appunti sparsi:
La dragonessa chiamata anche consorte/sorella/madre o comcubina reale donna fatale di enki/ea/tammuz/dumuzi/attis/osiride/adone etc...che portava all'estasi dell'auto castrazione ancora praticata dai suoi culti che pero' non ricevevano piu' potere/illuminazione/potenza come nelle ere precedenti e tramite la morte della vittima che si autosacrificava per amor suo dopo essersi sposato con la morte/droga/donna fatale, che tramite lo sposo/vittima o toro celeste del labirinto, rinasceva a nuova vita come il fungo che rinasce tramite interazione/morte della vittima per riprodursi nei suoi cicli di vita morte rinascita con interazione delle altre forme di vita che parassita e di cui ne usa il dna per i suoi cicli ed infatti la grande madre dell'anatoria, e' raffigurata con il pene, mammelle e testa di fungo on certo a caso......le mammelle nelle divinita' maschili, alludevano al latte celeste o soma, uno dei due fiumi creati con il sacrificio di un essere illuminato od umano come descritto nei testi di enki, in cui uno del gruppo, il capo, viene sacrificato/ucciso seguendo particolari procedimenti di purificazione e di altro tipo, ed alla fine, viene consumato dagli aspiranti al potere occulto che ne assorbono la potenza/essenza dimenticando l'uomo e ricordando il potere del fungo/dio/dea che li usa per le sue rinascite e trasmissione di potere attraverso i cani/sacerdoti fedeli ai suoi rituali periodicamente rimodellati con distruzione, alterazioni e rimpiazzamenti di quelli percedenti che gli umani, sempre piu' umani e meno infernali/bestie, rincunciavano nel praticare perche' il cannibalismo rituale e sacrifici umani e dei propri figli, col tempo non vennero piu' osservati dagli umani ed allora nuove forme di controllo mentale/spiriutale vennero create per catturare la mente/psiche umana al volere di queste divinita' occulte, droghe draghi, di cui il fungo sotto il piede del profeta/buddha e' il grande capo o dio unico od occhio che osserva la creazione e di essa si nutre per le sue tante rinascite attraverso le ere dove per grandi periodi resta dormiente nei templi e nei corpi delle vittime sepolte negli edifici sacri o brache della salvezza del potere occulto dei predatori/parassiti degli umani la cui astronomia e cicli del tempo, erano vitali per registrare i loro tempi di potenza sulla terra tra gli uomini ed i tipi di rituali/offerte/sacrifici/libbaggini/uccisioni/guerre sante da eseguire durante le diverse ere.......
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The Cult of Magna Mater, the Great Mother, is probably the oldest religion of all.
The earliest stone-age sculptures depict the mother- goddess, and an idol found in ...
of the cult were men who had castrated themselves in front of her image, but ...
of the goddess, which quickly got the reputation of being less religious ritual ...
The earliest stone-age sculptures depict the mother- goddess, and an idol found in
Catal Hüyük, 6000 years old, depict her in the ... The priests of the cult were men
who had castrated themselves in front of her image, but The priests of the cult were men
who had castrated themselves in front of her image, but most of the followers were women ...
of the goddess, which quickly got the reputation of being less religious ritual and more wild orgies .
The earliest stone-age sculptures depict the mother- goddess, and an idol found in
Catal Hüyük, 6000 years old, depict her in the form she later became ...
===
The first Galli arrived in Rome when the Senate officially adopted Cybele as a state goddess
in 204 BC.[1] Roman citizens were prohibited from becoming Galli, which meant that all the
Galli were orientals or slaves. Under Claudius, this ban was lifted.[2] Eventually Domitian
reaffirmed that Roman citizens were forbidden to practice eviratio (castration).[3]
Statue of a Gallus priest, 2nd century, Musei Capitolini.
The Galli castrated themselves during an ecstatic celebration called the Dies sanguinis,
or "Day of Blood", which took place on March 24.[4] At the same time they put on women's
costume, mostly yellow in colour, and a sort of turban, together with pendants and ear-rings.
