THE most famous of the ancient religious Mysteries were the Eleusinian, whose rites were celebrated every five years in the city of Eleusis to honor Ceres (Demeter, Rhea, or Isis) and her daughter, Persephone. The initiates of the Eleusinian School were famous throughout Greece for the beauty of their philosophic concepts and the high standards of morality which they demonstrated in their daily lives. Because of their excellence, these Mysteries spread to Rome and Britain, and later the initiations were given in both these countries. The Eleusinian Mysteries, named for the community in Attica where the sacred dramas were first presented, are generally believed to have been founded by Eumolpos about fourteen hundred years before the birth of Christ, and through the Platonic system of philosophy their principles have been preserved to modern times.

The rites of Eleusis, with their Mystic interpretations of Nature’s most precious secrets, overshadowed the civilizations of their time and gradually absorbed many smaller schools, incorporating into their own system whatever valuable information these lesser institutions possessed. Heckethorn sees in the Mysteries of Ceres and Bacchus a metamorphosis of the rites of Isis and Osiris, and there is every reason to believe that all so-called secret schools of the ancient world were branches from one philosophic tree which, with its root in heaven and its branches on the earth, is–like the spirit of man–an invisible but ever-present cause of the objectified vehicles that give it expression. The Mysteries were the channels through which this one philosophic light was disseminated, and their initiates, resplendent with intellectual and spiritual understanding, were the perfect fruitage of the divine tree, bearing witness before the material world of the recondite source of all Light and Truth.

The rites of Eleusis were divided into what were called the Lesser and the Greater Mysteries. According to James Gardner, the Lesser Mysteries were celebrated in the spring (probably at the time of the vernal equinox) in the town of Agræ, and the Greater, in the fall (the time of the autumnal equinox) at Eleusis or Athens. It is supposed that the former were given annually and the latter every five years. The rituals of the Eleusinians were highly involved, and to understand them required a deep study of Greek mythology, which they interpreted in its esoteric light with the aid of their secret keys.

The Lesser Mysteries were dedicated to Persephone. In his Eleusinian and Bacchic Mysteries, Thomas Taylor sums up their purpose as follows: “The Lesser Mysteries were designed by the ancient theologists, their founders, to signify occultly the condition of the unpurified soul invested with an earthy body, and enveloped in a material and physical nature.”

The legend used in the Lesser rites is that of the abduction of the goddess Persephone, the daughter of Ceres, by Pluto, the lord of the underworld, or Hades. While Persephone is picking flowers in a beautiful meadow, the earth suddenly opens and the gloomy lord of death, riding in a magnificent chariot, emerges from its somber depths and, grasping her in his arms, carries the screaming and struggling goddess to his subterranean palace, where he forces her to become his queen.

It is doubtful whether many of the initiates themselves understood the mystic meaning of this allegory, for most of them apparently believed that it referred solely to the succession of the seasons. It is difficult to obtain satisfactory information concerning the Mysteries, for the candidates were bound by inviolable oaths never to reveal their inner secrets to the profane. At the beginning of the ceremony of initiation, the candidate stood upon the skins of animals sacrificed for the purpose, and vowed that death should seal his lips before he would divulge the sacred truths which were about to be communicated to him. Through indirect channels, however, some of their secrets have been preserved. The teachings given to the neophytes were substantially as follows:

The soul of man–often called Psyche, and in the Eleusinian Mysteries symbolized by Persephone–is essentially a spiritual thing. Its true home is in the higher worlds, where, free from the bondage of material form and material concepts, it is said to be truly alive and self-expressive. The human, or physical, nature of man, according to this doctrine, is a tomb, a quagmire, a false and impermanent thing, the source of all sorrow and suffering. Plato describes the body as the sepulcher of the soul; and by this he means not only the human form but also the human nature.

The gloom and depression of the Lesser Mysteries represented the agony of the spiritual soul unable to express itself because it has accepted the limitations and illusions of the human environment. The crux of the Eleusinian argument was that man is neither better nor wiser after death than during life. If he does not rise above ignorance during his sojourn here, man goes at death into eternity to wander about forever, making the same mistakes which he made here. If he does not outgrow the desire for material possessions here, he will carry it with him into the invisible world, where, because he can never gratify the desire, he will continue in endless agony. Dante’s Inferno is symbolically descriptive of the sufferings of those who never freed their spiritual natures from the cravings, habits, viewpoints, and limitations of their Plutonic personalities. Those who made no endeavor to improve themselves (whose souls have slept) during their physical lives, passed at death into Hades, where, lying in rows, they slept through all eternity as they had slept through life.

