionysian realm. Sometimes it can lead into a deeper understanding of the God, but plenty of times it doesn’t. And I don’t think Dionysos is bothered by that. He comes to people where they are, as they are, and he gives them as much of his blessings as they are ready and able to accept. Maybe these people will never feel sublime spiritual union or behold the mysteries of death and rebirth which are his provenance, but at his hands they have felt joy and release, and who can say what good this will end up doing for them in the long run?
The polar opposite of this path would have to be the way of Orpheus. To some this may seem paradoxical. What has asceticism and restraint to do with Dionysos? Isn’t he the wild, sensual God of liberation? He is. But his ecstasy can also be felt in other ways. It can lead to an awareness that there is something more to us than just our bodies, and that this intangible principle is the most important part of us. He is a God of liberation, and sometimes we need to be freed from a gross, dense materialism, to let our souls fly free, to elevate our minds, to transcend our limitations.
Dionysos has nothing to do with addiction. Addiction is bondage, and Dionysos is about freedom. Indulgence taken too far is slavery. And so Dionysos is there to help those who are battling against the invisible chains that keep them from living authentic and self-governingly. Dionysos is the one who invented the custom of watering wine and who taught the ancients to drink temperately. As the God says in the comedy by the playwright Eubulus:
“Three kraters only do I propose for sensible men, one for health, the second for love and pleasure and the third for sleep; when this has been drunk up, wise guests depart for home. The fourth krater is mine no longer, but belongs to hubris; the fifth to shouting; the sixth to revel; the seventh to black eyes; the eighth to summonses; the ninth to bile; and the tenth to madness and people tossing furniture about.”
He is also a very sensual God, and when a behavior becomes conditioned, automatic, addictive so that you have to keep doing it in order to function, how are you truly enjoying it? When you drink to the point of oblivion every night, you don’t get the positive benefits of alcohol. When you have to have a cigarette every twenty minutes or you go insane, you’re a slave, and all those harmful chemicals in your body, choking on phlegm when you wake in the morning, and emphysema or cancer, stop you from feeling the goodness and pleasure of life and enjoying other activities besides.
Dionysos can help us pare down these things, open us to a more expansive vision of life, feel all that it has in store for us. Also, by restraining ourselves, and indulging in an act infrequently, the pleasures become magnified many times when we actually do allow ourselves to enjoy them. Take sex, for instance. If you copulate every single night, several times a night, over a prolonged period, it becomes dull, boring, and eventually you may start to lose sensation. But go for a period without it and see what a difference there is. Your desire will grow stronger, and start to bleed through into other aspects of your life. You may start to become so sensitive that the slightest touch drives you wild. And when you do finally have sex, the intensity of your orgasm after the build up will be mind-blowing.
Dionysian asceticism isn’t about denying our pleasures or the world – it’s about reshaping them, intensifying them, redirecting them into other avenues. There are of course other ways to do this, but the path of discipline and denial can be a powerful tool towards that end.
A path which benefits from Orphic discipline and asceticism, but which differs widely from it in aims and methodology is that of the Mainad. The Mainades were the wild-women who followed Dionysos. They were his companions, his hunting-pack, his nurses and protectors. The path of the Mainad is one that is only open to women (or those who possess the souls of women). And not every woman who is a devoted follower of Dionysos is actually a Mainad. There is something special about this role and what it actually signifies.
To begin with, the Mainad is a mad-woman. She is one who is filled with the spirit of the God, who has given complete control of her mind and body over to him to use as he will. Her consciousness recedes before the divine presence, and he guides her every step. Through him she is able to perform miraculous physical feats like touching fire without being burned, enduring other types of pain, lifting impossible weights, running for great lengths, possessing an elasticity in her movement which is not normally possible, consuming harmful substances without any negative effects, and other related activities. Many stories said that the Mainades could draw milk, oil and wine from the ground, and while I haven’t actually seen this myself I’ve seen enough not to discount it outright.
But a Mainad is more than just a ‘horse’ for the God, to borrow the terminology of Afro-Caribbean religions which have a very similar phenomenon in their entranced priestesses. A Mainad is also the one who rouses the God, who calls him up from the depths, awakens him from sleep and death, and brings him forth into this world. She is the mortal double of the nymphs and Goddesses who performed this function in the myths: she is at once his mother, his lover, his protector and hunting-companion. And that is why I say that only a woman can be a Mainad, because there is something that happens when the masculine spirit of the God comes into contact with the receptive feminine vessel. It is very different from when the God’s spirit fills a masculine vessel, as we shall discuss later.