They also wore their hair long, and bleached, and wore heavy make-up. They wandered around
with followers, begging for charity, in return for which they were prepared to tell fortunes.
On the day of mourning for Attis they ran around wildly and disheveled. They performed dances
to the music of pipes and tambourines, and, in an ecstasy, flogged themselves until they bled.[3]
faculty.cua.edu:80/Pennington/ChurchHistory220/lectureone/MagnaM...
enki, creating different kind of priests/pirestess and enuchs
Origins of the name
Stephanus Byzantinus said that the name came from King Gallus.[5] Ovid (43 BC - 17 AD) says that the name is derived from the Gallus river in Phrygia.[6] The term Gallus is also a multiple pun in Latin, meaning a Gaul, or a rooster, as well as a castrated priest.[7][8][9]
While these efforts at "folk" etymologies were widespread in classical times, it has been suggested that gallu comes from the Sumerian Gal meaning "great" and Lu meaning "man", humans or sexually ambivalent demons that freed Inanna from the underworld.[10] They originally seem to have been consecrated to the god Enki.
By coincidence there was a category of Mesopotamian priests called kalu; in Sumerian gala. These priests played the tympanum and were involved in bull sacrifice. Another category of Mesopotamian priests called assinnu, galatur, and kurgarru had a sacred function. These transgender or eunuch priests participated in liturgical rites, during which they were costumed and masked. They played music, sang, and danced, most often in ceremonies dedicated to the goddess Ishtar.[11]
The Galli and Attis
Fundamental to understanding the meaning and the function of the myth and ritual related to Attis in Rome is his relationship with the Galli. The role of prototype of the mythical castration of Attis for the institution of the "priesthood" of the Galli has almost always been emphasised, even if to different degrees. Scholars have attempted to draw a connection between the episode of the castration of Attis and the ritual mutilation of the Galli as a reflection in myth of a secondary ritual action or conversely, as the mythical foundation of a ritual action. This kind of interpretation appears to be too simplistic as, to some extent, it fails to consider that this connection has served different purposes in different periods. The emasculation of Attis in the "Phrygian" version of the myth is the basis for an institution that is both political and religious, the institution of his priests in Pessinous, the "non-kings", who don't simply coincide with the Galli.
The earliest references to the Galli come from the Anthologia Palatina although they don't explicitly mention emasculation. More interesting is the fragment attributed to Callimachus, in which the term Gallai denotes castration that has taken place.[12]
Archigallus
Funerary relief of an Archigallus from Lavinium, mid-2nd century AD, Capitoline Museums, Rome.
The high priests are well-documented from archaeology. At Pessinus, the centre of the Cybele cult, there were two high priests during the Hellenistic period, one with the title of "Attis" and the other with the name of "Battakes". Both were eunuchs.[13] The high priests had considerable political influence during this period, and letters exist from a high priest Attis to the kings of Pergamon, Eumenes II and Attalus II, inscribed on stone. Later, during the Flavian period, there was a college of ten priests, not castrated, and now Roman citizens, but still using the title "Attis".[14]
In Rome, the head of the galli was known as the archigallus, at least from the period of Claudius on. A number of archaeological finds depict the archigallus wearing luxurious and extravagant costumes. The archigallus was always a Roman citizen chosen by the quindecimviri sacris faciundis, whose term of service lasted for life.[15]
Being a Roman citizen, as well as being employed by the Roman State, meant that the archigallus had to preserve the traditions of Cybele's cult while not violating Roman prohibitions in religious behavior. Hence, some argue that the archigallus was never a eunuch, as all citizens of Rome were forbidden from emasculation.[16] However, under Claudius Roman citizens were permitted to be castrated up until the reign of Domitian. The signs of his office have been described as a type of crown, possibly a laurel wreath, as well as a golden bracelet known as the occabus.[17]
Along with the institution of the archigallus came the Phrygianum sanctuary as well as the rite of the taurobolium as it pertains to the Magna Mater, two aspects of the Magna Mater’s cultus that the archigallus held dominion over.[17]
Literature
To thee, my mother Rhea, nurse of Phrygian lions, whose devotees tread the heights of Dindymus, did womanish Alexis, ceasing from furious clashing of the brass, dedicate these stimulants of his madness— his shrill-toned cymbals, the noise of his deep-voiced flute, to which the crooked horn of a younger steer gave a curved form, his echoing tambourines, his knives reddened with blood, and the yellow hair which once tossed on his shoulders. Be kind, O Queen, and give rest in his old age from his former wildness to him who went mad in his youth.
