Category: Deities
(One Person’s View Point) 23 Moon Goddesses and Gods
The moon has long been a source of mystery, magic, and divine energy. Considering the celestial orb impacts the tides, the agriculture, and perhaps, us, it’s not surprising that it’s captivated us for so long. And, because of this, for thousands of years, many cultures have worshiped Moon gods and goddesses around the world.
Today, we think mostly of the connection between the moon and women, and female lunar deities such as Artemis and Hecate, but many of the earliest known lunar gods were male, including those from Mesopotamia, from where we have the first historical record of magic.
Whether you’re looking to deepen your lunar rituals, work with a specific moon deity, or simply learn more about the divine forces linked to the night sky, this guide will introduce you to some of the most powerful moon gods and goddesses throughout history.
Greek and Roman Moon Gods and Goddesses…
Egyptian Lunar Deities…
Mesopotamian & Near Eastern Lunar Deities…
Etruscan Moon Gods and Goddesses…
Norse and Celtic Lunar Deities…
African Moon Goddess…
Mesoamerican Lunar Deities…
South and East Asian Moon Gods and Goddesses…
Sources and Additional Reading…
Click here to read the rest of this article Source: .pagangrimoire.com
Woman Finds 3,000-Year-Old Egyptian Goddess Figurine During Beach Walk

Afigurine from the age of pharaohs and pyramids has been found on a beach in Israel by a surprised beachgoer.
Lydia Marner, 74, found the ancient Egyptian figurine on Palmachim Beach in southern Israel, about 17 miles south of Tel Aviv, spotting it in the waves.
The figurine was revealed by the Israel Antiquities Authority to be more than 3,000 years old, a model of the Egyptian goddess Hathor.
“It was a very stormy day, the waves were high, the weather was wintery,” Marner told the Times of Israel. “We were walking along the sea when I suddenly noticed a stone coming to me.”
Hathor was an ancient Egyptian sun goddess, considered to be one of the most powerful.
“Hathor was often depicted as a cow goddess, or as a woman with cow horns and a sun disk on her head, representing fertility and abundance,” Liam Davis, an art historian for Art File Magazine, told the History Channel. “She was associated with love, beauty, music, dance, joy, motherhood, and feminine power. She was believed to protect women during childbirth, and to help the deceased in the afterlife, acting as a guide.”
Amir Golani, senior research archaeologist for the Israel Antiquities Authority (IAA), told the Jewish News Syndicate that the figurine was clearly Hathor, despite its age and wear, because of the characteristic ox horn-shaped hairstyle.
Figurines like these were often placed around the house by the Egyptian people to bring good luck and fortune.
“The Canaanites used to adopt ritual and religious customs of the Egyptians, who ruled our region at the time,” Golani said. “Just like homes today, where you install a mezuzah or hang a picture of a saint on the wall, then, they used to place ritual figurines in a central place in the house, for good luck and protection from bad things.”
“These figurines, which were used for worship…are indicative of the Canaanite culture in the Land of Israel, especially during the late Bronze Age,” Golani told the Times of Israel.
Marner was not allowed to keep her incredible find, as Israeli law states that all ancient treasures are under the jurisdiction of the IAA… Click here to read the rest of this article on newsweek.com
(One Person’s View) Working With the Gods and Goddesses c.2014
Working With the Gods and Goddesses
There are literally thousands of different deities out there in the Universe, and which ones you choose to honor will often depend significantly upon what pantheon your spiritual path follows. However, many modern Pagans and Wiccans describe themselves as eclectic, which means they may honor a god of one tradition beside a goddess of another. In some cases, we may choose to ask a deity for assistance in a magical working or in problem solving. Regardless, at some point, you’re going to have to sit and sort them all out. If you don’t have a specific, written tradition, then how do you know which gods to call upon?
A good way to look at it is to figure out which deity of your pantheon would be interested in your purpose. In other words, what gods might take the time to look into your situation? This is where the concept of appropriate worship comes in handy — if you can’t take the time to get to know the deities of your path, then you probably shouldn’t be asking them for favors. So first, figure out your goal. Are you doing a working regarding home and domesticity? Then don’t call upon some masculine power deity. What if you’re celebrating the end of the harvest season, and the dying of the earth? Then you shouldn’t be offering milk and flowers to a spring goddess.
Consider your purpose carefully, before you make offerings or prayers to a particular god or goddess.
Although this is certainly not a comprehensive list of all the gods and their domains, it may help you a bit to get an idea of who is out there, and what sorts of things they may be able to help you with:
Artisanship
For assistance relating to skills, crafts, or handiwork, call upon the Celtic smith god, Lugh. Many other pantheons have forge and craftsmanship gods as well.
Chaos
When it comes to matters of discord and upsetting the balance of things, some people choose to to check in with Loki the Norse prankster god. However, it’s generally recommended that you don’t do this unless you’re a devotee of Loki in the first place – you may end up getting more than you bargained for.
Destruction
If you’re doing a working related to destruction, the Celtic war goddess the Morrighan may assist you, but don’t trifle with her lightly. A safer bet might be working with Demeter, the Dark Mother of the harvest season.
Fall Harvest
When you celebrate the fall harvest, you may want to take time to honor Herne, the god of the wild hunt, or Osiris, who is often connected with grain and the harvest. Demeter and her daughter, Persephone, are typically connected with the waning part of the year. Pomona is associated with fruit orchards and the bounty of trees in fall. There are also a number of other harvest gods and gods of the vine who may be interested in what you’re doing.
Feminine Energy
For workings related to the moon, lunar energy, or the sacred feminine, consider invoking Artemis or Venus.
Fertility
When it comes to fertility, there are plenty of deities out there to ask for assistance. Consider Cernunnos, the wild stag of the forest, or Freya, a goddess of sexual power and energy. If you follow a Roman-based path, try honoring Bona Dea. There are a number of other fertility gods out there as well, each with their own specific domain.
Home and Marriage
Brighid is a protector of hearth and home, and Juno and Vesta are both patronesses of marriage.
Love and Lust
Aphrodite has long been associated with love and beauty, and so has her counterpart, Venus. Likewise, Eros and Cupid are considered representative of masculine lust. Priapus is a god of raw sexuality, including sexual violence.
Magic
Isis, the mother goddess of Egypt, is often called upon for magical workings, as is Hecate, a goddess of sorcery.
Masculine Energy
Cernunnos is a strong symbol of masculine energy and power, as is Herne, the god of the hunt. Odin and Thor, both Norse gods, are known as powerful, masculine gods.
Motherhood
Isis is a mother goddess on a grand scale, and Juno watches over women in labor.
