неделя, 18 юли 2010 г.

Hristo Daskalov's poetry

I Always Try

I always try to realize
The meaning in the things.
And what am I and what's the price
Of pulling my own strings.

For pulling these mysterious strings
Is not an easy matter.
And one must pass through many pits
Before the evil scatters.

But what a bliss one may feel
In listening to this music,
Which everything's amusing.

When first I heard this amazing sound
Once in summer evening.
I looked around - what I saw?
The Gods were there singing.

Sofia, 2004

From "Pieces of soul" (V. Kamburov)

Doubts and Suffering

Only one thing I want of you -
Mercy for tortured soul of mine.
the need of you coming to
Me, I am trying to combine

Less to frighten you by my call -
And wrongly to understand it -
'Cause word "love" meets in you wall...
you may say angry words. with

A cry you will run fast away,
and my heart heavy wounded
would walk alone on its life-way.
my strivings
easy could be stopped

With rejection or ugly word
Leving me as a beaten bird...


Your Presence

You'll stay for ever in my sleep!
no matter you like me or not...
My Love is yours - extremely hot,
full of admire, strong and deep.

My life is nothing if you're missed!
Your eyes, your voice, your lips, your breast...
for thoughts of mine are their nest,
No matter how the life me twist.

O, tenderness, endless and still;
I dream to be near and near -
My prime, lasting and final will...

I' lll dream for you till I'am alive!
even the days I have to strive...

16th of October,

Bulgarian folklore songs

петък, 16 юли 2010 г.

Michail Ivanov (Spiritual Master)

Famous Bulgarian spiritual teacher, who lived in the second part of 20th century. A disciple of Bulgarian master Beinsa Duno (Petar Dunov)

The teachings of both Masters - a teacher and a disciple have made a great impact on the spirtual education of European seekers of truth.

Petar Dunov (Spiritual Master)

The Woman
Source of Love and Life

by Beinsa Duno (Petar Dunov)

Women do not know themselves yet. therefore, the first requirement is for women to come to know themselves.
Tell me what distinguishes one woman from another? If I compare two women, both of them will have the same desires: one wants to get married, and the other one too; one wants to have nice meals, to be dressed well, the other - the same. all their desires are the same.All their desires are the same. There is no difference, noting in particular: one and the same life exists in all homes. And now, why do all women not unite? In this way, they can uplift their spirit. If all women unite, they can very easily uplift their spirit. but at the moment, each one says, "I want to be the first!" This weak side of yours resembles the story I have told you at other times as well. A German prince visits Denmark. It was planned that he would be welcomed in a theatre, and 12 of the most beautiful women were selected for that purpose. And from them, only one would be chosen to offer him a bouquet of flowers as a welcoming gesture. It had been decided to put this to a vote, but 12 ballots with 12 different bames were found in the box; each one of you votes for herself. And today, each one of you votes for herself in Christ's box, and as a result, there is no one to offer the bouquet. When the box is opened, there are as many names inside that many woman exist. Each person wants to be the first. But in the fulfillment of the Divine Will, only God is the first. He is the Beginning and so we cannot be the first. The One who creates things; He is the first.

Today the Spirit of Truth needs to come, and through Him , Salvation will occur. I do not ask you to start confronting your men when you go home. there is no reason to lash them out.
you need to look with a candle for the true man. you need to search for him until you find him.
Have read "The Sons of Songs?" Many have read it and say:" This is how to enjoy life!" _ you need to comprehend the deep - the intrinsic - meaning, and not in a human way, but in the Divine. And why am I not revealing secrets to you?Where is you man? When you come to me, I will tell you," Let your man come with you as well!!" But now, you come only as women without men. How can a woman be without a man? The Scriptures says:A wpman cannot be without a man, and a man cannot be without a woman. Both are with Christ. The woman when she comes - she wants to experience love with her man. but it must be: you, your man, and one more - the third One. Love can exist only among three people. do you know that? your man and you will come to me, and only thah can we begin loving one another. This is how the Scritures understand the meaning of things'...*( p.10-12)

* Here the Teacher refers to God's presence in one's love. Coming to their Spiritual Master as a representative of God' heart and parental care, he can give blessing to the couple to marry and then guide them in spiritual marriage.

Orpheus and his movement

Continuation from the previous publication.
See www.sacred-texts.com

Our sources of information concerning the Orphic movement are unusually authoritative and accessible. They include chiefly a reputable group of classical writers together with a singular collection of Orphic tablets found in south Italy and Crete. The list of classical witnesses to the Orphic cult is headed by the name of Pindar. In his "Dirges," or choral lyrics intended to be chanted at funerals, he offered consolation to mourners by telling them of the Orplic promise of immortality. He further detailed the Orphic doctrine of reincarnation which he represented as a scheme of preliminary purgation by means of triple earthly lives, preceding the final bliss. Again he described with pleasing detail the delights of the Elysian land where the final beatification was to be realized, and in the second Olympian Ode he told of the future of the wicked as well as of the pure. Another important classical witness to Orphism was Plato. Though affecting to despise the system, he was actually much influenced by it. In Cratylus, for example, he made use of the characteristic Orphic idea of the body as a prison house of the soul (soma-sema). In the Republic he described the missionary methods of the Orphics in terms that were not complimentary, yet revealed the vigor of the movement. He told of zealous propagandists who besieged the doors of the rich and persuaded them by a parade of Orphic scriptures that they could provide deliverance and purgation from sin, both for the living and the dead, by means of initiation. Plato also made reference to the idea of the transmigration of souls and to the Orphie rule of life. The dramatist Euripides included an all-important Orphic confessional in his Cretans, and in his admirable Hippolytus he drew a character sketch of a typical and consistent Orphic. Even the comedian Aristophanes bore favorable testimony to the influence of the Orphic mysteries. He had the glorified Aeschylus, the "grand old man" of Attic tragedy, commend Orpheus for teaching mystic rites to mortal men. This torch of reverence, however, did not prevent Aristophanes from giving a lively parody of Orphanic initiation in telling of old Strepsiades' visit to Socrates' "thinking shop." These four names, Aristophanes, Euripides, Plato, and Pindar, include the bulk of classical testimonia to the Orphic mysteries.

