Ancient Practitioners of Sacred Sex
(Excerpt from: Sacred Sexuality–A Manual for Living Bliss by: Michael Mirdad)

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Sexuality of the Western Mystics

The art of sacred sexuality (during the Middle Ages) was known as alchemy, meaning “All-Chemistry” or “God’s Chemistry.” This lost science was said to have been the art of transmuting base metals into gold. It’s now understood that the western mystics were actually using metaphor to discuss their art of sacred sexuality. They were describing the transmutation of base, sexual energy into valuable, ecstatic, soul-level orgasms.

The only transformer and alchemist that turns everything into gold is love.
–Anais Nin

Common tools of the alchemist include the pestle and mortar, which are symbols of a lingam (penis) and yoni (vagina). Here, the grinding activity between the two represents sexual union. Other tools of the alchemist are the wand and cistern or knife and bowl. Again these symbolize the creative activity between the male and female principles, or the lingam and yoni. Furthermore, these symbols of sexual union represent the creative mind piercing and activating the receptive void, just as “the Spirit of God moved upon the face of the deep.”

Unfortunately, some practitioners of what is commonly referred to as sex magic or alchemical sex have a different focus. Their goal is ego self-gratification, not joining in oneness. While all practitioners of sex magic may not be ego-centered, many of them are known to maintain a detachment from their lovers and use them as mere tools to ignite their own energetic systems. Lacking true intimacy and spiritual depth, however, their sexual encounters can never be confused with anything sacred–particularly sacred sexuality.

Tales of Sacred Sexuality

The following are myths, legends, and stories of sacred sexuality from numerous cultures throughout history. Each legend possesses valuable insights into the meaning of sacred sexuality.

Actaeon and Diana
When Actaeon, (a respected hunter who symbolizes the physical self) happened upon the great goddess Diana, naked and washing herself, he failed to fall down and worship her. Instead, he chose to make a sexual advance. Because he failed to see and honor her divinity, she turned him into a stag (symbolizing his out-of-control horniness). Afterwards, Actaeon’s own hunting dogs devoured him. This story suggests that when our sexual desires are out of control and we fail to recognize the sacred spirit within that which we desire, our actions will inevitably destroy us.

Cupid and Psyche
The story of Cupid and Psyche offers deep insights into the connection between eroticism and spirituality. Cupid, who is also known as Eros, or Amour, is the god of erotic love, and Psyche represents the beauty of the soul.

When the goddess Venus becomes jealous of Psyche’s beauty, Venus asks Eros to cause Psyche to fall in love with some unworthy man. Instead, Eros takes Psyche away to his own secret place, where he protects and visits her under the cloak of darkness, so she never sees his face. Eros explains to Psyche that although he is a god, he doesn’t want her to fear or revere him, but to love him as an equal. Herein, the story reveals the importance of mutuality and equality in a relationship of love.

Eventually, Psyche is coaxed (by her envious sisters) to break her vow to Eros and to attempt to see her lover in the light. So while he is sleeping, she takes a candle to bed to see his face. But the hot wax drips on his shoulder and awakens him. Sadly, Eros flies away on his white wings after telling Psyche, “Love cannot dwell with suspicion.” This story conveys the invaluable lesson that trust is necessary if lovers are to remain united. In breaking their agreement to honor the mystery, Psyche attempted to know her lover through her eyes and mind, instead of allowing the knowing of her heart to be sufficient. Hence, in her attempt to limit and control Eros, she sacrificed everything.

Later, after Psyche is put through some seemingly impossible initiations by the goddess Venus (tests which Eros secretly helps her pass), the goddess is satisfied and allows Psyche to drink the sacred ambrosia and become immortal. Thus, Psyche is reunited with Eros, and they begin an eternal union.

Eventually, the union of Eros and Psyche (sexuality and spirituality) produces a daughter, whose name is Pleasure, suggesting that true pleasure can be attained only through the proper, healthy union of the loving soul (Psyche) with the passionate body (Eros). Furthermore, for this union to survive, it must be revered as sacred and maintain the elements of spontaneity and mystery.

Dionysus–The God of Abandon
Although the story of Dionysus might seem unfamiliar, elements of his legend are firmly embedded in modern history, religion, and psychology. Dionysus is the personification of divine ecstasy, which, in human hands, can bring either transcendent joy or madness–spiritual liberation or physical addiction. The word ecstasy comes from the root ex stasis, meaning “to stand outside oneself” (which is what happens when we have an experience that is too powerful for the body to contain).

