October 29, 2010 Web Surfing Tracker of A Mad Schizophrenic
Aum Gung Ganapathaye Namah
Namo tassa bhagavato arahato samma-sambuddhassa
Homage to The Blessed One, Accomplished and Fully Enlightened
In the name of Allah, Most Gracious, Most Merciful
Web Surfing Tracker
A Collection of Articles, Notes and References
References
(October 29, 2010)
(Revised: Friday, May 13, 2011)
References Edited by
A Mad Schizophrenic
What’s in a name? That which we call a rose
By any other name would smell as sweet.
- William Shakespeare
Copyright © 2010-2020 A Mad Schizophrenic
The following educational writings are STRICTLY for academic research purposes ONLY.
Should NOT be used for commercial, political or any other purposes.
(The following notes are subject to update and revision)
For free distribution only.
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8 "... Freely you received, freely give”.
- Matthew 10:8 :: New American Standard Bible (NASB)
The attempt to make God just in the eyes of sinful men will always lead to error.
- Pastor William L. Brown.
1 “But mark this: There will be terrible times in the last days.
2 People will be lovers of themselves, lovers of money, boastful, proud, abusive, disobedient to their parents, ungrateful, unholy,
3 without love, unforgiving, slanderous, without self-control, brutal, not lovers of the good,
4 treacherous, rash, conceited, lovers of pleasure rather than lovers of God—
5 having a form of godliness but denying its power. Have nothing to do with them.
6 They are the kind who worm their way into homes and gain control over weak-willed women, who are loaded down with sins and are swayed by all kinds of evil desires,
7 always learning but never able to acknowledge the truth.
8 Just as Jannes and Jambres opposed Moses, so also these men oppose the truth--men of depraved minds, who, as far as the faith is concerned, are rejected.
9 But they will not get very far because, as in the case of those men, their folly will be clear to everyone.”
- 2 Timothy 3:1-9 :: New International Version (NIV)
The right to be left alone – the most comprehensive of rights, and the right most valued by a free people
- Justice Louis Brandeis, Olmstead v. U.S., 1928.
15 I know thy works, that thou art neither cold nor hot: I would thou wert cold or hot.
16 So then because thou art lukewarm, and neither cold nor hot, I will spue thee out of my mouth.
- Revelation 3:15-16 :: King James Version (KJV)
6 As he saith also in another place, Thou art a priest for ever after the order of Melchisedec.
- Hebrews 5:6 :: King James Version (KJV)
3 Without father, without mother, without descent, having neither beginning of days, nor end of life; but made like unto the Son of God; abideth a priest continually.
- Hebrews 7:3 :: King James Version (KJV)
Therefore, I say:
Know your enemy and know yourself;
in a hundred battles, you will never be defeated.
When you are ignorant of the enemy but know yourself,
your chances of winning or losing are equal.
If ignorant both of your enemy and of yourself,
you are sure to be defeated in every battle.
-- Sun Tzu, The Art of War, c. 500bc
There are two ends not to be served by a wanderer. What are these two? The pursuit of desires and of the pleasure which springs from desire, which is base, common, leading to rebirth, ignoble, and unprofitable; and the pursuit of pain and hardship, which is grievous, ignoble, and unprofitable.
- The Blessed One, Lord Buddha
3 Neither let the son of the stranger, that hath joined himself to the LORD, speak, saying, The LORD hath utterly separated me from his people: neither let the eunuch say, Behold, I am a dry tree.
- Isaiah 56:3 :: King James Version (KJV)
19:12 For there are some eunuchs, which were so born from their mother's womb: and there are some eunuchs, which were made eunuchs of men: and there be eunuchs, which have made themselves eunuchs for the kingdom of heaven's sake. He that is able to receive it, let him receive it.
- Matthew 19:12 :: King James Version (KJV)
21 But this kind does not go out except by prayer and fasting.
- Matthew 17:21 :: Amplified Bible (AMP)
Contents
Color Code
A Brief Word on Copyright
References
Educational Copy of Some of the References
Color Code
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A Brief Word on Copyright
Many of the articles whose educational copies are given below are copyrighted by their respective authors as well as the respective publishers. Some contain messages of warning, as follows:
Republication or redissemination of the contents of this screen are expressly prohibited
without the written consent of “so and so”.
According to the concept of “fair use” in US copyright Law,
The reproduction, redistribution and/or exploitation of any materials and/or content (data, text, images, marks or logos) for personal or commercial gain is not permitted. Provided the source is cited, personal, educational and non-commercial use (as defined by fair use in US copyright law) is permitted.
Moreover,
• This is a religious educational website.
o In the name of the Lord, with the invisible Lord as the witness.
• No commercial/business/political use of the following material.
• Just like student notes for research purposes, the writings of the other children of the Lord, are given as it is, with student highlights and coloring. Proper respects and due referencing are attributed to the relevant authors/publishers.
I believe that satisfies the conditions for copyright and non-plagiarism.
• Also, from observation, any material published on the internet naturally gets read/copied even if conditions are maintained. If somebody is too strict with copyright and hold on to knowledge, then it is better not to publish “openly” onto the internet or put the article under “pay to refer” scheme.
• I came across the articles “freely”. So I publish them freely with added student notes and review with due referencing to the parent link, without any personal monetary gain. My purpose is only to educate other children of the Lord on certain concepts, which I believe are beneficial for “Oneness”.
References
Some of the links may not be active (de-activated) due to various reasons, like removal of the concerned information from the source database. So an educational copy is also provided, along with the link.
If the link is active, do cross-check/validate/confirm the educational copy of the article provided along.
1. If the link is not active, then try to procure a hard copy of the article, if possible, based on the reference citation provided, from a nearest library or where-ever, for cross-checking/validation/confirmation.
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Educational Copy of Some of the References
FOR EDUCATIONAL PURPOSES ONLY
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Friday, October 29, 2010 0455 a.m. – 0847 a.m. IST
Hitman (2007) (America)
Wanted (2008) (America)
General Nil (2009) (Poland)
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1287449583_Eugenie_1970_2
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Cross Reference
WordWeb 6.1
Noun: Satan
1. (Judeo-Christian and Islamic religions) chief spirit of evil and adversary of God; tempter of mankind; master of Hell
Derived:
Noun Satanist Satanism
Adjective Satanic
Synonyms
Beelzebub
Devil
Lucifer
Old Nick
Prince of Darkness
the Tempter
Noun: Lucifer
1. (Judeo-Christian and Islamic religions) chief spirit of evil and adversary of God; tempter of mankind; master of Hell
2. A planet (usually Venus) seen just before sunrise in the eastern sky
Noun: lucifer
1. Lighter consisting of a thin piece of wood or cardboard tipped with combustible chemical; ignites with friction
"as long you've a lucifer to light your fag"
Synonyms
Beelzebub
Devil
Old Nick
Prince of Darkness
the Tempter
Noun: Venus
1. Goddess of love; counterpart of Greek Aphrodite
2. The second nearest planet to the sun; it is peculiar in that its rotation is slow and retrograde (in the opposite sense of the Earth and all other planets except Uranus); it is visible from Earth as an early 'morning star' or an 'evening star'
"before it was known that they were the same object the evening star was called Venus and the morning star was called Lucifer"
3. Type genus of the family Veneridae: genus of edible clams with thick oval shells
Synonyms
genus Venus
Urania
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Fritz the Cat (film)
(film)
Fritz the Cat (film)
From Wikipedia, the free encyclopedia
Fritz the Cat
220px-Fritz_the_Cat_(film)
Theatrical release poster
Directed by Ralph Bakshi
Produced by Steve Krantz
Written by Robert Crumb
Screenplay by Ralph Bakshi
Starring Skip Hinnant
Music by Ed Bogas
Ray Shanklin
Cinematography Ted Bemiller
Gene Borghi
Editing by Renn Reynolds
Studio Aurica Finance Company
Black Ink
Fritz Productions
Steve Krantz Productions
Distributed by Cinemation Industries
Release date(s) April 12, 1972 (1972-04-12)
Running time 78 minutes
Country United States
Language English
Yiddish
Budget $850,000
Gross revenue $190 million
Followed by The Nine Lives of Fritz the Cat
Fritz the Cat is a 1972 American animated film written and directed by Ralph Bakshi as his feature film debut. Based on the comic strip of the same name by Robert Crumb, the film was the first animated feature film to receive an X rating in the United States. It focuses on Fritz (voiced by Skip Hinnant), an anthropomorphic feline in mid-1960s New York City who explores the ideals of hedonism and sociopolitical consciousness. The film is a satire focusing on American college life of the era, race relations, the free love movement, and left- and right-wing politics. Fritz the Cat was the most successful independent animated feature of all time, grossing over $100 million worldwide.[1]
After Bakshi graduated from High School of Art and Design, he worked on cartoon shorts for Terrytoon Studios for ten years and eventually started up his own animation studio. However, Bakshi was uninterested in the kind of animation he was producing, and wanted to produce something personal.[2] He soon developed Heavy Traffic, a tale of inner-city street life. However, producer Steve Krantz told Bakshi that studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience.[1] Later, Bakshi came across a copy of Fritz the Cat while browsing a bookstore. Impressed by Crumb's satire, Bakshi suggested to Krantz that it could be worked into a film.[3]
The film had a troubled production history and controversial release. Creator Robert Crumb is known to have had disagreements with the filmmakers, claiming in interviews that his first wife signed over the film rights to the characters,[4] and that he did not approve the production. Crumb was also critical of the film's approach to his material.[5][6][7] Fritz the Cat was controversial for its rating and content, which many viewers at the time found to be offensive. Its success led to a slew of other X-rated animated films, and a sequel, The Nine Lives of Fritz the Cat, was made without Crumb's or Bakshi's involvement.
Contents
1 Plot
2 Production
2.1 Funding and distribution
2.2 Directing
2.3 Writing
2.4 Casting, audio design and music
2.5 Animation
2.6 Cinematography
3 Rating
4 Response
5 Legacy
6 References
7 External links
Plot
In a New York park, hippies have gathered with guitars to sing protest songs. Fritz and his friends show up in an attempt to meet girls. When a trio of attractive females walk by, Fritz and his friends exhaust themselves trying to get their attention, but find that the girls are more interested in the crow standing a few feet away. The girls attempt to flirt with the crow, making unintentionally condescending remarks about black people. Suddenly, the crow rebukes the girls and walks away. Fritz tries to pick up the girls by convincing them that he is a tormented soul, and invites them to "seek the truth", bringing them up to his friend's apartment, where a wild party is taking place. Since the other rooms are crowded, Fritz drags the girls into the bathroom and the four of them have group sex in the bathtub. Meanwhile, the police arrive to raid the party. As the two officers walk up the stairs, one of the partygoers finds Fritz and the girls in the bath tub. Several others jump in, pushing Fritz to the side where he takes solace in marijuana. The two officers break into the apartment, but find that it is empty because everyone has moved into the bathroom. Fritz takes refuge in the toilet when one of the pigs enters the bathroom and begins to beat up the partygoers. As the pig becomes exhausted, a very intoxicated Fritz jumps out, grabs the pig's gun, and shoots the toilet, causing the water main to break and flooding everybody out of the apartment. The pigs chase Fritz down the street into a synagogue. He manages to escape when the congregation gets up to celebrate the United States' decision to send more weapons into Israel.
Fritz makes it back to his dormitory, where his roommates ignore him. He sets all of his notes and books on fire. The fire spreads throughout the dorm, finally setting the entire building ablaze. In a bar in Harlem, Fritz meets Duke the Crow at a billiard table. After narrowly avoiding getting into a fight with the bartender, Duke invites Fritz to "bug out". When Duke steals a car, Fritz is eager to join the illegal activity. Following a wild ride, Fritz drives the car off a bridge. Before the car crashes below, Duke saves Fritz's life. The two arrive at an apartment owned by Bertha, a former prostitute turned drug dealer. When Fritz arrives, she shoves several joints into his mouth. The marijuana increases his libido, so he rushes off into an alley to have sex with Bertha. While having sex, he comes to a realization that he "must tell the people about the revolution!" He runs off into the city street and incites a riot, during which Duke is shot and killed, and Fritz is chased by several cops.
Fritz hides in an alley where his fox girlfriend, Winston Schwartz, finds him and drags him on a road trip to San Francisco. On the road, she stops at a Howard Johnson's restaurant, and disenchants Fritz by her refusal to go to unusual places. When the car runs out of gas in the middle of the desert, he decides to abandon her. He later meets up with Blue, a heroin-addicted rabbit biker. Along with Blue's horse girlfriend, Harriet, they take a ride to an underground hide-out where several other revolutionaries tell Fritz of their plan to blow up a power station. When Harriet tries to get Blue to leave, he hits her several times and ties her down with a chain. When Fritz objects to their treatment of her, he is hit in the face with a candle by the group's leader. The group throws Harriet onto a bed and rapes her. In the next scene, Harriet is sitting in a graveyard, naked and traumatized. Fritz puts a coat over her and gets into a car with the leader to drive out to the power plant. After setting the dynamite, Fritz suddenly has a change of heart. The leader lights the fuse and drives off as Fritz tries to get the dynamite out of its tight spot and fails. The dynamite explodes, blowing up both the power plant and Fritz. At a Los Angeles hospital, Harriet (disguised as a nun) and the girls from the New York park come to comfort him. It is in this scene that, as John Grant writes in his book Masters of Animation, Fritz realizes that he should "stick to his original hedonist philosophy and let the rest of the world take care of itself."[8] In the final moments of the film, the audience sees Fritz have sexual intercourse with the girls from the park again.
Production
"The idea of grown men sitting in cubicles drawing butterflies floating over a field of flowers, while American planes are dropping bombs in Vietnam and kids are marching in the streets, is ludicrous"
—Ralph Bakshi[2]Ralph Bakshi majored in cartooning at the High School of Art and Design. He learned his trade at the Terrytoons studio in New York City, where he spent ten years animating characters such as Mighty Mouse, Heckle and Jeckle, and Deputy Dawg. At the age of 29, Bakshi was hired to head the animation division of Paramount Pictures as both writer and director, where he produced four experimental short films before the studio closed in 1967.[9] With producer Steve Krantz, Bakshi founded his own studio, Bakshi Productions. In 1969, Ralph's Spot was founded as a division of Bakshi Productions to produce commercials for Coca-Cola and Max, the 2000-Year-Old Mouse, a series of educational shorts paid for by Encyclopedia Britannica.[10][1] However, Bakshi was uninterested in the kind of animation he was producing, and wanted to produce something personal. Bakshi was quoted in a 1971 article for the Los Angeles Times as saying that the idea of "grown men sitting in cubicles drawing butterflies floating over a field of flowers, while American planes are dropping bombs in Vietnam and kids are marching in the streets, is ludicrous."[2] Bakshi soon developed Heavy Traffic, a tale of inner-city street life. However, Krantz told Bakshi that studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience.[1]
While browsing the East Side Book Store on St. Mark's Place, Bakshi came across a copy of R. Crumb's Fritz the Cat. Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film.[3]Bakshi was interested in directing the film because he felt that Crumb's work was the closest to his own.[11] Krantz arranged a meeting with Crumb, during which Bakshi showed Crumb drawings that had been created as the result of Bakshi attempting to learn Crumb's distinctive style in order to prove that he could translate the look of Crumb's artwork to animation.[1] Impressed by Bakshi's tenacity, Crumb lent him one of his sketchbooks as a reference.[3]
As Krantz began to prepare the paperwork, preparation began on a pitch presentation for potential studios, including a poster-sized painted cel setup featuring the strip's cast against a traced photo background, as Bakshi intended the film to appear.[3] However, in spite of Crumb's enthusiasm, he was unsure about the film's production, and refused to sign the contract.[3] Artist Vaughn Bodé warned Bakshi against working with Crumb, describing him as "slick".[3] Bakshi later agreed with Bodé's assessment, calling Crumb "one of the slickest hustlers you'll ever see in your life".[3] Krantz sent Bakshi to San Francisco, where Bakshi stayed with Crumb and his wife, Dana, in an attempt to persuade Crumb to sign the contract. After a week, Crumb left, leaving the film's production status uncertain.[4] Two weeks after Bakshi returned to New York, Krantz entered his office and told Bakshi that he had acquired the film rights because Dana had power of attorney and signed the contract. Crumb received US$50,000, which was delivered throughout different phases of the production, in addition to ten percent of Krantz's take.[4]
Funding and distribution
With the rights to the character, Krantz and Bakshi set out to find a distributor. "When I say that every major distributor turned it down, this is not an exaggeration",[6] remembers Krantz. "There has never been a project that was received with less enthusiasm. Animation is essentially a dirty word for distributors, who think that only Disney can paint a tree, and in addition to that, Fritz was so far out that there was a failure to understand that we were onto something very important."[2]
In the spring of 1970, Warner Bros. agreed to fund and distribute the film.[9][12] The first scenes completed were the Harlem sequences. Krantz intended to release these scenes as a fifteen-minute short in case the film's funding was pulled; however, Bakshi was determined to complete the film as a feature.[4] Late in November, Bakshi and Krantz screened presentation reel containing this sequence, pencil tests, and shots of Bakshi's storyboards to the studio.[13] In an interview, Bakshi stated that "You should have seen their faces in the screening room when I first screened a bit of Fritz. I'll remember their faces until I die. One of them left the room. Holy hell, you should have seen his face. 'Shut up, Frank! This is not the movie you’re allowed to make!' And I said, Bullshit, I just made it."[14]
Warner Bros. executives wanted the sexual content to be toned down, and for Bakshi and Krantz to cast celebrities as the voices. Bakshi refused, and Warner Bros. pulled their funding from the film, leading Krantz to seek funds elsewhere, eventually leading to a deal with Jerry Gross, the owner of Cinemation Industries, a distributor specializing in exploitation films. Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate.[4] Further financing came from Saul Zaentz, who agreed to distribute the soundtrack album on his Fantasy Records label.[4]
Directing
220px-RalphBakshiJan09
Ralph Bakshi in January 2009.