Greek Anthology, Book VI, 51
Clytosthenes, his feet that raced in fury now enfeebled by age, dedicates to thee, Rhea of the lion-ear, his tambourines beaten by the hand, his shrill hollow-rimmed cymbals, his double-flute that calls through its horn, on which he once made shrieking music, twisting his neck about, and the two-edged knife with which he opened his veins.
Greek Anthology, Book VI, 94
The priest of Rhea, when taking shelter from the winter snow-storm he entered the lonely cave, had just wiped the snow off his hair, when following on his steps came a lion, devourer of cattle, into the hollow way. But he with outspread hand beat the great tambour he held and the whole cave rang with the sound. Nor did that woodland beast dare to support the holy boom of Cybele, but rushed straight up the forest-clad hill, in dread of the half-girlish servant of the goddess, who hath dedicated to her these robes and this his yellow hair.
Greek Anthology, Book VI, 217
A begging eunuch priest of Cybele was wandering through the upland forests of Ida, and there met him a huge lion, its hungry throat dreadfully gaping as though to devour him. Then in fear of the death that faced him in its raving jaws, he beat his tambour from the holy grove. The lion shut its murderous mouth, and as if itself full of divine frenzy, began to toss and whirl its mane about its neck. But he thus escaping a dreadful death dedicated to Rhea the beast that had taught itself her dance.
Greek Anthology, Book VI, 218
Goaded by the fury of the dreadful goddess, tossing his locks in wild frenzy, clothed in woman's raiment with well-plaited tresses and a dainty netted hair-caul, a eunuch once took shelter in a mountain cavern, driven by the numbing snow of Zeus. But behind him rushed in unshivering a lion, slayer of bulls, returning to his den in the evening, who looking on the man, snuffing in his shapely nostrils the smell of human flesh, stood still on his sturdy feet, but rolling his eyes roared loudly from his greedy jaws. The cave, his den, thunders around him and the wooded peak that mounts nigh to the clouds echoes loud. But the priest startled by the deep voice felt all his stirred spirit broken in his breast. Yet he uttered from his lips the piercing shriek they use, and tossed his whirling locks, and holding up his great tambour, the revolving instrument of Olympian Rhea, he beat it, and it was the saviour of his life; for the lion hearing the unaccustomed hollow boom of the bull's hide was afraid and took to flight. See how all-wise necessity taught a means of escape from death!
Greek Anthology, Book VI, 219
Chaste Atys, the gelded servant of Cybele, in frenzy giving his wild hair to the wind, wished to reach Sardis from Phrygian Pessinus; but when the dark of evening fell upon him in his course, the fierce fervour of his bitter ecstasy was cooled and he took shelter in a descending cavern, turning aside a little from the road. But a lion came swiftly on his track, a terror to brave men and to him an inexpressible woe. He stood speechless from fear and by some divine inspiration put his hand to his sounding tambour. At its deep roar the most courageous of beasts ran off quicker than a deer, unable to bear the deep note in its ears, and he cried out, "Great Mother, by the banks of the Sangarius I dedicate to thee, in thanks for my life, my holy thalame and this noisy instrument that caused the lion to fly."
Greek Anthology, Book VI, 220
The long-haired priest of Rhea, the newly gelded, the dancer from Lydian Tmolus whose shriek is heard afar, dedicates, now he rests from his frenzy, to the solemn Mother who dwells by the banks of Sangarius these tambourines, his scourge armed with bones, these noisy brazen cymbals, and a scented lock of his hair.