To the Eleusinian philosophers, birch into the physical world was death in the fullest sense of the word, and the only true birth was that of the spiritual soul of man rising out of the womb of his own fleshly nature. “The soul is dead that slumbers,” says Longfellow, and in this he strikes the keynote of the Eleusinian Mysteries. Just as Narcissus, gazing at himself in the water (the ancients used this mobile element to symbolize the transitory, illusionary, material universe) lost his life trying to embrace a reflection, so man, gazing into the mirror of Nature and accepting as his real self the senseless clay that he sees reflected, loses the opportunity afforded by physical life to unfold his immortal, invisible Self.

An ancient initiate once said that the living are ruled by the dead. Only those conversant with the Eleusinian concept of life could understand that statement. It means that the majority of people are not ruled by their living spirits but by their senseless (hence dead) animal personalities. Transmigration and reincarnation were taught in these Mysteries, but in a somewhat unusual manner. It was believed that at midnight the invisible worlds were closest to the Terrestrial sphere and that souls coming into material existence slipped in during the midnight hour. For this reason many of the Eleusinian

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From Thomassin’s Recucil des Figures, Groupes, Themes, Fontaines, Vases et autres Ornements.

Pluto, the lord of the underworld, represents the body intelligence of man; and the rape of Persephone is symbolic of the divine nature assaulted and defiled by the animal soul and dragged downward into the somber darkness of Hades, which is here used as a synonym for the material, or objective, sphere of consciousness.

In his Disquisitions upon the Painted Greek Vases**, James Christie presents Meursius’ version of the occurrences taking place during the nine days required for the enactment of the Greater Eleusinian Rites. The first day was that of general meeting, during which those to be initiated were questioned concerning their several qualifications. The second day was spent in a procession to the sea, possibly for the submerging of a image of the presiding goddess. The third day was opened by the sacrifice of a mullet. On the fourth day the mystic basket containing certain sacred symbols was brought to Eleusis, accompanied by a number of female devotees carrying smaller baskets. On the evening of the fifth day there was a torch race, on the sixth a procession led by a statue of Iacchus, and on the seventh an athletic contest. The eighth day was devoted to a repetition of the ceremonial for the benefit of any who might have been prevented from coming sooner. The ninth and last day was devoted to the deepest philosophical issues of the Eleusinia, during which an urn or jar–the symbol of Bacchus–was exhibited as an emblem of supreme importance.**

ceremonies were performed at midnight. Some of those sleeping spirits who had failed to awaken their higher natures during the earth life and who now floated around in the invisible worlds, surrounded by a darkness of their own making, occasionally slipped through at this hour and assumed the forms of various creatures.

The mystics of Eleusis also laid stress upon the evil of suicide, explaining that there was a profound mystery concerning this crime of which they could not speak, but warning their disciples that a great sorrow comes to all who take their own lives. This, in substance, constitutes the esoteric doctrine given to the initiates of the Lesser Mysteries. As the degree dealt largely with the miseries of those who failed to make the best use of their philosophic opportunities, the chambers of initiation were subterranean and the horrors of Hades were vividly depicted in a complicated ritualistic drama. After passing successfully through the tortuous passageways, with their trials and dangers, the candidate received the honorary title of Mystes. This meant one who saw through a veil or had a clouded vision. It also signified that the candidate had been brought up to the veil, which would be torn away in the higher degree. The modern word mystic, as referring to a seeker after truth according to the dictates of the heart along the path of faith, is probably derived from this ancient word, for faith is belief in the reality of things unseen or veiled.

The Greater Mysteries (into which the candidate was admitted only after he had successfully passed through the ordeals of the Lesser, and not always then) were sacred to Ceres, the mother of Persephone, and represent her as wandering through the world in quest of her abducted daughter. Ceres carried two torches, intuition and reason, to aid her in the search for her lost child (the soul). At last she found Persephone not far from Eleusis, and out of gratitude taught the people there to cultivate corn, which is sacred to her. She also founded the Mysteries. Ceres appeared before Pluto, god of the souls of the dead, and pleaded with him to allow Persephone to return to her home. This the god at first refused to do, because Persephone had eaten of the pomegranate, the fruit of mortality. At last, however, he compromised and agreed to permit Persephone to live in the upper world half of the year if she would stay with him in the darkness of Hades for the remaining half.