Bakshi was initially reluctant to direct Fritz the Cat because he had spent years working on animated productions featuring animal characters and wanted to make films focusing on human characters.[15] However, he became interested in working on the film because he loved Crumb's work and considered him a "total genius".[9] During the development of the film, Bakshi says that he "started to get giddy" when he "suddenly was able to get a pig that was a cop, and this particular other pig was Jewish, and I thought, 'Oh my God — a Jewish pig?' These were major steps forward, because in the initial Heckle and Jeckle for Terrytoons, they were two black guys running around. Which was hysterically funny and, I think, great – like Uncle Remus stuff. But they didn't play down south, and they had to change two black crows to two Englishmen. And I always told him that the black crows were funnier. So it was a slow awakening."[16]
In his notes to animator Cosmo Anzilotti, Bakshi is precise, and even specifies that the crows smoked marijuana rather than tobacco. Bakshi states that "The weed had to read on screen. It's an important character detail."[17] The film's opening sequence sets the satirical tone of the film. The setting of the story's period is not only established by a title, but also by the voice of Bakshi himself, playing a character giving his account of the 1960s: "happy times, heavy times." The film's opening dialogue, by three construction workers on their lunch break, establishes many of the themes discussed in the film, including drug use, promiscuity, and the social and political climate of the era. When one of the workers urinates off of the scaffold, the film's credits play over a shot of the liquid falling against a black screen. When the credits end, it is shown that the construction worker has urinated on a long-haired hippie with a guitar. Karl F. Cohen writes that the film "is a product of the radical politics of the period. Bakshi's depiction of Fritz's life is colorful, funny, sexist, raw, violent and outrageous."[9]
Of his direction of the film, Bakshi stated "My approach to animation as a director is live action. I don't approach it in the traditional animation ways. None of our characters get up and sing, because that's not the type of picture I'm trying to do. I want people to believe my characters are real, and it's hard to believe they're real if they start walking down the street singing."[2] Bakshi wanted the film to be the antithesis of any animated film produced by the Walt Disney Company.[9] Accordingly, Fritz the Cat includes two satirical references to Disney. In one scene, silhouettes of Mickey Mouse, Minnie Mouse, and Donald Duck are shown cheering on the United States Air Force as it drops napalm on a black neighborhood during a riot. Another scene features a reference to the "Pink Elephants on Parade" sequence from Dumbo.[18] A sequence of the camera panning across a garbage heap in an abandoned lot in Harlem sets up a visual device which reoccurs in Hey Good Lookin'.[19]
Writing
The original screenplay consisted mostly of dialog and featured only a few changes from Crumb's stories. However, it—and complete storyboards—went largely unused in favor of more experimental storytelling techniques.[13][7] Bakshi said, "I don't like to jump ahead on my films. The way you feel about a film on Day One, you may not feel the same way forty weeks down the road. Characters grow, so I wanted to have the option to change things, and strengthen my characters... It was sort of a stream of consciousness, and a learning process for myself."[13]
The first part of the film's plot was adapted from a self-titled story published in a 1968 issue of R. Crumb's Head Comix,[7][20] while the second part is derived from "Fritz Bugs Out", which was serialized in the February to October 1968 issues of Cavalier,[7][21] and the final part of the story contains elements of "Fritz the No-Good", first published in the September/October 1968 issue of Cavalier.[22] The last half of the film makes a major departure from Crumb's work. Animation historian Michael Barrier describes this section of the film as being "much grimmer than Crumb's stories past that point, and far more violent."[7] Bakshi stated that he deviated from the comics because he felt that the strips lacked depth:
"It was cute, it was sweet, but there was nowhere to put it. That's why Crumb hates the picture, because I slipped a couple of things in there that he despises, like the rabbis—the pure Jewish stuff. Fritz can't hold that kind of commentary. Winston is 'just a typical Jewish broad from Brooklyn.' [...] [The strip] was cute and well-done, but there was nothing that had that much depth."[23]
In the film, there are two characters named "Winston" – one appears at the beginning and end of the film, the other is Fritz's girlfriend Winston Schwartz. Michael Barrier notes that Winston Schwartz (who appears prominently in "Fritz Bugs Out" and "Fritz the No-Good") never has a proper introduction in Bakshi's film, and interprets the naming of a separate character as Bakshi's attempt to reconcile this; however, the two characters look and sound nothing alike.[7]
Casting, audio design and music
See also: Fritz the Cat (soundtrack)
The film's voice cast includes Skip Hinnant, Rosetta LeNoire, John McCurry, Phil Seuling, and Judy Engles.[24] Hinnant, who would become known as a featured performer on The Electric Company, was cast because he "had such a naturally phony voice", according to Bakshi.[25] Bakshi himself appeared in a cameo as one of the film's comically inept pig officers,[13] using a voice he later re-created for the part of a storm trooper in his 1977 animated science fiction film Wizards.[26]
Some scenes used documentary recordings which were made by Bakshi and edited to fit the scene;[27] these were used because Bakshi wanted the film to "feel real".[19] According to Bakshi, "I made tons and tons of tapes. [...] When I went to have the film mixed, the sound engineers gave me all kinds of crap about the tracks not being professionally recorded; they didn’t even want to mix the noise of bottles breaking in the background, street noise, tape hiss, all kinds of shit. They said it was unprofessional, but I didn’t care." Although the sound designers insisted that Bakshi needed to re-record the dialogue in the studio, Bakshi persisted on their inclusion.[19]
Almost all of the film's dialogue, except for that of a few of the main characters, was recorded entirely on the streets of New York City.[28] For the film's opening sequence, Bakshi paid two construction workers US$50 each, and drank Scotch with them, recording the conversation.[19] In the Washington Square Park sequence, only Skip Hinnant was a professional actor; Fritz's friends were voiced by young males Bakshi found in the park.[19] One of the sequences that was not based upon Crumb's comics involved a comic chase through a synagogue full of praying rabbis. For the voices of the rabbis, Bakshi used a documentary recording of his father and uncles. This scene continued to have a personal significance on Bakshi after his father and uncle died. Bakshi states, "Thank God I have their voices. I have my dad and family praying. It's so nice to hear now."[17] Bakshi also went to a Harlem bar with a tape recorder and spent hours talking to black patrons, getting drunk with them as he asked them questions.[13]
The film's score was composed by Ed Bogas and Ray Shanklin. The film also featured songs by Cal Tjader, Bo Diddley, and Billie Holiday. Bakshi bought the rights to use Holiday's performance of the song "Yesterdays" for $35.[29]
Animation
220px-A_Soul_Tormented
Fritz trying to pick up a trio of young females at Washington Square Park. The background is a watercolor painting based on a tracing from a photograph, giving the film a stylized realism virtually unprecedented in animation.Many of the animators who worked on the film were professionals that Bakshi had previously worked with at Terrytoons, including Jim Tyer, John Gentilella, Nick Tafuri, Martin Taras, Larry Riley, and Cliff Augustine.[30] According to Bakshi, it took quite a long time to assemble the right staff. Those who entered with a smirk, "wanting to be very dirty and draw filthy pictures", did not stay very long, and neither did those with a low tolerance for vulgarity. One cartoonist refused to draw a black crow shooting a pig policeman. Two female animators quit; one because she could not bring herself to tell her children what she did for a living, the other because she refused to draw exposed breasts.[31]
In order to save money by eliminating the need for model sheets, Bakshi let animator John Sparey draw some of the first sequences of Fritz. Bakshi states that he knew that "Sparey would execute them beautifully." Poses from his sequences were photocopied and handed out to the rest of the crew.[1] The film was produced almost entirely without pencil tests. According to Bakshi, "We pencil tested I'd say a thousand feet [of footage], tops. [...] We do a major feature without pencil tests—that's tough. The timing falls off. I can always tell an animator to draw it better, and I know if the attitude of the characters is right, but the timing you really can't see." Bakshi had to judge the timing of the animation simply by flipping an animator's drawings in his hand, until he could see the completed animation on the screen.[2] Veteran Warner Bros. animator Ted Bonnicksen was incredibly dedicated to his work on the film, to the point where he completed his animation for the synagogue sequence while suffering from leukemia, and would take the scenes home at night to work on them.[17]
In May 1971, Bakshi moved his studio to Los Angeles to hire additional animators there. Some animators, including Rod Scribner, Dick Lundy, Virgil Walter Ross, Norman McCabe and John Sparey, welcomed Bakshi's presence, and felt that Fritz the Cat would bring diversity to the animation industry.[32] Other animators disliked Bakshi's presence, and placed an advertisement in The Hollywood Reporter, stating that Bakshi's "filth" was unwelcome in California.[32] According to Bakshi, "I didn't know who these guys were because I was from New York, so I threw the ad away."[33] However, Bakshi found the negative reaction to the film from his peers to be disheartening.[32]
Cinematography
Because it was cheaper for Ira Turek to trace photographs to create the backgrounds, Ralph Bakshi and Johnnie Vita walked around the streets of the Lower East Side, Washington Square Park, Chinatown and Harlem to take moody snapshots. Turek inked the outlines of these photographs onto cels with a Rapidograph, the technical pen preferred by Crumb, giving the film's backgrounds stylized realism that had never been portrayed in animation before.[1] After Turek completed a background drawing in ink on an animation cel, the drawing would be photocopied onto watercolor paper for Vita and onto animation paper for use in matching the characters to the backgrounds. When Vita finished his painting, Turek's original drawing, on the cel, would be placed over the watercolor, obscuring the photocopy lines on the painting.[13] However, not every background was taken from live-action sources.[34] The tones of the watercolor backgrounds were influenced by the "Ash Can style" of painters, which includes George Luks and John French Sloan.[35] The film also used bent and fisheye camera perspectives in order to replicate the way the film's hippies and hoodlums viewed the city.[35]
Rating
By the time the film wrapped production, Cinemation had released Melvin Van Peebles' Sweet Sweetback's Baadasssss Song to considerable success, and the distributor hoped that Fritz the Cat would be even more profitable. Fritz the Cat received an X rating from the MPAA, the first animated film to receive this rating.[36] Steve Krantz stated that the film lost playdates due to the rating, and 30 American newspapers rejected display ads for the film or refused to give it editorial publicity.[9] The film's limited screenings led Cinemation to exploit the film's content in its promotion of the film, advertising the film as containing "90 minutes of violence, excitement, and SEX...he's X-rated and animated!"[36] According to Ralph Bakshi, "We almost didn't deliver the picture, because of the exploitation of it."[2]
Cinemation's exploitative advertising style and the film's rating led many to believe that Fritz the Cat was a pornographic film. When the film was introduced at a showing at the University of Southern California as animated pornography, Bakshi stated firmly, "Fritz the Cat is not pornographic."[2] In May 1972, Variety reported that Krantz had appealed the X rating, saying "Animals having sex isn't pornography." The MPAA refused to hear the appeal.[9] The misconceptions about the film's content were eventually cleared up when it received praise from Rolling Stone and The New York Times, and the film was accepted into the 1972 Cannes Film Festival.[36] Bakshi later stated "Now they do as much on The Simpsons as I got an X rating for Fritz the Cat."[37]
Before the film's release, American distributors attempted to cash in on the publicity garnered from the rating by rushing out dubbed versions of two other adult animations from Japan, both of which featured an X rating in their advertising material: Senya ichiya monogatari and Kureopatora, retitled One Thousand and One Arabian Nights and Cleopatra: Queen of Sex, respectively. However, neither film was actually submitted to the MPAA, and it is not likely that either feature would have received an X rating.[2] The film Down and Dirty Duck was promoted with an X rating, but had not been submitted to the MPAA.[38] The French/Belgian animated film Tarzoon: Shame of the Jungle was initially released with an X rating in a subtitled version, but a dubbed version released in 1979 received an R rating.[39]
Response
Fritz the Cat was released on April 12, 1972, opening in Hollywood and Washington, D.C.,[6] and went on to become a worldwide hit, grossing over $100 million worldwide, and was the most successful independent animated feature of all time.[1] Critical reaction to the film was positive. Vincent Canby of The New York Times wrote that the film is "constantly funny [...] [There's] something to offend just about everyone."[9] New York magazine film critic Judith Crist wrote that "Like Crumb, Bakshi and producer Steve Krantz have captured the funk and the fraud and the foible and resorted to outrageous laughter to stifle the scream. [...] Fritz the Cat is a ball for the open mind."[40] Paul Sargent Clark in The Hollywood Reporter called the film "powerful and audacious",[9] while Newsweek called it "a harmless, mindless, pro-youth saga calculated to shake up only the box office."[9] The Wall Street Journal and Cue both gave the film mixed reviews.[9] Film website Rotten Tomatoes, which compiles reviews from a wide range of critics, gives the film a score of 56%.[41]
In Michael Barrier's 1972 article on the film's production, Bakshi gives his accounts of two separate screenings of the film. Of the reactions to the film by audiences at a preview screening in Los Angeles, Bakshi stated "They forget it's animation. They treat it like a film. [...] This is the real thing, to get people to take animation seriously." Bakshi was also present at a showing of the film at the Museum of Modern Art and remembers "Some guy asked me why I was against the revolution. The point is, animation was making people get up off their asses and get mad."[2]
Robert Crumb first saw the film in February 1972, during a visit to Los Angeles in the company of fellow underground cartoonists Spain Rodriguez, S. Clay Wilson, Robert Williams, and Rick Griffin. Crumb disliked the film, saying that he felt that the film was "really a reflection of Ralph Bakshi's confusion, you know. There's something real repressed about it. In a way, it's more twisted than my stuff. It's really twisted in some kind of weird, unfunny way. [...] I didn't like that sex attitude in it very much. It's like real repressed horniness; he's kind of letting it out compulsively."[7] Crumb also took issue with the film's condemnation of the radical left,[6] denouncing Fritz's dialogue in the final sequences of the film as "red-neck and fascistic"[5] and stating that "They put words into his mouth that I never would have had him say."[5]
Reportedly, Crumb filed suit to have his name removed from the film's credits.[42] San Francisco copyright attorney Albert L. Morse claims that no suit was filed, but an agreement was reached to remove Crumb's name from the credits.[43] However, as Crumb's name has remained in the final film since its original theatrical release,[9] both of these claims are highly unlikely. Crumb later drew a comic in which the Fritz character was killed off,[43][44] and claimed that he "wrote them a letter telling them not to use any more of my characters in their films."[6] Crumb later stated that the film is "one of those experiences I sort of block out. The last time I saw it was when I was making an appearance at a German art school in the mid-1980s, and I was forced to watch it with the students. It was an excruciating ordeal, a humiliating embarrassment. I recall Victor Moscoso was the only one who warned me, 'if you don't stop this film from being made, you are going to regret it for the rest of your life'—and he was right."[45]
In a 2008 interview, Bakshi referred to Crumb as a "hustler" and stated that "He goes in so many directions that he’s hard to pin down. I spoke to him on the phone. We both had the same deal, five percent. They finally sent Crumb the money and not me. Crumb always gets what he wants, including that château of his in France. [...] I have no respect for Crumb. Is he a good artist? Yes, if you want to do the same thing over and over. He should have been my best friend for what I did with Fritz the Cat. I drew a good picture, and we both made out fine."[14] Bakshi also stated that Crumb threatened to disassociate himself from any cartoonist that worked with Bakshi, which would have hurt their chances at getting work published.[46]
The film also sparked negative reactions because of its content. "A lot of people got freaked out", says Bakshi. "The people in charge of the power structure, the people in charge of magazines and the people going to work in the morning who loved Disney and Norman Rockwell, thought I was a pornographer, and they made things very difficult for me. The younger people, the people who could take new ideas, were the people I was addressing. I wasn't addressing the whole world. To those people who loved it, it was a huge hit, and everyone else wanted to kill me."[47]
Legacy
Bakshi states that he felt constricted using anthropomorphic characters in Fritz the Cat, and focused solely on non-anthropomorphic characters in Heavy Traffic and Hey Good Lookin', but later used anthropomorphic characters in Coonskin.[19] While the film is widely noted in its innovation for featuring content that had not been portrayed in animation before, such as explicit sexuality and violence, the film was also, as John Grant writes in his book Masters of Animation, "the breakthrough movie that opened brand new vistas to the commercial animator in the United States",[8] presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era, [...] as such it has dated very well."[8] The film's subject matter and its satirical approach offered an alternative to the kinds of films that had previously been presented by major animation studios.[8] Michael Barrier described Fritz the Cat and Heavy Traffic as "not merely provocative, but highly ambitious." Barrier described the films as an effort "to push beyond what was done in the old cartoons, even while building on their strengths."[48] Fritz the Cat was selected by Time Out magazine as the 42nd greatest animated film,[49] ranked at number 51 on the Online Film Critics Society's list of the top 100 greatest animated films of all time,[50] and was placed at number 56 on Channel 4's list of the 100 Greatest Cartoons.[51] Footage from the film was edited into the music video for Guru's 2007 song "State of Clarity".[52]
In addition to other animated films aimed at adult audiences, the film's success led to the production of a sequel, The Nine Lives of Fritz the Cat. Although producer Steve Krantz and voice actor Skip Hinnant returned to work on the follow-up, Ralph Bakshi did not. Instead, Nine Lives was directed by animator Robert Taylor, who cowrote the film with Fred Halliday and Eric Monte. The Nine Lives of Fritz the Cat was distributed by American International Pictures, and was considered to be inferior to its predecessor.[8] Both films are currently available on DVD in the United States and Canada from MGM Home Entertainment,[53] and from Arrow Films in the UK.[54]
References
1.^ a b c d e f g h Gibson, Jon M.; McDonnell, Chris (2008). "Fritz the Cat". Unfiltered: The Complete Ralph Bakshi. Universe Publishing. pp. 58. ISBN 0789316846.
2.^ a b c d e f g h i j Barrier, Michael (Spring 1972). "The Filming of Fritz the Cat: Bucking the Tide". Funnyworld, No. 14. . Retrieved 2007-03-02.
