Showing posts with label carnival. Show all posts
Showing posts with label carnival. Show all posts

Wednesday, October 24, 2007

Cinema of Anarchy

http://anarchistnews.org/files/pictures/anarchy-film-festival.gif

This week we are blogging about Revolutionary and Anarchist films, movies, DVD's etc. at the Carnival of Anarchy.

I have posted on some of my favorite films and libertarian perspectives on Film. And will continue to do so through the week.



See my previous posts on Carnival of Anarchy.

See:

Battleship Potemkin


Sacco and Vanzetti

V for Anarchy


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Friday, August 31, 2007

Labour, Opera and Anarchy


This is the labour day long weekend in North America and for that reason the August Carnival of Anarchy will begin and carry on through the week. The theme is:

Anarchism and Work, Anarchism and Life

Why Opera you ask. Because it originates from the Latin word for work; Opus. As in creative, fulfilling, self directed activity. Liberated labour if you like. Self-Valorization.

Whereas the common modern word for labour, work and worker in the Latin based languages like French, Spanish, Italian, etc. is
trabajo and travail (from the Latin tripalium, or “instrument of torture”)

Hence modern work for most of us is not an opera nor our opus but wage slavery.

Towards a History of Workers' Resistance to Work - Michael Seidman


And besides it gives me another chance to make a reference to that great cultural anarchist Bugs Bunny.



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Monday, July 23, 2007

@ edukashion


Anarchy and Education

Our theme for our July Carnival is
Anarchism and Education.


A.S. Neill, The Modern School, Ivan Illich, homeschooling in a statist society, homeschooling in the age of neo-conservative anti-public education, pedagogy of the oppressed, Pablo Fiere, Fransisco Fiere, Emma Goldman, the origins of American public education in Nativism and the KKK, classical education, dead white men, deconstruction, academia, autodidactic intellectuals, working class intellectuals, education and class, post secondary proletarians, William Morris, Godwin, Shelly, Byron, Keats, Mary Wollstencroft, Mary Wollsencraft Shelly, the narodniki, Bakunin, Kropotkins Appeal to the Young, the SI, France 1968, read a book.

The carnival will run July 27-August 5th.

'I never let my schooling interfere with my education'.
Mark Twain.



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Friday, June 22, 2007

Anarchy and Ecology


Beginning today, though as per usual with our little anarchist cooperative someone posted early and someone will likely post late, the Carnival of Anarchy will be hosting a weekend of blogging on the topic of Anarchism and Ecology. Green Anarchy, environmental anarchy, social ecology,etc.

Dust off your old Murray Bookchin books.

The period of contribution runs from Friday June 22nd to Sunday June 24th.


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Thursday, May 17, 2007

May Carnival of Anarchy


The Spirit of Anarchy

Our next carnival will be held the weekend of May 25-27 the theme with be Anarchy and Spirit, that includes religion, spirituality, (such as liberation theology, anti-religion, paganism, gnosticism etc.) as well as art and music.

For example I would refer you to Scriabin as an example of the breadth of this topic...

Scriabin, previously interested in Friedrich Nietzsche's übermensch theory, also became interested in theosophy, and both would influence his music and musical thought. In 1909-10 he lived in Brussels, becoming interested in Delville's Theosophist movement and continuing his reading of Hélène Blavatsky (Samson 1977). Theosophist and composer Dane Rudhyar wrote that Scriabin was "the one great pioneer of the new music of a reborn Western civilization, the father of the future musician," (Rudhyar 1926b, 899) and an antidote to "the Latin reactionaries and their apostle, Stravinsky" and the "rule-ordained" music of "Schoenberg's group." (Ibid., 900-901).





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Monday, April 30, 2007

Tax Time and Walpurgisnacht


There is something sinister about the Canadian Tax system. It is declared that we must file taxes by Midnight April 30. This is Walpurgisnacht, or night of the witches, the ancient pagan festival of fire; Beltane, and consumption of the last of the salted meat from harvest in celebration of the new life of spring.

Death and Taxes as they say. Leads to rebirth new life.

Walpurgisnacht,night of the witches the celebration of the end of darkness and the fire rituals of spring. We pays our taxes and hopes we gets some back from the tax man. A sacrifice, even if it is in coin, as the season demands.

Goethe and Mendelssohn express this Euroean pagan tradition in verse and song.
Mendelssohn's Choral arrangement is a modernist paenan to paganism. But damn we still must give unto Caesar; the real meaning of the festival of fools........