The Greeks believed that Persephone was a manifestation of the solar energy, which in the winter months lived under the earth with Pluto, but in the summer returned again with the goddess of productiveness. There is a legend that the flowers loved Persephone and that every year when she left for the dark realms of Pluto, the plants and shrubs would die of grief. While the profane and uninitiated had their own opinions on these subjects, the truths of the Greek allegories remained safely concealed by the priests, who alone recognized the sublimity of these great philosophic and religious parables.

Thomas Taylor epitomizes the doctrines of the Greater Mysteries in the following statement: “The Greater (Mysteries) obscurely intimated, by mystic and splendid visions, the felicity of the soul both here and hereafter when purified from the defilement of a material nature, and constantly elevated to the realities of intellectual (spiritual) vision.”

Just as the Lesser Mysteries discussed the prenatal epoch of man when the consciousness in its nine days (embryologically, months) was descending into the realm of illusion and assuming the veil of unreality, so the Greater Mysteries discussed the principles of spiritual regeneration and revealed to initiates not only the simplest but also the most direct and complete method of liberating their higher natures from the bondage of material ignorance. Like Prometheus chained to the top of Mount Caucasus, man’s higher nature is chained to his inadequate personality. The nine days of initiation were also symbolic of the nine spheres through which the human soul descends during the process of assuming a terrestrial form. The secret exercises for spiritual unfoldment given to disciples of the higher degrees are unknown, but there is every reason to believe that they were similar to the Brahmanic Mysteries, since it is known that the Eleusinian ceremonies were closed with the Sanskrit words “Konx Om Pax.”

That part of the allegory referring to the two six-month periods during one of which Persephone must remain with Pluto, while during the other she may revisit the upper world, offers material for deep consideration. It is probable that the Eleusinians realized that the soul left the body during steep, or at least was made capable of leaving by the special training which undoubtedly they were in a position to give. Thus Persephone would remain as the queen of Pluto’s realm during the waking hours, but would ascend to the spiritual worlds during the periods of sleep. The initiate was taught how to intercede with Pluto to permit Persephone (the initiate’s soul) to ascend from the darkness of his material nature into the light of understanding. When thus freed from the shackles of clay and crystallized concepts, the initiate was liberated not only for the period of his life but for all eternity, for never thereafter was he divested of those soul qualities which after death were his vehicles for manifestation and expression in the so-called heaven world.

In contrast to the idea of Hades as a state of darkness below, the gods were said to inhabit the tops of mountains, a well-known example being Mount Olympus, where the twelve deities of the Greek pantheon were said to dwell together. In his initiatory wanderings the neophyte therefore entered chambers of ever-increasing brilliancy to portray the ascent of the spirit from the lower worlds into the realms of bliss. As the climax to such wanderings he entered a great vaulted room, in the center of which stood a brilliantly illumined statue of the goddess Ceres. Here, in the presence of the hierophant and surrounded by priests in magnificent robes, he was instructed in the highest of the secret mysteries of the Eleusis. At the conclusion of this ceremony he was hailed as an Epoptes, which means one who has beheld or seen directly. For this reason also initiation was termed autopsy. The Epoptes was then given certain sacred books, probably written in cipher, together with tablets of stone on which secret instructions were engraved.

In The Obelisk in Freemasonry, John A. Weisse describes the officiating personages of the Eleusinian Mysteries as consisting of a male and a female hierophant who directed the initiations; a male and a female torchbearer; a male herald; and a male and a female altar attendant. There were also numerous minor officials. He states that, according to Porphyry, the hierophant represents Plato’s Demiurgus, or Creator of the world; the torch bearer, the Sun; the altar man, the Moon; the herald, Hermes, or Mercury; and the other officials, minor stars.

From the records available, a number of strange and apparently supernatural phenomena accompanied the rituals. Many initiates claim to have actually seen the living gods themselves. Whether this was the result of religious ecstasy or the actual cooperation of invisible powers with the visible priests must remain a mystery. In The Metamorphosis, or Golden Ass, Apuleius thus describes what in all probability is his initiation into the Eleusinian Mysteries:

“I approached to the confines of death, and having trod on the threshold of Proserpine I, returned from it, being carried through all the elements. At midnight I saw the sun shining with a splendid light; and I manifestly drew near to, the gods beneath, and the gods above, and proximately adored them.”