3.^ a b c d e f g Gibson, Jon M.; McDonnell, Chris (2008). "Fritz the Cat". Unfiltered: The Complete Ralph Bakshi. Universe Publishing. pp. 60. ISBN 0789316846.
4.^ a b c d e f Gibson, Jon M.; McDonnell, Chris (2008). "Fritz the Cat". Unfiltered: The Complete Ralph Bakshi. Universe Publishing. pp. 62–63. ISBN 0789316846.
5.^ a b c Maremaa, Thomas (2004) [1972] "Who Is This Crumb?" in Holm, D. K. R. Crumb: Conversations Univ. Press of Mississippi pp. 28 ISBN 1578066379
6.^ a b c d e Barrier, Michael (Spring 1972). "The Filming of Fritz the Cat: Crumb, His Cat, and the Dotted Line". Funnyworld, No. 14. . Retrieved 2007-03-02.
7.^ a b c d e f g Barrier, Michael (Fall 1973). "The Filming of Fritz the Cat: A Strange Breed of Cat". Funnyworld, No. 15. . Retrieved 2007-03-02.
8.^ a b c d e Grant, John (2001). "Ralph Bakshi". Masters of Animation. Watson-Guptill. pp. 19–20. ISBN 0823030415.
9.^ a b c d e f g h i j k l Cohen, Karl F (1997). "Ralph Bakshi's Fritz the Cat and Heavy Traffic". Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. North Carolina: McFarland & Company, Inc.. pp. 81–84. ISBN 0-7864-0395-0.
10.^ Television/radio Age. Television Editorial Corp. 1969. p. 13.
11.^ "Bakshi on... Fritz". The official Ralph Bakshi website. . Retrieved 2007-10-06.
12.^ Diamond, Jamie (July 5, 1992). "Animation's Bad Boy Returns, Unrepentant". New York Times. (MOVIE)&title2=&reviewer=JAMIE%20DIAMOND&pdate=&v_id=. Retrieved 2007-03-21.
13.^ a b c d e f Barrier, Michael (Fall 1973). "The Filming of Fritz the Cat: Coast to Coast Animation". Funnyworld, No. 15. . Retrieved 2007-03-02.
14.^ a b Haramis, Nick (March 16, 2008). "Ralph Bakshi on the ‘Fritz’". BlackBook. . Retrieved 2008-04-04.
15.^ Gallagher, John A. (1983). "The Directors Series: Interview with Ralph Bakshi". . Retrieved 2007-03-16.
16.^ P., Ken (May 25, 2004). "An Interview with Ralph Bakshi". IGN. . Retrieved 2007-04-27.
17.^ a b c Gibson, Jon M.; McDonnell, Chris (2008). "Fritz the Cat". Unfiltered: The Complete Ralph Bakshi. Universe Publishing. pp. 66–67. ISBN 0789316846.
18.^ "Cinepassion: Review of Fritz the Cat (1972)". . Retrieved 2007-04-06.
19.^ a b c d e f Miller, Morgan (April 2010). "Ralph Bakshi". BOMB. . Retrieved 30 April 2010.
20.^ Crumb, Robert (1968). Fritz the Cat. R. Crumb's Head Comix.
21.^ Crumb, Robert (February to October 1968). Fritz Bugs Out. Cavalier.
22.^ Crumb, Robert (September/October 1968). Fritz the No-Good. Cavalier.
23.^ Heater, Brian (June 30, 2008). "Interview: Ralph Bakshi Pt. 2". The Daily Cross Hatch. . Retrieved 2009-06-19.
24.^ "Review of Fritz the Cat". Variety. January 1, 1972. . Retrieved 2007-04-05.
25.^ "Bakshi on... Fritz". The official Ralph Bakshi website. . Retrieved 2007-10-06.
26.^ Bakshi, Ralph. Wizards DVD, 20th Century Fox Home Entertainment, 2004, audio commentary. ASIN: B0001NBMIK
27.^ Robinson, Tasha (January 31, 2003). "Interview with Ralph Bakshi". The Onion A.V. Club. . Retrieved 2007-04-27.
28.^ "Biography". Ralph . . Retrieved 2007-03-02.
29.^ Simmons, Stephanie; Simmons, Areya. "Ralph Bakshi on the recent DVD release of Wizards". Fulvue Drive-In. . Retrieved 2007-03-06.
30.^ Beck, Jerry (2005). The Animated Movie Guide. Chicago Review Press. pp. 88–89. ISBN 9781556525919.
31.^ Kanfer, Stefan (2001). Serious Business: The Art and Commerce of Animation in America from Betty Boop to Toy Story. Da Capo. p. 204. ISBN 9780306809187.
32.^ a b c Gibson, Jon M.; McDonnell, Chris (2008). "Fritz the Cat". Unfiltered: The Complete Ralph Bakshi. Universe Publishing. pp. 72. ISBN 0789316846.
33.^ Bakshi, Ralph (July 1999). "Draw What You Want To Draw". Animation World Magazine (Issue 4.4). . Retrieved 2007-04-27.
34.^ Barrier, Michael (Fall 1973). "The Filming of Fritz the Cat, Part Two". Funnyworld, No. 15. . Retrieved 2007-03-02.
35.^ a b Gibson, Jon M.; McDonnell, Chris (2008). "Fritz the Cat". Unfiltered: The Complete Ralph Bakshi. Universe Publishing. pp. 77–78. ISBN 0789316846.
36.^ a b c Gibson, Jon M.; McDonnell, Chris (2008). "Fritz the Cat". Unfiltered: The Complete Ralph Bakshi. Universe Publishing. pp. 80–81. ISBN 0789316846.
37.^ Epstein, Daniel Robert. "Ralph Bakshi Interview". Film/TV. . Retrieved 2007-04-27.
38.^ Cohen, Karl F (1997). "Charles Swenson's Dirty Duck". Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. North Carolina: McFarland & Company, Inc.. pp. 89–90. ISBN 0-7864-0395-0.
39.^ Cohen, Karl F (1997). "Importing foreign productions". Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. North Carolina: McFarland & Company, Inc.. p. 91. ISBN 0-7864-0395-0.
40.^ Crist, Judith (Apr 17, 1972). "A New Breed of Cat". New York 5 (16): 80. ISSN 00287369.
41.^ "Fritz the Cat". Rotten Tomatoes. . Retrieved 2007-03-02.
42.^ Umphlett, Wiley Lee (2006). From Television to the Internet: Postmodern Visions of American Media Culture in the Twentieth Century. Fairleigh Dickinson University Press. p. 134. ISBN 9780838640807.
43.^ a b Barrier, Michael (Fall 1973). "The Filming of Fritz the Cat: Feedback from R. Crumb". Funnyworld, No. 15. . Retrieved 2007-03-02.
44.^ Crumb, Robert (1972). Fritz the Cat "Superstar". The People's Comics.
45.^ Crumb, Robert; Poplaski, Peter. The R. Crumb Handbook. M Q Publications. ISBN 978-1840727166.
46.^ Heater, Brian (July 15, 2008). "Interview: Ralph Bakshi Pt. 4". The Daily Cross Hatch. . Retrieved 2009-06-19.
47.^ Rose, Steve (August 11, 2006). "Who flamed Roger Rabbit?". London: Guardian. . Retrieved 2007-03-02.
48.^ Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. Oxford University Press US. p. 572. ISBN 0195167295.
49.^ Adams, Derek; Calhoun, Dave; Davies, Adam Lee; Fairclough, Paul; Huddleston, Tom; Jenkins, David; Ward, Ossian (2009). "Time Out's 50 greatest animated films, with added commentary by Terry Gilliam". Time Out. . Retrieved 2009-11-11.
50.^ "Top 100 Animated Features of All Time". Online Film Critics Society. . Retrieved 2007-03-02.
51.^ "Top 100 Cartoons". Channel 4. . Retrieved 2008-01-28.
52.^ "Guru, feat Common, State of Clarity, Video". Contact Music. . Retrieved 2007-10-06.
53.^ "ASIN: B00003CWQI". . . Retrieved 2007-03-02.
54.^ "ASIN: B000EMTJP6". Amazon.co.uk. . Retrieved 2007-03-02.
External links
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Categories: 1972 films | 1970s comedy films | American animated films | American black comedy films | American political comedy films | American political satire films | Animated comedy films | Cannabis-related films | Directorial debut films | English-language films | Films about cats | Films based on comics | Films directed by Ralph Bakshi | Films featuring anthropomorphic characters | Films set in the 1960s | Films set in New York City | Independent films
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Free love
Highlighted: Wednesday, December 29, 2010 –
Free love
From Wikipedia, the free encyclopedia
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Cross Reference
WordWeb 6.1
Noun: free love
1. Sexual intercourse between individuals who are not married to one another
Synonyms
extramarital sex
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250px-Victoria_Woodhull_caricature_by_Thomas_Nast_1872
A caricature of American suffragist Victoria Woodhull by Thomas Nast, lampooning the free love movement. Woodhull is portrayed as "Mrs. Satan" carrying a sign saying "Be saved by free love," while the woman in the background, burdened with her drunken husband and three children, replies, "Get thee behind me, (Mrs.) Satan! I had rather travel the hardest path of matrimony than follow your footsteps!" (Harper's Weekly, 1872)The term free love has been used since at least the 19th century[1] to describe a social movement that rejects marriage, which is seen as a form of social bondage, especially for women[citation needed]. The Free Love movement’s initial goal was to separate the state from sexual matters such as marriage, birth control, and adultery. It claimed that such issues were the concern of the people involved, and no one else.[2]
Much of the free-love tradition is an offshoot of anarchism, and reflects a civil libertarian philosophy that seeks freedom from state regulation and church interference in personal relationships. According to this concept, the free unions of adults are legitimate relations which should be respected by all third parties whether they are emotional or sexual relations. In addition, some free-love writing has argued that both men and women have the right to sexual pleasure. In the Victorian era, this was a radical notion. Later, a new theme developed, linking free love with radical social change, and depicting it as a harbinger of a new anti-authoritarian, anti-repressive pacifist sensibility.[3]
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Cross Reference
WordWeb 6.1
Noun: harbinger
1. Something that precedes and indicates the approach of something or someone
Verb: harbinger
1. Foreshadow or presage
Synonyms
announce
annunciate
forerunner
foretell
herald
precursor
predecessor
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Many people in the early 19th century believed that marriage was an important aspect of life to "fulfill earthly human happiness." Middle-class Americans wanted the home to be a place of stability in an uncertain world. This mentality created a vision on strongly defined gender roles, which led to the advancement of the free love movement.[4]
While the phrase free love is often associated with promiscuity in the popular imagination, especially in reference to the counterculture of the 1960s and 1970s, historically the free-love movement has not advocated multiple sexual partners or short-term sexual relationships. Rather, it has argued that love relations that are freely entered into should not be regulated by law.
The term "sex radical" is also used interchangeably with the term "free lover," and was the preferred term by advocates because of the negative connotations of "free love".[citation needed] By whatever name, advocates had two strong beliefs: opposition to the idea of forceful sexual activity in a relationship and advocacy for a woman to use her body in any way that she pleases.[5]
Laws of particular concern to free love movements have included those that prevent an unmarried couple from living together, and those that regulate adultery and divorce, as well as age of consent, birth control, homosexuality, abortion, and sometimes prostitution; although not all free love advocates agree on these issues. The abrogation of individual rights in marriage is also a concern—for example, some jurisdictions do not recognize spousal rape or treat it less seriously than non-spousal rape. Free-love movements since the 19th century have also defended the right to publicly discuss sexuality and have battled obscenity laws.
In 1857, Francis Barry wrote that "marriage is a system of rape," stating that the woman is a victim where she can do nothing but be oppressed by her husband, as he tortures her in her home, which becomes a house of bondage.[6] In one of his articles, Barry wrote:
'The Object of this [women’s emancipation] Society,’ according to Article 2 of its [free love] constitution, ‘shall be to secure absolute freedom to woman, through the overthrow of the popular system of marriage.’[7]
At the turn of the 20th century, some free-love proponents extended the critique of marriage to argue that marriage as a social institution encourages emotional possessiveness and psychological enslavement.[citation needed]
Contents
1 Free love and the women's movement
2 History of free love movements
2.1 Historical precedents
2.2 18th and 19th century Europe
2.3 19th century United States
2.4 Turn of the 20th century
2.4.1 United Kingdom2.4.2 Australia2.4.3 United States2.4.4 Japan2.4.5 USSR2.4.6 France2.4.7 Germany
2.5 1940s - 1960s
2.6 The sexual revolution and beyond
3 In popular culture
4 See also
5 References
Free love and the women's movement
The history of free love is entwined with the history of feminism. From the late 18th century, leading feminists, such as Mary Wollstonecraft, have challenged the institution of marriage, and many have advocated its abolition.
Mary Wollstonecraft was one of the first women to contribute to the free love movement with her literary works. Her novels criticized the social construction of marriage and its effects on women. In her first novel, Mary: A Fiction written in 1788, the heroine is forced into a loveless marriage for economic reasons. She finds love in relationships with another man and a woman. The novel, Maria: or, The Wrongs of Woman, written in 1798, but never published, revolves around the story of a woman imprisoned in an asylum by her husband; Maria finds fulfillment outside of marriage, in an affair with a fellow inmate. Mary makes it clear that women “had strong sexual desires and that it was degrading and immoral to pretend otherwise.”[8]
A married woman was solely a wife and mother, denying her the opportunity to pursue other occupations; sometimes this was legislated, as with bans on married women and mothers in the teaching profession. In 1855, free love advocate Mary Gove Nichols (1810–1884) described marriage as the "annihilation of woman," explaining that women were considered to be men's property in law and public sentiment, making it possible for tyrannical men to deprive their wives of all freedom.[9][10] For example, the law allowed a husband to physically discipline his wife. Free love advocates like Nichols argued that many children are born into unloving marriages out of compulsion, but should instead be the result of choice and affection—yet children born out of wedlock did not have the same rights as children with married parents.[11]
Sex, to proponents of free love, was not only about reproduction. Access to birth control was considered a means to women's independence, and leading birth-control activists like Margaret Sanger also embraced free love.
In the 1850s, Hannah R. Brown contributed to the journal, the “Una,” made lecture tours, and edited her personal journal, “the Agitator.” In one of her articles, she stated, “the woman is regarded as a sort of appendage to the goods and glories [of a man].” She advocated that true marriages could be formed if only women were allowed to choose freely.[4]
Francis Barry was also a prominent advocate for the free love movement in the middle to late 19th century. He agreed that marriage socially bound a woman to a man, and that women should be free. Although this movement largely concerned women, the chief organizers were mostly men, one of them being Francis Barry. This helped foster a male ideology, and proved to women, such as Mary Gove Nichols and Victoria Woodhull that men were just as serious as they were about this issue. Although men were the main contributors to the organized and written part of the free love movement, the movement itself was still associated with loud and flashy women. There were two reasons for why free love was more agreeable to men. The first reason was that women lost more than men did, if marriage were to become “undermined.” The second reason was that free love “rested on the faith in individualism,” a quality that most women were afraid or unable to accept.[7]
In 1857, Minerva Putnam complained that, “in the discussion of free love, no woman has attempted to give her views on the subject.” There were six books during this time that endorsed the concept of free love. Of the four major free love periodicals following the civil war, only two of them had female editors. Mary Gove Nichols was the leading female advocate, and the woman who most people looked up to, for the free love movement. She wrote her autobiography, which became the first case against marriage written from a woman’s point of view.[7]
Many of the leaders of first-wave feminism attacked free love. To them, women's suffering could be traced to the moral degradation of men, and by contrast, women were portrayed as virtuous and in control of their passions, and they should serve as a model for men's behavior. Some feminists of the late 20th century would interpret the free-love ethic of the 1960s and 1970s as a manipulative strategy against a woman's ability to say no to sex.
Sex radicals remained focused on their attempts to uphold a woman’s right to control her body and to freely discuss issues such as contraception, marital sex abuse (emotional and physical), and sexual education. These people believed that by talking about female sexuality, they would help empower women. To help achieve this goal, sex radicals relied on the written word, books, pamphlets, and periodicals. This method helped these people sustain this movement for over 50 years, and helped spread their message all over the United States.[12]
In recent years, women have created works of art to help keep the free love movement alive, often in ways that even the artist does not realize. Sara Bareilles’ songs, “Fairytale” and “Love Song” are modern examples of how women are participating in the Free Love movement; although, artists such as Bareilles do not write their songs specifically for the Free Love movement.[13]
The famous feminist, Gloria Steinem at one point stated, “you became a semi-nonperson when you got married.” She also famously coined the expression 'A woman needs a man like a fish needs a bicycle,' Steinem dismissed marriage in 1987 as not having a 'good name.' Steinem got married in 2000, stating that the symbols that feminists once “rebelled against” now are freely chosen, or society had changed.[14]
History of free love movements
250px-Hieronymus_Bosch_-_The_Garden_of_Earthly_Delights_-_Garden_of_Earthly_Delights_(Ecclesia's_Paradise)
The Garden of Earthly Delights, by Hieronymus Bosch (c. 1504). Art historian Wilhelm Fraenger speculates that Bosch was a sympathiser or member of the free-love sect known as the Brethren of the Free Spirit.[edit] Historical precedents
A number of utopian social movements throughout history have shared a vision of free love. The all-male Essenes, who lived in the Middle East from the 1st century BC to the 1st century AD apparently shunned sex, marriage, and slavery.[15] They also renounced wealth, lived communally, and were pacifist[16] vegetarians. An early Christian sect known as the Adamites—which flourished in North Africa in the 2nd, 3rd and 4th centuries—also rejected marriage. They practised nudism while engaging in worship and considered themselves free of original sin.
