Magic of the Orphic Hymns

Ronnie Pontiac discusses his new book, The Magic of the Orphic Hymns: A New Translation for the Modern Mystic.
Tamra Lucid and Ronnie Pontiac present new literary translations of the Orphic Hymns that reveal their power to attune the reader to the sacred presence of the Orphic Mysteries and the higher order of nature. These translations restore important esoteric details and correspondences about the being or deity to which each hymn is addressed, offering a deeper understanding of these ancient texts.
The famous philosopher Marsilio Ficino once wrote that the Orphic Hymns were the most powerful form of magic. These hymns were not just poems but were used for meditation, rituals, and ceremonies. Each hymn was dedicated to a specific deity or virtue, like Athena, Zeus, Love, Justice, or Equality. However, the original hymns were written formulaically, which made them difficult to translate.
Tamra Lucid and Ronnie Pontiac have brought back the magical essence of the mystery cults of the past through their new versions of the teletai. They have included important hidden details and correspondences about the being or deity to which each hymn is addressed. They have also added a new version of a lost hymn called “Number” and messages that were inscribed on golden leaves meant to be passports for the dead. These reinventions preserve the original magical intent and mysticism of the teletai. Furthermore, the authors reveal the power of each hymn to attune the reader to the sacred presence of the Orphic Mysteries and the higher order of nature. They also demonstrate how the Orphic Hymns are a book of hours or a calendar of life, covering every event, from birth to death, and guiding us through every experience of human existence as necessary and holy.


We talk about

• The true mission of our souls
• Who was Orpheus
• The counter-culture of the Orphic Hymns
• The Roman Empress Black Julia
• Marsilio Ficino
• Black Athena
• Sator – half goat, half human
• The Underworld
• True Gods do not sacrifice animals

Tamra Lucid, a documentary film producer, including the Emmy-nominated End of the Line: The Women of Standing Rock, is the author of Making the Ordinary Extraordinary: My Seven Years in Occult Los Angeles with Manly Palmer Hall. She and Ronnie are founding members of the experimental rock band Lucid Nation. Ronnie Pontiac worked as Manly P. Hall’s research assistant, screener, and designated substitute lecturer for seven years. Author of American Metaphysical Religion, he wrote the biographical introduction to Letters to the Sage. He’s written for several esoteric journals and has produced award-winning documentaries.

Episode Transcript

(00:51):
Welcome to Get Over It, theConscious has Transforming podcast. We're exceptional twenty
first century living. Guess what,folks, We've got Ronny Pontiac back.
We're talking about his latest book,The Magic of the or Fit Hymns,
a new translation for the modern mystic. Now, this subject is going to
be probably new to a lot ofpeople. However, his book explains it

(01:15):
very very well. So we're goingto let I Ronnie take a deep dive
into this and educate us. Now, the information shared on Get over It
uses intuitive and pragmatic insight to helpyou shift your consciousness to break through blocks
and release energy that is no longerneeded. Yes, we're going to help
you let go of the BS that'sbeen holding you back. But you guys

(01:37):
know I always ask are you trulyready to? And by the way,
folks, BS is belief system.A bit about me for my new listeners,
Intuitive since birth. I'm a thirdgeneration Intuitive with over three decades of
experience supporting people to break to theblocks along their path. I'm a strategist
for personal and professional transformation, revealingcutting edge information that enables you to prosper

(02:00):
and thrive. I spent twenty fivesuccessful years in corporate America as an executive
sales professional. I'm the founder ofHealing Visions Ministries and the Northern California Children's
Education Network, a five oh onec three nonprofit. I provide tampultations and
healings in all areas of life thatheal the mind, body spirit connection,

(02:21):
allowing you to live your very bestlife. My clients tell me that I
keep it real while providing them withaccurate information to a system along their journey
as a spirit living in human existence. But they also say, if you
really don't want to know, don'task Monique. My background includes a doctorate
metaphysics, Reggie Master teacher or dayminister, and clinical hypnotherapist. So whether