Mendelssohn’s Walpurgisnacht
Conductor :
Valérie Fayet
Walpurgis Night, based on a work by Goethe, celebrates the popular tradition which talks about pagan gatherings taking place on the “witches' mountain” during the night of May 1 st.
Mendelssohn's work is admirably clear, colourful and full of energy.

Die erste Walpurgisnacht Op. 60: So weit gebracht, dass wir bei Nacht
Listen
Die Erste Walpurgisnacht, cantata for chorus & orchestra, Op. 60 So weit gebracht, daß wir bei Nacht
Composed by Felix Mendelssohn
Performed by Chamber Orchestra Europe
Conducted by Nikolaus Harnoncourt

A period of travel and concert-giving introduced Mendelssohn to England, Scotland (1829) and Italy (1830-31); after return visits to Paris (1831) and London (1832, 1833) he took up a conducting post at Düsseldorf (1833-5), concentrating on Handel's oratorios. Among the chief products of this time were The Hebrides (first performed in London, 1832), the g Minor Piano Concerto, Die erste Walpurgisnacht, the Italian Symphony (1833, London)


6533 Mendelssohn: Walpurgisnacht

5. Die Erste Walpurgisnacht, Op. 60: Ouverture: 1. Das schlechte 2. Der Ubergang zum Fruhling -
6. Die Erste Walpurgisnacht, Op. 60: I Es lacht der Mai! -
7. Die Erste Walpurgisnacht, Op. 60: II Konnt ihr so verwegen handeln? -
8. Die Erste Walpurgisnacht, Op. 60: III Wer Opfer heut' zu bringen scheut -
9. Die Erste Walpurgisnacht, Op. 60: IV Verteilt euch hier -
10. Die Erste Walpurgisnacht, Op. 60: V Diese dumpfen Pfaffenchristen - Kommt mit Zacken und mit Gabeln -
11. Die Erste Walpurgisnacht, Op. 60: VII So weit gebracht - VIII Hilf, ach hilf mir, Kriegsgeselle - IX Die Flamme reinigt sich vom Rauch -
O+1+2.nwc:0: Overture
:1: Now may again
:2: Know ye not a deed so daring?
3+4.nwc :3: The man who flies
:4: Disperse, ye gallant men
5+6+7+8+9.nwc:5: Should our Christian foes assail us
:6: Come with torches brightly flashing
:7: Restrain'd by might
:8: Help, my comrades
:9: Unclouded now, the flame is bright


"...don't you think this could become a new kind of cantata?" Rituality, Authenticity and Staging in Mendelssohn’s Walpurgisnacht

Assuming a potential analogy between art and ritual, or between art and the interpretation of ritual as a Gesamtkunstwerk,
the question arises as to what degree boundaries or transitions between aesthetic presentation, staging and identification with ritual can be determined in art. This topic could be discussed in terms of reception-aesthetics, with the question of the participation of an implicit or exclusive audience in ritual or in art. On the other hand, the perspective of this question can also be developed, as in this article, in terms of production-aesthetics, using the model of a musical composition based on a preexisting literary text. In Goethe's and Mendelssohn's texts,' not only their cultic-religious rituality will be investigated, but also the problem of how far beyond the cultic subject the immanent formative principles of ritual in terms of music are effective. Although in his early ballad Die erste Walpurgisnacht (The First Walpurgis Night) of 1799 Goethe distinguished the pagan Walpurgis night from the classical and romantic in both stages of Faust, in his own way Mendelssohn related these three forms of ritual directly to one another within one work.

Cantata - LoveToKnow 1911

In modern times the term cantata is applied almost exclusively to choral, as distinguished from solo vocal music. There has, perhaps, been only one kind of cantata since Bach which can be recognized as an art form and not as a mere title for works otherwise impossible to classify. It is just possible to recognize as a distinct artistic type that kind of early r9th-century cantata in which the chorus is the vehicle for music more lyric and songlike than the oratorio style, though at the same time not exclude ing the possibility of a brilliant climax in the shape of a light order of fugue. Beethoven's Glorreiche Augenblick is a brilliant "pot-boiler" in this style; Weber's Jubel Cantata is a typical specimen, and Mendelssohn's Walpurgisnacht is the classic.