A Mainad is also a woman apart. She doesn’t truly come into her own until she is in the wilds, be that the dark forests of her mind or the physical mountain far from her home and her ordinary life as mother, wife, daughter, etc. To do so, she must forsake her normal obligations, must challenge the assumptions of what a good woman is and does, must strip away her inhibitions, her doubts and fears, must purify herself in the God’s madness so that she may emerge whole and wild and fierce.
And she must do the same for the God. She first coaxes his spirit up and nurtures it, as we see in accounts of the Mainades taking young beasts to the breast or performing their secret rites to awaken Liknites, the infant God in the basket. Then she arouses him through her songs and dances, which are performed before the masked idol. She draws him out of it and excites him to dance, to come into his fullness as the wild and raving God of ecstasy. Sometimes this has an overtly sensual nature, as in the case of the Bridal Mysticism that we will soon be discussing, but other times it doesn’t and can be simply the intoxication of life, the liberation of the dance, the pulse and thrum of all creation. When the God is ready, they rush down the mountain together, howling, mad, until they come upon their victim and tear it apart. They are hunters. Fierce. Terrible. Hungry for flesh, aching to feel the warm spray of blood across their lips. And if the God should grow weak and tired in the revels, it is the duty of the Mainad to hunt him, to slay her lord and tear him to pieces, so that he may emerge reborn and whole at another time.
This is powerful stuff. And as I said, not every woman is capable of it, however devoted to her God she may be, however strongly she has felt his ecstasy before. Only in the meeting of this constellation of practices does the actual Mainad emerge. Without it, she is simply a devotee, possibly his priestess, possibly his lover, but not a Mainad.
What of the lover? The best image of this is Ariadne, the bride of Dionysos, or her mortal counterpart in the Anthesteria, the wife of the Arkhon Basileios. But it would be mistaken to assume that only a woman can be the lover of the God, for we also have accounts of Ampelios, of Prosymnos, of countless men who over the centuries have met the God in lust and found that transformed into the sublimest of spiritual unions with Dionysos.
The story of Ariadne is worth recounting, for it serves as the model of this type of relationship. She was a mortal princess of Crete who had fallen in love with Theseus, and for that love had turned her back on her family and her land, betraying them so that her beloved could live. Escaping, they stopped on Naxos, where Theseus abandoned her because he didn’t really love her. She ran after his departing ship, but collapsed on the rocks at the shore. Overcome with grief at what she had done, and agony at being spurned, she fell asleep wishing that she would die. It was at that point that Dionysos came to her, awakening her with his kiss and claiming her as his bride.
In a way, this serves as an allegory of the human soul. So many of us are caught in misery, guilt and pain. We feel trapped and abandoned, rejected by the world and infinitely far from our homes. And so we go to sleep. We let our souls die, overcome by the hardship of existence. And it takes the hand of a lover to draw us back to the waking world. We respond to his touch with a deep longing that rouses our souls until we are fully awake, fully alive, and free of all the impurities that caused us to go to sleep. We embrace him, join with him in a union that is at once spiritual and sensual, and from that we experience the deepest, profoundest joy of our lives, which burns as brightly as the stars at night.
Others may not have such an intensely redemptive experience, but they respond to the God as a lover. They seek him out in the darkness, through the labyrinth they follow his laughing voice, and as they draw nearer their hearts leap with ecstasy, their steps are sprightly with dance, they burn and ache and love and create. He visits them in dreams and visions, teasingly revealing himself, reveling with them, seducing and making love to them. He fills them with joy and pleasure and his full abundance. And when he is not near they ache for him with an intensity undreamed of, and only that union can make them whole. They belong to him, body and soul, like a wife to her husband and a husband to his wife.
For such people the language of love, of sexuality, of Bridal Mysticism which can be found running through Judaism, Christianity, Islam and numerous pagan paths, is their preferred vocabulary to describe their religious experience. Often such people will not readily admit to this. They are embarrassed, uncomfortable, fearful of what others might say. And so they will only hesitantly reveal the depths of their feelings for the God to others who have undergone the same sort of thing. But I have come across a number of people for whom this is a reality, whatever others might think of it.