In the 6th century AD, adherents of Mazdakism in pre-Muslim Persia apparently supported a kind of free love in the place of marriage,[17] and like many other free-love movements[citation needed], also favored vegetarianism, pacificism, and communalism. Some writers have posited a conceptual link between the rejection of private property and the rejection of marriage as a form of ownership[citation needed]. One folk story from the period that contains a mention of a free-love (and nudist) community under the sea is "The Tale of Abdullah the Fisherman and Abdullah the Merman" from The Book of One Thousand and One Nights (c. 8th century).[18]
Karl Kautsky, writing in 1895, noted that a number of "communistic" movements throughout the Middle Ages also rejected marriage.[19] Typical of such movements, the Cathars of 10th to 14th century Western Europe freed followers from all moral prohibition and religious obligation, but respected those who lived simply, avoided the taking of human or animal life, and were celibate. Women had an uncommon equality and autonomy, even as religious leaders. The Cathars and similar groups (the Waldenses, Apostle brothers, Beghards and Beguines, Lollards, and Hussites) were branded as heretics by the Roman Catholic Church and suppressed. Other movements shared their critique of marriage but advocated free sexual relations rather than celibacy, such as the Brothers and Sisters of the Free Spirit, Taborites, and Picards.
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Frontispiece to William Blake's Visions of the Daughters of Albion (1793), which contains Blake's critique of Judeo-Christian values of marriage. Oothoon (centre) and Bromion (left), are chained together, as Bromion has raped Oothoon and she now carries his baby. Theotormon (right) and Oothoon are in love, but Theotormon is unable to act, considering her polluted, and ties himself into knots of indecision.
18th and 19th century Europe
In 1789, radical Swedenborgians August Nordenskjöld and C.B. Wadström published the Plan for a Free Community,[20] in which they proposed the establishment of a society of sexual liberty, where slavery was abolished and the "European" and the "Negro" lived together in harmony. In the treatise, marriage is criticised as a form of political repression. The challenges to traditional morality and religion brought by the Age of Enlightenment and the emancipatory politics of the French Revolution created an environment where such ideas could flourish. Though at first an ardent, even dogmatic supporter of such liberating aspects of the Revolution, in his policies as Emperor Napoleon later repudiated them, a move typical of revolutionaries who come to power. A group of radical intellectuals in England (sometimes known as the English Jacobins) supported the French Revolution, abolitionism, feminism, and free love. Among them was William Blake, who explicitly compares the sexual oppression of marriage to slavery in works such as Visions of the Daughters of Albion (1793).
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Personal Note
Though at first an ardent, even dogmatic supporter of such liberating aspects of the Revolution, in his policies as Emperor Napoleon later repudiated them, a move typical of revolutionaries who come to power.
The revolutionary came to power...to liberate...from the existing system...If the same open policies...free ideas remain in force...then the continuance of the free ideas will work against the revolutionary...the more he rules the land...as long as the hardship of the people are not removed...by his rule...
After watching how the revolutionary ruled for some years...people again revolt to topple the revolutionary from power...
Written around 0201 p.m. Friday, May 13, 2011
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Another member of the circle was pioneering English feminist Mary Wollstonecraft. Wollstonecraft felt that women should not give up freedom and control of their sexuality, and thus didn't marry her partner, Gilbert Imlay, despite the two conceiving and having a child together in the midst of the Terror of the French Revolution. Though the relationship ended badly, due in part to the discovery of Imlay's infidelity, and not least because Imlay abandoned her for good, Wollstonecraft's belief in free love survived. She developed a relationship with early English anarchist William Godwin, who shared her free love ideals, and published on the subject throughout his life. However, the two did decide to marry, just days before her death due to complications at parturition. In an act understood to support free love, their child, Mary, took up with the then still-married English romantic poet Percy Bysshe Shelley at a young age. Percy also wrote in defence of free love (and vegetarianism) in the prose notes of Queen Mab (1813), in his essay On Love (c1815) and in the poem Epipsychidion (1821):
I never was attached to that great sect,
Whose doctrine is, that each one should select
Out of the crowd a mistress or a friend,
And all the rest, though fair and wise, commend
To cold oblivion...
Free love has this, different from gold and clay,
That to divide is not to take away.
Sharing the free-love ideals of the earlier social movements—as well as their feminism, pacifism, and simple communal life—were the utopian socialist communities of early-19th-century France and Britain, associated with writers and thinkers such as Henri de Saint-Simon and Charles Fourier in France, Robert Owen in England, and, perhaps most far-reachingly, the German composer Richard Wagner. Fourier, who coined the term feminism, argued that true freedom could only occur without masters, without the ethos of work, and without suppressing passions: the suppression of passions is not only destructive to the individual, but to society as a whole. He argued that all sexual expressions should be enjoyed as long as people are not abused, and that "affirming one's difference" can actually enhance social integration. The Saint-Simonian feminist Pauline Roland took a free-love stance against marriage, having four children in the 1830s, all of whom bore her name. Wagner's position seems quite similar; he not only advocated something like free love in several of his works, he practiced what he preached, and began a family with Cosima Liszt, then still married to the conductor Hans von Buelow. Cosima had been one of three children born out of wedlock to the ultra-popular Hungarian composer and pianist Ferenc (Franz) Liszt by Countess Marie d'Agoult. Though apparently scandalous at the time, such liaisons seemed the actions of admired artists who were following the dictates of their own wills, rather than those of social convention, and in this way they were in step with their era's liberal philosophers of the cult of passion, such as Fourier, and their actual or eventual openness can be understood to be a prelude to the freer ways of the 20th century. Friedrich Nietzsche spoke occasionally in favor of something like free love, but when he proposed marriage to that famous practitioner of it, Lou Andreas-Salome, she berated him for being inconsistent with his philosophy of the free and supramoral Superman, a criticism that Nietzsche seems to have taken seriously, or to have at least been stung by. The relationship between composer Frederic Chopin and writer George Sand can be understood as exemplifying free love in a number of ways. Behavior of this kind by figures in the public eye did much to erode the credibility of conventionalism in relationships, especially when such conventionalism brought actual unhappiness to its practitioners.
That European outpost, Australia, which began its existence as a penal colony, had a much more flexible view of cohabitation and sexual bonding than was known in Europe itself at the time, "Neither the male nor the female convicts thought it was disgraceful, or even wrong, to live together out of wedlock." [21]
19th century United States
Christian socialist writer John Humphrey Noyes has been credited with coining the term 'free love' in the mid-19th century, although he preferred to use the term 'complex marriage'. Noyes founded the Oneida Society in 1848, a utopian community that "[rejected] conventional marriage both as a form of legalism from which Christians should be free and as a selfish institution in which men exerted rights of ownership over women". He found scriptural justification: "In the resurrection they neither marry nor are given in marriage, but are like the angels in heaven" (Matt. 22:30).[22] Noyes also supported eugenics; and only certain people were allowed to become parents. Another movement was established in Berlin Heights, Ohio.
Free love advocates sometimes traced their roots back to Josiah Warren and to experimental communities, viewed sexual freedom as a clear, direct expression of an individual's self-ownership. Free love particularly stressed women's rights since most sexual laws discriminated against women: for example, marriage laws and anti-birth control measures.[23] The most important American free love journal was Lucifer the Lightbearer (1883–1907) edited by Moses Harman and Lois Waisbrooker[24] but also there existed Ezra Heywood and Angela Heywood's The Word[disambiguation needed] (1872–1890, 1892–1893).[23] Also M. E. Lazarus was an important American individualist anarchist who promoted free love.[23]
Elements of the free-love movement also had links to abolitionist movements, drawing parallels between slavery and "sexual slavery" (marriage), and forming alliances with black activists. They also had many opponents, and Moses Harman spent two years in jail after a court determined that a journal he published was "obscene" under the notorious Comstock Law. In particular, the court objected to three letters to the editor, one of which described the plight of a woman who had been raped by her husband, tearing stitches from a recent operation after a difficult childbirth and causing severe hemorrhaging. The letter lamented the woman's lack of legal recourse. Ezra Heywood, who had already been prosecuted under the Comstock Law for a pamphlet attacking marriage, reprinted the letter in solidarity with Harman and was also arrested and sentenced to two years in prison.
Victorian feminist Victoria Woodhull (1838–1927), the first woman to run for presidency in the U.S. in 1872, was also called "the high priestess of free love". In 1871, Woodhull wrote:
Yes, I am a Free Lover. I have an inalienable, constitutional and natural right to love whom I may, to love as long or as short a period as I can; to change that love every day if I please, and with that right neither you nor any law you can frame have any right to interfere. And I have the further right to demand a free and unrestricted exercise of that right, and it is your duty not only to accord it, but, as a community, to see that I am protected in it. I trust that I am fully understood, for I mean just that, and nothing less![25]
The women's movement, free love and Spiritualism were three strongly linked movements at the time, and Woodhull was also a spiritualist leader. Like Noyes, she also supported eugenics. Fellow social reformer and educator Mary Gove Nichols was happily married (to her second husband), and together they published a newspaper and wrote medical books and articles,[26][27][28] a novel, and a treatise on marriage, in which they argued the case for free love. Both Woodhull and Nichols eventually repudiated free love.
Publications of the movement in the second half of the 19th century included Nichols' Monthly, The Social Revolutionist, Woodhull & Claflin's Weekly (ed. Victoria Woodhull and her sister Tennessee Clafin), The Word (ed. Ezra Heywood), Lucifer, the Light-Bearer (ed. Moses Harman) and the German-language Detroit newspaper Der Arme Teufel (ed. Robert Reitzel). Organisations included the New England Free Love League, founded with the assistance of American libertarian Benjamin Tucker as a spin off from the New England Labor Reform League (NELRL). A minority of freethinkers also supported free love.[29]
The most radical free love journal was The Social Revolutionist, published in the 1856-1857, by John Patterson. The first volume consisted of twenty writers, of which only one was a woman.[7]
In an edition of Lucifer, the Light-Bearer, there is a blurb about women and marriage:
in order to live the purest life, must be free, must enjoy the full privilege of soliciting the love of any man, or of none, if she so desires. She must be free and independent socially, industrially," -- Page 265. This is only one specimen of the many radical and vitally important truths contained in "A CITYLESS AND COUNTRYLESS WORLD," by Henry Olerich. Bound in red silk, with gold lettering on side and back; nearly 400 pages. Read it and you will see the defects of paternalism as set forth by Bellamy. Price $1. For sale at this office.[30]
This quote demonstrated the journal's fight to get women to see the light of how marriage truly was in the early 20th century.
In 1852, a writer named Marx Edgeworth Lazarus published a tract entitled "Love vs. Marriage pt. 1," in which he portrayed marriage as "incompatible with social harmony and the root cause of mental and physical impairments." Lazarus intertwined his writings with his religious teachings, a factor that made the Christian community more tolerable to the free love idea.[5]
Sex radicals were not alone in their fight against marriage ideals. Other 19th century Americans saw this social institution as flawed, but hesitated to abolish it. Groups such as the Shakers, the Oneida Community, and the Latter-day Saints were wary of the social notion of marriage. These organizations and sex radicals believed that true equality would never exist between the sexes as long as the church and the state continued to work together, worsening the problem of subordination of wives to their husbands.[5]
The free love movement evolved through four stages between 1853 and 1910. The first stage was a collective stage, where sex radicals put out print materials. The second stage was when the sex radicals encountered strong opposition; editors risked being arrested for writing about sexual topics. During the third stage, sex radicals challenged the government’s power to control women’s bodies and their private lives. The fourth and final stage was when the movement started to lose its drive. A new type of women’s movement was born, thus making it impossible to keep the free love movement alive.[5]
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Edward Carpenter in 1875
Turn of the 20th century
United Kingdom
Toward the end of the 19th century in the United Kingdom, free love was a topic of discussion among a minority of freethinkers, socialists, and feminists. Many of them were associated with The Fellowship of the New Life, such as Olive Schreiner and Edward Carpenter. Carpenter was one of the first writers to defend homosexuality in the English language. Like many of the movements before them who were associated with free love, the group also favored a simple communal life, pacifism, and vegetarianism. The best-known modern British advocate of free love was the philosopher Bertrand Russell, later Third Earl Russell, who said that he did not believe he really knew a woman until he had made love with her. Russell consistently addressed aspects of free love throughout his voluminous writings, and was not personally content with conventional monogamy until extreme old age.
Australia
There was also an interest in free love among the late 19th-century Left in Australia. In 1886, the Melbourne Anarchist Club led a debate on the topic, and a couple of years later released an anonymous pamphlet on the subject: 'Free Love—Explained and Defended' (possibly written by David Andrade or Chummy Fleming). The view of the Anarchist Club was formed in part as a reaction to the infamous Whitechapel murders by the notorious Jack the Ripper; his atrocities were at the time popularly understood by some - at least, by anarchists - to be a violation of the freedom of certain extreme classes of "working women," but by extension of all women.
150px-Portrait_of_Havelock_Ellis_(1859-1939),_Psychologist_and_Biologist_(2575987702)_crop
Havelock Ellis
Newcastle libertarian Alice Winspear, the wife of pioneer socialist William Robert Winspear, wrote: "Let us have freedom — freedom for both man and woman—freedom to earn our bread in whatever vocation is best suited to us, and freedom to love where we like, and to live only with those whom we love, and by whom we are loved in return." A couple of decades later, the Melbourne anarchist feminist poet Lesbia Harford also championed free love.
United States
Anarchist free-love movements continued into early 20th century in bohemian circles in New York's Greenwich Village. A group of Villagers lived free-love ideals and promoted them in the political journal The Masses and its sister publication The Little Review, a literary journal. Incorporating influences from the writings of English homosexual socialist Edward Carpenter and international sexologist Havelock Ellis, women such as Emma Goldman campaigned for a range of sexual freedoms, including homosexuality and access to contraception. Other notable figures among the Greenwich-Village scene who have been associated with free love include Edna St. Vincent Millay, Max Eastman, Crystal Eastman, Floyd Dell, Mabel Dodge Luhan, Ida Rauh, Hutchins Hapgood, Neith Boyce; a certain extreme was reached by self-proclaimed Satanist Anton LaVey. Dorothy Day also wrote passionately in defense of free love, women's rights, and contraception – but later, after converting to Catholicism, she criticized the sexual revolution of the sixties.
The development of the idea of free love in the United States was also significantly impacted by the publisher of Playboy magazine, Hugh Hefner, whose activities and persona over more than a half century popularized the idea of free love to the general public.
Japan
The anarchist feminist, social critic, novelist, and Emma Goldman translator Noe Ito (1895–1923) and her lover, fellow anarchist Sakae Osugi (1885–1923), promoted free love in Japan. The entire nation was shocked by their extrajudicial execution by a squad of military police in what became known as the Amakasu Incident, after the name of its perpetrator, who was imprisoned for his crime. Their story is told in the 1969 movie Erosu purasu Gyakusatsu (Eros Plus Massacre).
150px-Alexkollontai
Alexandra Kollontai
USSR
After the October Revolution in Russia, Alexandra Kollontai became the most prominent woman in the Soviet administration. Kollontai was also a champion of free love. Clara Zetkin recorded that Lenin opposed free love as "completely un-Marxist, and moreover, anti-social".[31] Zetkin also recounted Lenin's denouncement of plans to organise Hamburg’s women prostitutes into a “special revolutionary militant section”: he saw this as “corrupt and degenerate.”
Despite the traditional marital lives of Lenin and most Bolsheviks, they believed that sexual relations were outside the jurisdiction of the state. The Soviet government abolished centuries-old Czarist regulations on personal life, which had prohibited homosexuality and made it difficult for women to obtain divorce permits or to live singly. However, by the end of the 1920s, Stalin had taken over the Communist Party and begun to implement socially conservative policies. Homosexuality was classified as a mental disorder, and free love was further demonized.
France
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Émile Armand
In the bohemian districts of Montmartre and Montparnasse, many were determined to shock the "bourgeois" sensibilities of the society they grew up in; many, such as the anarchist Benoît Broutchoux, favored free love. At the same time, the cross-dressing radical activist Madeleine Pelletier practised celibacy, distributed birth-control devices and information, and performed abortions.
An important propagandist of free love was individualist anarchist Emile Armand. He advocated naturism and polyamory in what he termed la camaraderie amoureuse.[32] He wrote many propagandist articles on this subject such as "De la liberté sexuelle" (1907) where he advocated not only a vague free love but also multiple partners, which he called "plural love".[32] In the individualist anarchist journal L'en dehors he and others continued in this way. Armand seized this opportunity to outline his theses supporting revolutionary sexualism and camaraderie amoureuse that differed from the traditional views of the partisans of free love in several respects. Later Armand submitted that from an individualist perspective nothing was reprehensible about making "love", even if one did not have very strong feelings for one's partner.[32] "The camaraderie amoureuse thesis", he explained, "entails a free contract of association (that may be annulled without notice, following prior agreement) reached between anarchist individualists of different genders, adhering to the necessary standards of sexual hygiene, with a view toward protecting the other parties to the contract from certain risks of the amorous experience, such as rejection, rupture, exclusivism, possessiveness, unicity, coquetry, whims, indifference, flirtatiousness, disregard for others, and prostitution."[32] He also published Le Combat contre la jalousie et le sexualisme révolutionnaire (1926), followed over the years by Ce que nous entendons par liberté de l'amour (1928), La Camaraderie amoureuse ou “chiennerie sexuelle” (1930), and, finally, La Révolution sexuelle et la camaraderie amoureuse (1934), a book of nearly 350 pages comprising most of his writings on sexuality.[32] In a text from 1937, he mentioned among the individualist objectives the practice of forming voluntary associations for purely sexual purposes of heterosexual, homosexual, or bisexual nature or of a combination thereof. He also supported the right of individuals to change sex and stated his willingness to rehabilitate forbidden pleasures, non-conformist caresses (he was personally inclined toward voyeurism), as well as sodomy. This led him allocate more and more space to what he called "the sexual non-conformists", while excluding physical violence.[32] His militancy also included translating texts from people such as Alexandra Kollontai and Wilhelm Reich and establishments of free love associations which tried to put into practice la camaraderie amoureuse through actual sexual experiences.