(02:45):
you are stressed, depressed, orpossessed, I can help to find out
more about me the services I offer. Go to my website that's Monique Chapman
dot com, and I invite youto like me on Facebook and follow me
on LinkedIn. I Guess Today.Ronnie Pontiac worked as Manly P. Hall's
Research Assistant screener and designated Substitute lecturerfor seven years. Is the author of

(03:13):
American Metaphysical Religion, and he wrotethe biographical introduction to Letters to the Sage.
Written many esoteric books and journals,so you can find them all on
Amazon dot com. He's also amusician, so you know, put his
name in the search engine and checkhim out. He's a very deep,

(03:35):
deep person. Welcome, Ronnie,Hi Monique. I'm so delighted to be
back here with you. I amso glad that you're here. This book
is interesting and folks, you cango back and listen to our interview together
on the book American Metaphysical Religion.Quite eye opening. So Ronnie, thanks
for coming back. Let's just jumpright into this. I would love for

(03:58):
you to give us an edge educationabout orpheus and the orphic hymns. Okay,
so I wanted to jump and starttalking. I'll kind of butt in
if I have a question, butI'd love to hear everything that you have
to share with us. Okay,let's talk about orpheus first. Okay,
but before I tell you anything,I have to give you a disclaimer,

(04:19):
which is that in the world ofacademia, where all this new research about
this subject has been happening, thereare arguments about almost everything I'm going to
tell you. It's all a mysterywithin a mystery within a mystery, and
no one's really sure of any ofit. And we'll keep that in mind

(04:39):
as we tell you what are thegeneral parameters of this whole new area that
has been uncovered. Okay, SoOrpheus, we know him best through myth.
He was on the Argo, theship that Jason took to get the
Golden Fleece. In Greek mythology,his job there was to play songs that

(05:03):
kept the crew from fighting or becomingdepressed from being at sea and away from
home so long. His music wasso strong that even the dreaded sirens were
silenced by it. And he alsowherever the Argo stopped, he would meet
the local people, find out abouttheir religion, and create songs that could

(05:29):
be used in mystery schools that heestablished. So he was considered to be
really by the Greeks, the personwho was the founder of the whole tradition
of the mysteries, where people wouldbe educated about the true nature of their
souls and the meaning of life,and how to have a good relationship with
deities and with nature. And sothat particular Orpheus is was there such a

(05:58):
person There was at one time argumentsthat there were five different Orpheuses who were
all blended together. But currently mostacademics believe that there really never was an
Orpheus, and in fact, oneof the more interesting theories from a book
called Black Athena, is that itactually is an Egyptian word. There's an

(06:21):
Egyptian word called something along the linesof Orpaeus, and it means a hereditary
prince. So one scholar, MartinBernal, has argued that very likely a
lot of the Orphic mysteries came fromEgypt, and in fact the Greeks said
so, and said that Orpheus hadtraveled to Egypt to be educated there by

(06:44):
the priests. And so now theother Orpheus of myth is the famous story
of the backward glance, and thatis that on Orpheus's wedding day, when
he was going to marry Eurydicy,she was noticed by someone who was either
a shepherd or a say to akind of half goat, half human,
and it was so overcome with passionfor her that he tried to force her

(07:10):
on her wedding day and chased her. She ran, and she fell into
a pit of vipers, where shewas bitten and she died or if he
has found her, and of coursewas heartbroken, and so he started to
sing these incredible laments, and theywere so powerful, this music that he
was singing that nature began to weep, even the gods began to weep,

(07:35):
and everything stopped. All of creationjust fell into the sorrow with him.
The gods, realizing that they hadto stop this because the world had to
keep going, told him to gointo the underworld and to sing for the
judge of the dead, Hades,and to ask him to release Eurriticy back