Prophecy and Divination
Brighid is known as a goddess of prophecy, and so is Cerridwen, with her cauldron of knowledge. Janus, the two-faced god, sees both the past and future.
Underworld
Because of his harvest associations, Osiris is often connected with the underworld. There are a number of other deities of death and dying.
War and Conflict
The Morrighan is not only a goddess of war, but also of sovereignty and loyalty. Athena protects warriors and imparts them with wisdom. Freya and Thor guide fighters in battle.
Wisdom
Thoth was the Egyptian god of wisdom, and Athena and Odin may also be called upon, depending on your purpose.
Seasonal
There are a number of deities associated with the various times of the Wheel of the Year, including the Winter Solstice, Late winter, the Spring Equinox, and the Summer solstice.
Source: About.com
(One Person’s View Point) THE GOD AND GODDESS OF WITCHCRAFT
THE GOD AND GODDESS OF WITCHCRAFT
A general complaint about Christianity by Witches is that there is the worship of the male deity to the exclusion of the female. In fact this is one of the main reasons for people (women especially) leaving Christianity and returning to the Old Religion. And yet it’s a strange paradox that many—if not the majority—of Witchcraft traditions are guilty of this same crime of
Christianity, if in reverse … they laud the Goddess to the near, or even total, exclusion of the God!
Witchcraft is a religion of nature, as any Witch will tell you. Everywhere in nature there is male and female, and both are necessary (I have yet to meet anyone who does not have both a mother and a father). It follows, then, that both the God and the Goddess are important and
should be equally revered. There should be balance. But balance is as woefully missing in most traditions of the Craft as it is in Christianity.
We are all—every single one of us—made up of both masculine and feminine attributes. The toughest, most macho man has feminine aspects just as the most traditionally-feminine woman has male aspects. So it is with the deities. The God has feminine aspects as well as masculine, and the Goddess has masculine as well as feminine.
What names you use for your deities is a matter of personal preference. In Saxon Witchcraft the name Woden is given to the God; in Gardnerian the Latin term Cernunnos is used; in Scottish, Devla. Each tradition has its own name. But names are only labels; they are only a
means of identifying. You should identify, then, using a name with which you can feel completely comfortable. For, after all, religion is a most personal thing, at the core, and—to be of real purpose—should therefore be related to on the most personal level possible. Even if you join an established tradition this is still valid—find a tradition that seems right for you (as I spoke about in Lesson One) but… don’t be afraid to modify where necessary to make it totally right for you. If the name used to identify the God, in the tradition you have chosen, happens to be Cernunnos (for example) and you have difficulty relating to that name, then choose another for your own use. In other words, respect the name Cernunnos in group worship and all matters pertaining to the coven but, in your own mind—and in personal rites—don’t hesitate to substitute Pan or Mananna or Lief or whatever. A name, as I have said, is a label. The God himself knows you are “talking” to him; he’s not going to be confused! (This all
applies equally to the Goddess of course).
It may well be for the above reason that the name Cernunnos is found in so many branches of the Craft. As I’ve mentioned, it is simply the Latin word for “the Homed One”. To add your own personal identification, then, in no way conflicts.
Traditionally the “dark half” of the year is associated with the God. But this does not (or should not) mean that he is “dead”, or incommunicado, in the “light half” of the year (and vice versa with the Goddess). During the light half he is fully active in his feminine aspect; just as the
Goddess is active in the dark half in her masculine aspect. So, both deities are active throughout the year, even though deference may be given to one over the other at certain times.
There is a common theme of death and resurrection found in myths throughout the world. The symbolism is frequently furthered in a descent to the underworld with a later return. We find it with Ishtar’s descent and search for Tannaz; with Sif’s loss of her golden tresses; with Idunn’s loss of her golden apples; with Jesus’ death and resurrection; with Siva’s death and resurrection, and many more. Basically all represent the coming of fall and winter followed by the return of spring and summer; the lead figure represnting the spirit of vegetation. From Witchcraft here are “The Myth Of the Goddess” as found in (a) Gardnerian Wicca and (b)
Saxon Wicca.
“Now G* had never loved, but she would solve all the Mysteries, even the Mystery of Death; and so she journeyed to the Nether Lands. The Guardians of the Portals challenged her, ‘Strip off thy garments, lay aside thy jewels; for naught may ye bring with ye into this our land.’
So she laid down her garments and her jewels and was bound, as are all who enter the Realms of Death the Mighty One. Such was her beauty that Death himself knelt and kissed her feet,
saying, “Blessed be thy feet that have brought thee in these ways. Abide with me, let me place my cold hand on thy heart.’ She replied, ‘I love thee not. Why dost thou cause all things that I love and take delight in to fade and die?’
‘Lady/ replied Death, ‘it is Age and Fate, against which I am helpless. Age causes all things to wither; but when men die at the end of time I give them rest and peace, and strength so that
they may return. But thou, thou art lovely. Return not; abide with me.’
But she answered, 1 love thee not’.
Then said Death, ‘An’ thou receive not my hand on thy heart, thou must receive Death’s scourge’.
It is Fate; better so’, she said and she knelt; and Death scourged her and she cried, ‘I feel the pangs of love’.
And Death said, ‘Blessed be’ and gave her the Fivefold Kiss, saying, ‘Thus only may ye attain to joy and knowledge’.
And he taught her all the mysteries. And they loved and were one, and he taught her all the Magicks.
For there are three great events in the life of Man: Love, Death and Resurrection in a new body; and Magick controls them all.
For to fulfill love you must return again at the same time and place as the loved one, and you must remember and love them again. But to be reborn you must die, and be ready for a new
body; and to die you must be born; and without love you may not be born. And these be all the Magicks.”
–The Meaning of Witchcraft
Gerald B. Gardner, Aquarian Press, London 1959
“All day had Freya, most lovely of the goddesses, played and romped in the fields. Then did she lay down to rest. And while she slept deft Loki, the Prankster, the Mischief-Maker of the
Gods, did espy the glimmering oiBrosingamene, formed of Galdra, her constant companion. Silent as night did Loki move to the Goddess’ side and, with fingers formed over the ages in
lightness, did remove the silver circlet from about her snow-white neck.
Straightway did Freya arouse, on sensing its loss. Though he moved with the speed of the winds yet Loki she glimpsed as he passed swiftly from sight into the Barrow that leads to
Dreun.
Then was Freya in despair. Darkness descended all about her to hide her tears. Great was her anguish. All light, all life, all creatures joined in her doom. To all corners were sent the
Searchers, in quest of Loki; yet knew they, they would find him not. For who is there may descend into Dreun and return again from thence? Excepting the Gods themselves and, alack, mischievous Loki.