The Jews seem fated to wanDer forever among other nations and be faced perpetually with minority status and a legitimate pressure to acculturate and assimilate. If one compares the ending of The Eternal Road to Felix Mendelssohn's setting of Goethe's Die erste Walpurgisnacht, one is struck by a vital difference. Mendelssohn, although bearing the most celebrated name in early nineteenth-century German-Jewish history, had been converted and become a devout Protestant. Nevertheless through his music he celebrated with empathy and pride the courageous resistance of the Druids to the siege on their traditions and beliefs laid by violent Christian attackers. In contrast, The Eternal Road ends much more ambiguously with a vague hope for a return to Zion among a defeated and divided community, bowing to a fate of perpetual exclusion, persecution, and powerlessness.


Mendelssohn, Goethe, and the Walpurgis Night

The Heathen Muse in European Culture, 1700-1850
John Michael Cooper


Mendelssohn, Goethe, and the Walpurgis Night is a book about tolerance and acceptance in the face of cultural, political, and religious strife. Its point of departure is the Walpurgis Night. The Night, also known as Beltane or May Eve, was supposedly an annual witches' Sabbath that centered around the Brocken, the highest peak of the Harz Mountains.
After exploring how a notoriously pagan celebration came to be named after the Christian missionary St. Walpurgis (ca. 710-79), John Michael Cooper discusses the Night's treatments in several closely interwoven works by Goethe and Mendelssohn. His book situates those works in their immediate personal and professional contexts, as well as among treatments by a wide array of other artists, philosophers, and political thinkers, including Voltaire, Lessing, Shelley, Heine, Delacroix, and Berlioz.
In an age of decisive political and religious conflict, Walpurgis Night became a heathen muse: a source of spiritual inspiration that was neither specifically Christian, nor Jewish, nor Muslim. And Mendelssohn's and Goethe's engagements with it offer new insights into its role in European cultural history, as well as into issues of political, religious, and social identity -- and the relations between cultural groups -- in today's world.


Among some of his (Goethe’s) most engaging/compelling musical experiences of his late maturity were the visits of Felix Mendelssohn, who was 12 years old in 1821 and had been introduced to Goethe personally in Weimar by his (Mendelssohn’s) teacher, Zelter. Further visits took place in 1822, 1825, and 1830. Goethe had Mendelssohn play for him and explain to him technical matters concerning music and music history. This relationship became one of tender devotion on the part of Goethe towards Mendelssohn: in 1822 Goethe said to Mendelssohn: “I am Saul and you are my David,” and in his last letter to Mendelssohn, Goethe began with “My dear son.” Mendelssohn dedicated his Piano Quartet in B minor, opus 3 to Goethe and composed music for “Die erste Walpurgisnacht” (1st version in 1832)…. Goethe was eager to hear instrumental music which was played by Reichardt, Kayser, Zelter, Eberwein, Hummel, Spohr, Beethoven, Baron Oliva, Szymanowska (female pianist), J. H. F. Schütz, and finally by Mendelssohn whom he repeatedly asked to play something for him.”]


Mendelssohn's Die erste Walpurgisnacht, one of his greatest cantatas, was based on Goethe's Faust, and on Goethe's personal interpretation of the scene (Grove Dictionary 146). Mendelssohn's friendship with the poet lasted for a great many years, up until Goethe's death in 1832.