Quite as revealing as these literary refernces, however, are the so-called Orphic tablets from tombs in southern Italy and Crete. They are eight in number and are all of very thin gold. According to a consensus of scholarly opinion, they contain the mutilated fragments of a ritual hymn composed for members of the Orphic sect is early as the fifth century B.C. In their present form they may be dated roughly from the fourth century B.C. to the second century of our era. Their purpose is self-evident. Buried with the dead they were intended to give instructions concerning conduct in the next world, formularies and confessionals to be repeated, and directions as to postmortem ceremonial observances. Their ritualistic character and the tone of conviction that pervades them give them peculiar value as sources of information concerning Orphic experience and practice. These remarkable tablets, though they are few in number, constitute our most valuable source materials for the Orphic cult.
For an expansive expression of Orphic theology, however, one must turn to the corpus of so-called Orphic literature. We know that as early as the time of the Pisistratidae there were in existence at Athens various poems attributed to Orpheus. They were quoted by Plato and later writers, but their genuineness was challenged by Aristotle and Herodotus. Under the hands of the Orphics a vast literature grew up around this nucleus, but for our purpose the hymns only are of special importance. They are of late compilation and uncertain date, although Professor Dieterich would locate their original composition between 200 B.C. and the beginning of the Christian era. In their present form they represent the developed state of Orphic theology, their general tone being that of mystical monotheism. Of the eighty and more extant hymns, all but nine carry in their headings specifications concerning the particullar perfume to be burned while they were being stung. Most of them also conclude with an invocation to the deity addressed to bless the mystics in the fulfilment of their rites:
The sacred rites benevolent attend
And grant a blameless life, a blessed end.
Propitious to thy mystics' works incline
Rejoicing come, for holy rites are thine.
So runs the slightly varied refrain at the conclusion of almost every hymn. These formulas make it practically certain that this collection of hymns was made for liturgical use in Orphic brotherhoods.

In comparison with these major sources of information, classical writers, Orphic tablets, and Orphic hymns, other sources are distinctly of less significance. For the sake of completeness, however, there should be mentioned the "Apulian" vase paintings which depict the blessed dead in the society of the gods. These paintings are particularly significant in that they show the influence of Orphic ideas in Magna Graecia, south Italy especially, during the Hellenic era. Similarly, Greek sepulchral art and grave inscriptions of the Hellenistic and Roman periods are important. There are also casual references to Orphism in later pagan writers, Strabo, Pausanias, and Plutarch, which prove the vigorous persistence of Orphic ideas and practices through the early imperial period. Later Christian notices of Orphism are distinctly secondary to these pagan sources and are chiefly valuable in showing the later persistence of Orphism in its active competition with Christianity.
One of these Christian sources, however, deserves specific citation because it preserves in convenient mythological form a bit of fundamental Orphic theology. The passage in question is found in the "Exhortation to the Greeks" by Clement of Alexandria, and it includes a detailed narration of the myth of Dionysus Zagreus. Undoubtedly Clement's rendering of the legend was based upon a lost Orphic poem or poems--at least in the passage itself Clement made two quotations from Orphic literature. According to his version of the myth, Persephone bore to Zeus a son "who had the form of a bull." To quote "a certain mythological poet":
The bull begets a snake, the snake a bull.
This divine son was Dionysus Zagreus, or "the hunter." He was the favorite of his father, and Zeus destined him to become the ruler of the universe. Even while he was a child, the father of gods and men entrusted him with thunderbolts and allowed him to sit on his throne. But the malignant Titans, stung by jealousy and urged on by the vengeful Hera, sought the young child's life. Though he was carefully guarded by the warlike Curetes, the Titans succeeded in luring him away with childish toys, which were carefully enumerated in a quotation from "Orpheus of Thrace, the poet of the initiation." Having gained possession of the divine child, the Titans savagely tore him to pieces, and cooked and ate the pieces. Athena, however, preserved the heart of Zagreus and carried it away to Zeus who, in his anger, blasted the savage Titans with his thunderbolts. Clement omitted one item of the myth which formed an interesting connection with the Theban legend of Dionysus. Zeus, having received the heart of Zagreus from Athena, swallowed it. So when Semele bore Dionysus to Zeus the new god was but Zagreus reborn.

The Cretan provenance of the Zagreus legend was expressly stated by Diodorus. In his account of the various forms assumed by Dionysus, he said: "They allege that the god (Zagreus) was born of Zeus and Persephone in Crete, and Orpheus in the mysteries represents him as torn to pieces by the Titans." The relationship of this legend to the Cretan rite of eating raw flesh already described in connection with the Dionysus cult is obvious. It was an aetiological myth through and through. The worshippers of Dionysus were familiar with the ritual fact that a sacrificial animal, which in a sense embodied the god, was torn to pieces and eaten. They sought the sanction of antiquity and divinity for their ritual and posited the dismemberment of their god by the ancient Titans. Shocked at the thought of the brutal murder of a god, they had the bad Titans blasted by Zeus for their wickedness. Thus from the ritual fact of a feast of raw flesh, there grew up the myth of Dionysus Zagreus, the god on whom the Orphic cult was focused.
The importance of this myth lies in the fact that in Orphic thought it was connected with a peculiar theory concerning the origin and nature of man, and so ultimately with the thought of man's eternal destiny. From the ashes of the blasted Titans, the Orphic said, man was created. But these Titans had already consumed the god Dionysus, and their ashes contained the vitality of a divine being. Hence man by his very constitution was believed to be a compound of two natures, one Dionysian and immortal, the other Titanic and mortal. His soul was divine, but while in the body it was confined in a charnel house. Plato made full use of this Orphic conception, and in his Gorgias he quoted "a certain philosopher," who said, "We are dead and the body is a tomb." Pindar earlier stressed the divine origin and nature of the human soul in contradistinction to the mortality of the human body. "While the body of all men is subject to over-mastering death, an image of life remains alive, for it alone comes from the gods," he affirmed. This sharp dualism of soul and body appears again and again in the Orphic tablets, though it is not always clear that the myth of the origin of man from the ashes of the Titans was in mind. On the Petelian tablet (south Italy, third century B.C.) the soul is represented as asserting its divine nature thus:
I am a child of Earth and of Starry Heaven;
But my race is of Heaven.
Similarly, on three Cretan tablets the soul answers the challenge "Whence are you?" with a reiterated declaration of its dual origin, "I am son of Earth and of Starry Heaven." On the Compagno tablets found near Sybaris the soul makes a like affirmation to the "Pure Queen of Them Below . . . .," "I avow me that I am of your blessed race." The dualism thus fixed between body and soul was fundamental in Orphic theology. Though the body was an evil thing, the soul was divine and immortal.
In its first analysis, therefore, the Orphic process of salvation was a process of purification from bodily taint. The problem, however, was not such a simple one as these words would indicate. It was not merely from the evils of a single existence that the Orphic sought deliverance, but from the evils of a long series of bodily existences. The Orphic first, and the Pythagorean later, believed in the transmigration of souls from body to body. On leaving the corpse at death, the soul was normally doomed to inhabit the bodies of other men or of animals even, passing on through a chain of physical existences until finally purified. An Orphic fragment preserved by Proclus reads: "Therefore the soul of man changing in the cycles of time enters into various creatures; now it enters a horse, again it becomes a sheep . . . . or as one of the tribe of chill serpents creeps on the sacred ground." Reincarnation, like dualism, was an important item in Orphic theology.

