Coptic Spell: Spell for a Man to Obtain a Male Lover

Egypt, perhaps 6th century

{spell source}

These texts, dating from the first to the eleventh century, show a religious life quite different from that of the elite theologians who were writing at the same time. See for these texts - Marvin Meyer and Richard Smith, eds., Ancient Christian Magic: Coptic texts of Ritual Power, (San Francisco: HarperSanFrancisco, 1994)

One of the spells translated in this volume is for a man to obtain a male lover: evidence of a homosexual sub-culture, neither philosophic nor literary which we may believe existed at other times and places in the ancient world, but which has left little evidence.
. . .
This text contains a same-sex love spell commissioned by one Papalo to "bind" another man, Phello (this name literally means "the old man" or "the monk"), by means of a variety of powerful utterances (especially ROUS). Besides extending the scope of erotic binding spells in late antiquity, this spell also employs formulae common to several Coptic texts of ritual power.

+CELTATALBABAL [.]KARASHNEIFE[.]NNAS'KNEKIE, by the power of Yao Sabaoth, ROUS ROUS ROUS ROUS ROUS ROUS ROUS ROUS


(ring signs)

+++I adjure you by your powers and your amulets and
places where you dwell and your names, that just as I take you
a put you at the door and the pathway of Phello, son of Maure,
(so alos) you must take his heart and his mind; you must dominate
his entire body.

When he (tries to) stand, you must not allow him to stand
When he (tries to) sit, you must not allow him to sit
When he lies down to sleep, you must not allow him to sleep.
He must seek me from town to town, from city to city,
from field to filed, from region to region,
until he comes to me and subjects himself under my feet-
me, Papapolo son of Noe-
while his hand is full of all goodness,
until I satisfy with him the desire of my heart
and the demand of my soul,
with pleasant desire and love unending,
right now, right now, at once! Do my work

Notes:

The reference to "his hand full of all goodness" may be connected with the Hebrew use of "hand" for "penis".

Abu Nuwas, the first & foremost Islamic gay poet

Abu Nuwas, "Father of Curls," so named for his long flowing hair that hung down to his shoulders, was the greatest Arab poet of his time, or as some claim, the greatest Arab poet of all time. His full name was Abu Nuwas al-Hasan ibn Hani al-Hakami. Abu Nuwas’s mother, Golban (Rose) by name, was a Persian weaver, and his father, whom he never knew, a soldier from Damascus. The mother sold the young Abu Nuwas (b. 756) to Sa’ad al-Yashira, a Yemeni druggist, who took him from Ahvaz, the town of his birth (presently in south-western Iran) to his home in Basrah (presently in south-eastern Iraq), in those days a great seaport, and abode of the mythical Sinbad the Sailor.

In Basrah, the boy studied the Qur'an and grammar at mosque. His grace and beauty attracted the attention of his older cousin, the handsome blond poet Waliba ibn al-Hubab (d. 786). The druggist having granted the boy his freedom, Waliba became his lover and teacher, taking his student to live with him in Kufa. A couple of year later, the adolescent Abu Nuwas returned to Basrah to study under Khalaf al-Ahmar, a master or pre-Islamic poetry. He then spent a year among the Bedouin (desert nomads) to gain purity of language. But the young man, already a lover of the finer things in life, was not enamored of the primitive life of the ascetic nomads:


Critic, relent!
Your hope for repentance
Will meet with disapppointment.
For this is the life,
Not desert tents,
Not camel’s milk!
How can you set the bedu
Beside Kisra’s palace?
You, mad to expect repentance,
Tear your robe all you want;
I will never repent!

(Diwan, 11-12; after Kennedy, p. 223)

Abu Nuwas set aside older, traditional writing forms for drinking songs (khamriyyat) and witty, erotic lyrics on male love (mudhakkarat and mujuniyyat) that resonate with an authenticity born of experience, soon becoming famous, if not notorious. His love poems celebrate love for a beautiful boy, often embodied in the figure of the saqi, the Christian wine boy at the tavern. The theme was picked up time and again over the ensuing centuries by the best poets of Iran and Arabia, such as Omar al-Khayyam, Hafiz, and countless others who shared his tastes. [more]

An evil brew
This wineboy pours you:
water from rain
with wine entrained.
—Wine of Paradise