(07:58):
to him. He did it.He went into the underworld and he sang
his song, and the story goesthat as he was walking through the underworld,
all the ghosts gathered around him,and there were like giant crowds of
all the dead of all time,and even those who were being punished in
the underworld, like Sisyphus. Hedidn't have to keep rolling the rock up

(08:22):
the hill, and the liver ofPrometheus, who brought fire to human beings,
which was eaten every single day bya vulture. Suddenly the vulture stopped
because even the vulture wanted to listento the song of Orpheus. Hades prevailed
upon by his wife Persephone, whowas somebody I mean basically, she was

(08:45):
a rape victim. Hades came andcaptured her and took her away to the
underworld. She prevailed on him torelease yourridity, but Hadi said, if
you are allowed to take her back, you must promise me that you will
not look back until she reaches thesunlight. If you do look back while

(09:09):
she's still in the underworld, youwill lose her. So Orpheus is walking.
You can hear her footsteps behind him. He's trying to be patient.
He walks out into the sunlight.He keeps walking, walks longer than he
wants to, thinking, surely thismust be enough time for her to have
made it to the sunlight. Ofcourse, he turns around a moment too

(09:31):
soon in his anxiousness, and she'sstill in the shadows, and he loses
her. So he goes to ahilltop in his home country of Thrace,
and then every morning at dawn hesings to Apollo, who is the spirit,
the mind, the soul of theSun, and Apollo, taking pity

(09:52):
on him, teaches him the mysteriesof the divinities and how to have a
religion. Relationship, a spiritual relationshipwith a divine and so that teaching is
something that the men of the countrybecome fascinated by, and they all start
to gather with Orpheus. But thisis changing the religion of that place,

(10:16):
the worship of Dionysus, which wasa very somewhat savage and primitive religion,
but very powerful for women. Andthe story goes that the women were very
upset with Orpheus for changing the religionof Dionysus, so they tore him apart.
His head was thrown into a riverand was said to still sing,

(10:37):
and it floated out to sea andthen landed in the island of Lesbos,
where music and lyric poetry were prettymuch invented and transformed. Apollo was said
to have taken ahead of Orpheus andto create a shrine around it, which
became a famous oracle, and thenightingales said to sing more sweetly there.

(11:01):
So those are the myths about Orpheus. And then the history that we have
of all things orphic seems to startaround the time of Pythagoras, and one
of the big theories is that allthe orphic literature and mythology were invented by
Pythagoras and the Pythagoreans as a wayto reform religion in Greece, and they

(11:26):
succeeded because under the influence of thisorphic literature, the religion of Dionysus changed
from a religion where blood sacrifice andeven smearing yourself with the blood of the
sacrificed animal was considered part of theritual, where losing yourself in kind of
madness and frenzy of intoxication was partof the ritual. And through Orpheus,

(11:54):
perhaps Pythagoras stepped into this and whathe said was but Orpheus is supposed us
teaching. But perhaps this is Pythagorasis. First of all, how could
the gods want sacrifice? They don'tto kill an animal to blood and suffering
is not what the gods want.If you want to give a sacrifice to

(12:16):
a god, do it through yourgood deeds. Give the gods flowers,
honey, wine, the grain ofthe harvest, the things that make life
worth living, and give them musicand songs and celebrate life and appreciate them.
Don't don't go into savagery and violencepretending that this pleases the gods.

