'PREPARATIONS FOR THE MYSTERIES'
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Markos, Patroclus, Novius and the 'boys' return to the 'Villa Athena',
where they have their evening meal,
while Faunus begins to prepare them for the ceremonies at
Eleusis that shall soon begin....
Markos, Patroclus, Novius and the 'boys' return to the 'Villa Athena',
where they have their evening meal,
while Faunus begins to prepare them for the ceremonies at
Eleusis that shall soon begin....
VESPERUM IN VILLA
'Evening in the Villa' - The return to the Villa Athena was uneventful.
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| Faunus and the Starry Night |
Archos was muttering about 'if he had been given a chisel he could have made a better statue than the 'Palladium',' - Glaux was still sulking about how he was not included in the statue of 'Athena Parthenos' - (despite the fact that he had known that at the time that Phidias had first made the statue - and yes, Glaux may only be a baby owl, but he is a very old 'baby' - if such a thing is possible) - and Novius was feeling his age after all that tramping about in the hot sun - after all, he was by no means a 'baby'.
Markos, however, was deep in thought, as was Adonios - while Faunus, as usual, was making devious plans.
At that time of the year it got dark quite early and quite quickly, and as they drew up outside the main entrance to the palatial villa, the stars were just becoming visible, and the air was becoming refreshingly cooler.
Heliodorus (who had not accompanied them all the way round the Acropolis - he had seen it all before) - helped Novius from the carriage, while Archos and Adonios scurried in, anxious to get some refreshing wine from the waiting slaves.
Glaux, still sulking, had a 'lift' from Markos, on his shoulder, while Faunus lingered in the driveway, looking wistfully up at the stars.
It was then time for a much needed bath before the evening meal.
CENA
'Evening Meal' - And so, bathed, and changed into Greek style clothes for relaxation, the small group gathered in the triclinium - where they were waited upon by the Greek slaves of the villa.
And so they were all able to enjoy one another's company with Marcus, Aurarius and Petronius all using their original Greek names - while they all related to one another as free men, and not as 'master and slave' - and this was just as Faunus wanted, as he knew, in his inscrutable way, and eventually these distinctions of status and class (if everything turned out as he hoped) would no longer be appropriate.
The talk, over the appetizer (which the 'boys' someday, and somewhere, they would learn to refer to as the 'hors d'oeuvres'), was obviously about the various sights that they had seen on the Acropolis.
Of course, the 'boys' - having seen Rome, were not as impressed as many visitors were by the Athenian Acropolis.
However, on the Acropolis there was more history, more art and more beauty than there was in Rome.
Faunus asked them in turn which part of the Acropolis they had liked the most.
Patroclus favoured the Propylaea - the doors of which reminded him of the ceremonial entrance to the arena in Baiae (and maybe that indicated a touch of homesickness).
Archos like the temple of Nike - mainly because it was dedicated to the goddess of victory.
Adonios liked the unusual design of the Erectheum - and the beautiful Ionic columns.
Novius and Markos favoured the Parthenon - because of its superb proportions, and the Chryselephantine statue of 'Athena Parthenos' - even if she wasn't holding a gold statue of Glaux.
By then they were well into their main course.
At that point Markos explained to the 'boys' about the Theatre of Dionysus Eleuthereus, situated at the foot of the Acropolis.
In Greco-Roman culture, 'cena' was the main meal of the day. In earlier times, it was held midday, but later began to be held in evenings. It was a focal point of social life, along with the public baths, the frequenting of which often preceded the meal. Seating during dinner was arranged in the triclinium, three couches for reclining arranged as three sides of a square, with a small table for food in the middle of all these. The cena traditionally consisted of three parts. The appetizer course often included eggs, olives, and honeyed wine. The second, main course often included a main meat dish, like roasted pig. The third and final course included desserts such as fruits or nuts.Interestingly, no one, (apart from the Greek 'villa slaves'), called Markos 'Master' or 'Dominus' any more - and Faunus, in his mysterious way, had made that seem quite natural - and something that had, apparently, always been the case.
And so they were all able to enjoy one another's company with Marcus, Aurarius and Petronius all using their original Greek names - while they all related to one another as free men, and not as 'master and slave' - and this was just as Faunus wanted, as he knew, in his inscrutable way, and eventually these distinctions of status and class (if everything turned out as he hoped) would no longer be appropriate.