Another path which lies open for some is that of the vessel or avatar, which is perhaps best represented by Akoites. Akoites was the helmsman on the ship of Tyrrhenian pirates that captured Dionysos who was disguised as a young prince and sought to ransom him off. Unlike the others, Akoites saw through the disguise and recognized the God for what he was. He pleaded with his fellows to let the God go, but they refused and were punished for their acts. Akoites, however, was saved, and he spent the rest of his life serving the God and carrying his message to distant lands. According to Ovid it was Akoites, serving as mortal vessel for the God, who came to Thebes and confronted Pentheus.
This sort of thing was common in the Dionysian mysteries. A male priest – and in the accounts it is almost always a man who fills this role of Bakchos, at once God and the priest of the God, like the women who alone are Mainades – would become filled with the spirit of the God, a process called enthousiasmos which meant literally “he has a God in him”, and then throughout the ritual would represent the God in all his actions, speak with the God’s voice, work wonders at his behest, and in short, allow him to be manifest in the physical world.
Nor was this sort of thing limited simply to a religious setting. There were a number of people from antiquity who came to deeply identify with the God, so much so that this shaped their behavior and how people perceived them. Their whole being became suffused with his presence, so that it was as if the God peered out of their eyes and acted through their body. Their lives were a mortal reflection of the God, and whether consciously or unconsciously, they came to act out and manifest his mythology through their existence. Alexander the Great, Ptolemy IV and Marcus Antonius are prime examples of this from the ancient world, but many have seen this same pattern reflected in the lives of Friedrich Nietzsche, Arthur Rimbaud, Elvis Presley, and perhaps most famous of all Jim Morrison.
These people serve as a lightning-rod for which the forces of liberation, inspiration, madness, sensuality, joyousness and destruction may collect. They represent everything about the God: his fluidness, his sexual ambiguity, his love of pleasure, his rebelliousness, his desire to tear down walls and destroy the old social order in order to create something new – but also his self-destructive excesses, his inconsistency, his uncontrollable emotion. Unless they learn moderate self-control they are prone to burning out fast and furiously, to grand self-absorbed dysfunctional displays that ruin both their own lives and those of everyone around them. But before that happens they are beautiful and prophetic, they show the way to liberation, to connection with wild nature and our truest selves, they transform everything they touch and make it shine just as brightly as their own souls which are lit with the fire of the God himself. And that is why people draw near them, unconsciously desiring contact with the divine source of that light and power.
Such a person’s life need not end in tragedy. Nor is it always the case that they will become a famous, charismatic artist or political figure. Many more people simply act out the myths of the God in their own lives, undergoing powerful, painful transformations, traveling widely, blurring the lines and challenging social conventions and common assumptions, inspiring creativity, connection, and liberation in those they encounter, and sometimes serving as a vehicle for which the God can touch lives and awaken people to his presence. They are following, then, in the footsteps of Akoites just as surely as Alexander or Jim Morrison.
The last path that we will consider (though there are certainly others) is one that a lot of people might not actually consider under the heading of ‘ways to Dionysos’, and that is the path of theomachia, or the one who fights against the God.
There are numerous examples of this from mythology – Pentheus is of course the most famous, but there is also Lykourgos, the Minyades, the Proitides, and Desderides the Indian king. Although the details of their stories differ in many regards, it often follows a similar pattern. The God calls to them, and they resist. He makes other attempts to get their attention, and they either ignore him, spurn him, or actively try to suppress the activities of his followers. Finally, he confronts them. He inflicts madness on them, and draws out their failings and self-destructive tendencies, exploiting these to teach them a lesson. Finally they are forced to confront themselves and the God, and either relent and accept him, or are punished in a most cruel and creative manner.
Now, obviously this is not a very desirable path, but it is one that exists. And it is one in which the God is most intimately felt. When one capitulates at the first attempt at Dionysos to reach them, and immediately rushes off to follow him, there is no need for pain and unpleasantness, for tearing down the barriers and the destruction of their personality. Such people have it easy, and the God needn’t spend much time working on them. They experience him solely as a force for good and joy, and that’s it. But the more we resist him, the more he has to push his way into our lives. He will bring up our anxieties and inhibitions, he will push against our walls and masks until they crumble and break altogether. He will force us to confront what we fear the most, and he won’t let up until we finally succumb to his greater power. This is a path of pain and suffering, a path in which we have to fight hard, with everything we have, to resist him. In so doing, however, we often come to a much greater understanding of ourselves than those who never resist, because the God holds us down and forces that introspection upon us. When we finally do give into his call – it means something. It has completely changed our lives, and we have a level of intimacy with him which others will never experience. We also get to see depths of the God concealed to others. His dark and terribleness, his awesome power, his true divinity. And once one finally embraces the Dionysian life, they will never let go of it, they will hold it as the dearest thing because he has ensured that they have nothing left, and they will be steadfast and vigilant, lest they slip back into his disfavor. So for that reason I have no problem with counting this among the ways to Dionysos, though it’s certainly not one that I would recommend to others!