(12:41):
He also taught vegetarianism, which Pythagorasdid too, and the idea was that
they were teaching reincarnation. Basically,we think, we think that Orpheus was
teaching that. We know that Pythagoraswas Pythagoras. And the Orphic mystery called
this the wheel, the wearying wheel. That's my cat, that's okay,

(13:07):
asks something to say, validating you. It's kind of adding a mood.
So this is called the wheel ofdeep grief, and that's reincarnation. You
keep going into this wheel. Wedo these cycles of life cycles, and
we lose ourselves in these lives andforget what we really are and who we

(13:28):
really are, and then we haveto live life after life. And Orpheus
was teaching. The orphic teachings saythat you can be incarnated as an animal.
You could even be incarnated as aplant, and so, you know,
why would you want to risk losingyourself this way. It's time to
remember what you really are. Andnow the question now is so what are

(13:52):
we really so in the Orfic teachings, and again this is argued about whether
it's really orphic or not, butit seems to be the idea is that
there's This story told that when Dionysuswas a baby, and his name then
was Zagrias, he was Zeus's favorite, and when he was just a little

(14:13):
infant, Zeus put him on hisown throne, which was a saying,
basically, this child has the powerthat I have. And so the Titans,
who hate the gods and are enviousof them, and who are destructive,
jealous, angry, they see thisand they resent terribly the happiness of

(14:37):
Zeus and this baby Zagrius. Sothey use these toys, balls, a
mirror, a tuft of cotton.But these are all symbolic. The balls
are the planets, and the mirroris the way that we get sucked into
incarnation. And then they were saidto have drawn Zagrias from the throne of

(14:58):
Zeus int dark corner of the universe, where Zeus couldn't see him, and
they killed him, and they madehim into a stew and they ate him.
And because they were cannibals, andwhen Zeus saw what happened, he
threw lightning and everything was destroyed andturned into this kind of ash that was

(15:20):
a combination of the bodies and soulsof the Titans, and the body and
the soul of Dionysus, and thisash is what human beings were made from.
So we are partly Titan. We'repartly envious, angry. We only
want what we want. We havea tendency to be destructive even when we

(15:43):
want to do something that's constructive,and we act out. We lash out
when we feel that we don't havewhat we desire. That's the titan part,
and because of that part, thegods have a hard time trusting us.
According to the myths, however,we're also partly Dionysus, and so

(16:06):
we are called the tears of Dionysusbecause all the little you know, as
he was torn apart, all thebits of Dionysus that went out there all
became individualized souls, divine souls,and they forget We forget ourselves in in
these reincarnated lives, as we kindof try to purge the titan out of

(16:30):
ourselves. When we remember ourselves andwe become divine, then we are greeted
by the gods. After all,we're Zeus's grandchildren if we are children of
Dionysus. So the famous saying inorphism is that when you die and you

(16:52):
cross over to the other side,you will see people kind of lined up,
and there's a terrible thirst, andthere's this lake that everybody wants to
drink from, and this is thelake of forgetting, and you should not
drink there. You should continue downthe path. And then as you get
far enough, you will see aguardian, and the guardian will ask you,

(17:17):
well, why are you here andwho are you? And the answer
that you're supposed to say is Iam a child of earth and of starry
heaven, but my race is ofheaven. This, you know, give
me a drink of refreshing water fromthe fountain of memory. And so you

(17:40):
drink the water of memory, andnow you remember everything that life you just
had, all the lives that youlived. But most importantly, you remember
that you are an eternal consciousness.You are a divine being who is experiencing
all these these limits. Okay,question though, sure, how or is

(18:07):
it possible to escape the reincarnation wheel? Is Is that what when we drink
from the water you just mentioned.Yes, that's what happens. We we
escape the wheel. Mm hmm,because I'm kind of like done. Yes,
that's that's the That's the beauty ofit is that this whole mythology is

(18:33):
about liberation and freedom. Mm hmm. Okay, Now, what is the
magic within the Orphic hymns? Wasit? Uh? Someone said that there's
no magic that's stronger than the orphichim So is it the words of the
song, the tune of the songs, the tones? What is it that

(18:55):
makes it so magical? That's agreat question. To answer it, we
have to talk about Marsilio Ficino,who has been called the Father of the
Renaissance. He was a Catholic priestin Florence, Italy, who, at
a time when Plato and Orpheus andAristotle and all that stuff was completely lost