Dionysus is often referred to as the god of abandon, the god of ecstasy or the god of the vine, meaning “wine,” but not “drunkenness,” as often portrayed. In fact, drunkenness was not permitted at ancient Dionysian gatherings, since it was believed that one had to maintain conscious awareness to avoid being possessed by negative spirits while in such a vulnerable and open state.

Greek god Dionysis and consorts Dionysus represents the ecstasy of the senses and the sensuous world and is therefore the antithesis of the intellectual thought processes. Ancient civilizations honored Dionysus by many names and in diverse forms. In fact, the practice of the orgy was originally a ritual honoring the god Dionysus–the god of liberation and abandon. The theatre is said to also have originated as one of the Dionysian rituals.

Since he represented the awakening of the earth, the Christians turned the youthful, androgynous, and beautiful Dionysus into a goat image, depicted with what they perceived as the face of the devil. Yet, paradoxically, many churches still practice Dionysian rituals. In fact, there are numerous parallels between Dionysus and Jesus–making Jesus a living embodiment of Dionysus. Both are sons of Divine Fathers and mortal, virgin mothers. The mothers of both are said to have ascended to Heaven. The father of Dionysus is Zeus (sometimes called Dias-Pitar, meaning “God, the father”), while that of Jesus is referred to as “the Father, God.” Both beings are said to have visited hell, or the underworld, and both Dionysus and Jesus were hailed as “King of Kings.” Additionally, Dionysus and Jesus both die and are reborn, becoming symbols of transformation. Afterwards, Dionysus ascends to Olympus and Jesus, to Heaven, while both sit at the right hand of God. The name Dionysus means “son of God,” while Jesus was called the “son of God.”

Dionysus and Jesus both suffered at the hands of local authorities and were said to have mingled with men and women of questionable character and low repute. Also, both show a disregard for the established modes of worship.

Given all the similarities between Dionysus and Jesus, it becomes clear that both beings personify the living Christ, one as a mythological archetype and the other as a living incarnation. Dionysus is the male archetype of Christ consciousness expressed in sensual form just as Mary Magdalene is for the female.

Paradise Lost
The English poet John Milton reveals incredible insights into the role and higher purpose of sexual encounters. In Paradise Lost, he depicts a conversation between Adam and the Archangel Raphael. Here, Adam shares his perplexing attraction for Eve as follows:
“To love thou blam’st me not, for love thou say’st
Leads up to heav’n, is both the way and guide;
Bear with me then, if lawful what I ask:
Love not the heav’nly spirits, and how their love
Express they, by looks only, or do they mix
Irradiance, virtual or immediate touch?”
To whom the Angel, with a smile that glowed
Celestial rosy red, love’s proper hue,
Answered: “Let it suffice thee that thou know’st
Us happy, and without love no happiness.
Whatever pure thou in the body enjoy’st
(And pure thou wert created) we enjoy
In eminence, and obstacle find none
Of membrane, joint, or limb…”

In this poem, Milton touches upon some of the themes of Genesis I and II. He implies that it is possible for human partnerships to be blessed with love; that the body was created pure; that sexual intercourse is pure and undefiled as long as the soul and body are properly connected to their Divine Source; and that human sexual love is a reflection of a greater Love Divine. Milton also implies that although the angels have a higher vibrational presence, they still enjoy some form of passionate expression. He further indicates that despite the higher form of angelic interaction, the angels themselves do not hold a judgment for the seemingly more limited human expressions through “membranes, joints, or limbs.”

The Return of the Goddess
There is a legend telling of a time when the gods were troubled by the appearance of a giant stone phallus (penis or lingam) that was destroying paradise. This black stone lingam was demolishing forests, homes, lakes, and mountains. The gods sent their armies to stop him but to no avail. In a moment of insight, the helpless gods remembered a great goddess whom they had formerly ignored. They humbly went to her, acknowledged her value, and said they would continue such an acknowledgement if she ended the destruction imposed by the lingam. So the goddess descended from the sky, took hold of the giant stone phallus, and slipped him deep inside of her. This act brought him such incredible pleasure that his aggression was completely dissolved.

Shakti and Shiva
Shakti and Shiva are female and male Tantric deities representing the masculine and feminine aspects of a greater deity. Although these beings are deified, they are both found within all men and women. The whole universe is said to be created from the union of Shakti and Shiva.

In Hindu mythology, Shiva (man) needs Shakti (woman) to give him form, and Shakti (woman) needs Shiva (man) to give her consciousness. He can teach her wonderful things, but she can always humble him by reminding him of his limits. In this sense, the two are necessary to achieve the perfect universal dance of life.

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