What the Orphic did with the idea of transmigration was to moralize it into a cycle of purgations intended to free the soul from bodily taint and leave it in the end a pure heavenly essence. According to Pindar, the soul had to undergo three such periods of purification in as many different incarnations before the process would be complete. Only those who "thrice had been courageous in keeping their souls pure from all deeds of wrong" could pass by the highway of Zeus into the tower of Cronus where the ocean breezes blow around the Islands of the Blest." In Plato the series of three incarnations was magnified to three periods of a thousand years each, during which the process of purgation might be completed. At the close of each thousand-year period, the souls drew lots, thus choosing the manner of their next incarnation. One of the most striking scenes depicted in any of Plato's writings was the eschatological vision of Er, son of Armenius, recounted in the tenth book of the Republic. At the place of judgment, Er saw mortal souls allotted to a new cycle of life choosing their several destinies.
"He saw the soul which had once been Orpheus choosing the life of a swan out of enmity to the race of woman . . . . He beheld also the soul of Thamyras choosing the life of a nightingale. Birds on the other hand, like the swan and other musicians, wanting to be men . . . . After making choice and drinking of the waters of Lethe, these souls shoot away like stars, to birth."
Empedocles announced three transmigration periods of ten thousand years each ere the soul could be considered eligible for heavenly bliss.
The technical Orphic expression for the transmigration of souls and their reappearance in human bodies was "rebirth" (palingenesia). These physical rebirths, however, were what the Orphic least desired, and to escape this weary round of reincarnation was the goal of all his endeavor. According to Proclus, the salvation offered by this system was the freeing of the spirit from the wheel of physical rebirths. In his commentary on Plato's Timaeus, he said, "This is what those who are initiated by Orpheus to Dionysus and Kore pray that they may attain:
'To cease from the wheel and breathe again from ill.'"
Undoubtedly this was an Orphic formula for the salvation process. By Simplicius it was attributed to Orpheus himself. Appropriately, therefore, the purified Orphic soul was represented on the Campagno tablets as having escaped from the cycle of necessity and attained to the seats of the hallowed. Its joyful affirmation to the "Pure Queen of Them Below" was:
I have flown out of the sorrowful weary Wheel;
I have passed with eager feet to the Circle desired.
Thus, while the view of human existence fostered by Orphism was essentially pessimistic in its dualism and its theory of successive reincarnations, it did hold out the possibility of escape to weary mortals. It posited one great spiritual rebirth at the time of death which should put an end once for all to the series of physical rebirths that were so much dreaded. The question remains, How was this great deliverance from the cycle of physical existences to be accomplished?
The Orphic answer to this problem was, in the first instance, by participation in certain prescribed rites of initiation. Orphism came to the seekers for salvation in the Greek world not merely as a philosophy of life but as a religious cult with divinely authenticated rites which must be fulfilled, else there, could be no guaranty of deliverance. To those only who had "by happy fortune culled the fruit of the rite that releases from toil," was there assurance of salvation, the rite in this instance being initiation into the Orphic mysteries. The mendicants who, according to Plato, harassed the rich, exhibiting scriptures by Orpheus, sought to persuade people that they might obtain purification in life and release from suffering after death by the observance of their ritual. Initiation into an Orphic cult was the first step toward deliverance.
In general the prescribed Orphic ritual was a modification of the rude Bacchic rites we have already examined. The persistent representation of Orpheus in antiquity was that of a reformer of Dionysiac rites. Diodorus affirmed that "Orpheus being a man highly gifted by nature and highly trained above all others, made many modifications in the orgiastic rites; hence they call Orphic those rites that took their rise from Dionysus." From the standpoint of ritualistic observance, therefore, there was much in common between Dionysian and Orphic practices. On the very threshold to the Orphic cult stood the omophagy, or feast of raw flesh, which was so prominent a Dionysian rite. In the remaining fragment of Euripides' Cretans an initiate tells of certain ritual acts which he performed in the process of becoming a "Bacchus" and the one he stresses particularly is the eating of raw flesh.
For the Orphic this "red and bleeding feast" had two important meanings. It was, first of all, a communion service. Already he had within himself the spark of divinity which came from the ashes of the Titans. This divine life within him, however, was weak, very weak. It needed nourishment. In the sacrificial bull his god Zagreus was ritualistically incarnate; hence, in eating the raw flesh of the torn bull, be partook of a divine substance that nourished and strengthened the immortal life within himself. Just as the life of Zagreus entered the devotee physically when he partook of the flesh of the bull, so the man's soul entered more fully into the spiritual life of Zagreus by this very physical process. In a mystical sense God and man became one by the communion.
But the feast of raw flesh was also a memorial service to the Orphics. With the legend of the divine child Zagreus in mind, they looked upon their own ritual as a re-enactment of the ancient tragedy in which their god was done to death by the Titans. Just as they tore to pieces the flesh of the sacrificial bull and ate it, so the Titans of old had dismembered the child Zagreus. According to Nonnus, it was customary for Orphic initiates to daub themselves with white clay or gypsum as the Titans did in order to conceal their identity. One of the technical expressions for the ritual act of bedaubing with clay was apomattein (literally, "to smear off"). Harpocration has the following note on this word:
"Others use it in a more special sense, as for example when they speak of putting a coat of clay or pitch on those who are being initiated. In this ceremony they were mimetically enacting the myth told by some persons, in which the Titans, when they mutilated Dionysus, wore a coating of gypsum in order not to be identified."
In this comment the mimetic character of the Orphic ritual is definately asserted.
The real inwardness of this act of daubing with gypsum, however, lay in another direction. It was an act of purification--strange as it may seem. The terms perimattein and apomattein ("to besmear" and "to smear off") were used interchangeably to mean "to purify." In the Orphic rite of initiation, just as in the Sabazian rite at which Aeschines assisted, the candidates for initiation were "purified and wiped clean with mud and pitch." They were not purified from mud and pitch but rather with mud and pitch. Since it was not a physical cleansing that was sought but rather a spiritual cleansing, clay and pitch served the purpose quite as well as water. Yet Plutarch, with all his sympathy for Orphism, protested vigorously against purifications in this manner, calling them "unclean purifications, filthy cleansings and bemirings." Orphic initiation, then, in addition to the rite of communion, featured a strange ceremonial of cleansing intended to rid the candidate of the stains inherent in his physical nature.
For the Orphic, however, mere initiation with its prescribed rites, its mysticizing of crude Dionysian ritual, its communion service, and its purifications, was not sufficient as a guaranty of salvation. Initiation, while it was the beginning of a process that eventuated in complete salvation, was but the beginning. The salvation process itself continued as an arduous self-discipline and it lasted a lifetime. The initial sacraments of communion and purgation were supplemented by the austerities of the "Orphic life"--an expression that became proverbial. So the "Bacchus of the Mailed Priests" in Euripides' Cretans ends his confession thus:
Robed in pure white I have borne me clean
From man's vile birth and coffined clay,
And exiled from my lips alway
Touch of all meat where life has been.