Now, in considering these different paths it has been necessary to discuss them in isolation and emphasize their differences. But the truth is, nothing is ever so simple or clear-cut with the God. And while there are those who follow one path and one only, the vast majority of people blur the line and step foot equally on many of them. There are also paths which I have not felt it necessary to discuss, since these are either too general or too specific. And anyway, the point isn’t to blindly follow what another has set down for you, but to find the path that leads you best into the heart of Dionysos. For that, you are the final and sole arbiter, and the only person who can determine whether you are a true Dionysian or not is the God himself.
I am the worst ἱεροποιός (temple-steward) ever.
Okay, maybe that’s a little hyperbolic — thus far I haven’t raped anyone in the temple, or murdered a baby and offered its succulent flesh to the Gods, or let some Iranian burn the place to the ground, or a dozen other examples from Greek myth and legend. But I fucking forgot that last night was Lenaia. I am so ashamed, and this is a really shitty way to kick off Year 4.
For some reason I was under the impression that the festival didn’t start until January 23rd or 25th. So I limped downstairs this morning, leg hurting too much to sleep, with the intent to grab one from the stack of unsold calendars on the table near the Óðinn and Frigga shrine, so I could begin planning out our observance now that our household’s Yuletide season is over, only to flip it open and discover the bad news.
Man, I should have hung the calendar by the door in the Bakcheion after putting down the finishing touches, left one beside my desktop computer, or plugged the dates into my Google calendar with notifications, or really anything other than relying on my shitty sense of time.
Oh well. I have nearly a month to get my shit together in time for Anthesteria. No sense dwelling on this fuck up.
The hard-drinking Amazon
A while back I posted a number of quotes pertinent to the celebration of Anthesteria in Northern lands from Katerina Amanatidou’s The cult of Dionysos in the Black Sea region, including this passage on Sinope:
Apart from the terracotta figurines, the excavations brought to light a marble statue of Dionysos and coins bearing his image. The statue, which is based on an altar, is dated to the Roman period and depicts the god naked, but not barefoot, crowned with a garland made of ivy leaves and flower buds and accompanied most probably by a panther. Additionally, in some figurines Dionysos is depicted wearing a diadem of ivy leafs and flowers and a band, tainia, on his forehead. Lastly, his function as the patron deity especially of viticulture and of fertility of nature generally is also evident in Sinopean numismatics. In several coins is represented the head of Dionysos in his youth along with some of his attributes such as the thyrsos and the cista mystica.
Sinope’s an interesting place, especially the aition of its founding as recorded in the Scholion on Apollonios of Rhodes, Argonautika 2.946-54c:
Sinope is a city on the Black Sea, named after Sinope, the daughter of Asopos, whom Apollo abducted from Hyria and brought to the Black Sea; and through intercourse with her, he sired Syros, name-giver of the Syrians. In the genealogy of the Orphika (F 366 Bernabé 2.1 p. 295 = F 45 Kern) she is the offspring of Ares and Aigina; according to others, of Ares and Parnasse; according to Eumelos (BNJ 451 F 5 = F 10 Bernabé = F 7 Davies) and Aristotle (F 540 Rose = F 599 Gigon), of Asopos. Apollonios says that she tricked the river god Halys and Apollo and Zeus; that by asking them first to give her whatever she desired, then saying that she desired virginity, virginity is what she received, as they were bound by oath. Philostephanos (FHG 3.29 F 3), on the contrary, says that Apollo had intercourse with her and made her pregnant with the son called Syros. But Andron of Teos says that one of the Amazons, having fled to the Black Sea, married the king of that region; and that because she drank copious amounts of wine, she received the name Sanape [since this metaphrastically means ‘she who drinks much’], since drunk women are called sanapai among the Thracians, whose dialect is also used by the Amazons; and that the city was called then through corruption, Sinope. And the hard-drinking Amazon went from this city to Lytidas, as Hekataios reports (BNJ 1 F 34).
According to Diodoros Sikeliotes the Amazons were originally enemies of Dionysos, but after being subdued by him, they joined his army under the command of Athene and fought valiantly in his war against the Titans.
