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An in-progress chart of my religion.

You’re welcome.

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alder-knight replied to your photo “Commission from @atomicpixies.”

why tf is this post flagged?

Just checked back in here and saw this. I would guess it’s because there’s a lot of flesh tone in it and therefore it registers as a nude. If I wanted to be cynical, which I kind of do, I’d bet that the algorithm treats brown skintones as more sexual than pink/peach ones.

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protip to trans witches, use magic to ease your dysphoria

sometimes it works

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The beginnings of a new project--an oracle deck of sigils based on the discography of Queen.

It’s in earliest stages at the moment, hence the messy design.

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I am actually of the belief that Freddie Mercury was an incarnation of both Dionysos and Ariadne-Aphrodite together: the fusion of two ancient interconnected deities concerned with love, liberation, queerness, ecstatic song and dance, and personal sovereignty under the title of “Queen of Heaven.”

There is an Orphic Hymn that marks Dionysos and Aphrodite as the parents of “the chthonic Hermes,” which has always been a source of puzzlement to scholars as there’s no other source that gives that genealogy. While there are plenty of possible explanations for this, as for any variant genealogy in ancient religions, I personally take it as a prophecy that someday Dionysos and Aphrodite would guide the soul of a mortal man who took the name of Hermes.

Freddy Mercury was just Dionysus taken mortal form. Theater, religious ecstasy, and ritualistic frenzy. Who else would compose maddening rock operas?

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I was raised Jewish and am still practicing to the extent I am able, despite my current pagan leanings. My point here is not that Plutarch is remotely objectively correct to draw such a simple parallel; he is obviously not, and I can point out a lot of specific misunderstandings that appear in the original passage (for example, as noted above, the assumption that the plants used for Sukkoth, Tu B’shvat, etc are the same as those used in the worship of Dionysos).

What I’m interested in is the implication that Jewish practice is not always the detached, purely intellectual, dryly ceremonial thing it is often cast as, but rather has certain mystic elements that can resemble the Mystery cults of the ancient Mediterranean, especially that of Dionysos. Whether this is coincidence or due to shared bits of culture is not really what I’m concerned about (although I do occasionally ponder the historical connections between Judaism and the cult of Dionysos).

Some of the aspects of Jewish practice and belief that intrigue me in this light:

the emphasis on celebratory song (and sometimes dance) as, essentially, an offering to God

the number of holidays and symbols associated with vegetation (notably, holidays such as Sukkoth and Tu B’shvat 

the characterization of the early Jewish God as chaotic, prone to dramatic epiphanies, and invested in proving his divinity to doubters

The actual quote from Plutarch is more a source of amusement to me than serious accurate scholarship, because he’s coming from the usual interpretatio graeco POV of “all gods are just our gods wearing masks,” which is bullshit. But that doesn’t mean the subject he touches on isn’t worth some study.

“When all the company requested and earnestly begged it of him; first of all (says he), the time and manner of the greatest and most holy solemnity of the Jews is exactly agreeable to the holy rites of Bacchus; for that which they call the Fast they celebrate in the midst of the vintage, furnishing their tables with all sorts of fruits, while they sit under tabernacles made of vines and ivy; and the day which immediately goes before this they call the day of Tabernacles. Within a few days after they celebrate another feast, not darkly but openly, dedicated to Bacchus, for they have a feast amongst them called Kradephoria, from carrying palm-trees, and Thyrsophoria, when they enter into the temple carrying thyrsi. What they do within I know not; but it is very probable that they perform the rites of Bacchus. First they have little trumpets, such as the Grecians used to have at their Bacchanalia to call upon their Gods withal. Others go before them playing upon harps, which they call Levites, whether so named from Lusius or Evius,—either word agrees with Bacchus. And I suppose that their Sabbaths have some relation to Bacchus; for even at this day many call the Bacchi by the name of Sabbi, and they make use of that word at the celebration of Bacchus’s orgies. And this may be made appear out of Demosthenes and Menander. Nor would it be absurd, were any one to say that the name Sabbath was imposed upon this feast from the agitation and excitement (σόβησις) which the priests of Bacchus indulged in. The Jews themselves testify no less; for when they keep the Sabbath, they invite one another to drink till they are drunk; or if they chance to be hindered by some more weighty business, it is the fashion at least to taste the wine. Some perhaps may surmise that these are mere conjectures. But there are other arguments which will clearly evince the truth of what I assert. The first may be drawn from their High-priest, who on holidays enters their temple with his mitre on, arrayed in a skin of a hind embroidered with gold, wearing buskins, and a coat hanging down to his ankles; besides, he has a great many little bells hanging at his garment which make a noise as he walks the streets. So in the nightly ceremonies of Bacchus (as the fashion is amongst us), they make use of musical instruments, and call the God’s nurses χαλκοδρυσται. High up on the wall of their temple is a representation of the thyrsus and timbrels, which surely can belong to no other God than Bacchus.”