The talk, over the appetizer (which the 'boys' someday, and somewhere, they would learn to refer to as the 'hors d'oeuvres'), was obviously about the various sights that they had seen on the Acropolis.
Of course, the 'boys' - having seen Rome, were not as impressed as many visitors were by the Athenian Acropolis.
However, on the Acropolis there was more history, more art and more beauty than there was in Rome.
Faunus asked them in turn which part of the Acropolis they had liked the most.
Patroclus favoured the Propylaea - the doors of which reminded him of the ceremonial entrance to the arena in Baiae (and maybe that indicated a touch of homesickness).
Archos like the temple of Nike - mainly because it was dedicated to the goddess of victory.
Adonios liked the unusual design of the Erectheum - and the beautiful Ionic columns.
Novius and Markos favoured the Parthenon - because of its superb proportions, and the Chryselephantine statue of 'Athena Parthenos' - even if she wasn't holding a gold statue of Glaux.
By then they were well into their main course.
At that point Markos explained to the 'boys' about the Theatre of Dionysus Eleuthereus, situated at the foot of the Acropolis.
Apparently Markos had discovered that a series of Games - Roman style - were to be held there over the next few days.Dionysus (Greek: Διόνυσος Dionysos - Bacchus to the Romans) is the god of the grape harvest, wine-making and wine, of ritual madness, fertility, theatre and religious ecstasy in ancient Greek religion and myth. Wine played an important role in Greek culture, and the cult of Dionysus was the main religious focus for its unrestrained consumption. His worship became firmly established in the seventh century BC. He may have been worshipped as early as c. 1500–1100 BC by Mycenean Greeks; traces of Dionysian-type cult have also been found in ancient Minoan Crete. His origins are uncertain, and his cults took many forms; some are described by ancient sources as Thracian, others as Greek. In some cults, he arrives from the east, as an Asiatic foreigner; in others, from Ethiopia in the South. He is a god of epiphany, and his "foreignness" as an arriving outsider-god may be inherent and essential to his cults. He is a major, popular figure of Greek mythology and religion, becoming increasingly important over time, and included in some lists of the twelve Olympians, as the last of their number, and the only god born from a mortal mother. His festivals were the driving force behind the development of Greek theatre.
Dionysus
The Theatre of Dionysus Eleuthereus is a theatre in Athens, built at the foot of the Athenian Acropolis. Dedicated to Dionysus, the god of drama and wine (among other things), the theatre can seat as many as 17,000 people with excellent acoustics, making it an ideal location for Athens' biggest theatrical celebration, the 'Dionysia'. It was the first theatre ever built, cut into the southern cliff face of the Acropolis, and supposedly birthplace of Greek tragedy. The site has been used as a theatre since the sixth century BC. with the existing structure dating back to the fourth century BC. After Greece became a Roman province, the theatre was restored and redesigned, and as there was no amphitheatre in Athens, the Theatre of Dionysus was on occasions used for gladiatorial combats, as well as Greek style Games.
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| Plan of the Acropolis Showing the Position of the Theatre of Dionysus Eleuthereus (bottom right) |
"So how come we didn't see this theatre of Dionysus 'thingy' when we visited the Acropolis today ?" Archos asked, in his own inimitable way - looking obviously confused.
"Well, for the simple reason that it's round the corner from the Propylaea, where we entered the Acropolis, and you probably didn't look down into the gorge where it is situated - because we didn't go round that side of the Parthenon."
"I see.....but it is there ?...I mean down in the gorge.", Archos replied, still looking a bit confused.
"Oh yes, Archos, and it's been there a long time - and us 'Romans' have now repaired it, and given it that unmistakable Roman look.", Markos said, smiling.
"So if it's a theatre, then how can it be an amphitheatre ?", Adonios the asked, creating even more confusion.
Faunus then butted in.
"The amphitheatre, that the Romans use for their Games, is just two theatres, facing each-other, and pushed together - and that's how they started off.
The idea was to have a larger audience, and a larger 'orchestra' - which the Romans then called the 'arena', as it was covered with sand for the fighting."