So it was that, still weak from grief, Freya herself elected to descend in search otBrosinga-mene. At the portals of the Barrow was she challenged yet recognized and passed. The
multitude of souls within cried joyfully to see her yet could she not tarry as she sought her stolen light. The infamous Loki left no trail to follow, yet was he everywhere past seen. Those to whom she spake held to Freya (that) Loki carried no jewel as he went by. Where, then, was it hid? In despair she searched an age. Hearhden, the mighty smith of the Gods, did arise from his rest to sense the bewailment of the souls to Freya’s sorrow. Striding from his smithy, to find the cause of the sorrow, did he espy the Silver Circlet where Loki Mischief-Maker had laid it:
upon the rock before his door.
Then was all clear. As Hearhden took hold of Brosingamene, (then did) Loki appear before him, his face wild with rage. Yet would Loki not attack Hearhden, this Mighty Smith whose strength was known even beyond Dreun.
By wiles and tricks did he strive to get his hands upon the silver circlet. He shape-shifted; he darted here and there; he was visible then invisible. Yet could he not sway the smith.
Tiring of the fight, Hearhden raised his mighty club. Then sped Loki away. Great was the joy of Freya when Hearhden placed Brosingamene once more about her snow-white neck.
Great were the cries of joy from Dreun and above.
Great were the thanks that Freya, and all Men, gave to the Gods for the return of Brosingamene.”
–The Tree: The Complete Book of
Saxon Witchcraft
Raymond Buckland, Samuel Weiser, NY 1974
Source: Buckland’s Complete Book of Witchcraft
(One Person’s View) The Goddess And The Horned God In Wicca c.2014
The Goddess And The Horned God In Wicca
Neither evocation nor invocation is part of modern witchcraft, however, and white witches do not recognize any demonic figures in their religion. When we refer to the Goddess and her son-consort, the Horned God of Wicca, we are referring to the archetype or source energies of the feminine and masculine aspects of ultimate power. They are the creative female and male principles, acting not in opposition to each other but as complementary and necessary parts of a whole. All the named goddesses and gods in witchcraft represent the different qualities of these supreme forms, for example the goddesses of the hunt, or specific forms in different cultures.
There are, of course, variations within Wicca; some traditions emphasise the importance of the Goddess, while others regard the Horned God as her equal, with each assuming different aspects according to the season and ritual. For example, the Goddess may appear as the Earth or Moon deity, and her male counterpart as the Corn God or the Sun.
Source: Cassandra Eason
Brigid, Celtic Goddess of Imbolc c. 2016

Brigid, Celtic Goddess of Imbolc
Brigit is the central Irish Goddess. She is known as Brigantia in England and Bride in Scotland. She rules metal work and smithy, fire, poetry, midwifery and martial arts–but is primarily known as a major Mother Goddess. Brigit is a face of the Triple Goddess, and able to see all–often represented by an ever watchful eye. The three heart-shaped leaves of the shamrock recall the magical Celtic number of three, as well as the number of Brigit’s faces. From nine to Nineteen priestesses once tended an undying fire in her name at Kildare. Brigid is so central to Ireland that the newly converted people would not give her up, so her name metamorphosed into St. Bridgid, who in Irish Christian myth acts as tender and supportive friend of Mary and as the midwife at Christ’s birth. Barbara G. Walker writes that to the Irish people, however, she continued to be a Queen of Heaven and the mother of all the deities of the new religion. As the Saint, she also matched wits with St. Patrick, who is as mythical as she. At times they seem to be consorts, at others, adversaries. It cannot have helped their relationship that Patrick is known for ridding Ireland of snakes, and since Bridgid the saint descended from a pagan goddess and priestess persona, whose sacred healing totem is the snake. So when St. Patrick says he is ridding the isle of snakes, what he means is he is ridding it of pagans. Nevertheless, Patricius and Bridgid were often considered the primal Mother and Father, and were supposedly buried together at Derry Down.
The Fear of Lilith

The Fear of Lilith
Examining the Lilith Myth and the Male Fear of Dominant Women
By Charles Alexander Moffat
Men’s fear of women has caused them to portray women in two specific archetypes and continued to compare women in such a fashion because the majority of their writing was written by men for other men. Thus was born an unspoken tradition amongst men to portray women as weak submissives and/or seductive, evil succubi/monsters such as Lilith, and is the result of men’s fear of being controlled.
Psychologically, a man may be willing to have sex, but if the woman is not, the denial of sex perpetuates a breach in the male ego. The male response to this rejection is fear and anger, and in order to find a solution to the problem, the male reacts by finding excuses for his superiority. Believing that if he is superior and that the woman is weaker and inferior, then whether or not the woman is willing will now be unimportant and inconsequential, as far as the man is concerned.
Women do not have this sexual rejection problem however, for at any time they are willing, men can be made willing through the use of female charms or even simple aggression. Only male impotence can prevent this, which is no fault of the female. Men subconsciously understand this and also understand that they are vulnerable against females in this way, and are afraid of being seduced and manipulated.
Putting these two in perspective, men have defined two types of women: The submissive woman who falls prey to a man’s every whim, and the aggressive, manipulative woman who can seduce a man into performing her every whim.
When communicating these ideas to other men, the emphasis of a woman’s description is placed upon her beauty, her weaknesses and her lack rationality. These are ideas that men subconsciously/consciously seek to promote about women as a result of their own insecurities.
Aristotle was obsessed with his penis, that much is evident from a psychologically perspective. According to Aristotle, the penis and its semen is the source of all souls and spirit, and that women, being “mutilated” and without a penis is soulless. He goes into more detail, believing that women are unable to create souls because they themselves are “impure” and “incapable of concocting the nutriment in its last stage into semen. If she does have a soul, it is an “impure” one, and thus needs a man’s “purity” in the form of semen. In short, Aristotle likely believed that the world revolved around his penis.
Going further on Aristotle’s beliefs, if women are soulless, then their feelings don’t matter, and thus men must be the masters over women because women are cold, heartless and lack authority. He admits that women have intelligence/faculty, “but it is without authority” and thus men must be the masters. The end result is that Aristotle likely believes that the perfect woman is a “mutilated” quiet, cold, and submissive creature, something similar to Helen of Troy or Andromeda.
As the exact opposite, the worst woman by his definition would likely coincide with many of the mythological creatures of his time. The medusa, sirens, gorgons and harpies portray intelligent women as cunning, powerful, independent, and yet deformed monsters. They would still be “mutilated” by Aristotle’s definition, and would suffer the consequences for their independence, for they were all defeated by men. In essence these myths could be considered allegory warning women not to become independent and proud of their intelligence.