Free love advocacy groups active during this time included the Association d'Études sexologiques and the Ligue mondiale pour la Réforme sexuelle sur une base scientifique.[32]
Germany
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Lily Braun
In Germany, from 1891 to 1919, the Verband Fortschrittlicher Frauenvereine (League of Progressive Women's Associations) called for a boycott of marriage and for the enjoyment of sexuality. Founded by Lily Braun and Minna Cauer, the league also aimed to organise prostitutes into labor unions, taught contraception, and supported the right to abortion and the abolition of criminal penalties against homosexuality, as well as running child-care programs for single mothers. In 1897, teacher and writer Emma Trosse published a brochure titled Ist freie Liebe Sittenlosigkeit? ("Is free love immoral?"). The worldwide homosexual emancipation movement also began in Germany in the late 19th century, and many of the thinkers whose work inspired sexual liberation in the 20th century were also from the German-speaking world, such as Sigmund Freud, Otto Gross, Herbert Marcuse, Wilhelm Reich, and Max Stirner's follower and biographer, John Henry MacKay.
1940s - 1960s
From the late 1940s to the 1960s, the bohemian free-love tradition of Greenwich Village was carried on by the beat generation, although differing with their predecessors by being an apparently male-dominated movement. The Beats also produced the first appearance of male homosexual champions of free love in the U.S., with writers such as Allen Ginsberg and William S. Burroughs. Like some of those before, the beats challenged a range of social conventions, and they found inspiration in such aspects of black culture as jazz music. The Beat movement led on the West Coast to the activities of such groups as the Merry Pranksters (led, according to Grateful Dead historian Dennis McNally, not by novelist Ken Kesey, but by hipster and driver Neal Cassady) and the entire San Francisco pop music scene, in which the implications of sexual bohemianism were advanced in a variety of ways by the hippies. With the Summer of Love in 1967, the eccentricities of this group became a nationally recognized movement. The study of sexology continued to gain prominence throughout the era, with the works of researchers like Alfred Kinsey lending a new legitimacy to challenges to traditional values regarding sex and marriage.
The sexual revolution and beyond
Main article: sexual revolution
Free love became a prominent phrase used by and about the new social movements and counterculture of the 1960s and 1970s, typified by the Summer of Love in 1967 and the slogan "make love not war". Unrestrained sexuality became a new norm in some of these youth movements, leading certain feminists to critique the 60s/70s "free love" as a way for men to pressure women into sex; women who said "no" could be characterized as prudish and uptight.
In the 1980s, concerns over AIDS and other sexually transmitted diseases tempered the promiscuity of the 1970s, but many of the sexual reforms advocated by earlier free-love movements had become mainstream: legalisation of abortion, birth control, and homosexuality; freedom in choosing love, sex, or both; and women's rights in general. Chastity, virginity, and subservience in marriage had much less power as social ideals for women.
Modern descendants of free love could be seen to include the contemporary sex-positive, polyamory, and queer movements and figures such as Susie Bright, Patrick Califia, and Annie Sprinkle. Though they don't often identify as free lovers, modern movements around the world against arranged marriage and forced marriage in South Asia, the Middle East, Africa, and Eastern Europe share many of the same goals as the free-love movement.
Legal aspects of the fruit of free love are far from settled. Some gains in the women's rights movement have reversed, rather than corrected, the injustices of the past. For example, an unwed father has no right to see his child in the State of New York. American composer Max Schubel found himself in this category, and wrote the New York theater piece Rubber Court to bring wider attention to the problem[citation needed].
In popular culture
Literature
H. C. M. Watson, Erchomenon; or the Republic of Materialism (1879): A free love utopia.
Robert A. Heinlein explored the concept of free love throughout his writing career, starting with his first novel For Us, The Living: A Comedy of Customs in 1939. In Stranger in a Strange Land (1961), Valentine Michael Smith founds his own church preaching free love. Lazarus Long's family, in multiple books including Time Enough for Love, believe in free love.
Marion Zimmer Bradley's Darkover series, some of the cultures and individuals of Darkover reject marriage. A freely chosen partner is known as a freemate.
Films
"Free Love", a 1930 film starring Conrad Nagel, directed by Hobart Henley, written by Winifred Dunn, Sidney Howard and Edwin Knopf
The Harrad Experiment, a 1973 film directed by Ted Post, based on a novel by Robert H. Rimmer, starring James Whitmore and Tippi Hedren
"Amor libre", a 1978 film directed by Jaime Humberto Hermosillo and written by Francisco Sánchez
Music
"Free Love Freeway", written and sung by Ricky Gervais, who starred as David Brent in the British television comedy series The Office
"Freelove", written by Martin Gore; from Depeche Mode's 2001 album Exciter
"Unsheathed" from Live's 1997 album Secret Samadhi contains the chorus "Free love is a world I can't linger too long in/Free love was just another party for the hippies to ruin", although any specific objections are very unclear.
"The Concept Of Love" by Hideki Naganuma (as featured in both the Jet Set Radio Future and Ollie King original soundtracks) contains a strong theme of free love, including a number of recurring sampled audio clips concerning the topic.
"The Blind House" by Porcupine Tree on the 2009 album The Incident, contains, in the chorus, "Free love, free love, feel love in all my sisters" and has a strong theme of free love.
"Free Love" by American rock band Cage the Elephant on their 2009 self-titled album, depicts a girl who personifies free love.
Comics
Elfquest, by Wendy and Richard Pini, follows the adventures of a tribe of elves who, among other things, consider free love completely natural. The tribe in question freely lets its members decide their number of sexual partners, even allowing them to choose none or establish a monogamous relationship if that is what the elf/elves in question desire.
See also
Don Juanism
Free union
New Woman
Open marriage
Polyamory
Bertrand Russell
Sexual norm
References
Notes
1.^ The Handbook of the Oneida Community claims to have coined the term around 1850, and laments that its use was appropriated by socialists to attack marriage, an institution that they felt protected women and children from abandonment
2.^ McElroy, Wendy. "The Free Love Movement and Radical Individualism." Libertarian Enterprise .19 (1996): 1.
3.^ Dan Jakopovich, Chains of Marriage, Peace News
4.^ a b Spurlock, John C. Free Love Marriage and Middle-Class Radicalism in America. New York, NY: New York UP, 1988.
5.^ a b c d Passet, Joanne E. Sex Radicals and the Quest for Women's Equality. Chicago,IL: U of Illinois P, 2003.
6.^ e. Spurlock, John. "A Masculine View of Women's Freedom: Free Love in the Nineteenth Century." International Social Science Review 69.3/4 (1994): 34-45. Print.
7.^ a b c d Spurlock, John. "A Masculine View of Women's Freedom: Free Love in the Nineteenth Century." International Social Science Review 69.3/4 (1994): 34-45. Print.
8.^ Kreis, Steven. "Mary Wollstonecraft, 1759-1797". The History Guide. 11/23/09 .
9.^ Gove Nichols, Mary S. (1855). Mary Lyndon, or Revelations of a Life. An Autobiography. New York: Stringer & Townsend. p. 166. . Retrieved 14 January 2009. Full text at Internet Archive ().
10.^ Nichols, Mary Gove, 1855. Mary Lyndon: Revelations of a Life. New York: Stringer and Townsend; p. 166. Quoted in Feminism and Free Love
11.^ Silver-Isenstadt, Jean L (2002). Shameless: The Visionary Life of Mary Gove Nichols. Baltimore, Maryland: The Johns Hopkins University Press. ISBN 0-8018-6848-3. . Retrieved 14 December 2009.
12.^ Passet, Joanne E. Sex Radicals and the Quest for Women's Equality. Chicago,IL: U of Illinois P, 2003.
13.^ Bareilles, Sara. "Sara Bareilles". Sara Bareilles . 11/20/09 .
14.^ Frey, Jennifer Gender Equity: A Woman Needs a Man like a Fish Needs a Bicycle. Signs of the Times, 7 09. 2000. Web. 21 Nov. 2009 .
15.^ See Essenes#Contemporary ancient sources
16.^ Although they appear to have been involved in a revolt against the Roman occupiers
17.^ Crone, Patricia, Kavad’s Heresy and Mazdak’s Revolt, in: Iran 29 (1991), S. 21-40
18.^ Irwin, Robert, Political Thought in The Thousand and One Nights, in: Marvels & Tales - Volume 18, Number 2, 2004, pp. 246-257. Wayne State University Press
19.^ Kautsky, Karl (1895), Die Vorläufer des neuen Sozialismus, vol. I: Kommunistische Bewegungen in Mittelalter, Stuttgart: J.W. Dietz.
20.^ Plan for a Free Community upon the Coast of Africa under the Protection of Great Britain; but Intirely Independent of All European Laws and Governments. London: R. Hindmarsh, 1789.
21.^ Robert Hughes, "The Fatal Shore, The Epic History of Australia's Founding," page 258. (New York, 1986, ISBN 0-394-75366-6.
22.^ William Blake before him had made the same connection: "In Eternity they neither marry nor are given in marriage." (Jerusalem: The Emanation of the Giant Albion, 30.15; E176)
23.^ a b c The Free Love Movement and Radical Individualism By Wendy McElroy
24.^ Joanne E. Passet, "Power through Print: Lois Waisbrooker and Grassroots Feminism," in: Women in Print: Essays on the Print Culture of American Women from the Nineteenth and Twentieth Centuries, James Philip Danky and Wayne A. Wiegand, eds., Madison, WI, University of Wisconsin Press, 2006; pp. 229-50.
25.^ "And the Truth Shall Make You Free" (November 20, 1871)
26.^ Gove, Mary S. (1842). Lectures to Ladies on Anatomy and Physiology. Boston: Saxton & Peirce. . Retrieved 13 January 2009. Full text at Internet Archive ().
27.^ Gove Nichols, Mary S. (1846). "Lectures to Women on Anatomy and Physiology". with an Appendix on Water Cure. New York: Harper & Brothers. . Retrieved 13 January 2009. Full text at Internet Archive ().
28.^ Gove Nichols, Mary S. (1855). "Experience in the Water Cure: A familiar exposition of the Principles and Results of Water Treatment, in the Cure of Acute and Chronic Diseases". in Fowlers and Wells' Water-Cure Library: Embracing all the most popular works on the subject. Vol. 2 of 7. New York: Fowlers and Wells. . Retrieved 2009-10-29. Full text at Internet Archive ().
29.^ Kirkley, Evelyn A. 2000. Rational Mothers and Infidel Gentlemen: Gender and American Atheism, 1865–1915. (Women and Gender in North American Religions.) Syracuse, N.Y.: Syracuse University Press. 2000. Pp. xviii, 198
30.^ Ward, Dana Anarchy Archives. Anarchy Archives, 25 09. 2001. Web. 21 Nov. 2009 .
31.^ Zetkin, Clara, 1934, Lenin on the Woman Question, New York: International , p.7. Published in Reminiscences of Lenin.
A more extensive quote from Lenin follows: "It seems to me that this superabundance of sex theories [...] springs from the desire to justify one’s own abnormal or excessive sex life before bourgeois morality and to plead for tolerance towards oneself. This veiled respect for bourgeois morality is as repugnant to me as rooting about in all that bears on sex. No matter how rebellious and revolutionary it may be made to appear, it is in the final analysis thoroughly bourgeois. It is, mainly, a hobby of the intellectuals and of the sections nearest to them. There is no place for it in the party, in the class-conscious, fighting proletariat.”
32.^ a b c d e f g "Emile Armand and la camaraderie amourouse – Revolutionary sexualism and the struggle against jealousy." by Francis Rousin Retrieved 2010-06-10
Further reading
"The recurring movements of free love" by Saskia Poldervaart
Victoria Woodhull, Free Lover: Sex, Marriage And Eugenics in the Early Speeches of Victoria Woodhull (Seattle: Inkling, 2005) ISBN 1-58742-050-3
Stoehr, Taylor, ed. Free Love in America: A Documentary History (New York: AMS Press, 1977).
Sears, Hal, The Sex Radicals: Free Love in High Victorian America (Lawrence, KS: The Regents Press of Kansas, 1977
Joanne E. Passet, Sex Radicals and the Quest for Women’s Equality. Champaign: University of Illinois Press, 2003. ISBN 0-252-02804-X.
Martin Blatt, Free Love and Anarchism: The Biography of Ezra Heywood (Urbana: University of Illinois Press, 1989)
"Emile Armand and la camaraderie amourouse".Revolutionary sexualism and the struggle againts jealousy." by Francis Rousin
Barbara Goldsmith, Other Powers: The Age of Suffrage, Spiritualism, and the Scandalous Victoria Woodhull, 1999, ISBN 0-06-095332-2
Goldman, Emma, Marriage and Love (New York, Mother Earth Publishing Association, 1911)
Françoise Basch, Rebelles américaines au XIXe siècle : marriage, amour libre et politique (Paris : Méridiens Klincksieck, 1990).
Curt von Westernhagen, Wagner (Cambridge, 1978), ISBN 0 521 28254.
Dennis McNally, A Long Strange Trip, the Inside History of the Grateful Dead (New York, 2002), ISBN 0 7679 1186 5
Hugh M. Hefner, The Playboy Philosophy, Playboy Magazine, December 1962 through May 1965 issues.
Open History, A Japanese History Website (This reference needs confirmation).
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Lucifer
Lucifer
From Wikipedia, the free encyclopedia
For other uses, see Lucifer (disambiguation).
300px-Paradise_Lost_12
Satan, who in Milton's Paradise Lost is also called Lucifer,[1] on his way to bring about the downfall of Adam. Gustave Doré's illustration for Paradise Lost, Book III, lines 739-742 by John Milton.Lucifer is a Latin word (from the words lucem ferre), literally meaning "light-bearer", which in that language is used as a name for the dawn appearance of the planet Venus, heralding daylight. Use of the word in this sense is uncommon in English, in which "Day Star" or "Morning Star" are more common expressions.
In English, "Lucifer" generally refers to the Devil, although the name is not applied to him in the New Testament. The use of the name "Lucifer" in reference to a fallen angel stems from an interpretation of Isaiah 14:3–20, a passage that speaks of a particular Babylonian King, to whom it gives a title that refers to what in English is called the Day Star or Morning Star (in Latin, lucifer),[2] as fallen or destined to fall from the heavens or sky.[3] In 2 Peter 1:19 and elsewhere, the same Latin word lucifer is used to refer to the Morning Star, with no relation to the devil. However, in post-New Testament times the Latin word Lucifer has often been used as a name for the devil, both in religious writing and in fiction, especially when referring to him before he fell from Heaven.
Contents
1 Satan as Lucifer
1.1 The Lucifer story
1.2 The Morning Star in Isaiah 14:12
1.3 Islamic point of view
1.4 Other readings
1.5 Latter-Day Saints point of view
2 Use of the word "lucifer" in the Bible
3 Astronomical significance
4 "Lucifer" as Latin name for the Morning Star
5 The Taxil Hoax: Lucifer's alleged connection with Freemasonry
6 Occult beliefs
7 Gallery
8 See also
9 References
10 Further reading
11 External links
Satan as Lucifer
The Lucifer story
A myth[4] of the fall of angels, associated with the Morning Star, was transferred to Satan, as seen in the Life of Adam and Eve and the Second Book of Enoch,[5] which the Jewish Encyclopedia attributes to the first pre-Christian century:[6] in these Satan-Sataniel (sometimes identified with Samael) is described as having been one of the archangels. Because he contrived "to make his throne higher than the clouds over the earth and resemble 'My power' on high", Satan-Sataniel was hurled down, with his hosts of angels, and since then, he has been flying in the air continually above the abyss.[4]
270px-Paradise_Lost_19
Gustave Doré's illustration for Milton's Paradise Lost, Book IV, lines 1013–1015: Satan (alias Lucifer) yielding before RaphaelEarly Christian writers continued this identification of "Lucifer" with Satan. Tertullian ("Contra Marcionem," v. 11, 17), Origen (Homilies on Ezekiel 13), and others, identify Lucifer with Satan, who also is represented as being "cast down from heaven" (Revelation 12:7–10; cf. Luke 10:18).[4]
However, some contemporary exorcists and theologians such as Father José Antonio Fortea and Father Amorth in their experience and based on Biblical interpretations, assert that Lucifer and Satan are different beings.[7]
In the New Testament the Adversary has many names, but "Lucifer" is not among them. He is called "Satan" (Matt. 4:10; Mark 1:13, 4:15; Luke 10:18), "devil" (Matt. 4:1), "adversary" (1. Peter 5:8, ἀντίδικος; 1. Tim. 5:14, ἀντικείμενος), "enemy" (Matt. 13:39), "accuser" (Rev. 12:10), "old serpent" (Rev. 20:2), "great dragon" (Rev. 12:9), Beelzebub (Matt. 10:25, 12:24), and Belial (comp. Samael). In Luke 10:18, John 12:31, 2. Cor. 6:16, and Rev. 12:9 the fall of Satan is mentioned. The devil is regarded as the author of all evil (Luke 10:19; Acts 5:3; 2. Cor. 11:3; Ephes. 2:2), who beguiled Eve (2. Cor. 11:3; Rev. 12:9). Because of Satan, death came into this world, being ever the tempter (1. Cor. 7:5; 1. Thess. 3:5; 1. Peter 5:8), even as he tempted Jesus (Matt. 4). The Christian demonology and belief in the devil dominated subsequent periods.[8] However, though the New Testament includes the conception that Satan fell from heaven "as lightning" (Luke 10:18; Rev. 12:7-10),[9] it nowhere applies the name Lucifer to him.
The Jewish Encyclopedia states that in the apocalyptic literature, the conception of fallen angels is widespread. Throughout antiquity stars were commonly regarded as living celestial beings (Job 38:7).[9] Indications of this belief in fallen angels, behind which probably lies the symbolizing of an astronomical phenomenon, the shooting stars, are found in Isaiah 14:12.