So this calls for a bit of explanation for you non-Greeks and non- Romans
The performance space was a simple circular space, the 'orchestra', where the chorus danced and sang. The 'orchestra', which had an average diameter of 23.7 meters (78 feet), was situated on a flattened terrace at the foot of a hill, the slope of which produced a natural 'theatron', literally 'seeing place'. Later, the term "theatre" came to be applied to the whole area of 'theatron', orchestra, and skené. The Greek theatres were built into the side of a hill (easier) and the seats in Greek theatres, (other than just sitting on the ground), were wooden, but around 499 BCE the practice of inlaying stone blocks into the side of the hill to create permanent, stable seating became more common. In 465 BCE, the playwrights began using a backdrop or scenic wall, which hung or stood behind the orchestra, which also served as an area where actors could change their costumes. It was known as the 'skênê' (from which the word "scene" derives). In 425 BC a stone scene wall, called a 'paraskenia', became a common supplement to 'skênê' in the theatres. A 'paraskenia' was a long wall with doorways for entrances and exits. Just behind the paraskenia was the 'proskenion'. The 'proskenion' ("in front of the scene") was beautiful, and was similar to the modern day proscenium. Greek theatres also had tall arched entrances called parodoi or eisodoi, through which actors and chorus members entered and exited the orchestra. By the end of the 5th century BC, around the time of the Peloponnesian War, the 'skênê', the back wall, was two stories high. The upper story was called the 'episkenion'. In Roman times, when Games (Ludi) were held in Greek theatres, the 'orchestra' acted as a small sanded arena "for wrestling, boxing and gladiatorial contests.
EXPLANATIONUM FAUNUM
'Explanations from Faunus' - "But any way....enough talking about the Theatre of Dionysus, and the Games - that's all for a few days time.
At the moment I feel that we should be thinking about Eleusis, as that is one of the main reasons that we are visiting Athens.", Faunus considered , becoming serious - and Marcus and Novius nodded in agreement.
"If you remember, I was trying to tell you about the nature of the Gods - but got sidetracked by some strange comments about Hephaestus - or Vulcan, to the Romans, as you well know, Novius.", Faunus began - once again.
"Now, Archos and Adonios, as Aristarchos should have taught you, ( Aristarchos was the boy's Greek tutor), there is, of course, only one God - although God is not really the right word to use." Faunus began in his best scholarly mode.
"I know....!", Archos interrupted.
"The one 'God' is called the 'ONE' !".
Markos at this point looked annoyed, as did Glaux.
"Please, Archos....let Faunus get on with his explanations without you constant interruptions.". Markos said, sounding exasperated.
So Faunus continued......
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| The 'ONE' |
"The ONE is ineffable, not to be described or named, for the ONE is beyond every name and category, beyond definition, utterance, conception and comprehension, and beyond all terms we may apply.
The ONE is nameless, secret, concealed, and outside the range of all thought.
The ONE is hidden (Lat. deus absconditus), utterly unknown and unknowable.
Of the ONE no words can tell.
The ONE generates or causes existence, not through the intermediary of another, or an opposite, not by creation, reproduction or evolution, but by a unique manifestation that brings into existence a complex chain of being, forming a descending hierarchy of spiritual entities.
The divine attributes of the ONE , that is, the abstract qualities constitute the ONE's thoughts and designs, which lie hidden, known to the ONE, but unknown to themselves.
Then the ONE gave them existence, and they flowed out from the divine source.
The externalization of the divine attributes in this manner constitutes the first stage of a long process resulting from the overflow or outpouring of the fullness (the 'pleroma' which contains the αἰθήρ) of the ONE.
The entities that initially emerged from this process are known as the 'Æons', a class of sentient non-physical beings of varying attributes and powers.
Their own qualities, the regions they occupy, the dimensions in which they function, and the time-span of their operations, all likewise become actualized, take on independent existence, and form links in the chain of emanation.
These 'Æons' are known as the 'Gods' by sentient beings.
Each Aeon is a hypostasis of the emanation from the ONE.
Now you must be careful with this word 'Æon', because a lot of nonsense is talked about 'Æons' by people who do not have any real knowledge of such things.