(19:15):
for hundreds of years to Europe,he had in his hands manuscripts of Plato
and probably the Orphic Hymns because hedid translate them, although we don't know
where he got them from. Andhe wanted to translate all this stuff more
than anything, and he didn't havethe resources to do it, so,

(19:37):
in in frustration and longing to dothis, he sang a hymn to the
Cosmos and from the Orphic Hymns,and within a very short amount of time
he received a letter from Cosmo deMedici, who was a powerful ruler of
the time and who told him,I'm giving you a house and a village

(19:57):
to provide you with what you needso that you can translate all of these
materials. And in fact, I'mwaiting for you at this house. Please
bring your liar and sing to usand teach us about the wisdom of Plato.
So he was he was invited tocome sing the hymns of Orpheus,

(20:18):
and Cosmo was so impressed that hesupported Ficino in every way he could for
the rest of his life. Andthe Renaissance really came from that because together
they created the Platonic Academy of Florence, which revived the teachings of Plato.
And in singing the hymns and makingthese materials available, Facino was a huge

(20:45):
influence on the people of the time. So to give you an example,
we have a journal from the composerof Policiano, who said, you know,
I went and I listened to himsinging the hymns tonight and all of
our friends gathered in. Was soinspiring that I came home and I wrote
music all night long, and hewound up creating an opera about Orpheus and

(21:11):
the person who did the sets forthat opera was Leonardo da Vinci. So
all these famous people in the Renaissancewere directly influenced by these hymns. So
he's the guy who said that therewas no magic more powerful than the orphic
hymns. And as to what didhe mean by that, So he said

(21:33):
that he learned from Orpheus that loveexisted and that it held the keys to
the whole world. And these arehis words. The whole power of magic
consists in love. The work ofmagic is the attraction of one thing by
another because of an affinity of nature. And then, by the way,

(21:57):
Agrippa, who is sort of thethe father of the whole history of Western
esotericism and is probably the most plagiarizedwriter on the subject ever, he said
the same thing. He said,really, you know, if you're interested
in this stuff, you can makeup your own hymns, but go research
the hymns of Orpheus, because ifyou do them with the right circumstances,

(22:19):
with appropriate harmony, and your focusis complete, they are the most effective
natural magic. So it means thatthat in these hymns there is some kind
of revelation about love so what isthis revelation of love in the hymns?
In my opinion, Tamra, myco author, agrees with me. These

(22:41):
hymns are a way of tuning ourselvesto the Divine in our lives. Every
one of these hymns talks about adifferent aspect of the human experience, and
every one of these hymns reveal thewisdom and the beauty that the Divine has

(23:04):
has weaved into every experience that wehave. So even an experience as formidable
as death has a hymn to it. And this is not a hymn where
we are asking death for mercy ormore time or anything like that. Death
is recognized as someone that can't bebargained with. But we see the wisdom

(23:27):
of death in the him, becauseto him, on the one hand,
asks death to lead us away fromthat weary wheel of deep grief, away
from the wheel of reincarnation, thatdeath provides that opportunity to wake up and
remember and to not have to comeback, And that on the other hand,

(23:52):
that death teaches us to cherish life, because when we lose loved ones,
human beings have a tendency to livein a kind of forgetfulness. And
then we lose someone that we love, and we realize that life is fragile,
and then we begin to cherish eachof the people and the other the

(24:15):
things that are meaningful to us,and to appreciate the divinity and the beauty
and having them in our lives.And so in thanking death for these gifts,
the hymns find even in death thedivine wisdom and the opportunity to liberate
ourselves from repeating this ignorant I justkeep coming back because I don't remember what

(24:40):
I am pattern. Can you beaware in you know, waking time as
we're talking right now about our pathas far as putting an end to the
cycle, or even if we chooseto keep the cycle going, are there
certain awarenesses that come in that peopleshould recognize? I think so. I