The Morning Star in Isaiah 14:12
The Book of Isaiah has the following passage:
When the Lord has given you rest from your pain and turmoil and the hard service with which you were made to serve, you will take up this taunt against the king of Babylon: How the oppressor has ceased! How his insolence has ceased! … How you are fallen from heaven, O Day Star, son of Dawn! How you are cut down to the ground, you who laid the nations low! You said in your heart, "I will ascend to heaven; I will raise my throne above the stars of God; I will sit on the mount of congregation on the heights of Zaphon; I will ascend to the tops of the clouds, I will make myself like the Most High." But you are brought down to Sheol, to the depths of the Pit. Those who see you will stare at you, and ponder over you: "Is this the man who made the earth tremble, who shook kingdoms, who made the world like a desert and overthrew its cities, who would not let his prisoners go home?[10]
The passage refers to the king of Babylon, a man who seemed all-powerful, but who has been brought down to the abode of the dead ("Sheol"). Isaiah promises that the Israelites will be freed and will then be able to use in a taunting song against their oppressor the image of the Morning Star, which rises at dawn as the brightest of the stars, outshining Jupiter and Saturn, but lasting only until the sun appears. This image was used in an old popular Canaanite story that the Morning Star tried to rise high above the clouds and establish himself on the mountain where the gods assembled, in the far north, but was cast down into the underworld.[4][11]
The phrase "O Day Star, son of Dawn" in the New Revised Standard Version translation given above corresponds to the Hebrew phrase "הילל בן־שׁחר" (Helel Ben-Shachar) in verse 12, meaning "morning star, son of dawn". As the Latin poets personified the Morning Star and the Dawn (Aurora), as well as the Sun and the Moon and other heavenly bodies, so in Canaanite mythology Morning Star and Dawn were pictured as two deities, the former being the son of the latter.[12]
In the Latin Vulgate, Jerome translated "הילל בן־שׁחר" (morning star, son of dawn) as "lucifer qui mane oriebaris" (morning star that used to rise early).[13] Already, as early as the Christian writers Tertullian and Origen,[11] the whole passage had come to be applied to Satan. Satan began to be referred to as "Lucifer" (Morning Star), and finally the word "Lucifer" was treated as a proper name. The use of the word "Lucifer" in the 1611 King James Version instead of a word such as "Daystar" ensured its continued popularity among English speakers.
Most modern English versions (including the NIV, NRSV, NASB, NJB and ESV) render the Hebrew word as "day star", "morning star" or something similar, and never as "Lucifer", a word that in English is now very rarely used in the sense of the original word in Hebrew (Morning Star), though in Latin "Lucifer" was a literal translation.
A passage quite similar to that in Isaiah is found in Ezekiel 28:1–19, which is expressly directed against the king of Tyre, a city on an island that had grown rich by trade, factors alluded to in the text.[14] In Christian tradition, it too has been applied to Lucifer, because of some of the expressions contained in it.[15] But, since it does not contain the image of the Morning Star, discussion of it belongs rather to the article on Satan than to that on Lucifer.
200px-Lucifer_Liege_Luc_Viatour
Lucifer (Le génie du mal) by Guillaume Geefs (Cathedral of St. Paul, Liège, Belgium)The same holds for the Christian depiction of Satan in other books of the Old Testament as, for instance, in the Book of Job, where Satan, who has been wandering the Earth, has a discussion with God and makes a deal with him to test Job.
The Tyndale Bible Dictionary states that there are many who believe the expression "Lucifer" and the surrounding context in Isaiah 14 refer to Satan: they believe the similarities among Isaiah 14:12, Luke 10:18, and Revelation 12:7–10 warrant this conclusion. But it points out that the context of the Isaiah passage is about the accomplished defeat of the king of Babylon, while the New Testament passages speak of Satan.[11]
Islamic point of view
According to the Qur'an, Iblis (the Arabic name used) disobeyed an order from Allah to bow to Adam and as a result was forced out of heaven and given respite until the day of judgement from further punishment.
When Allah commanded all of the angels to bow down before Adam (the first Human), Iblis, full of hubris and jealousy, refused to obey Allah's command (he could do so because, as a jinn, he had free will), seeing Adam as being inferior in creation due to his being created from clay as compared to him (created of fire).[16]
"It is We Who created you and gave you shape; then We bade the angels prostrate to Adam, and they prostrate; not so Iblis (Lucifer); He refused to be of those who prostrate."
(Allah) said: "What prevented thee from prostrating when I commanded thee?" He said: "I am better than he: Thou didst create me from fire, and him from clay."
Qur'an 7:11–12
It was after this that the title of "Shaitan" was given, which can be roughly translated as "Mischievous" or "Devil". Shaitan then claims that if the punishment for his act of disobedience is to be delayed until the Day of Judgment, that he will divert many of Adam's own descendants from the straight path during his period of respite.[17] Allah accepts the claims of Iblis and guarantees recompense to Iblis and his followers in the form of Hellfire. To test mankind and jinn alike, Allah allowed Iblis to roam the Earth to attempt to convert others away from his path.[18] He was sent to Earth along with Adam and Eve, after eventually luring them into eating the fruit from the forbidden tree.[19]
Other readings
Joseph Campbell (1972: pp. 148–149) illustrates an unorthodox Islamic reading of Lucifer's fall from Heaven, which champions Lucifer's eclipsing love for God:
One of the most amazing images of love that I know is in Persian – a mystical Persian representation as Satan as the most loyal lover of God. You will have heard the old legend of how, when God created the angels, he commanded them to pay worship to no one but himself; but then, creating man, he commanded them to bow in reverence to this most noble of his works, and Lucifer refused – because, we are told, of his pride. However, according to this Muslim reading of his case, it was rather because he loved and adored God so deeply and intensely that he could not bring himself to bow before anything else, and because he refused to bow down to something inferior to him (since he was made of fire, and man from clay). And it was for that that he was flung into Hell, condemned to exist there for eternity, apart from his love.
This interpretation of the satanic rebellion described in the Quran is seen by some Sufi teachers such as Mansur Al-Hallaj (in his 'Tawasin') as a predestined scenario in which Iblis-Shaitan plays the role of tragic and jealous lover who, unable to perceive the Divine Image in Adam and capable only of seeing the exterior, disobeyed the divine mandate to bow down. His refusal (according to the Tawasin) was due to a misconceived idea of God's uniqueness and because of his refusal to abandon himself to God in love. Hallaj criticized the staleness of Iblis' adoration. Excerpts from Sufi texts expounding this interpretation have been included along with many other viewpoints on Shaitan (by no means all of them apologetic) in an important anthology of Sufi texts edited by Dr. Javad Nurbakhsh, head of the Nimatullahi Sufi Order.[20]
The Sufi teacher Pir Vilayat Inayat Khan taught that 'Luciferian Light' is Light that has become dislocated from the Divine Source and is thus associated with the seductive false light of the lower ego, which lures humankind into self-centered delusion.[21] Here Lucifer represents what the Sufis term the 'Nafs', the ego.
Latter-Day Saints point of view
The Church of Jesus Christ of Latter-Day Saints, or the "Mormon" Church, holds some unique beliefs in regards to Lucifer, or Satan: "Satan, also called the adversary or the devil, is the enemy of righteousness and those who seek to follow God." In the same publication, the following statements are made:
"He is the spirit son of God who was once an angel "in authority in the presence of God (Doctrine and Covenants 76:25, Isaiah 14:25, Doctrine and Covenants 76: 26-27) But in the premortal Council in Heaven, Lucifer, as Satan was then called, rebelled against Heavenly Father and the plan of salvation. In this rebellion against God, Satan "sought to destroy the agency of man" (Moses 4:3). He said: "I will redeem all mankind, that one soul shall not be lost, and surely I will do it; wherefore give me thine honor" (Moses 4:1) Satan persuaded "a third part of the hosts of heaven" to turn away from the Father (Doctrine and Covenants 29:36). As a result of this rebellion, Satan and his followers were cut off from God's presence and denied the blessing of receiving a physical body (Revelations 12:9). Heavenly Father allows Satan and Satan's followers to tempt us as part of our experience in mortality (2 Nephi 2:11-14, Doctrine and Covenants 29:36). Because Satan "seeketh that all men might be miserable like unto himself" (2 Nephi 2:27) he and his followers try to lead us away from righteousness."
– True to the Faith, A Gospel Reference, "Satan," page 154, Updated July 2004, The Church of Jesus Christ of Latter-Day Saints
Use of the word "lucifer" in the Bible
The Vulgate (Latin) version of the Christian Bible used the word "lucifer" (with lower-case initial) twice to refer to the Morning Star: once in 2 Peter 1:19 to translate the Greek word Φωσφόρος (phōsphoros), a word, from φῶς (phōs) meaning "light" and φέρω (pherō̄) meaning "to carry", that has the same meaning of Light-Bringer that the Latin word has, and once in Isaiah 14:12 to translate the Hebrew word הילל (Hêlēl).[22] In the latter passage the title of "Morning Star" is given to the tyrannous Babylonian king, who the prophet says is destined to fall. This passage was later applied to the prince of the demons, and so the name "Lucifer" came to be used outside the Bible for the devil, and was popularized in works such as Dante Alighieri's Inferno and John Milton's Paradise Lost, but for English speakers the greatest influence has been its use in the King James Version of Isa 14:12 to translate the Hebrew word הילל, which more modern English versions render as "Morning Star" or "Day Star". A similar passage in Ezekiel 28:11–19 regarding the "king of Tyre" was also applied to the devil, contributing to the traditional picture of the fallen angel.
The Vulgate translation uses "lucifer" (Morning Star) twice to translate words in the Book of Job that meant something different: once to represent the word "בקר"[23] (which instead means "morning") in Job 11:17, and once for the word "מזרות" (usually taken to mean "the constellations") in Job 38:32. The same Latin word appears also in the Vulgate version of Psalms 110:3, where the original has "שׁחר" (dawn, the same word as in Isaiah 14:12).
The Vulgate did not use the Latin word lucifer to represent the two references to the Morning Star in the Book of Revelation . In both cases the original Greek text uses a circumlocution instead of the single word "φωσφόρος", and a corresponding circumlocution is used in the Latin. Thus "stella matutina" is used for "ὁ ἀστὴρ ὁ πρωϊνός" in Revelation 2:28, which promises the Morning Star to those who persevere, and for "ὁ ἀστὴρ ὁ πρωϊνός" (or, according to some manuscripts, "ὁ ἀστὴρ ὁ ὀρθρινός") in Revelation 22:16, where Jesus calls himself "the bright morning star".
The English word "Lucifer" is used in none of these places (other than Isaiah 14:12), where the Latin translation uses the Latin word "lucifer" (i.e., morning star).
Outside the Bible, the Roman Rite liturgy's Exultet chant in praise of the paschal candle refers to Christ as the Morning Star (in Latin, lucifer, with lower-case initial):
May the Morning Star which never sets
find this flame still burning:
Christ, that Morning Star,
who came back from the dead,
and shed his peaceful light on all mankind,
your Son, who lives and reigns for ever and ever.
Flammas eius lucifer matutinus inveniat:
ille, inquam, lucifer, qui nescit occasum,
Christus Filius tuus qui,
regressus ab inferis,
humano generi serenus illuxit,
et vivit et regnat in saecula saeculorum.
Astronomical significance
Because the planet Venus is an inferior planet, meaning that its orbit lies between the orbit of the Earth and the Sun, it can never rise high in the sky at night as seen from Earth. It can be seen in the eastern morning sky for an hour or so before the Sun rises, and in the western evening sky for an hour or so after the Sun sets, but never during the dark of midnight.
It is the brightest object in the sky after the Sun and the Moon. As bright and as brilliant as it is, ancient people did not understand why they could not see it at midnight like the outer planets, or during midday, like the Sun and Moon. It outshines the planets Saturn and Jupiter, which do last all night, but it soon disappears. Canaanite mythology has a story of an unsuccessful attempt by Athtar, the Morning Star pictured as a god, to take over the throne of Baal.[24][25]
220px-Altar_Selene_Louvre_Ma508
A 2nd-century sculpture of the moon goddess Selene accompanied by Hesperus and Phosphorus: the corresponding Latin names are Luna, Vesper and Lucifer.[edit] "Lucifer" as Latin name for the Morning Star
In Latin, the word "Lucifer", meaning "Light-Bringer" (from lux, lucis, "light", and ferre, "to bear, bring"), is a name used for the Morning Star (the planet Venus in its dawn appearances).[26] The word is used in its astronomical sense both in prose[27] and poetry,[28] but most poets personify the star in a mythological context.[29]
The Taxil Hoax: Lucifer's alleged connection with Freemasonry
Léo Taxil (1854–1907) claimed that Freemasonry is associated with worshipping Lucifer. In what is known as the Taxil hoax, he claimed that supposedly leading Freemason Albert Pike had addressed "The 23 Supreme Confederated Councils of the world" (an invention of Taxil), instructing them that Lucifer was God, and was in opposition to the evil god Adonai. Apologists of Freemasonry contend that, when Albert Pike and other Masonic scholars spoke about the "Luciferian path," or the "energies of Lucifer," they were referring to the Morning Star, the light bearer,[30] the search for light; the very antithesis of dark, satanic evil. Taxil promoted a book by Diana Vaughan (actually written by himself, as he later confessed publicly)[31] that purported to reveal a highly secret ruling body called the Palladium, which controlled the organization and had a Satanic agenda. As described by Freemasonry Disclosed in 1897:
With frightening cynicism, the miserable person we shall not name here [Taxil] declared before an assembly especially convened for him that for twelve years he had prepared and carried out to the end the most sacrilegious of hoaxes. We have always been careful to publish special articles concerning Palladism and Diana Vaughan. We are now giving in this issue a complete list of these articles, which can now be considered as not having existed.[32]
Taxil's work and Pike's address continue to be quoted by anti-masonic groups.[33]
In Devil-Worship in France, Arthur Edward Waite compared Taxil's work to what today we would call a tabloid story, replete with logical and factual inconsistencies.
See also "Lucifer and Satan" at the Grand Lodge of British Columbia and Yukon website.
Occult beliefs
110px-Sigil_of_Lucifer_svg
The Sigil of Lucifer ("Seal of Satan") a magical sigil[34] used occasionally as an emblem by SatanistsIn the modern occultism of Dolores North (alias Madeline Montalban) (died 1982)[35] Lucifer's identification as the Morning Star (Venus) equates him with Lumiel, whom she regarded as the Archangel of Light, and among Satanists he is seen as the "Torch of Baphomet" and Azazel.
In the Satanic Bible of 1969, Lucifer is acknowledged as one of the Four Crown Princes of Hell, particularly that of the East. Lord of the Air, Lucifer has been named "Bringer of Light, the Morning Star, Intellectualism, Enlightenment."
Author Michael W. Ford[36] has written on Lucifer as a "mask" of the Adversary, a motivator and illuminating force of the mind and subconscious.[37]
Gallery
85px-Inf__34_Alessandro_Vellutello,_Lucifero_(1534)
Lucifer, by Alessandro Vellutello (1534), for Dante's Inferno, canto 34
83px-Blake_Hell_34_Lucifer
Lucifer, by William Blake, for Dante's Inferno, canto 34
67px-Lucifero
cover of 1887 edition of Mario Rapisardi's poem Lucifero
78px-Zichy,Mihaly_-_Lucifer_az_urral_szemben_(Madach)
Lucifer before the Lord, by Mihály Zichy (19th century)
119px-Lucifer3
Lucifer, the Fallen Angel, by James Donahue
101px-Punchinello_Mayor_Hall
Mayor Hall and Lucifer, by an unknown artist (1870)
120px-Venus-real
The planet Venus, either as the Morning Star (in Latin, Lucifer) or as the Evening Star (in Latin, Hesperus)
See also
Christianity
Devil
Earendel
Eosphoros
Iblis
Luceafăr
Lucifer in popular culture
Luciferianism
War in Heaven
References
1.^ Milton's poem uses the name "Lucifer" only three times, as against 72 mentions of "Satan". The name used in this context is "Satan".
2.^ The word in the original text in Hebrew is הֵילֵל (transliteration: helel; definition: a shining one – Strong's Hebrew Numbers, 1966).
3.^ The word in the original text is Hebrew שָׁמַ֫יִם (transliteration: shamayim; definition: heaven, sky – Strong's Hebrew Numbers, 8064).
4.^ a b c d Jewish Encyclopedia: article Lucifer
5.^ Verses 29:4, 31:4 of the longer recension manuscript R
6.^ "The Lucifer myth was transferred to Satan in the pre-Christian century, as may be learned from Vita Adæ et Evæ (12) and Slavonic Enoch (xxix. 4, xxxi. 4)" – article Lucifer
7.^ Jose [Fortea] Cucurull, Summa Daemoniaca 2004. (ISBN 84-933788-2-8)
8.^ Jewish Encyclopedia: article Satan
9.^ a b Jewish Encyclopedia: article Fall Of Angels
10.^ Isaiah 14:3–4, 14:12–17
11.^ a b c Tyndale Bible Dictionary (Carol Stream, Illinois 2001 ISBN 978-1-4143-1945-2), article Lucifer (p. 829)
12.^ "Verses 12–15 seem to be based on a Phoenician model. At all events, they display several points of contact with the Ras-Shamra poems: Daystar and Dawn were two divinities; the "mount of Assembly" was where the gods used to meet, like Mount Olympus in Greek mythology. The Fathers identified the fall of the Morning Star (Vulgate, Lucifer) with that of the prince of the demons" (note in the New Jerusalem Bible).
13.^ The Septuagint Greek translation of the phrase uses the same interpretation of "son of dawn": ὁ ἑωσφόρος ὁ πρωὶ ἀνατέλλων.
14.^ Your heart is proud and you have said, "I am a god; I sit in the seat of the gods, in the heart of the seas" … By your great wisdom in trade you have increased your wealth, and your heart has become proud in your wealth (verses 2 and 5)
15.^ With an anointed cherub as guardian I placed you; you were on the holy mountain of God; you walked among the stones of fire. You were blameless in your ways from the day that you were created, until iniquity was found in you. In the abundance of your trade you were filled with violence, and you sinned; so I cast you as a profane thing from the mountain of God, and the guardian cherub drove you out from among the stones of fire (verses 14–16).
