Defiant Creatures: Unveiling the Myth of the Donkey Deity

Defiant Creatures: Unveiling the Myth of the Donkey Deity

This article is based on this dutch article of Martijn Benders

Soon, I will set off for Pinocchio Island. After a thorough inspection of Sinterklaas Island a few years ago, it is time to explore the satanic myths even deeper, all to ensure Operation Bosschebol makes a big impact.

In some translations, Pinocchio Island is also called the Land of Cockaigne. The cart that departs at midnight, loaded with boys and a small fat man on the bok who bites off pieces of the donkey’s ears whenever Pinocchio gets slapped again: on the island of pleasures, the naughty boys are slowly turned into donkeys, as later revealed.

Yes, this gruesome scene with the loaded cart at midnight with his friend Lucignolo, I can still vividly recall, but as what? Film? Book? In any case, the scene was etched into my brain at a young age.

The scene is embedded in the night, where everything gruesome and elusive gains strength. Lucignolo, that companion in so many escapades, stands there, part of a world that turns children into donkeys, a metamorphosis that is both a punishment and a warning. But this time, it is the small, chubby man, a figure as grotesque as he is mysterious, who with almost ritual cruelty rips pieces off the donkey’s ears. Each bite an echo of barbarity, a forgotten ritual now placed in a new, sinister context.

This act of animal cruelty—where the animals were once boys—immediately raises questions about morality and punishment. The transformation of mischievous boys into donkeys on the Island of Pleasures leads us to a darker interpretation of entertainment and upbringing. Biting off the ears, a mutilation of what is already a punishment, presents an even grimmer reality. The suggestion that this place bears similarities to the notorious affairs of contemporary figures like Epstein, where the pleasures and burdens of power intertwine with the innocence of youth, is not unnoticed.

Why the donkey? Interestingly, in some ancient cultures like ancient Egypt, the donkey was seen as a manifestation of Seth, the god of chaos, deserts, storms, and violence. Seth was often depicted with animal features of a donkey. This view contrasted sharply with other cultures where the donkey had a more positive or neutral status. In classical antiquity, the donkey was sometimes associated with Dionysus, the god of wine and festivities, a more positive connotation, but also with Silenus, a figure often depicted riding a donkey and who had an ambiguous role between wisdom and foolishness.

The dark connotations of the donkey are therefore not due to Christianity, which merely adopted them and made something… pedagogical out of them with naughty boys.

Constantly making children believe they are stupid if they do not obey is of course a traumatizing construct. The transition from a pagan symbolism to a Christian pedagogical tool illustrates a fascinating transformation of meaning. In ancient Egypt, the donkey represented the unpredictable and often destructive forces of Seth, while in Greco-Roman culture the associations were more ambiguous, with both negative and positive connotations. Dionysus’s feasts and Silenus’s ambiguous wisdom gave the donkey a place in the spectrum of human experiences, ranging from the lowly to the exalted.

The pedagogical use of the donkey within Christianity—as a symbol of stupidity and stubbornness—can be seen as a further development of this ambiguity. Thus, the donkey illustrates not only stupidity or sinfulness but also becomes an instrument for moral and educational instruction. Christian doctrine has often used animal symbolism to reinforce life lessons. Thus the donkey becomes a vehicle for didactic purposes, used to teach young people about the consequences of their actions and the value of obedience and humility.

The story goes that the god of the Templars, according to the Christians, by the time the Templars were set to be burned at the stake just like the herbal witches—yes, their God would obviously also have had the head of a donkey. But that story is more or less an urban legend, as the image of the Baphomet God with the donkey head may perhaps have originated from Eliphas Levi, the French occultist who in the mid-19th century fabricated a drawing of an androgynous donkey-like figure he called Baphomet:

But that is obviously a goat, not a donkey, so we must attribute the story about Baphomet the Donkey God to a later time, probably to the blabbermouth Crowley.

The documents from the trials against the Templars contain testimonies from several Templars who stated that they, as part of their initiation rituals, worshipped an idol that was sometimes described as a head, sometimes as a figure with multiple faces, or even as a cat or a goat. These statements are problematic, however, as they were obtained under extreme pressure and torture, severely undermining their reliability.

The goat and the donkey are satanic for the pork and cow business. They are, of course, competitors: goat milk and donkey milk, less easily monopolized or automated, that might be it. Stay away from the goat; my cow’s milk is the solution. Black Goat, Milk the White Engine.