Women and children were admitted to the Eleusinian Mysteries, and at one time there were literally thousands of initiates. Because this vast host was not prepared for the highest spiritual and mystical doctrines, a division necessarily took place within the society itself. The higher teachings were given to only a limited number of initiates who, because of superior mentality, showed a comprehensive grasp of their underlying philosophical concepts. Socrates refused to be initiated into the Eleusinian Mysteries, for knowing its principles without being a member of the order he realized that membership would seal his tongue. That the Mysteries of Eleusis were based upon great and eternal truths is attested by the veneration in which they were held by the great minds of the ancient world. M. Ouvaroff asks, “Would Pindar, Plato, Cicero, Epictetus, have spoken of them with such admiration, if the hierophant had satisfied himself with loudly proclaiming his own opinions, or those of his order?”

The garments in which candidates were initiated were preserved for many years and were believed to possess almost sacred properties. Just as the soul can have no covering save wisdom and virtue, so the candidates–being as yet without true knowledge–were presented to the Mysteries unclothed, being first: given the skin of an animal and later a consecrated robe to symbolize the philosophical teachings received by the initiate. During the course of initiation the candidate.

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From a mural painting in Pompeii.

Ceres, or Demeter, was the daughter of Kronos and Rhea, and by Zeus the mother of Persephone. Some believe her to be the goddess of the earth, but more correctly she is the deity protecting agriculture in general and corn in particular. The Poppy is sacred to Ceres and she is often shown carrying or ornamented by a garland of these flowers. In the Mysteries, Ceres represented riding in a chariot drawn by winged serpents.

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From Ovid’s Metamorphosis.

In the initiation, of the Bacchic Mysteries, the rôle of Bacchus is played by the candidate who, set upon by priests in the guise of the Titans, is slain and finally restored to life amidst great rejoicing. The Bacchic Mysteries were given every three years, and like the Eleusinian Mysteries, were divided into two degrees. The initiates were crowned with myrtle and ivy, plants which were sacred to Bacchus.

In the Anacalypsis**, Godfrey Higgins conclusively establishes Bacchus (Dionysos) as one of the early pagan forms of the Christos myth, “The birthplace of Bacchus, called Sabazius or Sabaoth, was claimed by several places in Greece; but on Mount Zelmisus, in Thrace, his worship seems to have been chiefly celebrated. He was born of a virgin on the 25th of December; he performed great miracles for the good of mankind; particularly one in which he changed water into wine; he rode in a triumphal procession on an ass; he was put to death by the Titans, and rose again from the dead on the 25th of March: he was always called the Saviour. In his mysteries, he was shown to the people, as an infant is by the Christians at this day, on Christmas Day morning in Rome.”**

While Apollo most generally represents the sun, Bacchus is also a form of solar energy, for his resurrection was accomplished with the assistance of Apollo. The resurrection of Bacchus signifies merely the extraction or disentanglement of the various Parts of the Bacchic constitution from the Titanic constitution of the world. This is symbolized by the smoke or soot rising from the burned bodies of the Titans. The soul is symbolized by smoke because it is extracted by the fire of the Mysteries. Smoke signifies the ascension of the soul, far evolution is the process of the soul rising, like smoke, from the divinely consumed material mass. At me time the Bacchic Rites were of a high order, but later they became much degraded . The Bacchanalia, or orgies of Bacchus, are famous in literature.

passed through two gates. The first led downward into the lower worlds and symbolized his birth into ignorance. The second led upward into a room brilliantly lighted by unseen lamps, in which was the statue of Ceres and which symbolized the upper world, or the abode of Light and Truth. Strabo states that the great temple of Eleusis would hold between twenty and thirty thousand people. The caves dedicated by Zarathustra also had these two doors, symbolizing the avenues of birth and death.