The first Walpurgisnacht

The Ouverture represents the transition from the winter to spring. The beginning in A-Moll is overwritten with “the bad weather”, while with the idiom into the Dur variant approaching the Walpurgisnacht in spring is announced. It is described in the following, as the priests and Druiden of the Celts meet secretly in the inhospitable mountains of the resin, in order to address after old custom with fire their prayer to the all father of the sky and the earth. Since their rites are forbidden by the Christian gentlemen however, everything must happen in the secret one. With cheat and to linings the soldiers of the Christians were frightened in such a manner that the Celts in peace can celebrate their Walpurgisnacht.
There are two Walpurgisnächte in Goethe's work. Admits is above all that from that fist I, in which a typical Hexensabbat is sworn to in visionär grotesque way. On the other hand Goethe takes poem the first Walpurgisnacht a heidnisches victim celebration developed to 1799 in that during thunderstorm eight to the cause to confront two incompatible ways of thinking and being LV each other.
Whole 19. Through century the romantic composers let themselves fist be inspired again and again from the picture world of the I and fist II, while the first Walpurgisnacht remained almost unknown. Only Carl Friedrich Zelter, Goethe friend and musical advisor, have try, the poem tone. It kept full fifteen years it under its papers, before it took distance finally from a project, which exceeded its imagination.
That was introduced by Zelter at that time twelve-year-old boy Mendelssohn with around sixty years the older Olympier Goethe, whom time and fame had coined/shaped. By Beethoven and Schubert to judge, understood the old gentleman not much about music. In its youth he had heard some of the Mozarts' works, whose clarity and harmony it zollte still at the age attention and acknowledgment; and it found favours to feel with the citizen of Berlin miracle child from good family the aftereffect of those melodies in those the ideal of its own youth lived. It would be inaccurate to speak of a co-operation between Goethe and Mendelssohn. The first important piece, to which the poet energized the young musician, was the Ouvertüre sea silence and lucky travel, which arrived only in the year 1832, Goethe's death year, at the public performance. That Goethe would have known to appreciate a music, so clearly under Beethovens the influence is to be doubted. Just as little it the score of the first Walpurgisnacht would have probably behagt. The work, in which orchestras and voices verwoben closely into one another are, becomes not completely fair the central thought of the artist Philosphen. From its “Faible for witches” seduced, Mendelssohn stated little interest in the deeper meaning of the poem: the always-lasting conflict between the instinktiven natural forces on the one hand and the mental clarity of a thought world coined/shaped by the clearing-up on the other hand. With the primarily romantic treatment of the article it remains on the level of a descriptive poem and tears us in tumbles uncontrolled thunderstorm eight.
The 1831 completed first minute of the score experienced substantial changes, before she arrived to 1842 at the premiere. Goethe did not experience no more, which regulation to his verses assign became, whose Vertonung lends a fascinating juvenile fire to them. Mendelssohn proves here as genuine romantics. It uses a pallet of magnificent tone qualities, lets the horns from the supple fabric of the Streicher step out and gives to the Holzbläsern a most personal note. The choirs are from a Schlichtheit, which lends occasionally the serious character of a Volksliedes to them, while proper large airs are assigned to the soloist.
The whole wealth of the romantic opera is united in this musical illustration of a poem, which reminds at the Feenzauber of shakespearscher scenes. The choir of the Druiden (No. 6 of the score) is from an imaginativeness, which only the late Verdi in the last act of its Falstaff reaches again. The composer, at whom Goethe estimated the causing its own youth, somehow not completely up-to-date one, appears here surprisingly as one of the prophets of the music 19. Century. With deciveness it secures the transition from Beethoven to the large rhapsodies of Brahms.
Jean Francois Labie
(Translation: Ingrid trusting man)


G O E T H E ' S   P A G A N   P O E T R Y

Goethe, a genius with unmistakable Pagan sympathies,
excelled as a poet, dramatist, novelist, essayist,
philosopher and scientist (his works occupy 140
volumes!). Here are several of his Pagan poems,
including his ballade "The First Walpurgis-Night," in
which the Pagans score a Discordian victory over their
oppressors. (I'm sure Goethe now dwells happily among
the Pagan Gods.) The ballade has been set to music by
Mendelssohn (Die Erste Walpurgisnacht), which is quite
good, but not suitable for small group performance.
Perhaps the Muses will help some modern Pagan to
compose a version for contemporary witches' sabbats.
Although only the God (Allvater) is mentioned, I've
left Goethe's text unchanged; it's easy to substitute
"Mother" for some or all of the "Father"s if you like.
-- John Opsopaus


THE FIRST WALPURGIS-NIGHT
Johann Wolfgang von Goethe

A DRUID.

Sweet smiles the May!
The forest gay
From frost and ice is freed;
No snow is found,
Glad songs resound
Across the verdant mead.
Upon the height
The snow lies light,
Yet thither now we go,
There to extol our Father's name,
Whom we for ages know.
Amid the smoke shall gleam the flame;
Thus pure the heart will grow.

THE DRUIDS.

Amid the smoke shall gleam the flame;
Extol we now our Father's name,
Whom we for ages know!
Up, up, then, let us go!

ONE OF THE PEOPLE.

Would ye, then, so rashly act?
Would ye instant death attract?
Know ye not the cruel threats
Of the victors we obey?
Round about are placed their nets
In the sinful Heathen's way.
Ah! upon the lofty wall
Wife and children slaughter they;
And we all
Hasten to a certain fall.

CHORUS OF WOMEN.

Ay, upon the camp's high wall
All our children loved they slay.
Ah, what cruel victors they!
And we all
Hasten to a certain fall.

A DRUID.

Who fears to-day
His rites to pay,
Deserves his chains to wear.
The forest's free!
This wood take we,
And straight a pile prepare!
Yet in the wood
To stay 'tis good
By day till all is still,
With watchers all around us placed
Protecting you from ill.
With courage fresh, then, let us haste
Our duties to fulfil.