Fairies Wear Boots
Fun fact! The upcoming year requires intercalation, meaning we’ll have thirteen lunar months this time around to keep things synched with the solar cycle.
Some ancient Greek systems just repeated the final month*, while others gave the extra month its own name. The Bakcheion follows the latter custom, calling it Eriaphioteion after the Dionysian epiklesis Eriaphiotes meaning “insewn” or “stitched together,” since he was snatched from the smouldering wreckage of his mother Semele and placed in an artificial womb in his father Zeus’ thigh to finish gestating.
As a consequence of this most of our festivals (with the exception of Foundation Day, which is always on January 1st) will be about 3-4 weeks earlier than normal. Without this adjustment, however, we’d have seasonal creep resulting in Anthesteria being celebrated in autumn, or worse!
And note that this calendar, and its sequence of festivals, is just for the Bakcheion and those who wish to follow along – it is not in use by Hellenic polytheists or Dionysians in general, nor does it represent the “official” calendar of the Starry Bull tradition as a whole, although Starry Bull myth and cosmology definitely provides the backdrop for it. But different groups and streams of the tradition will have their own festival-cycles, calendars, etc. Anyone is welcome to use it, of course, it just has no binding authority outside the temple.
* A notable exception being the Rhodians who put their Embólimos or repeated month between the 6th and 7th.
redesigning the Bakcheion
I am currently in the process of redesigning the Bakcheion. (My temple space, not the website.)
When complete it will have a purification station, a divination station, and nine shrines to Dionysos, each representing a festival from our calendar and the different ways he manifests through them.
Today I worked out the epithets for the shrines:
- Lenaia = Bromios (βρόμιος) – “Noisy”
- Anthesteria = Phleos (Φλέως) – “Who Causes to Swell”
- The Dionysia = Melpomenos (Μελπόμενος) – “Who Celebrates with Song and Dance”
- Agrionia = Thurepanoiktes (θὐρεπανοίκτης) – “Opener of the Door”
- Aletideia = Eubouleos (Εὐβουλεος) – “Of Good Counsel”
- Pannychia = Asterios (Ἀστέριος) – “Starry”
- Oschophoria = Nyktelios (Νυκτέλιος) – “Nocturnal”
- Lampteria = Morychos (Μόρυχος) – “Dark”
- Foundation Day = Bakcheios (Βάκχειος) [Óðr] – “Frenzied”
I think this new arrangement will help me connect with Dionysos on a deeper level. At least that is my hope.
Once I have everything set up I’ll take some pics and share them with y’all.
Tree of Madness
A different role or type of altered state is emphasized at each of our festivals:
- Lenaia = Lenai (the Priestesses of the Winepress)
- Anthesteria = Komastai (the Revelers)
- The Dionysia = Bakchai (the Frenzied)
- Agrionia = Dysmaniai (the Insane)
- Aletideia = Tarantati (those with a Taranta)
- Pannychia = Theophilestai (the Godbeloved)
- Oschophoria = Boukoloi (the Cowherders)
- Lampteria = Thyiades (the Inflamed)
- Foundation Day = Nyktipoloi (the Night-Wanderers)
All of these have male and female (or gender-neutral) expressions except Lenai, which only women can be. Men and others can still celebrate the festival; they just do different things. Likewise, only women acting as Lenai are Lenai; if you’re doing something else you’re doing something else. This holds true for all the festivals and their corresponding roles/states.
What’s involved? Well, that depends on the state/role. It could involve performing a set of rituals, exhibiting certain behaviors and abilities which one may not be able to access at other times, being awash in sensations and emotions and states of consciousness that have a particular flavor or rhythm which syncs with the energies and themes of the day, ways of relating to Dionysos and the various aspects of himself that he reveals to us through these acts and symbols – and so much more. There are hundreds of others not represented on our calendar.
But it’s something you’ve really got to feel out for yourself if you want understanding. Only when you’ve experienced both bakcheia and dysmania are you in a position to tell them apart.
excess of turpitude
As fond as I am of Ovid’s treatment of Liberalia in the Fasti, I think Augustine’s description below really takes the cake:
Now as to the rites of Liber, whom they have set over liquid seeds, and therefore not only over the liquors of fruits, among which wine holds, so to speak, the primacy, but also over the seeds of animals:— as to these rites, I am unwilling to undertake to show to what excess of turpitude they had reached, because that would entail a lengthened discourse, though I am not unwilling to do so as a demonstration of the proud stupidity of those who practice them. Varro says that certain rites of Liber were celebrated in Italy which were of such unrestrained wickedness that the shameful parts of the male were worshipped at crossroads in his honour. Nor was this abomination transacted in secret that some regard at least might be paid to modesty, but was openly and wantonly displayed.