16.^ [Qur'an 17:61]; [Qur'an 2:34]
17.^ [Qur'an 17:62]
18.^ [Qur'an 17:63–64]
19.^ [Qur'an 7:20–22]
20.^ Nurbakhsh, Javad. The Great Satan 'Eblis'. KNP, 1999. ISBN 0933546238.
21.^
22.^ In the Greek translation of this passage the word used is Ἑωσφόρος – from ἔως, meaning dawn – which literally means Dawn-Bringer.
23.^ Hebrew text
24.^ John Day, Yahweh and the gods and goddesses of Canaan (Continuum International Publishing Group, 2002 ISBN 0826468306, 9780826468307), pp. 172–173
25.^ Gregory A. Boyd, God at War: The Bible & Spiritual Conflict (InterVarsity Press, 1997 ISBN 0830818855, 9780830818853), pp. 159–160
26.^ Lewis and Short
27.^ Cicero wrote: Stella Veneris, quae Φωσφόρος Graece, Latine dicitur Lucifer, cum antegreditur solem, cum subsequitur autem Hesperos (The star of Venus, called Φωσφόρος in Greek and Lucifer in Latin when it precedes, Hesperos when it follows the sun – De Natura Deorum 2, 20, 53.
Pliny the Elder: Sidus appellatum Veneris … ante matutinum exoriens Luciferi nomen accipit … contra ab occasu refulgens nuncupatur Vesper (The star called Venus … when it rises in the morning is given the name Lucifer … but when it shines at sunset it is called Vesper) Natural History 2, 36
28.^ Virgil wrote:
Luciferi primo cum sidere frigida rura
carpamus, dum mane novum, dum gramina canent
(Let us hasten, when first the Morning Star appears, to the cool pastures, while the day is new, while the grass is dewy) Georgics 3:324–325.
29.^ Ovid wrote:
… vigil nitido patefecit ab ortu
purpureas Aurora fores et plena rosarum
atria: diffugiunt stellae, quarum agmina cogit
Lucifer et caeli statione novissimus exit
(Aurora, awake in the glowing east, opens wide her bright doors, and her rose-filled courts. The stars, whose ranks are shepherded by Lucifer the morning star, vanish, and he, last of all, leaves his station in the sky – Metamorphoses 2.114–115; A. S. Kline's Version
And Lucan:
Lucifer a Casia prospexit rupe diemque
misit in Aegypton primo quoque sole calentem
(The morning-star looked forth from Mount Casius and sent the daylight over Egypt, where even sunrise is hot) Lucan, Pharsalia, 10:434–435; English translation by J.D.Duff (Loeb Classical Library) And Statius:
Et iam Mygdoniis elata cubilibus alto
impulerat caelo gelidas Aurora tenebras,
rorantes excussa comas multumque sequenti
sole rubens; illi roseus per nubila seras
aduertit flammas alienumque aethera tardo
Lucifer exit equo, donec pater igneus orbem
impleat atque ipsi radios uetet esse sorori
(And now Aurora rising from her Mygdonian couch had driven the cold darkness on from high in the heavens, shaking out her dewy hair, her face blushing red at the pursuing sun – from him roseate Lucifer averts his fires lingering in the clouds and with reluctant horse leaves the heavens no longer his, until the blazing father make full his orb and forbid even his sister her beams) Statius, Thebaid 2, 134–150; Translated by A. L. Ritchie and J. B. Hall in collaboration with M. J. Edwards
30.^ "Lucifer, the Son of the Morning! Is it he who bears the Light, and with its splendors intolerable blinds feeble, sensual, or selfish Souls? Doubt it not!" (Albert Pike, Morals and Dogma, p. 321). Much has been made of this quote (Masonic information: Lucifer).
31.^ Leo Taxil's confession
32.^ Freemasonry Disclosed April 1897
33.^ "Leo Taxil: The tale of the Pope and the Pornographer". . Retrieved 14 September 2006.
34.^ Alternative Religions
35.^ Madeline Montalban and the Order of the Morning Star
36.^
37.^ The Bible of the Adversary "Adversarial Doctrine" page 8 – Bible of the Adversary, Succubus Productions 2007).
Further reading
Campbell, Joseph (1972). Myths To Live By. A Condor Book: Souvenir Press (Educational & Academic) Ltd. ISBN 0-285-64731-8
External links
"Lucifer" in the 1913 Catholic Encyclopedia.
Jewish Encyclopedia: Lucifer
Retrieved from
Categories: Abrahamic mythology | Biblical phrases | Christian terms | Angels in Christianity | Demons in Christianity | Fallen angels | Archangels | Hell | Individual angels | Latin religious phrases | Luciferianism | Satan | Satanism
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Venus (mythology)
(mythology)
Venus (mythology)
From Wikipedia, the free encyclopedia
For other uses, see Venus (disambiguation).
350px-La_nascita_di_Venere_(Botticelli)
The Birth of Venus, by Sandro Botticelli c. 1485–1486.
Venus was a Roman goddess principally associated with love, beauty and fertility, who played a key role in many Roman religious festivals and myths. From the third century BC, the increasing Hellenization of Roman upper classes identified her as the equivalent of the Greek goddess Aphrodite.
Contents
1 Name
2 Comparative mythology
3 Roman mythology
4 Cult
5 Epithets
6 In art
6.1 Classical art
6.2 In non-classical art
7 Tannhäuser
8 See also
9 References
10 Sources
11 External links
12 Ancient source references
Name
The noun form venus means "love" and "sexual desire" in Latin[citation needed] and has connections to venerari (to honour, to try to please) and venia (grace, favour) through a possible common root in an Indo-European *wenes-, comparable to Sanskrit vanas- "lust, desire".[1][2]
Venus' name might embody the function of honours and gifts to the divine when seeking their favours: such acts can be interpreted as the enticement, seduction or charm of gods by mortals.[3][4] The ambivalence of this function is suggested in the etymological relationship of the root *venes- with Latin venenum (poison, venom), in the sense of "a charm, magic philtre".[5]
Comparative mythology
Main article: Aphrodite
Due to her early association with Aphrodite in the interpretatio graeca, it is hard to establish what characteristics the natively Italic Venus may have had. But like Aphrodite, Venus appears to be a hypostasis of the Indo-European dawn goddess. The personification of dawn persists in Roman mythology as Aurora, but the Indo-European dawn goddess also had aspects of a female love goddess, which became separated from the personification of dawn in some traditions.
Ushas is linked to Venus by a Vedic Sanskrit epithet ascribed to her, vanas- "(female) loveliness; longing, desire", which is cognate with Latin Venus (Proto-Indo-European root *wen- "to desire").[6]
In the interpretatio romana of the Germanic pantheon during the early centuries AD, Venus became identified with the Germanic goddess Frijjo, giving rise to the loan translation "Friday" for dies Veneris. The historical cognate of the dawn goddess in Germanic tradition, however, would be Ostara.
Roman mythology
Ancient Roman religion
150px-Pompejanischer_Maler_um_80_v__Chr__001
Practices and beliefs
Roman festivals · Imperial cult
Mystery religions · Res divina
Roman temple · Cultus
polytheism · numen · ludi
Rituals
animal sacrifice · funerals ·
vota · libation · lectisternium
Priesthoods
College of Pontiffs · Augur
Vestal Virgins · Flamen · Fetial
Epulones · Arval Brethren
Quindecimviri sacris faciundis
Dii Consentes
Jupiter · Juno · Neptune · Minerva
Mars · Venus · Apollo · Diana
Vulcan · Vesta · Mercury · Ceres
Other deities
Janus · Quirinus · Saturn ·
Hercules · Faunus · Priapus
Bacchus (Liber) · Bona Dea · Ops
Castor and Pollux · Cupid
Chthonic deities: Proserpina ·
Dis Pater · Pluto · Orcus ·
Hecate · Di Manes
Domestic and local deities:
Lares · Di Penates · Genius
Hellenistic deities: Sol Invictus · Magna Mater · Isis · Mithras
Deified emperors:
Divus Julius · Divus Augustus
See also List of Roman deities
Related topics
Roman mythology
Glossary of ancient Roman religion
Religion in ancient Greece
Etruscan religion
Gallo-Roman religion
Decline of Hellenistic polytheism
For more details on this topic, see Aphrodite.
Venus was commonly associated with the Greek goddess Aphrodite and the Etruscan deity Turan, borrowing aspects from each. As with most other gods and goddesses in Roman mythology, the literary concept of Venus is mantled in whole-cloth borrowings from the literary Greek mythology of her equivalent counterpart, Aphrodite. The early, Etruscan or Latin goddess of vegetation and gardens became deliberately associated with the Greek Goddess Aphrodite.[7] In some Latin mythology Eros was the son of Venus and Mars, the god of war. In other times, Venus was understood to be the consort of Vulcan. Virgil, in compliment to his patron Augustus and the gens Julia, made Venus, whom Julius Caesar had adopted as his protectress, the ancestor of the Roman people by way of its legendary founder Aeneas and his son Iulus.
Cult
Her cult began in Ardea and Lavinium, Latium. On August 15, 293 BC, her oldest known temple was dedicated, and August 18 became a festival called the Vinalia Rustica. After Rome's defeat at the Battle of Lake Trasimene in the opening episodes of the Second Punic War, the Sibylline oracle recommended the importation of the Sicillian Venus of Eryx; a temple to her was dedicated on the Capitoline Hill in 217 BC:[8] a second temple to her was dedicated in 181 BC.[9]
Venus seems to have played a part in household or private religion of some Romans. Julius Caesar claimed her as an ancestor (Venus Genetrix); possibly a long-standing family tradition, certainly one adopted as such by his heir Augustus. Venus statuettes have been found in quite ordinary household shrines (lararia). In fiction, Petronius places one among the Lares of the freedman Trimalchio's household shrine.[10]
Epithets
Like other major Roman deities, Venus was ascribed a number of epithets that referred to her different cult aspects and roles.
Venus Acidalia was,[11] according to Servius, named after the well Acidalius near Orchomenus, in which Venus used to bathe with the Graces. Others connect the name with the Greek acides (άκιδες), meaning cares or troubles.[12]
Venus Calva ("Venus the bald one"), an image of the Goddess attested by post Classical Roman writings which offer several different Roman traditions to explain this appearance and epithet. One holds that it commemorates the virtuous offer by Roman matrons of their own hair to make bowstrings during a siege of Rome: another, that during the reign of king Ancus Marcius, the queen and others lost their hair during an epidemic. In hope of its restoration, women unaffected by the affliction willingly sacrificed their own hair to Venus.[13] Ashby (1929) finds the existence of a temple to her "very doubtful".[14]
Venus Cloacina ("Venus the Purifier"), was a fusion of Venus with the Etruscan water goddess Cloacina, likely resulting from a statue of Venus being prominent near the Cloaca Maxima, Rome's sewer system. The statue was erected on the spot where according to Rome's founding tradition, peace was made between the Romans and Sabines.
Venus Erycina ("Venus from Eryx"), also called Venus Erucina, originated on Mount Eryx in western Sicily. Temples were erected to her on the Capitoline Hill and outside the Porta Collina. She embodied "impure" love, and was the patron goddess of prostitutes.
Venus Felix ("Lucky Venus") was an epithet used for a temple on the Esquiline Hill and for a temple constructed by Hadrian dedicated to "Venus Felix et Roma Aeterna" ("Favorable Venus and Eternal Rome") on the north side of the Via Sacra. This epithet is also used for a specific sculpture at the Vatican Museums.
Venus Genetrix ("Mother Venus") was Venus in her role as the ancestress of the Roman people, a goddess of motherhood and domesticity. A festival was held in her honor on September 26. As Venus was regarded as the mother of the Julian gens in particular, Julius Caesar dedicated a Temple of Venus Genetrix in Rome in 46 BC. This name has attached to an iconological type of statue of Aphrodite/Venus.
200px-RomaForoCesareDaNord
Venus Genetrix temple in Forum of Caesar, Rome.Venus Kallipygos ("Venus with the pretty bottom"), a form worshipped at Syracuse.
Venus Libertina ("Venus the Freedwoman") was an epithet of Venus that probably arose from an error, with Romans mistaking lubentina (possibly meaning "pleasurable" or "passionate") for libertina. Possibly related is Venus Libitina, also called Venus Libentina, Venus Libentia, Venus Lubentina, Venus Lubentini and Venus Lubentia, an epithet that probably arose from confusion between Libitina, a funeral goddess, and the aforementioned lubentina, leading to an amalgamation of Libitina and Venus. A temple was dedicated to Venus Libitina on the Esquiline Hill.
Venus Murcia ("Venus of the Myrtle") was an epithet that merged the goddess with the little-known deity Murcia or Murtia. Murcia was associated with the myrtle-tree, but in other sources was called a goddess of sloth and laziness.
Venus Obsequens ("Graceful Venus" or "Indulgent Venus") was an epithet to which a temple was dedicated in the late 3rd century BCE during the Third Samnite War by Quintus Fabius Maximus Gurges. It was built with money fined from women who had been found guilty of adultery. It was the oldest temple of Venus in Rome, and was probably situated at the foot of the Aventine Hill near the Circus Maximus. Its dedication day, August 19, was celebrated in the Vinalia Rustica.
Venus Urania ("Heavenly Venus") was an epithet used as the title of a book by Basilius von Ramdohr, a relief by Pompeo Marchesi, and a painting by Christian Griepenkerl. (cf. Aphrodite Urania.)
On April 1, the Veneralia was celebrated in honor of Venus Verticordia ("Venus the Changer of Hearts"), the protector against vice. A temple to Venus Verticordia was built in Rome in 114 BC, and dedicated April 1, at the instruction of the Sibylline Books to atone for the inchastity of three Vestal Virgins.
Venus Victrix ("Venus the Victorious") was an aspect of the armed Aphrodite that Greeks had inherited from the East, where the goddess Ishtar "remained a goddess of war, and Venus could bring victory to a Sulla or a Caesar."[15] Pompey, Sulla's protege, vied with his patron and with Caesar for public recognition as her protege. In 55 BC he dedicated a temple to her at the top of his theater in the Campus Martius. She had a shrine on the Capitoline Hill, and festivals on August 12 and October 9. A sacrifice was annually dedicated to her on the latter date. In neo-classical art, her epithet as Victrix is often used in the sense of 'Venus Victorious over men's hearts' or in the context of the Judgement of Paris (eg Canova's Venus Victrix, a half-nude reclining portrait of Pauline Bonaparte).
Other significant epithets for Venus included Venus Amica ("Venus the Friend"), Venus Armata ("Armed Venus"), Venus Caelestis ("Celestial Venus"), and Venus Aurea ("Golden Venus").
In art
Classical art
200px-Venus_de_Milo_Louvre_Ma399_n4
Venus de Milo at the Louvre
Roman and Hellenistic art produced many variations on the goddess, often based on the Praxitlean type Aphrodite of Cnidus. Many female nudes from this period of sculpture whose subjects are unknown are in modern art history conventionally called 'Venus'es, even if they originally may have portrayed a mortal woman rather than operated as a cult statue of the goddess.
Examples include:
Venus de Milo (130 B.C.)
Venus de' Medici
Capitoline Venus
Esquiline Venus
Venus Felix
Venus of Arles
Venus Anadyomene (also here)
Venus, Pan and Eros
Venus Genetrix
Venus of Capua
Venus Kallipygos
Venus Pudica
In non-classical art
170px-Anadyomene
Venus Anadyomene, by Titian (ca. 1525)
200px-Kustodiev_russian_venus
Russian Venus by Boris Kustodiev (1926).
170px-Jacques-Louis_David_-_Mars_desarme_par_Venus
Jacques-Louis David, Mars Being Disarmed by Venus (Brussels)Venus became a popular subject of painting and sculpture during the Renaissance period in Europe. As a "classical" figure for whom nudity was her natural state, it was socially acceptable to depict her unclothed. As the goddess of sexuality, a degree of erotic beauty in her presentation was justified, which appealed to many artists and their patrons. Over time, venus came to refer to any artistic depiction in post-classical art of a nude woman, even when there was no indication that the subject was the goddess.
The Birth of Venus (Botticelli) (c. 1485)
Sleeping Venus (c. 1501)
Venus of Urbino (1538)
Titian's Venus with a Mirror (c. 1555)
Rokeby Venus
Olympia (1863)
The Birth of Venus (Bouguereau) (1879)
The Birth of Venus (Cabanel) (1863)
Venus of Cherchell, Gsell museum in Algeria
Venus Victrix, and Venus Italica by Antonio Canova
In the field of prehistoric art, since the discovery in 1908 of the so-called "Venus of Willendorf" small Neolithic sculptures of rounded female forms have been conventionally referred to as Venus figurines. Although the name of the actual deity is not known, the knowing contrast between the obese and fertile cult figures and the classical conception of Venus has raised resistance to the terminology.
Tannhäuser
210px-Jcollier
Tannhäuser in the Venusberg by John Collier, 1901: a gilded setting that is distinctly Italian quattrocento.The medieval German legend Tannhäuser preserved the Venus myth long after her worship was extirpated by Christianity.
The German story tells of Tannhäuser, a knight and poet who found Venusberg, a mountain with caverns containing the subterranean home of Venus, and spent a year there worshipping the goddess. After leaving Venusberg, Tannhäuser is filled with remorse, and travels to Rome to ask Pope Urban IV if it is possible to be absolved of his sins.
Urban replies that forgiveness is as impossible as it would be for his papal staff to blossom. Three days after Tannhäuser's departure, Urban's staff blooms with flowers; messengers are sent to retrieve the knight, but he has already returned to Venusberg, never to be seen again.
See also
Venus (disambiguation)
Venus (planet)
Venus symbol
Love goddess
References
1.^ Etymonline link (Harper)
2.^ William W.Skeat Etymological Dictionary of the English Language New York, 1963 (first ed. 1882) s. v. venerable, venereal, venial.