CHORUS OF WATCHERS.

Ye valiant watchers now divide
Your numbers through the forest wide,
And see that all is still,
While they their rites fulfil.

A WATCHER.

Let us in a cunning wise,
Yon dull Christian priests surprise!
With the devil of their talk
We'll those very priests confound.
Come with prong and come with fork,
Raise a wild and rattling sound
Through the livelong night, and prowl
All the rocky passes round.
Screech-owl, owl,
Join in chorus with our howl!

CHORUS OF WATCHERS.

Come with prong, and come with fork,
Like the devil of their talk,
And with wildly rattling sound,
Prowl the desert rocks around!
Screech owl, owl,
Join in chorus with our howl!

A DRUID.

This far 'tis right,
That we by night
Our Father's praises sing;
Yet when 'tis day,
To Thee we may
A heart unsullied bring.
'Tis true that now,
And often, Thou
Favorest the foe in fight.
As from the smoke is freed the blaze,
So let our faith burn bright!
And if they crush our olden ways,
Who e'er can crush Thy light?

A CHRISTIAN WATCHER.

Comrades, quick! your aid afford!
All the brood of hell's abroad:
See how their enchanted forms
Through and through with flames are glowing!
Dragon-women, men-wolf swarms,
On in quick succession going!
Let us, let us haste to fly!
Wilder yet the sounds are growing,
And the arch fiend roars on high;
From the ground
Hellish vapors rise around.

CHORUS OF CHRISTIAN WATCHERS.

Terrible enchanted forms,
Dragon-women, men-wolf swarms!
Wilder yet the sounds are growing!
See, the arch fiend comes, all-glowing!
From the ground
Hellish vapors rise around.

CHORUS OF DRUIDS

As from the smoke is freed the blaze,
So let our faith burn bright!
And if they crush our olden ways,
Whoe'er can crush Thy light?

[Bowring translation]


THE CONSECRATED SPOT

When in the dance of the Nymphs, in the
moonlight so holy assembled,
Mingle the Graces, down from Olympus in secret
descending,
Here doth the minstrel hide, and list to their
numbers enthralling,
Here doth he watch their silent dances'
mysterious measure.
[tr. Bowring]


[All selections from "The Poems of Goethe," New York:
John D. Williams, 1882.]

finis



The Romantic Mendelssohn: The Composition of Die erste Walpurgisnacht

JSTOR: The Music of To-Day

THE FAUST LEGEND IN MUSIC



SEE

Paganism


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Sunday, April 15, 2007

April Carnival of Anarchy



On the weekend stretching from April 27-29, the Carnival of Anarchy blog will touch upon the important question of anarchism and violence. It has been a topic of contention among political radicals for ages and I hope there will be a diversity of opinion displayed. The contributors to the carnival are asked to provide posts on anything related to this vital topic they can think of. Some ideas I'd throw out to help those folks out who aren't so sure what to contribute include discussions of whether violence is ethical, wise, desirable, necessary, and so on.


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Saturday, April 07, 2007

Pagan Origins of Easter

Gee I could not have said it better myself. And again we note the relationship between the Spring as a time of resurrection from winter, life bursting from death, and its relationship to carnival and the divine fool. And you thought I was just making this all up.

Another popular religion which influenced the thought of early Christians was the worship of Adonis. As is commonly known Antioch was one of the earliest seats of Christianity. It was in this city that there was celebrated each year the death and resurrection of the god Adonis. This faith had always exerted its influence on Jewish thought, so much so that the prophet Ezekiel[Footnote: Ezekiel 8:14.] found it necessary to scold the women of Jerusalem for weeping for the dead Tammuz (Adonis) at the very gate of the temple. When we come to Christian thought the influence seems even greater, for even the place at Bethleham selected by the early Christians as the scene of the birth of Jesus was none other than an early shrine of this pagan god–a fact that led many to confuse Adonis with Jesus Christ.

Martin Luther King Jr.