— Plutarch in his Quaestiones Conviviales, observing that Jews party like Dionysians

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sigils for inktober, #1

“The blessing of new beginnings.”

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THE NEW QUEEN OF HEAVEN

THE NEW QUEEN OF HEAVEN introductory notes on a Mercurial way

a sometimes tongue-in-cheek, sometimes earnest guide to worshipping the immortal spirit of the late great Freddie Mercury as a new god.

cover art by @lizcoshow

[ DOWNLOAD HERE ]

print copies available by special request

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I don’t agree with his pat conclusion that the god of the Jews is just Dionysos in a yarmulke, but I do think he’s really onto something about there being a Dionysian aspect to Jewish worship and ritual that is often neglected in discussion and analysis.

“When all the company requested and earnestly begged it of him; first of all (says he), the time and manner of the greatest and most holy solemnity of the Jews is exactly agreeable to the holy rites of Bacchus; for that which they call the Fast they celebrate in the midst of the vintage, furnishing their tables with all sorts of fruits, while they sit under tabernacles made of vines and ivy; and the day which immediately goes before this they call the day of Tabernacles. Within a few days after they celebrate another feast, not darkly but openly, dedicated to Bacchus, for they have a feast amongst them called Kradephoria, from carrying palm-trees, and Thyrsophoria, when they enter into the temple carrying thyrsi. What they do within I know not; but it is very probable that they perform the rites of Bacchus. First they have little trumpets, such as the Grecians used to have at their Bacchanalia to call upon their Gods withal. Others go before them playing upon harps, which they call Levites, whether so named from Lusius or Evius,—either word agrees with Bacchus. And I suppose that their Sabbaths have some relation to Bacchus; for even at this day many call the Bacchi by the name of Sabbi, and they make use of that word at the celebration of Bacchus’s orgies. And this may be made appear out of Demosthenes and Menander. Nor would it be absurd, were any one to say that the name Sabbath was imposed upon this feast from the agitation and excitement (σόβησις) which the priests of Bacchus indulged in. The Jews themselves testify no less; for when they keep the Sabbath, they invite one another to drink till they are drunk; or if they chance to be hindered by some more weighty business, it is the fashion at least to taste the wine. Some perhaps may surmise that these are mere conjectures. But there are other arguments which will clearly evince the truth of what I assert. The first may be drawn from their High-priest, who on holidays enters their temple with his mitre on, arrayed in a skin of a hind embroidered with gold, wearing buskins, and a coat hanging down to his ankles; besides, he has a great many little bells hanging at his garment which make a noise as he walks the streets. So in the nightly ceremonies of Bacchus (as the fashion is amongst us), they make use of musical instruments, and call the God’s nurses χαλκοδρυσται. High up on the wall of their temple is a representation of the thyrsus and timbrels, which surely can belong to no other God than Bacchus.”

— Plutarch in his Quaestiones Conviviales, observing that Jews party like Dionysians

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I’ve also been looking into honoring Carrie Fisher in some way, myself, although probably as a spirit of some kind rather than a god.

She was Jewish, so you might want to look into Jewish memorial customs to adapt (the simplest would be burning a yahrzeit candle on the anniversary of her death). You could also look into some way to incorporate her memory and image into some mental health routines in your life, given her dedication to awareness and destigmatization of mental illness.

Is there anyone who has experience with venerating or honoring real life people (living or dead) in their practice?

I’m very drawn to the idea of honoring Carrie Fisher (like Catholics honor saints, I guess?) but I have no idea how to go about it.