In general the disciplinary prescriptions of Orphism were almost identical with those of Pythagoreanism. Herodotus characterized the Orphic way of life as at once Egyptian and Pythagorean. Diogenes Laertius, in his life of Pythagoras, has given a convenient and comprehensive statement of the main items in the Pythagorean ascesis. His list of prescriptions is as follows:
"Purification is by means of cleansings, and baths and aspersions. A man must also keep himself from funerals and marriages and every kind of physical pollution, and abstain from all food that is dead or has been killed, and from mullet, and from the fish melanurus, and from eggs, and from animals that lay eggs, and from beans, and from the other things that are forbidden for those who accomplish the holy rites of initiation."
The Orphic, like the Pythagorean, lived a life of ceremonial cleanliness and holiness. By washing and aspersions, at once symbolic and sacramental in character, he sought to purge away the taint of his bodily nature, the "ancient woe" inherited from the Titans. He kept himself rigorously from all defilement of physical contacts with human or animal bodies, from human births especially, and from dead bodies; for in a corpse the evil Titanic matter was left without any vital Dionysian element. Both in life and in death certain clothing regulations were strictly observed. In life the Orphic wore garments of pure white. In death the initiated were never buried in woolen wrappings.
Not only were rules concerning cleanliness and clothing strictly adhered to, but certain food regulations were also carefully followed. Having once partaken of the sacrament of raw flesh, the Orphic fasted forever thereafter from animal food. This was the most familiar of all the prohibitions observed by the Orphics, and Plato defined the Orphic manner of living in terms of this observance. "Orphic lives, as they are caIled," he said, "were led by those of our race who adhered to the use of all inanimate things, but abstained from every thing wherein is life." This abstinence from animal food was a main item in the discipline of the tragic Orphic Hippolytus, whose asceticism was the object of Theseus' bitter invective in Euripides' drama. In his rage the old king cried out against his own son:

Now vaunt, ay now!--set out your paltry wares
Of lifeless food: ....
.... I warn all men to shun
Such hypocrits as you.

These words, from the mouth of a sadly mistaken father, should not be taken as proof of priggishness on the part of the Orphics, but at least they serve to emphasize the rigor of the Orphic discipline in the matter of abstinence from animal foods. By fasting and purifications, the disciple of Orpheus sought to purge away the evil which he had inherited with his physical nature. Only after a whole lifetime of such purgation could he affirm, in the terminology of the Compagno and Caecilia Secundina tablets,
Out of the pure I come, Pure Queen of Them Below.
The question naturally suggests itself, whether or not the Orphic ideal made any moral demands on these who were initiated. Since personal purity, even though it was of a ceremonial and ritualistic character, stood at the very center of Orphism, the way was open for the development of morality. The very will to observe its rigid prescriptions was itself a moral attitude. Moreover, there is valuable testimony among ancient writers to show that Orphism did have an elevating effect on the moral life. Pindar, for example, based his Orphic eschatology on moral conditions and assumed that knowledge of the lore of Orphism would help men lead good lives. Aristophanes, who did not hesitate to poke fun at Orphism, paid a serious tribute to in The Frogs when the tragedian Aeschylus said of the poet Orpheus: "He made known to us mystic rites, and to abstain from slaughter." Certainly this last statement had reference to something more than mere abstinence from animal food. At the very least it meant that Orpbic ritual laid stress on the necessity of purification from blood, and at most it meant that Orphism came with a gospel of abstention from murder and of peace on earth. Horace doubtless had much the same thought in mind when he declared that Orpheus not only tamed fierce animals but savage men as well. The author of the speech against Aristogeiton also spoke reverentially of Orpheus "who instituted for us the most holy mysteries and declared that Justice is seated on the throne of God watching all the actions of mankind."
At one point especially the moral influence of Orphism was clear and indubitable: that was in its protest against suicide. Since the body was the soul's place of penance a man had no right to take his own life. If he did he was a fugitive prisoner trying to escape before God had released him. Here Plato found Orphic thought peculiarly congenial to his own. In the Phaedo he represented Socrates as saying, shortly before his death, "There is a doctrine whispered in secret that a man is a prisoner who has no right to open the door and run away; this is a great mystery which I do not quite understand. Yet I too believe that the gods are our guardians and that we are a possession of theirs." In view of all this array of literary evidence, certain moral obligations must be added to the ritualistic requirements which characterized the Orphic life.
But participation in rites of initiation and a life of ascetic observance, even, were not sufficient to guarantee full and final salvation for the Orphic. There were certain postmortem rules of conduct to be observed as well. The Orphic tablets bring this out most clearly. They chart the geography of the next world for the initiate, acquaint him with the divine beings who have the determination of future weal or woe, prescribe certain ritual acts to be observed, and instruct him in formularies and confessions to be repeated under certain circumstances.
The Petelia tablet told of a nameless well-spring situated at the left of the House of Hades. This the soul must avoid. Since it was contrasted specifically with the Well of Memory in the following verses, the forbidden spring was probably Lethe, or Forgetfulness. Because the Orphic had spent a lifetime in purification he had no need of forgetfulness. The well-spring of which he must drink was the one flowing from the Lake of Memory. This was the Orphic counterpart of the "well of water springing up unto everlasting life." The Petelia tablet also served to inform the soul what formula to use in asking for a drink from the Well of Memory. It was an avowal of divine origin: "I am a child of Earth and Starry Heaven." According to the tablet, this declaration would be sufficient to gain the boon desired from the guardians of the Lake of Memory.

