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Satanism Today - An Encyclopedia of Religion, Folklore and Popular ...

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Introduction<br />

xiii<br />

imagery was also utilized by other romantic<br />

writers. More recent literary figures like the French<br />

poet Charles Baudelaire made use <strong>of</strong> the same<br />

inversion. For example, in his poem “The<br />

Possessed,” Baudelaire exclaimed, “There is no<br />

fiber in my trembling body that does not cry,‘Dear<br />

Beelzebub, I adore you!’”<br />

The conflicting images <strong>of</strong> the Devil we have<br />

inherited from the past have become yet more<br />

ambiguous in the present because the segment <strong>of</strong><br />

the population that accepts the real existence <strong>of</strong><br />

an evil Prince <strong>of</strong> Darkness is in the minority <strong>and</strong><br />

steadily diminishing. This does not mean that the<br />

traditional image <strong>of</strong> Satan has been completely<br />

eclipsed. Although Christianity no longer exercises<br />

hegemony over the thought world <strong>of</strong> the<br />

industrialized nations <strong>of</strong> the West, conservative<br />

Christians still constitute a significant subpopulation.<br />

The strength <strong>of</strong> this constituency is evident<br />

in many ways, from the effectiveness <strong>of</strong> Christian<br />

efforts to thwart the legalization <strong>of</strong> gay marriage<br />

to the powerful challenge Christians have been<br />

able to mount against abortion. Whether we<br />

applaud or deplore these efforts, the conservative<br />

Christian community from which they draw their<br />

power shows no signs <strong>of</strong> disappearing in the foreseeable<br />

future.<br />

This reference work proposes to survey<br />

contemporary images <strong>of</strong> the Devil. Although I<br />

have cast a wide net, the diabolical is far too<br />

pervasive in our cultural tradition for any single<br />

volume to even begin to encompass everything. I<br />

have thus been forced to make choices about what<br />

was <strong>and</strong> what was not incorporated into the<br />

following pages. My overarching criterion was<br />

whether or not particular phenomena were part<br />

<strong>of</strong> popular culture.<br />

At the same time, I made a number <strong>of</strong> important<br />

exceptions to this rule. For instance, out <strong>of</strong> a<br />

desire to include a multicultural/cross-cultural<br />

component, I included entries on the devils <strong>and</strong><br />

hells found in world religious traditions.<br />

(Christianity was not given a separate entry<br />

because the great bulk <strong>of</strong> the information<br />

contained in these pages derives directly or indirectly<br />

from the Christian tradition.) I also<br />

included brief entries on a significant number <strong>of</strong><br />

fallen angels—a kind <strong>of</strong> who’s who in hell—as<br />

well as entries on certain topics from older<br />

Western folklore about Satan <strong>and</strong> witches.<br />

With the exception <strong>of</strong> a few older theologians<br />

like Aquinas, I have largely ignored formal theology.<br />

The reader will also find treatments <strong>of</strong> a<br />

h<strong>and</strong>ful <strong>of</strong> traditional literary figures who have<br />

helped shape our images <strong>of</strong> the Prince <strong>of</strong><br />

Darkness, such as Milton <strong>and</strong> Dante. <strong>An</strong>d because<br />

<strong>of</strong> their influence on modern, religious <strong>Satanism</strong>,<br />

I included material on Romantic writers like Blake<br />

<strong>and</strong> other literary figures like Baudelaire.<br />

Beginning in 1966, religious <strong>Satanism</strong> emerged<br />

out <strong>of</strong> the occult subculture with the formation <strong>of</strong><br />

the Church <strong>of</strong> Satan. <strong>An</strong>ton LaVey, founder <strong>of</strong> the<br />

Church, was indebted to a number <strong>of</strong> different<br />

sources for his synthesis. Especially important were:<br />

1. Traditional folklore about the Devil <strong>and</strong><br />

various adversarial figures in world<br />

mythology.<br />

2. Certain Romantic poets who, as a literary<br />

device, created a noble, Promethean Satan<br />

at odds with the dehumanizing aspects <strong>of</strong><br />

modern society <strong>and</strong> traditional religiosity.<br />

3. The ritual magic tradition, particularly as<br />

that tradition was interpreted by the<br />

occultist Aleister Crowley.<br />

4. <strong>An</strong>d a wide variety <strong>of</strong> popular culture<br />

sources—literature, film <strong>and</strong> music about<br />

the Devil.<br />

Despite the fact that religious <strong>Satanism</strong> has<br />

always been a tiny movement, a significant<br />

number <strong>of</strong> entries provide information about this<br />

phenomenon <strong>and</strong> its background traditions<br />

because <strong>of</strong> the disproportionate public interest in<br />

“real” <strong>Satanism</strong>. During the course <strong>of</strong> compiling<br />

this encyclopedia, I also gathered demographic<br />

data on contemporary practicing Satanists. The<br />

report <strong>of</strong> my findings from this research is<br />

included in Appendix 3.<br />

<strong>An</strong>ton LaVey was <strong>and</strong> is a controversial figure,<br />

<strong>and</strong> to judge from some <strong>of</strong> the material one finds<br />

on the Internet, his memory <strong>and</strong> his organization<br />

are <strong>of</strong>ten attacked by other Satanists. In the course<br />

<strong>of</strong> my research, I found myself unwittingly stepping<br />

into this arena <strong>of</strong> contention. Perhaps as a<br />

consequence <strong>of</strong> this conflict, some <strong>of</strong> my contacts

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