Respected for his beliefs by his male colleagues (and they were all male and thus with male egos and “in love with their penises” and no doubt loving the idea that the world revolves around their penis), Aristotle’s beliefs were written down for men and mass produced for men. These beliefs are then passed down upon children, who then take these beliefs to be the absolute truth, and never questioning it. “Men commonly think according to their inclinations, speak according to their learning and imbibed opinions, but generally act according to custom,” said Francis Bacon, speaking of this usually “unspoken tradition” that is passed down through the generations.
In the Biblical Genesis (the King James/Yahwist version), Eve is portrayed as being lesser than Adam by the simple fact that she is made by only part of him, and is not made wholly of the earth like Adam was. This shortcoming is then shown when she is tricked so easily by the serpent into eating the fruit from the Tree of Knowledge of Good and Evil, and she in turn manipulates and tricks Adam into also eating of the tree. Furthermore, when caught and questioned, Eve quickly blames the snake for her shortcomings. Thus Eve presents parts of both archetypes, the submissive woman who is easily tricked by the snake, but after eating the fruit, she becomes the cunning and manipulative woman who seduces/tricks Adam.
In a different version of Genesis, the ben-Sira version~, the person known as Lilith (Adam’s first wife, before Eve) is introduced:
“When the Almighty created the first, solitary man, He said: It is not good for man to be alone. And He fashioned for man a woman from the earth, like him (Adam), and called her Lilith. Soon, they began to quarrel with each other. She said to him: I will not lie underneath, and he said: I will not lie underneath but above, for you are meant to lie underneath and I to lie above. She said to him: We are both equal, because we are both created from the earth. But they didn’t listen to each other. When Lilith saw this, she pronounced God’s avowed name and flew into the air. Adam stood in prayer before his Creator and said: Lord of the World! The woman you have given me has gone away from me. Immediately, the Almighty sent three angels after her, to bring her back. The Almighty said to Adam: If she decides to return, it is good, but if not, then she must take it upon herself to ensure that a hundred of her children die each day. They went to her and found her in the middle of the Red Sea. And they told her the word of God. But she refused to return. They said to her: We must drown you in the sea. She said: Leave me! I was created for no other purpose than to harm children, eight days for boys and twenty for girls. When they heard what she said, they pressed her even more. She said: I swear by the name of the living God that I, when I see you or your image on an amulet, will have no power over that particular child. And she took it upon herself to ensure that, every day, a hundred of her children died. That is why we say that, every day, a hundred of her demons die. That is why we write the names Senoi, Sansenoi and Semangloph on an amulet for small children. And when Lilith sees it, she remembers her promise and the child is saved.”
According to accompanying legends, Lilith was cursed and turned into a succubus. God created Eve as an afterthought out of Adam’s rib, in order to make her more submissive. Lilith’s descendants and Eve’s descendants mingled together and bred, and God decreed that Lilith is kill all of her descendants, except for those protected by an amulet. This belief that Lilith will come to slay young children is still held in awe today in many cultures. As the mother of all other succubi, Lilith’s daughters (succubi, or simply “Liliths (according to some tales) are also held to this and cannot harm any child protected by the amulet. This is Lilith’s curse for being too dominating according to many tales, although it is also questioned as to whether the real reason is because she spoke God’s avowed name.
Other Biblical and non-Biblical legends* portray Lilith as being a “terrible mother-goddess”. Her clergy is described as being “temple prostitutes” according to some historians. This belief changed over time, with Lilith (or succubi in general) becoming the “divine whore” according to men, described as being a tall beautiful, obsidian-skinned, bat-winged female with long red (some legends say black) hair and sharp blue eyes. This creature then seduces men and kills them. This is a perfect example of men describing the physical characteristics of women, and also their obvious fear of being powerless against a woman and controlled by them.
There are many other legends (mostly Sumerian, Babylonian and Assyrian) calling Lilith (or creatures like her) by other names such as Shedu, Lamashtu, Marilith, Succubus, Ahhazu, Alu, Gallu, Lamia, Ishtar. The legend of Lilith is so widespread that it reaches even Malayasia where she is called Langsuir (or Langsuyar) and feared as a demon seductress of the night. This enforces the idea that man’s fear of seductive/dominating women is universal amongst all men.
During the Spanish Inquisition (and various other witch hunts), witches were associated with the demon Lilith, and anyone having red hair like Lilith were more likely to be hung or burnt at the stake. This perhaps is the reason why red hair is so rare and also why the current stereotypes that all red-haired people are regarded as aggressive, hot tempered, troublesome, and otherworldly. These witchhunts were led by men, usually clergy, who were obviously afraid of being bewitched, seduced and controlled.
The power struggle between Adam and Lilith is a reflection of the power struggle between the sexes, a man’s patriarchal attitude versus a woman’s demands for independence and equality. Psychologically, this is the result of Adam’s fear of Lilith being in control, Lilith’s equal fear of Adam being in control, and both rejecting the others demands for dominance. Adam and Lilith obviously could not meet with a marital therapist however, but since the two are viewed as being mythical characters, then they reflect universal characteristics and behaviour such as all people’s (not just men’s) fear of being controlled.
A number of modern psychologists/analysts have studied the ben-Sira version and have come up with their conclusions about Lilith, Adam and Eve, and their archetypes:
Vogelsang asserts that Adam bears the guilt for the disagreement. “From the beginning [he] was trying to assert his superiority and to dominate her, a power play on the part of the masculine.” He also says “it should be emphasized that she was not trying to subjugate him. She was trying to maintain her rights.” Essentially this means that Adam represents the average aggressive male, whereas Lilith should actually be considered a model female who stands up for her rights. Perhaps women should be feared, for it is the fear between both sexes that makes them equal.
Lenherr-Baumgartner claims that Adam’s demand for the upper position was the result of “is evolutionary understandable as a certain male fear of an equal female. In addition she considers the separation of the two metaphorical in the sense that male and female shall be forever separated by their fears of each other.
In modern times it would be very easy to compare Adam, Eve and Lilith to a patriarchal husband, a weak, submissive wife, and a vindictive, dominating ex-wife. A slightly different example would be patriarchal President Bill Clinton (perhaps as the result of his obsession with his penis), submissive stand-by-your-husband Hillary Clinton, and the aggressive “succubi” (no pun intended) Monica Lewinsky. The First Lady has deliberately played the submissive/supportive wife because she understands that she will be considered more socially acceptable because of it, whereas Lewinsky has found popularity amongst some feminists who support her for her aggressiveness. Bill Clinton himself however faces a special problem with his ego, having the American-Made title of the “Most Powerful Man In The World” and likely believing that the world really does revolve around his penis, and his true fears are more complex because of the high price some believe that he should have paid for his adultery.