Of themselves they will give you to drink,
From the holy Well-spring,
And thereafter among the other Heroes,
You shall have lordship.

The Eleuthernae tablets represented much the same situation in the lively form of a dialogue between the soul and the well itself.
On the Compagno tablets, certain additional declarations were placed in the mouth of the initiate. Here the soul came as a suppliant to the holy Persephone herself, and the prescribed words were addressed to her as the "Pure Queen of Them Below." As in the other tablets, there was the assertion of divine origin. "I avow me that I am of your blessed race." In addition, however, there was the further declaration of purity attained by the observance of Orphic practices.
Out of the pure I come . . . . .
I have flown out of the sorrowful weary wheel,
I have passed with eager feet to the circle desired.
These, affirmations on the part of the soul were an "open sesame" to immortal bliss for they brought the final assurance, "Happy and Blessed One, you shall be God instead of mortal." In this climactic fashion the postmortem ritual as recorded on the Orphic tablets was completed.
On the basis of Dionysian practice and experience, therefore, Orphism built up an elaborate theological construction with refined and extended ritualistic observances. Faced by the problem of the dual constitution of man, his soul Dionysian, divine and immortal, and his body Titanic, evil and mortal, Orphism found the solution of the antimony in two very different directions. On the one hand there was the prospect of a natural process of purification through a series of physical rebirths in animal or human form. This was a gloomy prospect, however--a remedy that was worse than the disease. On the other hand there was a way of salvation provided by the Orphic cult itself, an extended process of self-discipline ending in a spiritual regeneration that would break, once for all, the chain of successive physical births. It was a long and arduous process beginning with a rite of initiation which marked the formal entrance upon a new way of living. There were prayers to be repeated and sacrifices to be fulfilled. There were sacraments of communion and purification. Following the initiatory rites was the rigid discipline of a life-long asceticism that included purgations, fastings, and freedom from bodily contamination, as well as certain elementary moral requirements. All this, even, was not deemed sufficient. It had to be supplemented by a postmortem ritual. The Orphic imagination pictured the future, charted the next world, and prescribed the formulas and confessions to be repeated under given circumstances. Thus the final goal of ultimate assimilation to deity was to be attained. Thus the initiated, having lived a life of Orphic purity, finally became "God from man."
Admittedly Orphic practice did not offer a new birth experience as a single catastrophic event to be realized in one's lifetime, unless initiation itself is considered that event in a proleptic way. But Orphism did furnish the possibility for a long regenerative process, beginning at initiation and ending after the death of the physical body--a development that eventuated in happy immortality. As an extended process, therefore, rather than as a single event, Orphism fostered the experience of regeneration.
It is certainly pertinent to inquire whether or not the Orphic type of religious experience had real significance in the Graeco-Roman world at the beginning of the Christian era. Of the influence of Orphism in the Greek world during classical times, we have found ample testimony by writers of the highest repute. It is more difficult to trace the influence of Orphism as a distinct religious movement during the Hellenistic and later periods. Still the discovery of the important private Orpheum in the recently excavated Villa Item at Pompeii, leads one to anticipate similar finds elsewhere that may illustrate the distinctive functioning of the Orphic cult in first-century life. If when Pompeii was overwhelmed by the eruption of Vesuvius in 79 A.D. an Orphic brotherhood was operating under private patronage in this charming villa, similar groups were certainly to be found elsewhere in the Roman world maintaining their peculiar cult practices. Aside from such independent functioning, however, Orphism continued to influence the world through systems other than its own. Like Pythagoreanism in this as in much else, it merged readily with other movements. Its ideas were adopted by popular philosophies and its practices were taken over by popular religions. Orphism became very influential at ancient Eleusis particularly, and with the influx of foreign gods and goddesses into the Greek world it captivated them also. In these secondary forms the Orphic view of life and the Orphic way of living continued to influence thought and action even where Orphic brotherhoods as such had ceased to exist.