(25:03):
think that you can't because part ofit is that the whole teaching here,
and I should say that the teachingsof Plato are just filled with orrific ideas.
Even though Plato was rather insulting aboutOrpheus, we called a coward and
said all musicians are cowardly, whichmight be the first musician joke in history.
But Plato's whole idea was that philosophyis preparing to die in a sense,

(25:30):
it's getting ourselves ready, it's wakingup before we die. So this
is definitely what Orpheus is teaching.And in the orphic mysteries, whatever they
were, we have some ideas,but we don't really know for sure what
the activities associated around these mysteries were. They may have been as simple as
symposiums where people sang or read theorphic hymns, or they could have been

(25:53):
actual mysteries where there was some kindof ritual and experiences and theatrical productions almost
going on. But whatever was happening, people write about how it changed their
lives. So the great historian Plutarchsaid that he and his wife experienced the
orphic mysteries and it helped them todeal with the death of their son and

(26:15):
with other tragedies that happened to them, because they felt that they had seen
the immortality of their own souls throughthe experience of these mysteries. And also,
we were asked by the orphic traditionto live in a certain way,
so we were asked to make ourdecisions based on the idea that we are

(26:37):
eternal beings that are here to bringthe harmony of the divine into the world,
and that we're not here simply tolose ourselves in the everyday kinds of
challenges and opportunities that most people livethrough all their lives without ever thinking about
these deeper subjects. So it's certainlypossible, and was exempt by Pythagoras,

(27:00):
for example, to wake up andto have that memory. So they talk
about you can even remember your pastlives? Can you get glimpses? So
if you're on this path, youmight suddenly see something or run into some
material or place and have that overwhelmingfeeling of I've been here, this is

(27:23):
part of my life in the past. That kind of waking up starts to
happen. You also develop much greatercompassion, so when you see somebody who's
doing something hateful, you don't immediatelyreact with anger. You feel a sense
of my goodness. You know,here is this soul, this divine soul,

(27:45):
that has lost itself so badly thatit's down here acting like a titan.
It's hating and it's destroying, andit's doing evil things, and it's
so much forgotten what it really is. And when you start to see the
world that way, and you kindof you can appreciate even the dark aspects

(28:06):
of it. The negative experience ispart of the wonder of it, because,
after all, if we're eternal souls, we have all the time in
the world to learn and to experience, and even you know, those moments
of loss sharpen the fact that wewere able to share our journey through this
temporary world with those we love.And so I think, ultimately, as

(28:33):
Facina was saying, that love iswhat we feel as we rise in this
awareness. We feel love for thosearound us, We feel love for life,
and we feel love for the opportunityto wake up and view the world
from that higher perspective. Wow,you have given us a lot to think

(29:00):
about, a lot to even embrace. How can one utilize the orphic hymns
today? I was when I wasgoing through the book, one that caught
my attention was the chicotte. Howhow can we utilize the hymns to support
us in our life? Now?I think that there's there's many different ways

(29:21):
to do it. So the simplestthing, and I think they work this
way, is you can just enjoyreading them, and you can read one
and then pause and consider and contemplatewhat you've just experienced by reading it and
what it means to have a deitythat is responsible for this part of life.
And but you can also sing them, like when we first started working

(29:45):
on them, Tamra and I verysoftly sat in the window of our apartment
in the middle of Hollywood, onthe third story and just softly sang them,
and it was amazing. We had. We had synchronicity that occurred that
were, I mean, pretty stunning. Just to give you one example,
when we did the hymn to Athena, we I mean there were not owls

(30:11):
where we lived in the middle Hollywood, and in broad daylight, a great
horned owl came down and sat onthe closest telephone pole for the entire hymn.
And then when we finished the hymn, the owl jumped down, swooped
right at us in the window,and then swooped up and over the building.