In conclusion, the dominance of men has been implemented by unspoken tradition amongst men through the generations of men writing for other men, such as Aristotle and the many variations of Genesis. This has caused men to create two specific archetypes of a submissive weak woman and an aggressive “Lilith” both of which are the result of men’s fears of a dominant/equal female.
Spell For Tomorrow – Apollo’s Devotional Chant for Inspiration
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Apollo’s Devotional Chant for Inspiration
In Greek and Roman mythology, Apollo is a standout god, born to Zeus and Leto and twin to the huntress Artemis. Over time, Apollo and the sun god Helios started to blend in people’s minds, similar to how Artemis got linked with Selene, the moon goddess. Despite this confusion in religious circles, myths and literature always kept Apollo and Helios, as well as Artemis and Selene, separate. The Etruscans also honored him as Aplu, showing Apollo’s wide-reaching influence in ancient cultures.
Light an orange candle during this devotional.
Incense for Apollo:
Frankincense, Vanilla, Cedar.
Offerings to Apollo:
Bay leaves, Olive oil, Wine, Sunflowers, Sunflower seeds.
In Greek mythology, Apollo is one of the most important and multifaceted Olympian gods.
The ideal of the young beardless, Apollo has been variously recognized as the god of truth and prophecy; archery; medicine and healing; music, poetry, healing, and more. In later times, Apollo became partially equated with Helios, the Sun god. But Apollo and Helios remained separated beings in literary and mythological texts. In Etruscan mythology he was known as Aplu.
Invoke Apollo’s power and bring inspiration, focus, concentration and creativity to your art, your new project or work. Use this chant as a morning ritual prayer, or combine it with a spell for good luck, healing, creativity and more.
Devotional text
Come blessed healer,
Bearing a golden lyre, generative, agrarian, Oracular one,
Wild, radiant divinity, lovely one, glorious son,
Cultivator of joy, whose arrows achieve their aim, mighty archer.
You who achieve from afar, prophet, holy one,
all-seeing eye bringing the light which shines on mortals,
Golden-haired, making clear oracular utterances,
Hear me with gracious soul as I pray on behalf of mankind.
Upon the blessed earth you look from above through the dark of night.
In the restful shadow of a night filled with stars,
You clearly see the root below and you arrange and support the boundary of all:
For the origin and completion are both in your care,
The cause of the blooming of all things,
with your resonant lyre you command the axis of the heavens,
Placing all in harmony, by which, indeed, you advance to the lowest pitch,
Elsewhere to the highest, at times playing in the Dorian mode,
Tempering all the poles you keep the tribes of living creatures distinct.
Let inspiration come to me.
Support my quest for creativity.
Make my imagination unlimited.
And my mind open to new ideas as I manifest my talents.
Let me surround myself with creative people.
So I can be in touch with my creative source.
Help me release any resistance to fully expressing my creativity.
Give me the time to think, to relax and focus.
Powerful spirit, express yourself in all possible ways.
Let inspiration flow so that I can easily express myself.
My creative work fills you with joy,
And anything can be my source of inspiration.
I promise to always look out for new experiences.
To recognize and overcome my limitations.
If you eliminate all mental blockages, remove barriers,
And any habits that oppress my inspiration.
Dear Apollo, come to me.
You have mingled harmony into the share of all mortal men,
Giving each an equal measure of winter and summer,
The highest three strings in the winter, the lowest in the summer,
The Dorian mode produces the lovely and blooming spring.
Thereupon the mortals celebrate and call you lord and
Pan, the two-horned God who sends the whistling winds,
Wherefore you form and bear the seal of the entire Cosmos.
Hear, happy one, the supplicating voices of the initiates and save them.
Cernunnos: Horned God of the Celts

Cernunnos is one of the most enigmatic and fascinating figures in Celtic mythology. Depicted as a horned god, he was worshipped by the ancient Celts throughout much of Europe.
| Horned God | Protector | Fertility | Underworld |
In this article, we will explore the myths and legends associated with Cernunnos, and examine the many roles he played in Celtic religion and society.
Who was Cernunnos?
Cernunnos was a god of the Celts, who were an ancient people that inhabited much of Europe during the Iron Age. He is depicted as a horned figure, often holding a torque, or twisted metal necklace, and accompanied by various animals, such as stags, bulls, and serpents. Despite his popularity, little is known about Cernunnos and his exact role in Celtic religion and society remains a matter of debate among scholars.
The Horned God
The image of the horned god is one of the most distinctive and enduring symbols of the Celts. The horns are typically those of a stag, and they represent the god’s connection to … Click here to read the rest of this article Source: celticnative.com
Cernunnos – The Enigmatic Antlered God of the Ancient Celts

The Celts can rightfully be placed amongst the world’s most important ancient cultures and civilizations. Their far-reaching ancient origins are the irreplaceable part of every historical lesson, and their role in history was crucial in the development of the world as we know it today. Yet even so, many aspects of the Celtic culture and belief are a bit of an enigma – even today. Because they didn’t leave any considerable written records, the Celts are largely mysterious, and most of what we know of their early history comes from Roman or Greek historians. We do know, however, that Cernunnos was one of their foremost deities. A mystical antlered god, he was revered by the Celts across Europe.
Who was Cernunnos, the Antlered God of the Celts?
With the relatively recent discoveries of ancient Celtic core sites of La Tene and Hallstatt, in the mid-1800s, the world and the culture of these ancient Europeans came to the closer view of the general public and historians as well. Suddenly, there was so much more to learn about the Celts, about their art, their lifestyle, and their beliefs. Before the 1800s, the pantheon of the ancient Celts was largely enigmatic, but with new archeological material, typesites, and a closer glimpse into their religious rituals, we were finally able to paint a more detailed picture of the ancient Gods of the Celtic peoples.
Arguably the best-known deity in their pantheon is Cernunnos, the sylvan antlered god that likely has origins that far predate the emergence of the Celts. Sometimes also known as Carnonos, his name has firm Proto-Indo-European origins. It stems from the PIE word *k̑r̥no-, and is thus cognate to Germanic *hurnaz and Latin cornu, all meaning “horn”. In the Celtic Gaulish language, this word was karnon, and the connection with the name of Cernunnos is clear – it reflects the deity’s stag antlers, growing from his head. Thus, Cernunnos literally means “the horned one”.