And what about solve et coagula, is that a way to keep Latin lessons alive or to reserve this knowledge for gymnasts? Oh, it merely means “Dissolve and Coagulate,” but if you formulate it so dryly in chemical terms, it immediately loses much of its alchemical value.

You first let something dissolve and then let it coagulate again. The chemical transformation, the shapeshifter’s formula. This dark goat would perform well on many a lab coat, but it has little to do with our famous donkey.

And there, in the arena where pig and cow herders fight against the Muslim men with their goats and donkeys, we see how symbols of daily life are claimed by deep, historical forces of enmity and misunderstanding. It is not just a battle for land or livestock, but an epic fight for the soul of cultures, where each animal, each term, is burdened with the weight of ancient grudges and contemporary conflicts.

The Russian and the Muslim, the eternal enemies of the White Desert Lord.

“O, you who believe, intoxicants, gambling, stone altars, and divining arrows are an abomination of Satan’s handiwork, so avoid them, that you may be successful. Satan only intends to cause between you animosity and hatred through intoxicants and gambling and to avert you from the remembrance of Allah and from prayer. So will you not desist?”

Wine, gambling, stones, and arrows. These are the four things that the Quran comes to forbid here. The image of “divining arrows,” is that a reference to Saint Sebastian, a patron saint against the plague? No, the image of “divining arrows” in the Quran refers to a pre-Islamic Arabian gambling practice known as azlam. This was a form of divination or lottery using arrows to make decisions about matters such as meat distribution, leadership choices, or dispute resolutions. The arrows had inscriptions and were drawn at random to make a decision.

Azlam was essentially an oracle practice, using arrows to interpret divine will or fate. Each arrow had a specific meaning or instruction, and the choice that emerged from the draw was considered an unquestionable pronouncement because it was believed to be guided by divine or supernatural forces.

This “communication with God” naturally had to be monopolized. Only through the son can one come to God, even if it is a very different desert religion variant.

In England, the Eternal Victims of the People have now reportedly set a library on fire, according to this report from Left Laser:

That’ll teach them, those immigrants, whether they worship the goat or the donkey. The stakes are near again, the arms trade is flourishing as never before, and all with ecological labeling, because nothing is less ecological than the arms trade, oh, you won’t hear Jesse Munitions Factories Klaver about that. Great, all that depleted uranium shot into nature, solve et coagula it is not, so the donkey ears remain for us no more than a fleeting snack, or an echo from books we no longer pick up, perhaps because they are now up in flames.

Martijn 08-09-2024

About the author

Martijn Benders has published twenty-six books, eighteen of which are in Dutch. Critics such as Komrij and Gerbrandy have hailed him as one of the greatest talents of his time. He has also written three philosophical works, one of which is in English and focuses on the Amanita Muscaria, the Fly Agaric. Publishing on the international platform of The Philosophical Salon, he has also gained international recognition as one of the most remarkable thinkers from the Netherlands.

Books

There exists a considerable group of leftist individuals who vigorously opposed the prevailing coronavirus narrative, including some of the world’s leading philosophers, such as Agamben and Kacem. However, this stance was heavily censored and vilified by what is referred to as ‘neocon-left’ or ‘woke-left’, as something associated solely with what they deem ‘far-right’. In my book, I discuss the reasons behind these actions, the underlying motives, and how this is emblematic of a new form of fascism aimed at seizing power permanently.

The middle section of the book is dedicated to poetry. It features a beautiful selection of poems from the Mediterranean region, by poets from Turkey and Greece, who have been imprisoned and tortured by the regime.

The final part of my book is a manifesto against literary nihilism, as manifested in the Literature Fund. It reveals how this fund is dominated by a group of Christians and ‘wokies’, which is undesirable in a free society.

Amanita Muscaria – The Book of the Empress is an exceptional work that sets a new benchmark in the realm of mycophilosophy. While one might be tempted to classify the book within the domain of Art History, such a categorization would fail to capture its true essence. 

Amanita Muscaria – The Book of the Empress – De Kaneelfabriek, 2023

You don’t have time to read this, but that’s because you are no longer human. If anything remained of the original person within you, the old mycelia of childhood, you would learn a great deal from this book. In fact, its magical knowledge might become your most valuable possession. This is a book about human imagination and how it fell into the iron grip of transdimensional cockroaches. Additionally, it offers magical tips to significantly improve your life and time acceleration. M.H.H. Benders also takes a light-hearted yet scathing look at the entirety of Dutch literature. What more could you want?

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