To put it fairly simply the word Æon originally meant 'life', or 'vital force' and, as Novius will gather, it is a Latin transliteration from the 'koine' Greek word ὁ αἰών (ho aion).
The important things to remember is that the Æons are the emanations of the ONE.
The Æons formed, in their own spiritual likeness, a race of sentient physical beings - known to themselves as the 'Noble Race'."
"That's us....", Archos whispered to Adonios, and Glaux gave Archos a withering look.
Faunus ignored the comment and continued.
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| The 'Pleroma' |
"The Æons, anxious to assist the 'noble race', incarnated at various times through 'gateways in the stars' - taking on 'human-like' form - but 'perfected'.
The 'ONE' exists in a mode beyond human understanding known as the 'Pleroma' - the fullness, and 'Pleroma' is separated from 'Topos' (the material worlds) by the Katapetasma (καταπέτασμα), the curtain or veil, which bears upon it imprints of the secret patterns (ikons) of creation - the ineffable Forms."
"Now listen carefully boys,", Novius added, "as this takes us back to Plato.".
"Indeed...", Faunus agreed.
"The Forms inhabit the ontological world of all possible existing entities, and the mighty Æons were the creators of the Forms - the greatest Æons creating the highest Forms, and the lesser being responsible for the lesser Forms.
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| Spiral Galaxy |
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| Tetra-Gammadion - the Sigil of Creation Ancient Greek Mosaic - Island of Kos |
From the secret patterns of the Forms the creation of the material universe was set in motion by the will of the ONE - and the motion of creation was in the form of a spiralling circle - which even now is echoed, in the microcosm, in the forms of the basic particles of matter, and in the macrocosm, by the forms in the stars, and the symbol of creation is represented by the Tetra-Gammadion - the Sigil of Creation.
"But Faunus, what, may I ask, has all this got to do with us attending the Mysteries at Eleusis ?", Markos asked, trying to be as polite as possible.
"Well, the point is that it is suggested - although I may not say definitely, because of the strict and solemn oath of secrecy surrounding the mysteries, that at certain points during the ritual some of the Gods make an appearance.
Now if this is the case - and I am not saying one way or the other, remember - then this explanation may well help you to understand more fully the significance of what is happening, and what you are experiencing.", Faunus said.
"Well, put like that. Markos - I think that Faunus is making a lot of sense." Novius added, looking very serious.
"Wow !.....", Archos said quietly, while Glaux gave the impression that he was not in any way impressed.
"So, can I ask a question ?", Adonios asked.
"Of course...", Faunus replied, regretting a little that he had been a little 'sharp' with the boys at the beginning of his explanation.
"Now my small experience of things is that while some things are good, there are an awful lot of very bad things in the world.
So if everything around us has been made by these Æons - sort of on behalf of the ONE - does that mean that they are not really very good 'gods' ?", Adonios said, trying to be careful not to upset Faunus - after all, he had a nasty suspicion that Faunus himself might be one of those Æons in disguise.
"Well that's a good question, the answer to which which I was intending to explain - eventually.", Faunus replied, smiling.
"And I think that this might bring us to the Demiurge....am I right, Faunus ?", Novius suggested.
"You are indeed !", Faunus replied.
"The Demi-what ?", Archos blurted out, forgetting himself for a moment.
"The Demiurg, Archos - and Novius is right.", Faunus agreed.
"The word demiurgus is a Latinized form of the Greek δημιουργός.
It was originally a common noun meaning 'craftsman' or 'artisan', but gradually it came to mean 'creator'.
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| The Demiurge |
The name comes from Plato's 'Timaeus', in which the Demiurge is presented as the creator of the many worlds.
This Archon - whom we call δημιουργό, the Demiurge, - formed the material worlds (formed - not created - only the ONE can create) from the plane of Foundation, (the astral planum) where the ineffable Forms were the template for all possibilities.
The vision of the Demiurge, however, was only able to perceive the Forms as in a clouded, distorted mirror, and the glory of the πλήρωμα (the fullness of the eternal Forms) was hidden from him.
The Demiurge, using as models the reflected distortions that fell onto his domain, sought to duplicate the divine originals.