This can also be deduced from the surviving imagery related to the god. In almost every surviving depiction, Cernunnos is presented as … Click here to read the rest of this article Source: .ancient-origins.net
Cernunnos Celtic God: Exploring the Ancient Deity’s Significance and Symbols
Cernunnos
Cernunnos Celtic god holds a significant place in ancient Celtic mythology. Represented as a horned deity, Cernunnos symbolizes nature, fertility, and the cycle of life. This ancient god intertwines with Celtic culture, rituals, and festivals.
Content of this Article
(One Person’s View) List of the Most Used Gods in Witchcraft
Adonis: Greek – consort of Aphrodite
Anubis: Egyptian – Jackal-headed God responsible for conducting souls to the underworld.
Apollo: Greek & Roman – God of the Sun, twin brother of Artemis
Cernunnos/Kernunnos: Celtic – The Horned God, consort of the Lady.
Dionysus: Greek – God of wine, fertility, and vegetation.
Eros: Greek – God of love and passion.
Herne: Celtic/Saxon – see Cernunnos.
Horus (the elder): Egyptian – God of the all-seeing eye. Has the head of a falcon and the body of a man.
Hymen: Greek – God of marriage and wedding feasts.
Lucifer: Italian – God of light, brother of Diana.
Mithra: Persian – God of the Sun and of victory in war
Odin: Scandinavian – God of the dead and of war. Consort of Freya.
Osiris: Egyptian – Fertility God, brother and consort of Isis.
Pan: Greek – God of nature and of woodland.
Poseidon: Greek – God of the sea.
Ra: Egyptian – God of the Sun. Father of Hathor by Nut.
Shiva: Hindu – God of the cycle of birth-death-rebirth. Consort of Kali.
Thor: Scandinavian – God of the sky and of thunder. Son of Odin
Thoth: Greek – God of wisdom and of writing.
Zeus: Greek – Supreme God. Brother of Demeter.
(One Person’s View) The Deep Meaning of the Triple Goddess Symbol
The hyperlink is for a good video about the Triple Goddess. I hope you find it enjoyable and informative.
The Deep Meaning of the Triple Goddess Symbol | SymbolSage
Jupiter Roman King of the Gods

Jupiter
Roman King of the Gods
In terms of Roman mythology, the god Jupiter is the king. In fact, he is often referred to as the king of the gods. He may not be the original creator of the MYTHOLOGICAL CREATURES that dominated tales and lore; that distinction belongs to his father Saturn. But Jupiter is the main man, a la ZEUS in Greek mythology.
Mythology dominated religious culture in Rome up until the point in which Christianity took over. Until that happened, Jupiter was the main deity. He was the god of the sky and, along with the help of the kings of the time, established principles of the Roman religion.
His similarities with Zeus and the GREEK MYTHS didn’t stop with their connections with the sky and thunderbolts. Jupiter was brother to two other gods: Neptune and Pluto. Like the Greeks, each of these three gods controlled one realm of existence: the sky (Jupiter), the sea (Neptune), and the underworld (Pluto), with Jupiter being the most powerful.
Click here to read more about the Roman God Jupiter (Jove) from greekgodsandgoddesses.net
Etain Irish Goddess of Light

Etain Irish Goddess of Light Source: witchymagicks.com
Etain, the resplendent gem of Irish mythology, has captured the hearts and imaginations of people for generations. Her tale speaks of an eternal cycle of love, metamorphosis, and renewal. Immortalized in the time-honored text “The Wooing Of Etain,” her story has endured the relentless march of time, forever etched in the annals of history.
More than a mere goddess, Etain embodies the very essence of the sun, radiating life and vitality wherever her presence graces. As the ages passed, her legend grew, and she came to be revered as a moon goddess as well, adding an ethereal dimension to her already captivating persona. To embark upon a journey into Etain’s realm is to be enthralled by a narrative that transcends the boundaries of time, where her unwavering spirit shines bright against the capricious tides of destiny.
Helios – The Sun God

Helios rides his Chariot across the sky
| HELIOS FACTS | |
|---|---|
| Name(s): | Helios |
| Rules over: | The Sun |
| Title: | Titan God of the Sun |
| Gender: | Male |
| Symbols: | Sun, Chariot, Aureole |
| Sacred animals: | Horse, Rooster, Cattle, Wolf |
| Items: | Frankincense, Cornucopia, Black Poplar, Heliotrope |
| Parents: | Hyperion and Theia |
| Consort: | Clymene, Rhode – possible others: – Clytie, Perse, Leucothea |
| Other significant others: | Siblings: – Selene and Eos |
| Children: | Abundant children including: – The Charites, Phaethon, The Horae, Pasiphae, Circe, Aeëtes, Heliadae, and Heliades |
| Roman name: | Sol |
Helios – The Sun God: https://greekgodsandgoddesses.net –
That was the image that would come to the minds of ancient Greeks when they thought of Helios. To them, he was the representation of the sun and sunlight, traveling across the sky every day. Some authors report that select Greeks revered him as much as they did Zeus.
Helios Appearance
Artwork of the time often shows Helios to be wearing a shining aureole, or halo, of the sun upon his head. He had piercing eyes and long, curly hair.
Family History
Helios was the son of the Titan Hyperion and the Titaness, Theia, making him a second generation Titan.
His sisters were goddesses Selene, the moon, and Eos, the dawn.
Children of Helios
Helios sired many children with his different wives. The Charites, Phaethon, The Horae, Pasiphaë, Circe, Aeëtes, Heliadae, and Heliades are among his known offspring.
The All Seeing Eye
It is not uncommon so see Helios given the epitaph Panoptes, or all-seeing, as the Greeks believed that he could witness anything in the heavens or on earth.
According to the myth about Persephone’s abduction by Hades, it was Helios who saw the crime occur. When Demeter, Persephone’s mother, demanded to know the whereabout of her daughter, the Titan was able to inform her that Hades had kidnapped the goddess.
Another tale illustrating his ability describes Helios witnessing an affair between Aphrodite and Ares. He reported this to Hephaestus, Aphrodite’s husband, and helped set a trap to catch the two lovers. Caught in the act, the gods then banished Ares from Olympus for his crime.
This ability would have made him a valuable friend to keep and a frightening enemy to have.
Daily Travels
As the sun god, Helios would make a daily journey across the sky. Four horses, Aethon, Pyrois, Phlegon and Eous, drew his chariot.
Each morning, his sister, Eos, would paint the dawn sky with her fingers and pull the misty curtain, through which Helios would appear, aside. He would drive his blazing chariot across the heavens until his travels were complete. At this time, he would he would hide in a golden cup that fell to earth while his sister, Eos, would begin her nightly trek.