Pagan origins of Easter:

Many, perhaps most, Pagan religions in the Mediterranean area had a major seasonal day of religious celebration at or following the Spring Equinox. Cybele, the Phrygian fertility goddess, had a fictional consort who was believed to have been born via a virgin birth. He was Attis, who was believed to have died and been resurrected each year during the period MAR-22 to MAR-25. "About 200 B.C. mystery cults began to appear in Rome just as they had earlier in Greece. Most notable was the Cybele cult centered on Vatican hill ...Associated with the Cybele cult was that of her lover, Attis (the older Tammuz, Osiris, Dionysus, or Orpheus under a new name). He was a god of ever-reviving vegetation. Born of a virgin, he died and was reborn annually. The festival began as a day of blood on Black Friday and culminated after three days in a day of rejoicing over the resurrection." 3

Wherever Christian worship of Jesus and Pagan worship of Attis were active in the same geographical area in ancient times, Christians "used to celebrate the death and resurrection of Jesus on the same date; and pagans and Christians used to quarrel bitterly about which of their gods was the true prototype and which the imitation."

Many religious historians believe that the death and resurrection legends were first associated with Attis, many centuries before the birth of Jesus. They were simply grafted onto stories of Jesus' life in order to make Christian theology more acceptable to Pagans. Others suggest that many of the events in Jesus' life that were recorded in the gospels were lifted from the life of Krishna, the second person of the Hindu Trinity. Ancient Christians had an alternative explanation; they claimed that Satan had created counterfeit deities in advance of the coming of Christ in order to confuse humanity. 4 Modern-day Christians generally regard the Attis legend as being a Pagan myth of little value. They regard Jesus' death and resurrection account as being true, and unrelated to the earlier tradition.


Attis

by Micha F. Lindemans
A god of growth and fertility in Asia Minor, also venerated in Greece. His service remained more Asian than Greek, however, and was connected to that of Cybele. Because of his manifestations of intense sadness and ecstatic joy, his service resembles that of Adonis. Attis was thought to be beloved by Cybele and when he refused her love, in her rage she unmanned him. His followers sometimes did the same. Attis is portrayed on coins from the Roman era and on tombstones. He is represented as a young man in tight-fitting clothes and a Phrygian headdress and shepherds staff.


Chapter 34. The Myth and Ritual of Attis.
Sir James George Frazer

Indeed the story that Attis unmanned himself under a pine-tree was clearly devised to explain why his priests did the same beside the sacred violet-wreathed tree at his festival. At all events, we can hardly doubt that the Day of Blood witnessed the mourning for Attis over an effigy of him which was afterwards buried. The image thus laid in the sepulchre was probably the same which had hung upon the tree. Throughout the period of mourning the worshippers fasted from bread, nominally because Cybele had done so in her grief for the death of Attis, but really perhaps for the same reason which induced the women of Harran to abstain from eating anything ground in a mill while they wept for Tammuz. To partake of bread or flour at such a season might have been deemed a wanton profanation of the bruised and broken body of the god. Or the fast may possibly have been a preparation for a sacramental meal.

But when night had fallen, the sorrow of the worshippers was turned to joy. For suddenly a light shone in the darkness: the tomb was opened: the god had risen from the dead; and as the priest touched the lips of the weeping mourners with balm, he softly whispered in their ears the glad tidings of salvation. The resurrection of the god was hailed by his disciples as a promise that they too would issue triumphant from the corruption of the grave. On the morrow, the twenty-fifth day of March, which was reckoned the vernal equinox, the divine resurrection was celebrated with a wild outburst of glee. At Rome, and probably elsewhere, the celebration took the form of a carnival. It was the Festival of Joy (Hilaria). A universal licence prevailed. Every man might say and do what he pleased. People went about the streets in disguise. No dignity was too high or too sacred for the humblest citizen to assume with impunity. In the reign of Commodus a band of conspirators thought to take advantage of the masquerade by dressing in the uniform of the Imperial Guard, and so, mingling with the crowd of merrymakers, to get within stabbing distance of the emperor. But the plot miscarried. Even the stern Alexander Severus used to relax so far on the joyous day as to admit a pheasant to his frugal board. The next day, the twenty-sixth of March, was given to repose, which must have been much needed after the varied excitements and fatigues of the preceding days. Finally, the Roman festival closed on the twenty-seventh of March with a procession to the brook Almo. The silver image of the goddess, with its face of jagged black stone, sat in a waggon drawn by oxen. Preceded by the nobles walking barefoot, it moved slowly, to the loud music of pipes and tambourines, out by the Porta Capena, and so down to the banks of the Almo, which flows into the Tiber just below the walls of Rome. There the high-priest, robed in purple, washed the waggon, the image, and the other sacred objects in the water of the stream. On returning from their bath, the wain and the oxen were strewn with fresh spring flowers. All was mirth and gaiety. No one thought of the blood that had flowed so lately. Even the eunuch priests forgot their wounds.