The following paragraph from Porphyry gives a fairly adequate conception of Eleusinian symbolism: “God being a luminous principle, residing in the midst of the most subtile fire, he remains for ever invisible to the eyes of those who do not elevate themselves above material life: on this account, the sight of transparent bodies, such as crystal, Parian marble, and even ivory, recalls the idea of divine light; as the sight of gold excites an idea of its purity, for gold cannot he sullied. Some have thought by a black stone was signified the invisibility of the divine essence. To express supreme reason, the Divinity was represented under the human form–and beautiful, for God is the source of beauty; of different ages, and in various attitudes, sitting or upright; of one or the other sex, as a virgin or a young man, a husband or a bride, that all the shades and gradations might be marked. Every thing luminous was subsequently attributed to the gods; the sphere, and all that is spherical, to the universe, to the sun and the moon–sometimes to Fortune and to Hope. The circle, and all circular figures, to eternity–to the celestial movements; to the circles and zones of the heavens. The section of circles, to the phases of the moon; and pyramids and obelisks, to the igneous principle, and through that to the gods of Heaven. A cone expresses the sun, a cylinder the earth; the phallus and triangle (a symbol of the matrix) designate generation.” (From Essay on the Mysteries of Eleusis by M. Ouvaroff.)

The Eleusinian Mysteries, according to Heckethorn, survived all others and did not cease to exist as an institution until nearly four hundred years after Christ, when they were finally suppressed by Theodosius (styled the Great), who cruelly destroyed all who did not accept the Christian faith. Of this greatest of all philosophical institutions Cicero said that it taught men not only how to live but also how to die.


Orpheus, the Thracian bard, the great initiator of the Greeks, ceased to be known as a man and was celebrated as a divinity several centuries before the Christian Era. “As to Orpheus himself * * *, ” writes Thomas Taylor, “scarcely a vestige of his life is to be found amongst the immense ruins of time. For who has ever been able to affirm any thing with certainty of his origin, his age, his country, and condition? This alone may be depended on, from general assent, that there formerly lived a person named Orpheus, who was the founder of theology among the Greeks; the institutor of their lives and morals; the first of prophets, and the prince of poets; himself the offspring of a Muse; who taught the Greeks their sacred rites and mysteries, and from whose wisdom, as from a perennial and abundant fountain, the divine muse of Homer and the sublime theology of Pythagoras and Plato flowed.” (See The Mystical Hymns of Orpheus.)

Orpheus was founder of the Grecian mythological system which he used as the medium for the promulgation of his philosophical doctrines. The origin of his philosophy is uncertain. He may have got it from the Brahmins, there being legends to the effect that he got it was a Hindu, his name possibly being derived from ὀρφανῖος, meaning “dark.” Orpheus was initiated into the Egyptian Mysteries, from which he secured extensive knowledge of magic, astrology, sorcery, and medicine. The Mysteries of the Cabiri at Samothrace were also conferred upon him, and these undoubtedly contributed to his knowledge of medicine and music.

The romance of Orpheus and Eurydice is one of the tragic episodes of Greek mythology and apparently constitutes the outstanding feature of the Orphic Rite. Eurydice, in her attempt to escape from a villain seeking to seduce her, died from the venom of a poisonous serpent which stung her in the heel. Orpheus, penetrating to the very heart of the underworld, so charmed Pluto and Persephone with the beauty of his music that they agreed to permit Eurydice to return to life if Orpheus could lead her back to the sphere of the living without once looking round to see if she were following. So great was his fear, however, that she would stray from him that he turned his head, and Eurydice with a heartbroken cry was swept back into the land of death.

Orpheus wandered the earth for a while disconsolate, and there are several conflicting accounts of the manner of his death. Some declare that he was slain by a bolt of lightning; others, that failing to save his beloved Eurydice, he committed suicide. The generally accepted version of his death, however, is that he was torn to pieces by Ciconian women whose advances he had spurned. In the tenth book of Plato’s Republic it is declared that, because of his sad fate at the hands of women, the soul that had once been Orpheus, upon being destined to live again in the physical world, chose rather to return in the body of a swan than be born of woman. The head of Orpheus, after being torn from his body, was cast with his lyre into the river Hebrus, down which it floated to the sea, where, wedging in a cleft in a rock, it gave oracles for many years. The lyre, after being stolen from its shrine and working the destruction of the thief, was picked up by the gods and fashioned into a constellation.