There is plenty of direct literary evidence as to the power of Orphic ideas and practices, however institutionalized, during the Hellenistic and Graeco-Roman periods. One of the characteres of Theophrastus, for example, was a man who every month repaired to the priests of the Orphic mysteries to partake of their rites. Usually he was accompanied by his wife. But if she was too busy, his children and their nurse went along with him. Perhaps the most notable example of a prominent man who shared the Orphic hope in the first Christian century was Plutarch. Both he and his wife were initiated into an Orphic thiasus. Though he strongly criticized certain Orphic practices, and refused to be frightened by the terrors of their Hell, and depreciated the morbid type of self-examination fostered by their manner of life, yet he and his wife found the Orphic hope a real consolation to themselves in the time of trouble. Strabo and Pausanias, as well as Plutarch, made casual reference to Orphism as a feature of contemporary religion, while Lucian, in his irresponsible manner, reflected Orphic ideas here and there. The Latin poet Statius praised the widow of a certain Lucan for not deifying him as Bacchus and consecrating to him "a deceitful thiasus"--a testimony that the Orphic practice of deifying the dead was not infrequent in the Graeco-Roman world.
Of more concrete significance is the archaeological evidence furnished by sepulchral art and grave inscriptions. According to the Orphic scheme of things, the soul entered upon the status of divinity after death. Among the monuments there are a number--quite apart from royal or imperial memorials--which actually represented the dead as gods. At Guthaeum, for example, a first-century (A.D.) statue representing a youth was found near a sarcophagus. It was obviously intended to be a portrait statue; but a panther stands by the side of the youth, a grape cluster is in his hand, and a vine crown is on his head. Here is a clear memorial of the process of apotheosizing a youth after death and of representing him as the god Dionysus.
Among the grave inscriptions there are parallels to this sculptural representation of a deceased youth as a god. A priest of Thasos dedicated an inscription to his dead wife as "an incarnate goddess," and a man by the name of Lucius consecrated a monument to his child of four years with these words: "To my sweetest child and personal God who hearkens to my prayers." More clearly reminiscent of certain characteristic Orphic ideas is a second-century (A.D.) inscription found in a Sabine village. "The soul is immortal for it came from God. The body is the garment of the soul. Honor the God in me." This was good Orphic doctrine throughout.
Here and there also among grave inscriptions are to be heard the echoes of Orphic ritual. On a tombstone in Cnidus was engraved this affirmation, "I have not drunk of the water of Lethe that ends all things." Immediately one is reminded of the Petelia tablet with its description of a nameless well-spring at the left of the House of Hades with a white cypress standing near--a well-spring by all means to be avoided. There are other inscriptions which recall the cool waters of Memory flowing from the well-spring on the right, from which the parched soul may drink and find new life for itself. Two epitaphs of the third century (A.D.) found at Rome contain prayers that are reminiscent of the Orphic tablets. "May Aidoneus, the king of the dead, give you the cold water" is the petition of one, while the second inscription repeats the same request in the first person, "May he give the cold water to my thirsting soul." Most peculiar of the Orphic inscriptions is one from Abydos, dated roughly at the beginning of our era. It stood originally on the grave of a Lycian Greek buried near the reputed tomb of Osiris. The inscription expressed the conviction that since the tomb of the god was near, the soul of the dead would escape Hades: "Hermes gathers me with the sons of the gods, and I have not drunk the water of Forgetfulness." Here the Arcadian Hermes makes his appearance in the role of Psychopompos, as in classical mythology and the Hermetic literature, and the inscription as a whole memorializes the blending on Egyptian soil of Orphism, Hermetism, the Osiris cult, and local tradition.
Altogether, therefore, the grave monuments of Graeco-Roman times strongly reinforce the literary evidences that Orphic ideas were still very influential in the life of paganism when Christianity first emerged. Hence, among the new-birth experiences of paganism contemporary with early Christianity the extended Orphic process of regeneration must not be ignored.

Статията разглежда подробно значението на Орфическото учение за подготовка на приемането на Месията - Христос в гръко-римския свят като мост между източната и западна култура в процеса на приемане на християнството през 1- ви век, като се подчертава вярата в живота, който трябва да бъде съпътстван с чистотая чрез духовна дисциплина и вяра в безсмъртната душа.
За повече информация виж: www.sacred-texts.com

четвъртък, 15 юли 2010 г.

Raina Kabaivanska

"Vissi d'arte" from Tosca - Raina Kabaivanska

Raina Kabaivanska sings Neda

Raina Kabaivanska "Tacea la notte placida" Il Trovatore


HISTORICALLY the cult most nearly related to that of Dionysus was the philosophico-religious system bearing the name of Orpheus. It is not possible to pronounce with certainty whether such a man as Orpheus ever really existed or not. He may have been a purely mythical figure. If he was a real man he was a religious leader of mark and deserving of admiration: a prophet, reformer, and martyr. Whether mythical or real, Orpheus was the antitype of the flushed and maddening wine-god Dionysus. He was a sober and gentle musician who charmed savage men and beasts with his music, an exact theologian, the prophet of reform in religion, who was martyred for his efforts.
The difference between Dionysus and Orpheus was the difference between the two religious systems which bore their names. The cult of Dionysus was more simple, primitive, elemental, spontaneous, and emotional. That of Orpheus was more elaborate, developed, controlled, and intellectualistic. Still, when all is said, the two systems had much in common. Both centered in the same god, Dionysus. Both aimed at the same goal, immortality through divinity. Both sought to attain that goal by prescribed rites and ceremonies. Both made a strictly individualistic appeal and were highly developed along the lines of personal experience. But Orphism fostered an ascetic rule of life that was the exact opposite of Dionysian license, and developed an elaborate theology of a highly speculative character. In brief, Orphism represented a reformed Dionysianism, and the practices it could not or did not reform it sought to explain and justify by its mythology.

See :sacred-texts.com

Lili Ivanova (sings in Russian and German)

One Love /Russian

Don't go away - German version

Хайку / Haiku /

From "Drops of Light"
by Lyudmila Hristova

бели войници
снежните борове - искат
да задържат вятъра

snow-clad pines -
white soldiers trying
to arrest the wind

брусне вятърът
обраслия връх
хвърчи снежна пяна

the wind is shaving
the overgrown peak
snowy foam keeps flying around


в еловата гора
се провира вятърът
без пътека

the wind is worming its way
through the fir-grove
no path is needed

небесни пасбища
роши вятърът
руното на облаците

pastures of heaven
the wind ruffles
the fleece of the clouds

на дъждовните струни
свири вятърът
екна гръм

the wind touched
the strings of the rain
thunder boomed

люлее южнякът
камбанките на кокичетата
пролетна музика

snowdrops' bells sway
in the south wind
spring music

виолетов сумрак
пръска вятърът мирис
на мащерка

purple dusk
fragrance of thyme
wafted on the wind

Един до друг като в балада
Александър Михайлов

Отново с тебе след раздяла.
Снегът отново ни вали.
Не сняг. Вали ни радост бяла,
венчава ни като че ли.
Сънува снежен сън градчето
в обятията на нощта.
Измерваме с копнеж в сърцето
зиг-загите на лщбовта.
Един до друг, като в балада,
като в мираж,един до друг.
Един до друг като награда.
И приказката свършва тук.