3.^ R. Schilling La religion romaine de Venus depuis les origines jusqu'au temps d' Auguste Pais, 1954, pp.13-64
4.^ R. Schiling "la relation Venus venia", Latomus, 21, 1962, pp. 3-7
5.^ Linked through an adjectival form *venes-no-: ibid. s.v. "venom"
6.^ "wen-1. The American Heritage Dictionary of the English Language: Fourth Edition. 2000.". . Retrieved 2008-02-16.
7.^ [1]
8.^ Beard et al, Vol 1., 80, 83: see also Livy Ab Urbe Condita 23.31.
9.^ Orlin, in Rüpke (ed), 62.
10.^ Kaufmann-Heinimann, in Rüpke (ed), 197 - 8.
11.^ Virgil, Aeneid i. 720
12.^ Schmitz, Leonhard (1867). "Acidalia". In Smith, William. Dictionary of Greek and Roman Biography and Mythology. 1. Boston, MA. pp. 12.
13.^ R. Schilling La religion romaine de Venus depuis les origines jusqu'au temps d'August Paris, 1954, pp.83-89: "L'origine probable du cult de Venus".
14.^ Samuel Ball Platner (as completed and revised by Thomas Ashby), A Topographical Dictionary of Ancient Rome, London, Oxford University Press, 1929, p551.[2]
15.^ Thus Walter Burkert, in Homo Necans (1972) 1983:80, noting C. Koch on "Venus Victrix" in Realencyclopädie der klassischen Altertumswissenschaft, 8 A860-64.
Sources
Champeaux, J. (1987). Fortuna. Recherches sur le culte de la Fortuna à Rome et dans le monde romain des origines à la mort de César. II. Les Transformations de Fortuna sous le République. Rome: Ecole Française de Rome. (pp. 378–395)
Hammond, N.G.L. and Scullard, H.H. (eds.) (1970). The Oxford Classical Dictionary. Oxford: Oxford University Press. (p. 113)
Lloyd-Morgan, G. (1986). "Roman Venus: public worship and private rites." In M. Henig and A. King (eds.), Pagan Gods and Shrines of the Roman Empire (pp. 179–188). Oxford: Oxford Committee for Archaeology Monograph 8.
Nash, E. (1962). Pictorial Dictionary of Ancient Rome Volume 1. London: A. Zwemmer Ltd. (pp. 272–263, 424)
Richardson, L. (1992). A New Topographical Dictionary of Ancient Rome. Baltimore and London: The Johns Hopkins University Press. (pp. 92, 165–167, 408–409, 411) ISBN 0-8018-4300-6
Room, A. (1983). Room's Classical Dictionary. London and Boston: Routledge & Kegan Paul. (pp. 319–322)
Rüpke, Jörg (Editor), A Companion to Roman Religion, Wiley-Blackwell, 2007. ISBN 978-1-4051-2943-5
Schilling, R. (1982) (2nd ed.). La Religion Romaine de Vénus depuis les origines jusqu'au temps d'Auguste. Paris: Editions E. de Boccard.
Scullard, H.H. (1981). Festivals and Ceremonies of the Roman Republic. London: Thames and Hudson. (pp. 97, 107)
Simon, E. (1990). Die Götter der Römer. Munich: Hirmer Verlag. (pp. 213–228).
Weinstock, S. (1971). Divus Julius. Oxford; Clarendon Press. (pp. 80–90)
Gerd Scherm, Brigitte Tast Astarte und Venus. Eine foto-lyrische Annäherung (1996), ISBN 3-88842-603-0
External links
Wikimedia Commons has media related to: Venus
Wikimedia Commons has media related to: Aphrodite
'Venus Chiding Cupid for Learning to Cast Accounts' by Sir Joshua Reynolds at the Lady Lever Art Gallery
Ancient source references
Ovid, Metamorphoses IV.171-189
Cicero, De natura deorum II.20.53
Lactantius, Divinae institutiones I.17.10
Justine, Epitome Historiarum philippicarum Pompei Trogi XVIII.5.4, XXI.3.2
Roman mythology and religion
Deities Apollo · Bacchus (Liber) · Bona Dea · Castor and Pollux · Ceres · Cupid · Diana · Dis Pater · Faunus · Genius · Hercules · Janus · Juno · Jupiter · Lares · Mars · Mercury · Minerva · Orcus · Neptune · Penates · Pluto · Priapus · Proserpina · Quirinus · Saturn · Silvanus · Sol · Venus · Vesta · Vulcan
See also List of Roman deities
Abstract deities Concordia · Fides · Fortuna · Pietas · Spes · Roma · Terra
Legendary founders Aeneas · Romulus and Remus · Numa Pompilius · Servius Tullius · Ancus Marcius
Texts Vergil, Aeneid · Ovid, Metamorphoses and Fasti · Propertius, Elegies Book 4 · Apuleius, Metamorphoses (The Golden Ass)
Concepts and practices Religion in ancient Rome · Festivals · interpretatio graeca · Imperial cult · Temples
See also Glossary of ancient Roman religion · Greek mythology · myth and ritual
Retrieved from (mythology)
Categories: Love and lust goddesses | Fertility goddesses | Roman goddesses | Deities in the Aeneid | Sexuality in ancient Rome | Mother goddesses
Hidden categories: All articles with unsourced statements | Articles with unsourced statements from October 2010 | Articles containing Ancient Greek language text
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Sukra
Sukra
From Wikipedia, the free encyclopediaJump to: navigation, search
Shukra may refer to:
• The Sanskrit name for Venus, also Shukra
• A Montserratian spirit or ghost
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Cross Reference
WordWeb 6.1
Noun: Montserratian
1. A native or inhabitant of Montserrat
Adjective: Montserratian
1. Of or relating to Montserrat or the inhabitants of Montserrat
"Montserratian natives"
Type of
West Indian
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This disambiguation page lists articles associated with the same title.
If an internal link led you here, you may wish to change the link to point directly to the intended article.
Retrieved from
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Shukra
Shukra
From Wikipedia, the free encyclopedia
Shukra
275px-Shukra
Venus
Devanagari शुक्र
Affiliation Graha and Guru of Asuras, Daityas
Consort Urjaswathi
Mount Crocodile / chariot pulled
by seven horses
Shukra (शुक्र,சுக்ரன், ಶುಕ್ರ, IAST Śukra), the Sanskrit for "clear, pure" or "brightness, clearness", is the name the son of Bhrigu, and preceptor of the Daityas, and the guru of the Asuras, identified with the planet Venus, one of the Navagrahas (with honorific, शुक्राचार्य Shukracharya). He presides over Shukravar (Devanagari: शुक्रवार) or Friday.
He is of white complexion, middle-aged and of agreeable countenance. He is described variously mounted on a camel, horse or crocodile. He holds a stick, beads and a lotus and sometimes a bow and arrow.[1]
Ushanas is the name of a Vedic rishi with the patronymic Kāvya (descendant of Kavi, AVŚ 4.29.6), who was later identified as Ushanas Shukra.
Contents
1 Name
2 Guru Shukracharya
3 In astrology
4 References
Name
Shukra is etymologically identical with shukla "white". As a noun, it may also refer to any clear liquid, to water, semen and to Soma, and to a receptacle for Soma, and it is also the name of a Marutvat, of a son of Vasishtha, of the third Manu, of one of the saptarshi under Manu Bhautya, of a son of Bhava, of a son of Havirdhana.
Ushanas is also the name of the author of a Dharmashastra.
Guru Shukracharya
220px-Shukradeva
Shukra with consort Dwarjaswini
He was a Bhargava rishi of the Atharvan branch and a descendant of sage Kavi. The Devi-Bhagavata Purana refers to his mother as Kavyamata. The feminic natured Shukra is a Brahminical planet. He was born on Friday in the year Parthiva on Sraavana Suddha Ashtami when Svati Nakshatra is on the ascent. Hence, Friday is known as Shukravaar in Indian languages like Sanskrit, Telugu, Hindi, Marathi, Gujarati, Oriya, Bengali, Assamese, and Kannada. He went on to study the Vedas under the rishi Angirasa but he was disturbed by Angirasa's favouritism for his son Brihaspati. He then went to study under rishi Gautama. He later performed penance to Lord Shiva and obtained the Sanjivani mantra (a formula that revived the dead). He married Priyavrata's daughter Urjaswathi and they had four sons — Chanda, Amarka, Tvastr, Dharaatra and a daughter by name Devayani.
During this period Brihaspati became the Guru (Preceptor) of the Devas. Due to the hatred he bore towards Vishnu for what he perceived as the murder of his mother as she had given shelter to some asura whom Vishnu was hunting, Shukracharya decided to become the Guru of Asuras. He helped them achieve victory over the Devas and used his knowledge to revive the dead and wounded among them.
The fact is that the Devas and Asuras were among two sections of Aryan kings and rishis out of which one section was worshiping deities called the Devas and the other, deities called the Asuras. Ushanas Shukra was the preceptor of the petty king Vrshaparvan, the leader of the section worshiping the Asuras. These Deva-Asura differences were aggravated to such an extent that at a later period, his descendants and followers had to leave Sapta Sindhu and settle elsewhere, probably in Iran. The priests of the Ahura-worshiping sect of Ahura Mazda of Iran are called atharvans.
In one story, Lord Vishnu is born as the Brahmin dwarf-sage Vamana. Vamana comes to take the three worlds as alms from the asura king Bali. Lord Vishnu wanted to deceive the king Bali who was the grandson of the great king Prahlada, in order to help the Devas. The sage Shukracharya identifies him immediately and warns the King. The King is however a man of his word and offers the gift to Vamana. Shukracharya, annoyed with the pride of the king, shrinks himself with his powers and sits in the spout of the vase, from which water has to be poured to seal the promise to the deity in disguise. Lord Vishnu, in disguise of the dwarf, understands immediately, and picks a straw from the ground and directs it up the spout, poking out the left eye of Shukracharaya. Since this day on, the guru of the asuras has been known to be half blind.
Devayani was the daughter of Shukracharya, who was rejected by the son of Brihaspati, Kacha. She later marries Yayati who founds the Kuru dynasty.
In the time of the Mahabharata, Shukracharya is mentioned as one of the mentors of Bhishma, having taught him political science in his youth.[2]
In astrology
150px-HinducosmoMap2_svg
In Vedic astrology Shukra (Venus) is considered a benefic and rules over the signs Vrishabha (Taurus) and Tula (Libra). It is exalted in Meena (Pisces), and in its fall in Kanya (Virgo). The planets Mercury and Saturn are considered friendly to Shukra, the Sun and Moon are hostile and Jupiter and the rest are considered neutral. In astrology Shukra represents love, romance and sexuality, artistic talents, the quality of the body and material life, wealth, the opposite sex, pleasure and reproduction, feminine qualities and the fine arts, such as music, dance, painting and sculpture. Those with Shukra strong in their charts are likely to appreciate nature and enjoy harmonious relationship. However, an excessive influence can cause them to indulge too much in the pleasures of life without accomplishing much of real worth. Shukra is the lord of three nakshatras or lunar mansions: Bharani, Purva Phalguni and Purva Ashadha
Strong Houses: 1, 4, 5, 9, 10, 11, 12 Weak Houses: 6, 8 Medium House: 2, 3, 7
Shukra and its significance Venus is an indicator of spouse, love, marriage, comfort, luxury, beauty, prosperity, happiness, all conveyances, art, dance music, acting, passion and sex. Shukra blesses the people with power to control their sense organs (Indriyas) and enables to obtain name and fame. Afflictions to Venus can cause eye diseases, venereal complaints, indigestion, pimples, impotency, loss of appetite and rashes on the skin.
In Vedic astrology, there is a dasha or planetary period known as Shukra Dasha which remains active in a person's horoscope for 20 years, this is the longest dasha among all planets. This dasha is believed to give more wealth, fortune and luxury to a person's life if they have Shukra positioned well in their horoscope. In addition Shukra is an important benefic planet in the horoscope. Shukra is associated with a month in the Hindu calendar called JyeshTha ( May-June, personified as the guardian of Kubera's treasure).
Shukra also has the following associations. His color is white, metal is silver and gemstone is diamond. His direction is south-east, season is spring and element is water.
Above the moon by a distance of 200,000 yojanas are some stars, and above these stars is Śukra-graha (Venus), whose influence is always auspicious for the inhabitants of the entire universe. Some 1,600,000 miles above group of stars is the planet Venus, which moves at almost exactly the same pace as the sun according to swift, slow and moderate movements. Sometimes Venus moves behind the sun, sometimes in front of the sun and sometimes along with it. Venus nullifies the influence of planets that are obstacles to rainfall. Consequently its presence causes rainfall, and it is therefore considered very favorable for all living beings within this universe. This has been accepted by learned scholars. On the upper chin of the śiśumāra is Agasti; on its lower chin, Yamarāja; on its mouth, Mars; on its genitals, Saturn; on the back of its neck, Jupiter; on its chest, the sun; and within the core of its heart, Nārāyaṇa. Within its mind is the moon; on its navel, Venus; and on its breasts, the Aśvinī-kumāras. Within its life air, which is known as prāṇāpāna, is Mercury, on its neck is Rāhu, all over its body are comets, and in its pores are the numerous stars.
References
1.^ Mythology of the Hindus By Charles Coleman p.134
2.^ Subramaniam, Kamala (2007). "Adi Parva". The Mahabharata. Bharatiya Vidya Bhavan India. ISBN 8172764057.
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Sukran
Sukran
From Wikipedia, the free encyclopedia
This article is missing citations or needs footnotes. Please help add inline citations to guard against copyright violations and factual inaccuracies. (December 2007)
Sukran
File:Sukran.jpg
Directed by S.A. Chandrasekhar
Written by S.A. Chandrasekhar
Starring Vijay
Ravi Krishna
Natassha
Sriman
Nassar
Rambha
Music by Vijay Antony
Release date(s) 7 May 2005
Running time 165 min.
Country India
Language Tamil
Sukran is a Tamil film which released on 7 May 2005 and was directed by S.A. Chandrasekhar. This film has Ravi Krishna in the lead role. Actor Vijay, son of Chandrasekhar had an extended guest appearance.
Story
This article's plot summary may be too long or overly detailed. Please help improve it by removing unnecessary details and making it more concise. (December 2007)
Ravi Shankar (Ravi Krishna) and Sandhya (Natassha), students of a college in Dindigul, are love birds. When Sandhya's mother and a village panchayat chief (Nalini) comes to know of their affair, she puts spokes in their wheel. But the caring father of Ravi Shankar (Nazar) sends them to Chennai. For his act, Nazar gets bumped off by Nalini.Upon reaching Chennai, a corrupt police officer (Sreeman) apprehends Ravi Shankar on a complaint given by Nalini that he had murdered his father when he put his foot down on their affair. Ravi is put behind the bars.
Sandhya is persuaded to seek the help of a Judge (Rajan P Dev) to get a bail for Ravi Shankar. When she reaches the place, she gets gang raped by the police officer and the judge, which they also videograph. After a series of events, the couple decides to commit suicide. At this juncture, they comes across Sukkran (Vijay ) who advices them to face all troubles boldly.
Again the couple gets harassed by the police and Sandhya gets arrested on (false) charges of prostitution. All efforts by Ravi to get her out on bail is futile. An agitated Ravi shoots the inspector, the judge and the Minister's son who raped his girlfriend and escapes with her from the court.
Sukkran steps in and promises to save the couple. He appears on behalf of Ravi and puts forward enough evidence to help out Ravi. He also eventually kills the Minister (FEFSI Vijayan) responsible for all wrong-doings.
Crew
Writing credits: S.A. Chandrasekhar
Music: Vijay Antony
Cinematography: Ratnavelu
Directed: S.A. Chandrasekhar
Film Editing: Marthand K. Venkatesh
Lyrics: Viswa
Choreography: Nixon, Harish Pai, Shankar, Ashok Raj, Raju Sundaram
[edit] External links
Sukran at the Internet Movie Database
Retrieved from
Categories: 2005 films | Tamil-language films | Indian films
Hidden categories: Articles with unsourced statements from December 2007 | All articles with unsourced statements | Wikipedia articles with plot summary needing attention from December 2007 | All Wikipedia articles with plot summary needing attention
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Sukran (2005)
Sukran (2005)
165 min -
2.9/10 X Users: 2.9/10 (94 votes) write review
Director: S.A. Chandrashekhar
Writer: S.A. Chandrashekhar
Release Date:7 May 2005 (India)
Cast
Credited cast:
Rajan P. Dev
Anita Hassandani
Ravi Krishna
Nalini
Vijay
Full cast and crew »
Storyline
| Add Synopsis
Parents Guide:Add content advisory for parents » Details
Country:India
Language:Tamil
Release Date:7 May 2005 (India) See more »
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Company Credits
Show detailed company contact information on IMDbPro »
MOVIEmeter:Down 14% in popularity this week.
Recommendations
Ithu Engal Neethi (1988)
Perivanna (1999)
Dharma: The Warrior (1999)
Naan Sigappu Manithan (1985)
Once More (1997)
Thamizhan (2002)
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Published on internet: Friday, May 13, 2011
Revised: Friday, May 13, 2011
Information on the web site is given in good faith about a certain spiritual way of life, irrespective of any specific religion, in the belief that the information is not misused, misjudged or misunderstood. Persons using this information for whatever purpose must rely on their own skill, intelligence and judgment in its application. The webmaster does not accept any liability for harm or damage resulting from advice given in good faith on this website.
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“Thou belongest to That Which Is Undying, and not merely to time alone,” murmured the Sphinx, breaking its muteness at last. “Thou art eternal, and not merely of the vanishing flesh. The soul in man cannot be killed, cannot die. It waits, shroud-wrapped, in thy heart, as I waited, sand-wrapped, in thy world. Know thyself, O mortal! For there is One within thee, as in all men, that comes and stands at the bar and bears witness that there IS a God!”
(Reference: Brunton, Paul. (1962) A Search in Secret Egypt. (17th Impression) London, UK: Rider & Company. Page: 35.)
Amen
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