For during the festival of Liber this obscene member, placed on a little wagon, was first exhibited with great honour at the crossroads in the countryside, and then conveyed into the city itself. But in the town of Lavinium a whole month was devoted to Liber alone, during the days of which all the people gave themselves up to the must dissolute conversation, until that member had been carried through the forum and brought to rest in its own place; on which unseemly member it was necessary that the most honorable matron should place a wreath in the presence of all the people. Thus, forsooth, was the God Liber to be appeased in order for the growth of seeds. Thus was enchantment (fascinatio) to be driven away from fields, even by a matron’s being compelled to do in public what not even a harlot ought to be permitted to do in a theatre, if there were matrons among the spectators. (De Civitate Dei 7.21)
And that cake (or liba) is penis-shaped, just like the giant phalloi that were trotted around the city and countryside in their little wagons, imbuing the land with fertility and driving off winter sterility and malignant enchantment.
This naturally reminds one of similar Bacchic rites carried out during Anthesteria and Dionysia, but also of a Vanic ceremony recorded in Chapter 40 of Tacitus’ Germania:
The Langobardi, by contrast, are distinguished by the fewness of their numbers. Ringed round as they are by many mighty peoples, they find safety not in obsequiousness but in battle and its perils. After them come the Reudingi, Aviones, Anglii, Varini, Eudoses, Suarini and Nuitones, behind their ramparts of rivers and woods. There is nothing noteworthy about these peoples individually, but they are distinguished by a common worship of Nerthus, or Mother Earth. They believe that she interests herself in human affairs and rides among their peoples. In an island of the Ocean stands a sacred grove, and in the grove a consecrated cart, draped with cloth, which none but the priest may touch. The priest perceives the presence of the Goddess in this holy of holies and attends her, in deepest reverence, as her cart is drawn by heifers. Then follow days of rejoicing and merry-making in every place that she deigns to visit and be entertained. No one goes to war, no one takes up arms; every object of iron is locked away; then, and only then, are peace and quiet known and loved, until the priest again restores the Goddess to her temple, when she has had her fill of human company. After that the cart, the cloth and, if you care to believe it, the Goddess herself are washed in clean in a secluded lake.
Then there’s the Völsi, a magically preserved horse’s penis that was used in household cultus. You can read the original account from the Völsa þáttr, as well as some potent analysis here (which goes into some of the herbs that may have been used to preserve the phallos, among other fascinating details) and this page, which also has some pics of the sacred dicks and related ritual implements – which, like the tools in Liber’s ceremony, are primarily handled by respected, pious Matrons.
Funny. I was just talking about fish, and I come across this inscription from Olbia:
Those belonging to the group of seven who take care of the offering receptacle (thēsauros): Herodotos son of Pantakleus, Epichares son of Dionysophanes, Poseidonios son of Eukrates, Ademantos son of Apatourios, Histikon son of Metrodoros, Leontomenes son fo Heroson, and Herakleides son of Eubios.
Those who offer sacrifice are to contribute into the offering receptacle: 1200 for a bull, 300 for a victim or a goat, and 60 for a fish. (IOlbiaD 88)
Now I’m wondering what kind of fish was sacrificed, and what procedure was employed. Sturgeon, perhaps?
According to Philip Harland:
It is not clear whether this group of people in charge of the offering receptacle are an official board of a temple or a sub-group of an association. Offering receptacles are attested in connection with associations on Delos and elsewhere.
Speaking of fish, in that post fish are associated with Anthesteria. I’d always interpreted that as the fish coming out to honor the dead along with the celebrants, but Tetra of Stone Pillar just wrote with the following comment which has me completely rethinking that:
Didn’t think this was appropriate to comment on your post so I thought I’d ask.
So I’m guessing fish are dead people? Because if that city’s Anthesteria coincided with the large presence of fish (just like how it tends to coincide with flowers blooming) then I can only presume that these fish are the souls of the dead emerging from a watery Underworld. Which would explain why you can’t eat them. You can’t eat grandma!
A theme touched on by Eric Csapo in The Dolphins of Dionysus.