Greek Anthology, Book VI, 234
The priest of Rhea dedicated to the mountain-Mother of the gods this raiment and these locks owing to an adventure such as this. As he was walking alone in the wood a savage lion met him and a struggle for his life was imminent. But the goddess put it in his mind to beat his tambourine and he made the ravening brute take flight, dreading the awful din. For this reason his locks hang from the whistling branches.
Greek Anthology, Book VI, 237
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fragments confused, and not well understood:
“Around 200 BC the holy black rock of the goddess [Cybele] was moved from the Phrygian city of Pessinos, which had been the previous centre of her worship. Rome became the new centre, and her cult grew. The Romans identified Cybele with the Greek Rhea, and called her Magna Mater, the Great Mother. The priests of the cult were men who had castrated themselves in front of her image, but most of the followers were women. The cult was a tumultuous, noisy and ecstatic affair which attracted many people. Only women (and castrated men) were allowed to attend the main celebrations of the goddess, which quickly got the reputation of being less religious ritual and more wild orgies. Much gossip went around about the indecencies and depravities of the cult, but due to the protection of influential people it avoided persecution. The cult was led by the female priestesses and the Archigalli, the high priest of the subordinate Galli; castrated male priests who were responsible for most of the dance, divination and healing of the cult. Many of the worshipers were organised into fraternities, most notably the Dendrophori (“Tree-bearers”) and Cannophori (“Reed-bearers”). Members of these fraternities enjoyed a bit of social status and influence, and many important people flocked to them. The liturgy of the cult was in Greek. Many of the ceremonies commemorated the deeds of Magna Mater and her love to Attis, who represented the fertility and plants of the land. By his castration and death the land was given new life. Many festivals were held, called ludi (“plays”) which were enthusiastic carnivals with banquets and comedic performances.
One of the major festivals was Megalesia the 4-10 April. At the height of the celebrations the taurobolium was performed, as a bull was castrated and sacrificed, and new initiates were baptised in its blood. Another major festival was celebrated the 25th March to commemorate the castration and death of Attis. The Cannophori carried reeds and stalks to the temple together with the idol of Attis. The taurobolium was performed, and the genitals of the bull was thrown into a cave or well consecrated to Magna Mater. After three days of sorrow and grief for Attis, the carnival returned with Hilaria, the Day of Joy as Attis was resurrected and fertility yet again reigned thanks to the power of Magna Mater. Mountains and caves were sacred to Magna Mater, and her temples were often built near them. By sleeping in a temple many women hoped to get help from the goddess, who was said to help mothers and children. Midwifes were tied to the cult, and many priests were healers. The priestesses were more involved with her ecstatic side, celebrating her secret mysteries behind locked doors. Practically nothing is known about them, except that they were exclusively women only.” (http://faculty.cua.edu/pennington/churchhistory220/lectureone/MagnaMater.htm)
Contrary to complementarian claims, was there cult prostitution in the “Greco-Roman world”? Yes, prostitution was well-known in throughout the Roman Empire from Corinth and Cyprus to Lydia and Phrygia, and it was commonly associated with various cults. “Orgia” (orgies) were also connected with the “mystery rites” of the Lydian/Phrygian goddess known as Cybele.
Were there “eunuch priests”? Yes, the priests of the goddess Cybele castrated themselves in her honor. This practice continued in the Roman Empire through the New Testament era, and into the reign of Emperor Julian, who became an initiate of Cybele’s mysteries, in the caverns of Ephesus.
Was Cybele worship connected to Ephesus? Yes, one of her most ancient sanctuaries was found there (http://www.sacred-texts.com/wmn/rca/rca03.htm#fn_65). Archaeologists report that she was worshiped there “from Classical through Roman times.” Julian was reported to have become an initiate in the caverns of Ephesus, as late as the 4th century A.D.. An excellent history of Cybele worship through the New Testament period can be found in Philip Borgeaud’s book entitled, “Mother of the Gods: From Cybele to the Virgin Mary” (https://jhupbooks.press.jhu.edu/content/mother-gods)
[Modificato da sp3ranza 02/03/2017 20:37]