Meeting with Hercules
Legend has it that one day while lost in his quest to find the island of Erythia, Hercules grew frustrated and shot an arrow towards the sun. Upon realizing what he had done, he apologized to the Titan. Helios, however, was so taken with the boldness of this action that he presented Hercules with his golden cup. Hercules was then able to use this cup to reach his destination.
Helios Appearance in The Odyssey
Helios has a small but notable role in the Odyssey. When Odysseus and his men land on Thrinacia, one of the islands dedicated to the sun god, Odysseus warns them not to touch any of Helios’ cattle or sheep that graze on the land. They do not heed this warning and, in his absence, slaughter some of the best of the animals.
Alerted to this by one of his daughters, Helios appeals to Zeus for revenge. He threatens to take the sun and shine it onto the dead of the Underworld, instead of on the earth, if the men’s act goes unpunished. Zeus then strikes the crew’s ship with a lightning bolt, killing everyone except for Odysseus.
Cult Worship
The island of Rhodes, believed to have been shaped by Helios, is a place where people honored him as an important deity. Legend has it that when the island first came into being, it was muddy and uninhabitable. Helios dried the land and filled it with life, including seven of his sons known as Heliadae. Because of Helios’ life-giving intervention, some residents of the island worshiped him, and the island became sacred to Helios.
In the 3rd Century BC the people of Rhodes built the Colossus of Rhodes which was a 30 metre (90 foot) statue of Helios, it was won of the Seven wonders of the Ancient world.
The Dorians, one of the four major ethnic groups of Greece at the time, also seemed to have celebrated Helios more than many Greeks of the era. There is even speculation that they were the people who brought the worship of the sun god to Rhodes.
Conclusion
Despite having what some historians believe to be a significant place in the Greeks’ hearts, Helios did not play a massive part in their mythology, and it seems that he was eventually replaced by Apollo. Nevertheless, his image as the handsome Titan driving a blazing chariot pulled through the sky by his fire-breathing steeds lives on to this day.
Quick Facts:
Mother: Theia
Father: Hyperion
Siblings: Selene and Eos
Known wives/consorts: Selene, Perse, Clymene, Aegle, Neaera, Rhodos, Ocyrrhoe, Leucothoe, Nausidame, and Gaia
Known as: the Sun God
Roman equivalent: Sol
Goddess – Rhiannon, Horse Goddess of Wales

Rhiannon – Horse Goddess of Wales
In Welsh mythology, Rhiannon is a horse goddess depicted in the Mabinogion. She is similar in many aspects to the Gaulish Epona, and later evolved into a goddess of sovereignty who protected the king from treachery.
Rhiannon was married to Pwyll, the Lord of Dyfed. When Pwyll first saw her, she appeared as a golden goddess upon a magnificent white horse. Rhiannon managed to outrun Pwyll for three days, and then allowed him to catch up, at which point she told him she’d be happy to marry him, because it would keep her from marrying Gwawl, who had tricked her into an engagement. Rhiannon and Pwyll conspired together to fool Gwawl in return, and thus Pwyll won her as his bride. Most of the conspiring was likely Rhiannon’s, as Pwyll didn’t appear to be the cleverest of men. In the Mabinogion, Rhiannon says of her husband, “Never was there a man who made feebler use of his wits.” After Pwyll’s death, Rhiannon married Manawyden.
The goddess’ name, Rhiannon, derives from a Proto-Celtic root which means “great queen,” and by taking a man as her spouse, she grants him sovereignty as king of the land.
In addition, Rhiannon possesses a set of magical birds, who can soothe the living into a deep slumber, or wake the dead from their eternal sleep.
Her story features prominently in the Fleetwood Mac hit Rhiannon, although songwriter Stevie Nicks says she didn’t know it at the time. Later, Nicks said she “was struck by the story’s emotional resonance with that of her song: the goddess, or possibly witch, given her ability with spells, was impossible to catch by horse and was also closely identified with birds — especially significant since the song claims she “takes to the sky like a bird in flight,” “rules her life like a fine skylark,” and is ultimately “taken by the wind.”
Primarily, though, Rhiannon is associated with the horse, which appears prominently in much of Welsh and Irish mythology. Many parts of the Celtic world — Gaul in particular — used horses in warfare, and so it is no surprise that these animals turn up in the myths and legends or Ireland and Wales. Scholars have learned that horse racing was a popular sport, especially at fairs and gatherings, and for centuries Ireland has been known as the center of horse breeding and training.
Judith Shaw, at Feminism and Religion, says, “Rhiannon, reminding us of our own divinity, helps us to identify with our sovereign wholeness. She enables us to cast out the role of victim from our lives forever. Her presence calls us to practice patience and forgiveness. She lights our way to the ability to transcend injustice and maintain compassion for our accusers.”
Symbols and items that are sacred to Rhiannon in modern Pagan practice include horses and horseshoes, the moon, birds, and the wind itself.
An Iowa Pagan named Callista says, “I raise horses, and have worked with them since I was a child. I first encountered Rhiannon when I was a teenager, and I keep an altar to her near my stables. It’s got horsey things on it, like a horseshoe, a horse figurine, and even braids from the manes of horses I’ve lost over the years. I make an offering to her before horse shows, and I invoke her when one of my mares is about to give birth. She seems to like offerings of sweetgrass and hay, milk, and even music – I sometimes sit by my altar and play my guitar, just singing a prayer to her, and the results are always good. I know she’s watching over me and my horses.”
Source: Paganism/Wicca Expert Article originally published on & owned by About.com By Patti Wigington
(One Person’s View) Who Is Bastet? Complete Guide to the Egyptian Cat Goddess

Bastet/Bast
Lion and cat and woman, goddess of war and fertility—the Egyptian goddess Bast (also known as Bastet) contains multitudes. While she’s not the only cat goddess from ancient history, Bastet is probably the most famous cat goddess today. She has a strong presence in pop culture and a select few even still worship her!
In this complete guide to Bastet, we’ll go over exactly what makes this Egyptian cat goddess so compelling. We’ll describe her attributes, how she was depicted in ancient Egypt, her major relationships, how she was worshipped, her major myths, and the history of her worship. We’ll close out with where you might encounter Bast, goddess of cats, today.
Who Is Bastet? What Are Her Attributes?
The goddess we most frequently call “Bastet” today was known as both “Bast” and “Bastet” in ancient Egypt.
“Bast” was her earlier name. It possibly meant either “Soul of Auset” (Auset being an alternative name for “Isis,” who is sometimes considered her mother), or “devouring lady.”
