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The Occult

Book by Colin Wilson · 4 quotes · Agrippa, Bacchic Frenzy, City Dwelling

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The Occult Quotes

“I have mentioned already that in the occult tradition women are regarded as evil. In numerology, the female number 2, which represents gentleness, submissiveness, sweetness, is also the Devil’s number. The Hindu goddess Kali, the Divine Mother, is also the goddess of violence and destruction. Women tend to ‘think’ with their feelings and intuitions rather than with the logical faculty. A female assessment of a situation or a person is likely to be more accurate and delicate than a man’s, but it lacks long-range vision. One might put it crudely by saying that women suffer from short-sightedness, and men from long-sightedness; woman cannot see what lies far away; man cannot see what is close. Thus the two are ideal complements. The association of woman with evil arises from the situation in which the female assumes the male role, when a short-term logic is applied to long-term purposes.”

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“One does not have to believe in Rousseau’s ‘noble savage’ to believe that man’s fall from grace came with city dwelling; it is common sense. Some cities might be prosperous and secure, with good land and a strong ruler; but they would be the exceptions. Most cities would be little more than large groups of human beings living together for convenience, like rats in a sewer. The consequence is obvious. Man ceases to be an instinctive, simple creature. Whether he likes it or not, he has to become more calculating to survive. He also has to become, in a very special sense, more aggressive—not simply towards other men but towards the world. Before this time, there had only been small Neolithic communities, whose size was limited by their ability to produce food. If the population increased too fast, the weaker ones starved. It encouraged a passive, peaceful attitude towards life and nature. Big cities were more prosperous because men had pooled their resources, and because certain men could afford to become ‘specialists’—in metalwork, weaving, writing and so on. And there were many ways to keep yourself alive: labouring, trading or preying on other men. Unlike the Neolithic community, this was a world where enterprise counted for everything. It would be no exaggeration to say that the ‘rat race’ began in 4000 B.C.”

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“As to Orphism, it soon blended with the worship of the god Dionysus, who originated in Thrace, and who was worshipped there in the form of a bull. Dionysus was quickly accepted in seventh-century Greece, because he was exactly what the Greeks needed to complete their pantheon of gods; under the name Bacchus he became the god of wine, and his symbol was sometimes an enormous phallus. Frazer speaks of Thracian rites involving wild dances, thrilling music and tipsy excess, and notes that such goings-on were foreign to the clear rational nature of the Greeks. But the religion still spread like wildfire throughout Greece, especially among women—indicating, perhaps, a revolt against civilisation. It became a religion of orgies; women worked themselves into a frenzy and rushed about the hills, tearing to pieces any living creature they found. Euripides’ play The Bacchae tells how King Pentheus, who opposed the religion of Bacchus, was torn to pieces by a crowd of women, which included his mother and sisters, all in ‘Bacchic frenzy.’ In their ecstasy the worshippers of Bacchus became animals, and behaved like animals, killing living creatures and eating them raw. The profound significance of all this was recognised by the philosopher Nietzsche, who declared himself a disciple of the god Dionysus. He spoke of the ‘blissful ecstasy that rises from the innermost depths of man,’ dissolving his sense of personality: in short, the sexual or magical ecstasy. He saw Dionysus as a fundamental principle of human existence; man’s need to throw off his personality, to burst the dream-bubble that surrounds him and to experience total, ecstatic affirmation of everything. In this sense, Dionysus is fundamentally the god, or patron saint, of magic. The spirit of Dionysus pervades all magic, especially the black magic of the later witch cults, with their orgiastic witch’s sabbaths so like the orgies of Dionysus’s female worshippers, even to the use of goats, the animal sacred to Dionysus. (Is it not also significant that Dionysus is a horned god, like the Christian devil?) The ‘scent of truth’ that made Ouspensky prefer books on magic to the ‘hard facts’ of daily journalism is the scent of Dionysian freedom, man’s sudden absurd glimpse of his godlike potentialities. It is also true that the spirit of Dionysus, pushed to new extremes through frustration and egomania, permeates the work of De Sade. As Philip Vellacot remarks of Dionysus in his introduction to The Bacchae: ‘But, though in the first half of the play there is some room for sympathy with Dionysus, this sympathy steadily diminishes until at the end of the play, his inhuman cruelty inspires nothing but horror.’ But this misses the point about Dionysus—that sympathy is hardly an emotion he would appreciate. He descends like a storm wind, scattering all human emotion.”

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“In 1530 [H. C. Agrippa] published at Antwerp a book, On the Vanity of Sciences and Arts, a curious, nihilistic work, whose central thesis is that knowledge only brings man to disillusionment and recognition of how little he knows. It reads like an anticipation of Faust’s speech in Act I of Goethe’s play. The only worthwhile study, says Agrippa, is theology and scripture. He was undoubtedly sincere.”

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