The Pagan origins of the Easter Bunny

Have you ever wondered where the celebration of the Christian holiday celebrating the resurrection of Christ acquired its unusual name and odd symbols of colored eggs and rabbits?

The answer lies in the ingenious way that the Christian church absorbed Pagan practices. After discovering that people were more reluctant to give up their holidays and festivals than their gods, they simply incorporated Pagan practices into Christian festivals. As recounted by the Venerable Bede, an early Christian writer, clever clerics copied Pagan practices and by doing so, made Christianity more palatable to pagan folk reluctant to give up their festivals for somber Christian practices.

In second century Europe, the predominate spring festival was a raucous Saxon fertility celebration in honor of the Saxon Goddess Eastre (Ostara), whose sacred animal was a hare.

The colored eggs associated with the bunny are of another, even more ancient origin. The eggs associated with this and other Vernal festivals have been symbols of rebirth and fertility for so long the precise roots of the tradition are unknown, and may date to the beginning of human civilization. Ancient Romans and Greeks used eggs as symbols of fertility, rebirth, and abundance- eggs were solar symbols, and figured in the festivals of numerous resurrected gods.

Pagan fertility festivals at the time of the Spring equinox were common- it was believed that at this time, when day and night were of equal length, male and female energies were also in balance. The hare is often associated with moon goddesses; the egg and the hare together represent the god and the goddess, respectively.

Christian denominations and cults that do not observe Easter

Easter traditions deemed "pagan" by some Reformation leaders, along with Christmas celebrations, were among the first casualties of some areas of the Protestant Reformation. Other Reformation Churches, such as the Lutheran and Anglican, retained a very full observance of the Church Year. In Lutheran Churches, not only were the days of Holy Week observed, but also Christmas, Easter, and Pentecost were observed with three day festivals, including the day itself and the two following. Among the other Reformation traditions, things were a bit different. These holidays were eventually restored (though Christmas only became a legal holiday in Scotland in 1967, after the Church of Scotland finally relaxed its objections). Some Christians (usually, but not always fundamentalists), however, continue to reject the celebration of Easter (and, often, of Christmas), because they believe them to be irrevocably tainted with paganism and idolatry.

Their rejection of these traditions is based partly on the words of 2 Corinthians 6:14-16. "Be ye not unequally yoked together with unbelievers: for what fellowship hath righteousness with unrighteousness? and what communion hath light with darkness? And what concord hath Christ with Belial? or what part hath he that believeth with an infidel? And what agreement hath the temple of God with idols? for ye are the temple of the living God; as God hath said, I will dwell in them, and walk in them; and I will be their God, and they shall be my people." (King James Version)

That is also the view of Jehovah's Witnesses, who instead observe a yearly commemorative service of the Last Supper and subsequent death of Christ on the evening of 14 Nisan, as they calculate it derived from the lunar Hebrew Calendar. It is commonly referred to, in short, by many Witnesses as simply "The Memorial." Jehovah's Witnesses believe that such verses as Luke 22:19-20 constitute a commandment to remember the death of Christ, and they do so on a yearly basis just as Passover is celebrated yearly by the Jews.

Some groups feel that Easter (or, as they prefer to call it, "Resurrection Sunday" or "Resurrection Day") is properly regarded with great joy: not marking the day itself, but remembering and rejoicing in the event it commemorates—the miracle of Christ's resurrection. In this spirit, these Christians teach that each day and all Sabbaths should be kept holy, in Christ's teachings.

Other groups, such as the Sabbatarian Church of God, believe in keeping the feasts and commandments of God as given in the Bible, including a Christian Passover that lacks most of the practices or symbols associated with Western Easter and retains more features of the Passover observed by Jesus Christ at the Last Supper.

Etymology and the origins of Easter traditions

In his De temporum ratione the Venerable Bede wrote that the month Eostremonat (Eosturmonath) (April) was so named because of a goddess, Eostre, who had formerly been worshipped in that month. In recent years some scholars have suggested that a lack of supporting documentation for this goddess might indicate that Bede assumed her existence based on the name of the month.[15] Others note that Bede's status as "the Father of English History," having been the author of the first substantial history of England ever written, might make the lack of additional mention for a goddess whose worship had already died out by Bede's time unsurprising. The debate receives considerable attention because the name 'Easter' is derived from Eostremonat (Eosturmonath), and thus, according to Bede, from the pagan goddess Eostre, though this etymology is disputed.[16]