Orpheus has long been sung as the patron of music. On his seven-stringed lyre he played such perfect harmonies that the gods themselves were moved to acclaim his power. When he touched the strings of his instrument the birds and beasts gathered about him, and as he wandered through the forests his enchanting melodies caused even the ancient trees with mighty effort to draw their gnarled roots from out the earth and follow him. Orpheus is one of the many Immortals who have sacrificed themselves that mankind might have the wisdom of the gods. By the symbolism of his music he communicated the divine secrets to humanity, and several authors have declared that the gods, though loving him, feared that he would overthrow their kingdom and therefore reluctantly encompassed his destruction.

As time passed on the historical Orpheus became hopelessly confounded with the doctrine he represented and eventually became the symbol of the Greek school of the ancient wisdom. Thus Orpheus was declared to be the son of Apollo, the divine and perfect truth, and Calliope, the Muse of harmony and rhythm. In other words, Orpheus is the secret doctrine (Apollo) revealed through music (Calliope). Eurydice is humanity dead from the sting of the serpent of false knowledge and imprisoned in the underworld of ignorance. In this allegory Orpheus signifies theology, which wins her from the king of the dead but fails to accomplish her resurrection because it falsely estimates and mistrusts the innate understanding within the human soul. The Ciconian women who tore Orpheus limb from limb symbolize the various contending theological factions which destroy the body of Truth. They cannot accomplish this, however, until their discordant cries drown out the harmony drawn by Orpheus from his magic lyre. The head of Orpheus signifies the esoteric doctrines of his cult. These doctrines continue to live and speak even after his body (the cult) has been destroyed. The lyre is the secret teaching of Orpheus; the seven strings are the seven divine truths which are the keys to universal knowledge. The differing accounts of his death represent the various means used to destroy the secret teachings: wisdom can die in many ways at the same time. The allegory of Orpheus incarnating in the white swan merely signifies that the spiritual truths he promulgated will continue and will be taught by the illumined initiates of all future ages. The swan is the symbol of the initiates of the Mysteries; it is a symbol also of the divine power which is the progenitor of the world.


The Bacchic Rite centers around the allegory of the youthful Bacchus (Dionysos or Zagreus) being torn to pieces by the Titans. These giants accomplished the destruction of Bacchus by causing him to become fascinated by his own image in a mirror. After dismembering him, the Titans first boiled the pieces in water and afterwards roasted them. Pallas rescued the heart of the murdered god, and by this precaution Bacchus (Dionysos) was enabled to spring forth again in all his former glory. Jupiter, the Demiurgus, beholding the crime of the Titans, hurled his thunderbolts and slew them, burning their bodies to ashes with heavenly fire. Our of the ashes of the Titans–which also contained a portion of the flesh of Bacchus, whose body they had partly devoured–the human race was created. Thus the mundane life of every man was said to contain a portion of the Bacchic life.

For this reason the Greek Mysteries warned against suicide. He who attempts to destroy himself raises his hand against the nature of Bacchus within him, since man’s body is indirectly the tomb of this god and consequently must be preserved with the greatest care.

Bacchus (Dionysos) represents the rational soul of the inferior world. He is the chief of the Titans–the artificers of the mundane spheres. The Pythagoreans called him the Titanic monad. Thus Bacchus is the all-inclusive idea of the Titanic sphere and the Titans–or gods of the fragments–the active agencies by means of which universal substance is fashioned into the pattern of this idea. The Bacchic state signifies the unity of the rational soul in a state of self-knowledge, and the Titanic state the diversity of the rational soul which, being scattered throughout creation, loses the consciousness of its own essential one-ness. The mirror into which Bacchus gazes and which is the cause of his fall is the great sea of illusion–the lower world fashioned by the Titans. Bacchus (the mundane rational soul), seeing his image before him, accepts the image as a likeness of himself and ensouls the likeness; that is, the rational idea ensouls its reflection–the irrational universe. By ensouling the irrational image it implants in it the urge to become like its source, the rational image. Therefore the ancients said that man does not know the gods by logic or by reason but rather by realizing the presence of the gods within himself.

After Bacchus gazed into the mirror and followed his own reflection into matter, the rational soul of the world was broken up and distributed by the Titans throughout the mundane sphere of which it is the essential nature, but the heart, or source, of it they could not: scatter. The Titans took the dismembered body of Bacchus and boiled it in water–symbol of immersion in the material universe–which represents the incorporation of the Bacchic principle in form. The pieces were afterwards roasted to signify the subsequent ascension of the spiritual nature out of form.