Accanto come in ballata

Con te di niovo dopo buio
La neve pian piano cade,
Non e la neve - gioia bianca
ci fa la nostra prima noze.

citta si mette in un sogno
Da notte buona abbracciata,
cuori ascoltanto il sggio -
tran-tran d'amore non e falsa.

accanto come in ballata,
come nel sogno - solo noi
uno per altro - come dono,
la fine favola non vuoi.

Translated by Emiliya Kazandgieva

сряда, 14 юли 2010 г.

Valya Balkanska (Delju Haidutin)

This song was sent to the Space with Voyager spacecraft in 1977

The Ocean of Love
by Rumiana Russeva

The love of the ocean
in the midst of night
gives me security.
Why? - Because the waves
are strong enough
to carry me far away
to the sky in the broken
silenced night.

The storm of life makes me
wrestle facing death
that gives me insecurity
and tension,
teaching me to pay
more attention
and thus embracing me
in suffering.
it makes me mention
the friendship of the ocean
giving me a lot of emotions.

So I have felt like a flying dove -
light and bright.
She reached the sky with a cry
and fluttering in grief
flew down again
to make her offering
inside the heart of night.

She asked, “ Are you the one
carrying the destiny of mine?”
And somebody said,
“ Yes. I am the one waiting
for your smile”

She saw a dying pigeon
in the bushes - Was he still alive?
In disrepair she made a circle,
as she knew
the poor pigeon would never do…

Sadly he could not pay attention
to accept the liberation
of the ocean of divine love…
as well as the little crying dove.

В океана на любовта

Любовта на океана
в нощта ме пази...Защо ?
Защото силните вълни
ме подемат към върха

Житейската борба ме кара
в битка да посрещна
лице в лице смъртта.

А тя ме прави неуверен..
и тревожен,
и по-нищожен,
и прегрърнат в страдание
да си спомня с топлина
приятелство в океана,
дарило ме с воля за борба.

И се почувствах птица
лекокрила– светла и свободна
И стигнала небето
гълъбица спусна се с вик,
за да даде сърцето си в нощта.

И тя попита:
- Нима си този, понесъл
моята съдба?
Отвърна й тих глас:
- Да, чакам твоята усмивка.
Ела с мен в нощта.
Видя умиращ гълъб в храста:
Жив ли бе все още? -
отчаяно се завъртя,
осъзнала, че гълъбът не е успял.

Скръбно тя установи смъртта му,
с внимание не я дари – умря,
паднал в шубрака на нощта,
гълъб тъжен не приел от нея свободата...

Emil Dimitrow

Румяна Русева

Срещна ме на стъпалата,
чакаше ме там и аз щастлива
се пробудих, а той бе съвсем сам.
Не бях го срещала преди,
добър човек от планината,
за пръв път го видях ,
срещнал ме на стъпалата.

Лицето му макар и тъмно,
излъчваше сияйна светлина-
живеше ли с ангелите ? –
Може би да...
Погледна ме с любов и каза:
-Искам да съм с теб,
да ти помогна в мрака.

Сърцето ми замря – никой
не беше говорил така -
бях толкова тъжна,
бях толкова сама
но не му казах, че отчаяно
търсих тезе стъпала.

А този път бе труден и стръмен –
щях да умра...
Но той ми подаде ръка и попита:
-Ще ме вземеш ли се теб да летя?

И каза ми още:
- Дойдох за този полет.
- Няма да бъде лесен,
предполагам! - рекох
и го погледнах.
- О. да ! – отвърна ми с усмивка той.
И като ангел засия .

I met him

by Rumyana Russeva

He met me at the staircase
waiting for me there
and I felt so happy…
and I was awakened..
I had never met him before –
it was the first time I saw
a nice man of the mountains

His face, even dark was bright –
maybe he lived with the angels…
and it was all right.
He looked at me with loving eyes
and said, “I want to be with you.
I want to do something for you.”

My heart sank – for nobody
wanted to help me before –
I had felt lonely and sad…
I didn’t tell him how desperately
I was looking for that ..
The staircases of my path were so steep,
I thought - yes I would die…
But he gave me a hand and then asked,
“Would you take me with you to fly?”

He said as well,
“Yes, I came to invite you for this flight!”
“It won’t be easy”, I guessed.
But he only smiled in response,
: “Oh, surely, yes.”

Katerino mome ( Desi Dobreva)

Desislava Dobreva sings

Капки светлина/
Drops of light

от Людмила Христова
by Ljudmila Hristova

фучи вятърът
тупа пухената завивка
на гората

the roaring wind
is beating
the eiderdown of the forest

мрачен ден
сиви облаци и мисли
излезе вятър

gloomy day
grey clouds and thoughts
a wind blew up

причудливи кервани в небето
бързат облаците
да хвърлят товара

bizarre caravans in the sky
the clouds are in a hurry
to drop their load


танцуват с вятъра
сенките на дърветата
лунна нощ

shadows of trees
dancing with the wind -
moonlight night

вторник, 13 юли 2010 г.

From "Pieces of soul" (W. Kamburov)

Granny March

Granny March you're so dear!
If you come-Spring's church
Full of life is coming here.
every grass, bush, little birch

Put on their green new dresses...
together - flowers and birds -
and all Nature gently blossoms;
Sing the thankful human souls;

Come swallows to the nest.
All of us like to be parted
From winter's days to rest...
Two threads - red and white plated -

Are the symbol of you coming!
Welcome! Let the sun is shining!


Баба Марта

ти си чакана и мила!
Идваш ли то, означава -
чудна пролет е встъпила,
нов живот щедро раздава...

Всяка тревичка, храст, брезичка
обличат свойте нови дрешки,
срещат а с цветя и птички
заедно с души човешки,

с лястовици в гнезда нови...
Ти ни водиш към раздяла
на зима с ледени окови.
Обичай - червена с бяла

нишки сплетени да носим -
да сме здрави и в твоя чест.
топли дни вече не просим -
това е радостната вест!

Добре дощла си у дома!
Носи радост и светлина!


A Magic Night

My night with you has already gone.
you were in my sleep and thought.
every instant was like a year long,
That the Infinity to me brought.