In this manner he fashioned the many worlds, whose main elements are time (chronos), space (kenos) and change (rheos).
Out of space was formed matter (hyle), and from this the Demiurge formed, from the distorted patterns on the Katapetasma, the cosmos and all worlds an all living creatures including sentient humans.
Time was made in imitation of the 'eternal present' prevailing in the plērōma.
The objects and creatures in the sphere of the demiurge, however, are mere caricatures, like the impress of imperfect seals, and the fruit of misshapen ideas.
They are as illusive as shadows, and incomplete.
That is why the worlds are spoken of as counterfeit (antimimos), and the demiurge is known by the wise as the 'ape of God' (simia Dei).
These worlds includes the natural, physical dimension in which sentient beings live, as well as dimensions, invisible to many, of incorporeal beings.
Sentient beings share the many worlds not only with the material elements, with plants and animals, but also with the etheric and astral entities in the non-material planes, and with spirits and daemons, and all the powers and principalities dwelling under the dominion of the Demiurge - who is often described as 'the god of this world'.
And so, when the Demiurge had completed his work of imitation (mimesis) he became blinded by arrogance, and he announced to his creatures that he was the ONE God.
The Æons allowed this imperfect creation because the ineffable ONE had permitted this copy of his πλήρωμα, and who can question the actions of the ONE ?
All created sentient beings, and even the Powers, Dominions, Thrones, Dominations and Archons sense that they, and the creation in which they find themselves, is lacking in completeness, fullness and perfection.
They feel always their imperfection - as poor copies of the eternal Forms.
All sentient beings, however, sense the perfection that they believe, and the great Æons know, certainly exists, and this perfection is the source of all the strivings and the hopes of those sentient beings - for their true reality must inevitably exist in the πλήρωμα, the great Fullness - which is the world of the ineffable, and eternal Forms created by the ONE."
Faunus had finished speaking - and there was a sudden, almost palpable silence in the room as those who had bee listening pondered the words of the, apparently young, 'faun'.
Finally Adonios spoke.....
"Faunus....who or what are you.... really ?"
Faunus looked intently at Adonios.
"That, my dear friend, I cannot tell you - and it is probably better that none of you know."
TRISTE BONUM NOCTE
'A Sad Good Night' - Novius shifted uneasily on his couch.
"That, Adonios, I think is probably enough.
Faunus has told us much - and I myself would now like to go to my bed and ponder on the many things that he has said.", and with that Novius rose to his feet.
"So, Markos, if you don't mind, I shall retire for the night".
"Of course, Novius - and sleep well.", Markos replied, rising from his own couch, and gesturing to the others that it was time to leave the triclinium.
Faunus, taking a very hungry looking Glaux, disappeared (literally) through the door leading to the villa gardens.
Novius, before retiring to his small suite, followed - needing to clear his head by taking the night air.
And it was another one of those beautiful autumnal Athenian nights, with the sky studded with glittering stars.
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| Marcus and Novius |
Markos, unobtrusively followed Novius.
Novius, hearing Markos footsteps, turned and sighed.
"You know, Markos, I really miss him.", Novius said softly.
"Who ?", Markos replied, somewhat puzzled.
"Why, Gnaeus, your adoptive father, of course.
He was a real true friend.", Novius replied sadly.
"And how do you think I feel ?", Markos answered.
"I just wish he was here with us now.".
Novius patted Markos on the shoulder.
"Of course, my boy."
"But I am worried...."Novius continued.
"Ever since Glaux flew in to Gnaeus' study, the night that he died, things have never been the same.
And now, the way that Faunus is talking, I sense that something very terrible is approaching.
Something that we cannot stop...or avoid.
And even Faunus, although he hides it well, is fearful.".
Novius then shook his head, turned and went back into the seeming security of the villa.
'and the story continues -
After a restless night - Markos, Patroclus, Novius and the 'boys' rise early for a morning in the city....and a surprise visit to the Ludi in the Theatre of Dionysus Eleuthereus by the Acropolis
CHAPTER LV
Please note that this chapter may contain sexually explicit and violent images and text.
If you strongly object to any of these images please contact the blog author at vittoriocarvelli1997@gmail.com and the offending material can be removed.
Equally please do not view this chapter if such material may offend.
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