When Jupiter, the father of Bacchus and the Demiurgus of the universe, saw that the Titans were hopelessly involving the rational or divine idea by scattering its members through the constituent parts of the lower world, he slew the Titans in order that the divine idea might not be entirely lost. From the ashes of the Titans he formed mankind, whose purpose of existence was to preserve and eventually to release the Bacchic idea, or rational soul, from the Titanic fabrication. Jupiter, being the Demiurgus and fabricator of the material universe, is the third person of the Creative Triad, consequently the Lord of Death, for death exists only in the lower sphere of being over which he presides. Disintegration takes place so that reintegration may follow upon a higher level of form or intelligence. The thunderbolts of Jupiter are emblematic of his disintegrative power; they reveal the purpose of death, which is to rescue the rational soul from the devouring power of the irrational nature.

Man is a composite creature, his lower nature consisting of the fragments of the Titans and his higher nature the sacred, immortal flesh (life) of Bacchus. Therefore man is capable of either a Titanic (irrational) or a Bacchic (rational) existence. The Titans of Hesiod, who were twelve in number, are probably analogous to the celestial zodiac, whereas the Titans who murdered and dismembered Bacchus represent the zodiacal powers distorted by their involvement in the material world. Thus Bacchus represents the sun who is dismembered by the signs of the zodiac and from whose body the universe is formed. When the terrestrial forms were created from the various parts of his body the sense of wholeness was lost and the sense of separateness established. The heart of Bacchus, which was saved by Pallas, or Minerva, was lifted out of the four elements symbolized by his dismembered body and placed in the ether. The heart of Bacchus is the immortal center of the rational soul.

After the rational soul had been distributed throughout creation and the nature of man, the Bacchic Mysteries were instituted for the purpose of disentangling it from the irrational Titanic nature. This disentanglement was the process of lifting the soul out of the state of separateness into that of unity. The various parts and members of Bacchus were collected from the different corners of the earth. When all the rational parts are gathered Bacchus is resurrected.

The Rites of Dionysos were very similar to those of Bacchus, and by many these two gods are considered as one. Statues of Dionysos were carried in the Eleusinian Mysteries, especially the lesser degrees. Bacchus, representing the soul of the mundane sphere, was capable of an infinite multiplicity of form and designations. Dionysos apparently was his solar aspect.

The Dionysiac Architects constituted an ancient secret society, in principles and doctrines much like the modern Freemasonic Order. They were an organization of builders bound together by their secret knowledge of the relationship between the earthly and the divine sciences of architectonics. They were supposedly employed by King Solomon in the building of his Temple, although they were not Jews, nor did they worship the God of the Jews, being followers of Bacchus and Dionysos. The Dionysiac Architects erected many of the great monuments of antiquity. They possessed a secret language and a system of marking their stones. They had annual convocations and sacred feasts. The exact nature of their doctrines is unknown. It is believed that CHiram Abiff was an initiate of this society.



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  7. Adana merkezden ben doruk. Merhaba paylaşım vallaha ilgi uyandırıcı, facebookta paylaştım 02-02-2021 08:53:39

  8. selam arkadaşlar paylaşım harbiden hayran bıraktı, facebookta paylaştım

  9. Sinop merkezden ben gaye. selam arkadaşlar siteniz inan ki çok iyi, facebookta paylaştım 05-02-2021 12:50:48

  10. elif yılmaz Reply

    Bitlis dan kimler var. The Ancient Mysteries and Secret Societies . Selamlar sayfan valla dikkatimi çekti, teşekkürler , elif yılmaz – 323

  11. merhaba arkadaşlar web siteniz vallaha hoşuma gitti, sosyal medyada paylaştım

  12. Çorum dan kimler var. The Ancient Mysteries and Secret Societies . Mrb web sitesi inan ki hoşuma gitti, saolun , memo – 436

  13. Bursa merkezden ben ali. selam arkadaşlar paylaşımınız cidden dikkatimi çekti, teşekkürler 14-03-2021 02:16:00

  14. Balıkesir merkezden ben banu. Slm paylaşım inan ki çok hoşuma gitti, şukuladım 31-03-2021 19:18:32

  15. Bartın dan kimler var. The Ancient Mysteries and Secret Societies . Merhabalar sayfan cidden mükemmel, sosyal medyada paylaştım , Gürbüz – 254

  16. selam arkadaşlar sayfa vallaha billaha dikkat çekici, twitter da paylaştım

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