(30:32):
And there were many such little subtleexperiences, like when we did the
hymn to Aphrodity, there was acouple walking hand in hand on the sidewalk
under us. They couldn't hear usbecause we were way up there, but
we saw that they kissed when theygot right under us. So a couple
kissed right under us, and wedid the hymn to Aphrodity. So those
kind of strange things happened that wasjust from us singing them in a kind

(30:56):
of innocent way. We did doof the orphic prohibitions, so during that
time, we didn't do any alcoholor any kind of drugs, we didn't
do any meet and just trying tobe respectful to the tradition, and we
have these dramatic results. And thenthere are other people who really get into

(31:21):
it, you know who they dofull rituals, so they try to find
out what's the right time of dayto do this astrologically, what times and
places and things are sacred to thisgod, and so they set everything up
so they're doing it at the righttime with symbols around them that are pleasing
to the deity that they're addressing,and then they address the deity from there.

(31:45):
So it's just however deep one wishesto go into it. And I
think it's okay on any level tosimply enjoy them as poetic literature, or
to experiment with them as sacred musicand just making up your own melodies and
seeing if they have a good effect, and we did give them to people,

(32:07):
uh, when we were working onthem. We gave them to people
who are active on the side ofGreek philosophy and Neoplatonism and theogy and who
do rituals associated to that. Andwe also gave them to people who are
more interested in the pagan side ofthings and doing kind of more witchy kind

(32:28):
of rituals. And we got reallygood feedback from both sides that that the
hymns were working for them, andwe tried to make them, uh,
they're not they're not exact translations.They are are meant to convey things that
the priests would have known but thatwe don't. So, for example,

(32:50):
there's a lot of detail about inthe one that you mentioned there. For
instance, we mentioned black puppies becauseblack puppies were sacred to her, and
so trying to give you a senseof these are the things that were sacred
to this god, and can yousee how has this been working in your
life? So, for example,we have had people say, wow,

(33:13):
you know, I didn't realize howstrong such and such a deity was in
my life until I read to himand saw that my life was marked over
and over again by things associated tothis God, and then they feel the
sense of gratitude and appreciation. Butthe main point of the hymns is to

(33:34):
tune us. I think, totune us, to tune our souls so
that we can appreciate the divine wisdomthat's waiting there to help us. Well,
folks, he put many hymns,or I should say they because Tomorrow
helped him write the book, putmany hymns in the back of the book.

(33:55):
And you can find yourself just beingenchanted by just reading them silently,
okay. But if you decided toput the song to them, a little
melody, and to hold it inyour heart, I think that many wonderful
things will happen to you. Ronnie, I've kept you over our greed time.

(34:15):
Could you give us a pearl ofwisdom before I let you go?
I will. I want to givethis to because you know, one of
the things that people have a problemwith with the hymns is they're like,
who am I talking to? Likeis this okay? Especially if someone has
a Christian background. So I wantto give a quote from Pico della Mirandola,
who was very important during the Orpheusand was a good friend of Ficino.

(34:38):
And he addressed that, and thisis what he said. He said,
the names of the gods that Orpheussings are not the names of deceiving
demons from whom evil and not goodcomes, but of natural and divine powers
distributed in the world by the truthGod for the great utility of humanity,

(35:05):
if we know how to use them. Wow, thank you for sharing that
on That hit me very deeply,Ronnie. As always, I appreciate you.
You're welcome back anytime. Oh,thank you. I had a good
time. Thanks and to the audience, I know you're appreciated listening to this.
And you know, do yourself afavor if you're working on your spiritual

(35:25):
path. The Magic of the OrphicHymns is a book for you. It
is transformative. It's an easy read. He writes in you know plain English,
any labors and can understand it.And then pick the hymns in the
fact that you know speak to you. Just reading them, you can feel
a shift within your or field.So thank you for everybody for being here

(35:51):
today. Go to Amazon, getthe book, and remember that the most
important choice that you can make iswhat you choose to make important. Consider
making the masterful choice of discovering yourmagic of the orphic hymns above the wessings
Light, loved all got ba