Jakob Grimm took up the question of Eostre in his Deutsche Mythologie of 1835, noting that Ostaramanoth was etymologically related to Eostremonat (Eosturmonath) and writing of various landmarks and customs related to the goddess Ostara in Germany. Again, because of a lack of written documentation, critics suggest that Grimm took Bede's mention of a goddess Eostre at face value and constructed the goddess Ostara around existing Germanic customs which may have arisen independently. Others point to Grimm's stated intent to gather and record oral traditions which might otherwise be lost as explanation for the lack of further documentation. Amongst other traditions, Grimm connected the 'Osterhase' (Easter Bunny) and Easter Eggs to the goddess Ostara/Eostre. He also cites various place names in Germany as being evidence of Ostara, but critics contend that the close etymological relationship between Ostara and the words for 'east' and 'dawn' could mean that these place names referred to either of those two things rather than a goddess.

Bede's Historia ecclesiastica gentis Anglorum ("Ecclesiastic History of the English People") contains a letter from Pope Gregory I to Saint Mellitus, who was then on his way to England to conduct missionary work among the heathen Anglo-Saxons. The Pope suggests that converting heathens is easier if they are allowed to retain the outward forms of their traditional pagan practices and traditions, while recasting those traditions spiritually towards Christianity instead of to their indigenous gods (whom the Pope refers to as "devils"), "to the end that, whilst some gratifications are outwardly permitted them, they may the more easily consent to the inward consolations of the grace of God." The Pope sanctioned such conversion tactics as biblically acceptable, pointing out that God did much the same thing with the ancient Israelites and their pagan sacrifices. If his statement on the origin of the name "Easter" is accurate, this practice might explain the incorporation of Eostre traditions into the Christian holiday.

However, the giving of eggs at spring festivals was not restricted to Germanic peoples and could be found among the Persians, Romans, Jews and the Armenians. They were a widespread symbol of rebirth and resurrection and thus might have been adopted from any number of sources.



Musei Vaticani, State of the Vatican City

Artist/Maker Unknown

Attis performing a dance of the Cybele cult. Marble, Roman Imperial Era.

Dimensions Unspecified

Credit line Formerly at Palazzo Altieri

Accession number Inv. 1656

Museo Chiaramonti

Photographer/Source Jastrow (2006)


See:

Passover Song

Palm Sunday April Fools Day

Judas the Obscure



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Friday, March 16, 2007

Anarchy and Science

This months Carnival of Anarchy



Science and the spirit of Anarchism


After a brief discussion in the comments section of the last posting here is the announcement. Our next Carnival will take place on this site around the weekend of March 23-25th, Friday night to Sunday. The subject for this roundtable will be science and the spirit of anarchism. This includes anything related to the bright light of inquiry, ie. software, electronics, climatology, biology, medicine, or what have you ... viewed from a more or less libertarian standpoint. As usual it would be helpful if members would spread the word about this event on their own blogs and websites. See you then.








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Sunday, February 18, 2007

Carnival of Socialism 13


So, following from that drum roll, the topic for the 13th Carnival of Socialism is "Why is the left obsessed with the Middle East?". Deadline will be February 24th 2007. You therefore have a fortnight folks - contributions to Shiraz Socialist or by email to voltaire_reincarnate@lycos.com





See

Carnival of Socialism

Carnivals


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Saturday, February 17, 2007

Carnival of Anarchy February 07

Carnival of Anarchy

It's almost time for the next carnival, this one on the topic Anarchism in your area.

The carnival will be next weekend, from Friday 23rd through til Sunday 25th, so get cracking on your posts, and when the time comes throw them up here (and on your own blogs, if you wish).





A few questions to consider while posting:
  • How common are anarchist ideas in your area?
  • Are there many people who actively identify as some sort of anarchist?
  • Is there one stream of anarchism that is dominant (eg anarcho-syndicalism, ultra-leftism, anarcho-primitivism, insurrectionary anarchism etc)? If so, why?
  • What anarchist groups/organisations/institutions exist in your town, if any? Are they old or relatively new?
  • What is the makeup of anarchists in your area as compared to the general population (ethnicity, gender, sexuality etc)
  • Does your area have a history of lots of anarchist activity? If so, how does that affect modern anarchist activity and how it is percieved?
  • What do anarchists do in your area?
Feel free to be as broad or narrow a s you want - discuss your street, suburb, city or country, whatever takes your fancy.

If you want to post on this carnival but aren't currently a member, post your email in the comments and hopefully someone will add you.

In the meantime, use the comments on this thread to suggest and hopefully decide on a topic for the next carnival. For previously suggested topics, check out here and here.



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