I saw your eyes like burning fires;
your lips were magical sweet;
Your heart Love in me inspires,
for, to heal me,it knows how to beat...

Yeah! you heal me from my Loneliness,
Your laugh was made of sunny beams;
every action full of tender cleanness...
Quiet joy, love were easy to recognize.

The Phantom of Happiness by actions -
During that night helped us our soul to

Вълшебни мигове

От цветенца чудна малка китка
скрита е във твоята коса,
сплетена в красива тънка плитка...
клепките, поръсени с роса

са малки,нежни, пърхащи крилца
зад които очите надничат
с погледа на изплашена птица
търсеща кой да я обича,

защото е самичка на света.
Тя свенливо към мене поглежда.
сътворена е с нежна красота,
скрита зад прекрасната одежда

изтъкана с нишки снежно-бели
и красиви пурпурни дантели.
С трели тихи слядко чурулика
сякаш плахо, точно мене вика.


понеделник, 12 юли 2010 г.

Liberta ( Albano / Mariana Pashalieva

Снегът на спомена
Александър Михайлов

Снегът на спомена вали...
с духа си стоплям твойте длани -
далеч от погледите зли
и бог закриля любовта ни.
Очите ти излъчват смях,
красят на утрото покоя,
кажи нали не те е страх
да тръгнеш с меня да бъдеш моя?
Под снежната виделина
замира шепотът ни кратък,
свенлива си като луната
и като грешница в зачатък.
Безбрежна белота блести
в желанията ни предишни.
Дали щастливи сме? Дали
ще свърши бялата ни зима?
Снегът на спомена вали
в мелодия неотразима.

La neve dei ricordi

Aleksandar Mihailov

Cade piano neve dei ricordi,
Mio fiato fa tuoi mani calde,
Mettiamo fuori sguardi falsi,
Dio,proteziona quell'amore.
Gli occhi tuoi emittano la gioia,
Danno colorito del mattino,
Dimmi che non senti la paura
Di partir con me, di stare mia.
Soto la ombrella della neve
Muore il sussuro nostro breve,
Timida sei come luna rossa,
come uno vizio nascosto.
Senza fine bianco come neve
Splende desiderio da prima,
Bianchi come nostri primi sogni
Siamo di nuovo a ventenne.
Siamo noi felici? - solo dimmi,
finira l'inverno nostro bianco,
Neve dei ricordi piano cade,
Canta melodia che esiste.

Trnaslated by Emiliya Kazandvieva

петък, 9 юли 2010 г.

Nevena Tzoneva's incredible voice

Звезда на любовта
Александър Михайлов

Търся аз една звезда висока
в този необятен небосвод,
чакам я през тази нощ дълбока.
Ах, дали ще чакам цял живот!
Може би след миг ще я намеря!
може би ще се забави тя
като гост очакван за вечеря -
моята звезда на лубовта.
:фже тишина да ме изпрати
или буря с ледени цветя,
или думи, още непознати -
моята звезда на любовта!

La Stella D'Amore

Aleksandar Mihailow

Io cerco una stella alta
Nel profondo cielo cosi grande,
La aspetto notte dopo notte,
Tutta vita restera nascosta?

Forse solo attimo e trovo,
Forse un ritardo e per sempre,
mio ospite sara la stella d'oro
alla cena per il primo posto.

Il silenzio la stella puo mandare,
O tempesta con fiocchi bianchi,
O parole che ancora non conosco,
stella d'oro del amore nostro.

Translated by Emiliya Kazandgiewa

четвъртък, 8 юли 2010 г.

The Rose (Rumyana Russeva)

The Rose

Quietly the rose all red is lolling
its head above and is speaking
words of love –
A red rose with the perfume
of a lonely path -
The path of struggle and distress
to fight the evil and to win the blessed.

I see the rose of my spirit smiles
The sun is kissing heavens with light;
What if you tell me to sacrifice
my eyes and surrender to the beauty
I have seen inside, deep in your heart.


Standing brightly in the fields,
Looking merrily at me,
yellow daffodils are watching me.
They try to tell me quietly:
- Come and see. All the flowers
in the fields, are friendly waiting
to get picked.!
and I take in hand the flowers,
smelling so nice in the day,
they will give delight
to a beloved or friend:
And they ask me again:
-Are you lonely?
Have you got a girlfriend?

A Crocus

It was a little one –
a very tiny flower in the sun –
an yellow spot shining brightly,
smiling lightly – the crocus
in the grass,
Where a cricket sings
the song of joyful spring at last.

A joyful spring singing songs
is being waited by all of us,
Flowers and merry birds,
welcome it in great delight.

The Ocean of Love (Rumyana Russeva)


The little poetry book called “The Ocean of Love” is basically concerned with our travelling to the original land – that original purity of the human soul , before deviating from the original plan of its evolution to perfection and its unity with the Creator.
The poems have been arranged in three parts reminding the three stages of growth – innocent childhood, the moment of the hurt and downtrodden original innocence , then, the suffering and the appearance of love till the everlasting youth.
The circular movement of natural life has been suffocated by the broken glasses of cold, fear and cruelty. The magic land of confusion and chaos should be conquered by sincere strife for happiness and harmony. Children’s hearts can turn the world of adults into the garden of Eden, where mankind find its innocence and its original self. The path of true love is open to find its realization.

In conversation
with Bulgarian poet Nikola Vapcarov


What have you given me oh, past?
Some remnants, I don’t know what….-
a bare, shameless flesh of a whore –
a pathless sinner of wars?

Or you will stay for ever
in the pains of giving birth ,
but without any fruit –
as it is in the desert -

You will stay, I want to say ,
like a dried-up fig- tree –
a lonely one in the desert;
or you are to blame
and innocent as well,,
waiting for the Judgment.

What is your wisdom? –
For untruthful paths,
All veiled in secret,
expecting punishment
and vengeance?
No, I don’t want it!
I’d like you to have gone=

So, that I could be a fruit unripe
of an oak-tree with roots –
very powerful,.
And to breath air fresh –
renewed and purified
like children – innocent and pure –
little roses white..

To set off on a long quest,
streaming in the light of Truth

Rumyana Russeva