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hot Hellenismos take

Ares is just Aphrodite in drag and a bad mood

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When all the company requested and earnestly begged it of him; first of all (says he), the time and manner of the greatest and most holy solemnity of the Jews is exactly agreeable to the holy rites of Bacchus; for that which they call the Fast they celebrate in the midst of the vintage, furnishing their tables with all sorts of fruits, while they sit under tabernacles made of vines and ivy; and the day which immediately goes before this they call the day of Tabernacles. Within a few days after they celebrate another feast, not darkly but openly, dedicated to Bacchus, for they have a feast amongst them called Kradephoria, from carrying palm-trees, and Thyrsophoria, when they enter into the temple carrying thyrsi. What they do within I know not; but it is very probable that they perform the rites of Bacchus. First they have little trumpets, such as the Grecians used to have at their Bacchanalia to call upon their Gods withal. Others go before them playing upon harps, which they call Levites, whether so named from Lusius or Evius,—either word agrees with Bacchus. And I suppose that their Sabbaths have some relation to Bacchus; for even at this day many call the Bacchi by the name of Sabbi, and they make use of that word at the celebration of Bacchus's orgies. And this may be made appear out of Demosthenes and Menander. Nor would it be absurd, were any one to say that the name Sabbath was imposed upon this feast from the agitation and excitement (σόβησις) which the priests of Bacchus indulged in. The Jews themselves testify no less; for when they keep the Sabbath, they invite one another to drink till they are drunk; or if they chance to be hindered by some more weighty business, it is the fashion at least to taste the wine. Some perhaps may surmise that these are mere conjectures. But there are other arguments which will clearly evince the truth of what I assert. The first may be drawn from their High-priest, who on holidays enters their temple with his mitre on, arrayed in a skin of a hind embroidered with gold, wearing buskins, and a coat hanging down to his ankles; besides, he has a great many little bells hanging at his garment which make a noise as he walks the streets. So in the nightly ceremonies of Bacchus (as the fashion is amongst us), they make use of musical instruments, and call the God's nurses χαλκοδρυσται. High up on the wall of their temple is a representation of the thyrsus and timbrels, which surely can belong to no other God than Bacchus.

Plutarch in his Quaestiones Conviviales, observing that Jews party like Dionysians

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A sigil, part of a project I’m working on.

“Keep Yourself Alive.”

It'll take you all your time and money--honey, you'll survive.

A symbol of beginnings; the spark of life, love, and power that burns as a small flame within us all.

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Let’s talk about transmasculine Dionysos

Dionysos is a god. Neither his divinity nor his maleness are denied by any lore--but he certainly had to fight for the former to be recognized, and he constantly had aspersions cast on the latter. If you’re a trans man who personally links your own maleness to your inner mystic power, that’s pretty relatable.

One of the recurring stories of Dionysos is that of Hermes spiriting him away from his persecutors to safety--and sometimes arranging, in the process, for him to be disguised as a girl. This doesn’t have to be read literally. Rather, one can take it as a metaphor for the persistent placement of the child Dionysos in the feminine sphere. He is raised by nymphs, or by Semele’s sisters; narratives focus on his nurses, but virtually never mention male caretakers. However, in all the stories, the young god eventually leaves this woman’s world to prove his godhood.

Even when he does begin to present himself as a god, he is regularly characterized as physically effeminate. There are many, many ways to interpret this aspect of Dionysian lore. Positioning him as the divine equivalent of a femme queer cisgender man is only one of them.

A number of clues exist in ancient writing that a part of the Mysteries of Dionysos revolved around a peculiar relationship with the phallus. Specifically, as the male object supreme, it represented his power when he carried the suggestively-shaped thyrsos or when his followers paraded around with giant dildos...but he didn’t necessarily have a penis attached to his body at all times. His dismemberment was also a castration, and even when he was pieced back together, he was missing that part. Plutarch, a devout initiate of these Mysteries, hints at this when he writes of Osiris, who he strongly identified with Dionysos; we see clues in sculpture as well as scattered myths.

What this amounts to is a story where a secret and powerful god manifests on Earth in a body lacking the standard physical hallmarks of maleness. He evinces a complex, borderline incestuous, and deeply transformative relationship with the feminine both within and without him. Only when he has disentangled himself from this--received Rhea’s teachings, rescued his mother and/or wife, made peace with Hera--does he truly claim his divinity.

In this mythic arc we can read a transmasculine journey: a male soul dismembered in the underworld and reconstituted ambiguously on Earth, who only attains true apotheosis via the god both navigating his way through womanly spheres and declaring his true nature to a doubting world. That this is not how the ancients interpreted it is immaterial. They are dust now. Dionysos is a living god and his people are living men, women, and everything else under the sun.

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This might be my original fantasy character, or it might just be Freddie Mercury as a Classical god.

Commissioned from @okelleok.

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Send me an ask, I’ll make you a sigil.

I was doing this at work for my friends yesterday and I like it.

You tell me what you need help with, I’ll make a little sigil spell for it.

All the sigils will be based on songs I like. Most of them will be Queen songs.

Sigil images will be posted under a cut.