Later, priests called her “Bastet” to indicate that the “t” in her name should be pronounced. “Bastet” shares one of the same hieroglyphs for the bas jar, which held perfumes and ointments. So “Bastet” also meant “she of the ointment jar.”
Bast was originally a lioness goddess, but as time went on, she was more closely associated with the housecat. The cat was her totem animal.
As one of the main goddesses of the Egyptian pantheon, Bastet had a huge number of attributes and aspects:
- She was a goddess of cats, the sun, of the East, of fire, of love, intoxication, music and dancing, joy, celebration, fertility, secrets, magic, and sex.
- However, she was also a goddess of war known for her wrathful vengeance.
- She protected households and individuals from disease and evil spirits, guarded pregnant women, and protected cats.
- She served as the divine nurse and mother of the Pharaoh.
- Due to Bastet meaning “she of the ointment jar” she also became known also as a goddess of perfume, and was called the “perfumed protector.”
- Bast/Bastet was the protector and guardian of Lower Egypt.
- She was the patron goddess of fire fighters, because the Egyptians believed that a cat running through a building on fire would draw the flames out.
- She was also one of the goddesses who was known as the “eye of Ra” or the “eye of Atum,” the sun. In this aspect she symbolized Ra’s feminine counterpart and was sent out to take vengeance on his enemies. The “eye of Ra” was both a part of Ra and a separate being from him, and was considered his mother, sister, wife, and daughter simultaneously. She had life-giving, protective and also destructive capacities.
Depictions of Bastet: Her Symbols and Totems
Bast was first depicted primarily as a lioness, then later as a cat or cat-headed woman. In her aspect as a cat-headed woman she frequently holds a sistrum decorated with cats and Click here to read the rest of this article
Gods – Cu Chulainn 1 of the Most Famous Celtic Mythological Heroes
Cu Chulainn would be a demi-god, but the Celtic pantheon does not have demigods.

The Story of Cu Chulainn
Cu Chulainn is one of the most famous Celtic mythological heroes. He appears in the stories of the Ulster Cycle, and Scottish and Manx folklore. He was said to be the son of Deichtine and the god Lugh, and the nephew of Conchobar mac Nessa, the King of Ulster. His given name at birth was Setanta but he gained the name Cu Chulainn, meaning ‘Culann’s Hound’ after he killed a ferocious guard dog belonging to a smith named Culann. Cu Chulainn offered to take the place of the guard dog until a replacement could be reared.
The stories of Cu Chulainn’s childhood, which date back to the 9th century, are many. It is said that as a small child, he had asked incessantly to be allowed to join the boy-troop at Emain Macha (today known as Navan Fort in County Armagh, Northern Ireland). According to the legend, he sets out on his own, and eventually runs onto the playing field at Emain, unaware of the custom of asking for protection. The other boys see this as a challenge, and attack Setanta, but he beats them all single-handedly as he carries the trait of ‘ríastrad’, in which he undergoes a sort of distortion, becoming an unrecognizable monster who knows neither friend nor foe. King Conchobar put a stop to the fight.
In the next part of the story, Culann the smith invites Conchobar to his home for a feast.
At this point, Conchobar is so impressed by Setanta that he asks him to join the dinner. Setanta is unable to attend right away, but promises to join them at Culann’s house later. However, Conchobar forgets, and Culann lets loose his ferocious hound to protect his house. On arrival at their house, Setanta is forced to kill the guard dog in self-defense. Culann is devastated at the loss of his guard dog and Setanta feels so bad that he offers to rear a new one, and to guard Culann’s house until the new dog is ready to do so.
When Cu Chulainn is seven years old, he overhears a druid named Cathbad teaching pupils at Emain Macha. Cathbad states that any pupil who takes arms that day would have everlasting fame. Desiring everlasting fame, Cu Chulainn goes to King Conchobar to ask for arms. Conchobar gives Cu Chulainn many arms to try, but none can withstand Cu Chulainn’s strength until finally Conchobar gives him his own arms. Unfortunately, Cu Chulainn did not listen to Cathbad’s full prophecy, and he was unaware that a pupil who took arms that day would have everlasting fame, but a short life.
As Cu Chulainn gets older, he decides he would like to take Emer, daughter of Forgall Monach as a wife. However, Forgall is opposed to this, and tells Cu Chulainn that he should train with Scottish warrior-woman, Scáthach. Forgall’s true intent is that Cu Chulainn will be killed. While Cu Chulainn is gone, Forgall offers Emer to Lugaid mac Nóis, a king of Munster, but when the king learns that she loves Cu Chulainn, he refuses to take her hand.
Scáthach teaches Cu Chulainn all the arts of war. His fellow trainees include Ferdiad, who becomes Cú Chulainn’s best friend and foster-brother. During his training with Scáthach, Cu Chulainn comes to face Aife, Scáthach’s rival. Although the two are evenly matched, Cu Chulainn eventually seizes Aife, and demands that she bear him a son. While Aife is pregnant, Cu Chulainn leaves Scotland, and returns to his love Emer, but Forgall still refuses to allow the marriage. Enraged, Cu Chulainn storms Forgall’s fortress, kills twenty-four of his men, abducts Emer, and steals Forgall’s treasure. Forgall falls to his death.
King Conchobar fears the marriage of Cu Chulainn and Emer, because Conchobar has the “right of the first night” over all marriages and is afraid of Cu Chulainn’s reaction if he sleeps with Emer. On the other hand, Conchobar will lose all his power and authority over his subjects if he doesn’t. The druid Cathbad suggests that Conchobar sleep with Emer, but Cathbad sleep between them.
After eight years pass by, Cu Chulainn’s son by Aife, Connla, comes to find him. When Connla refuses to identify himself, Cu Chulainn kills him. As Connla dies, his final words are that he and Cu Chulainn could have “carried the flag of Ulster to the gates of Rome and beyond,” leaving Cu Chulainn grief-stricken.
Several years pass, and Cu Chulainn rides out to face a group of men who have conspired to kill him. They are all sons of men he had killed. On his way, he encounters three one-eyed hags eating a feast of roast dog. They invite him to join them. Cu Chulainn had several gessa, which are self-declared taboos which, if broken, would lead to his inevitable downfall. Two of his gessa were to never eat dog meat, and to never refuse hospitality. At this junction, he has no choice but to break one of his gessa. He takes one bite and places the bone under his thigh. The hand he used and his thigh are immediately weakened. Cu Chulainn continues on his journey, and is eventually killed while fighting his conspirators. When he received his fatal wound, he tied himself to a pillar so he would die standing and facing his enemies. As the prophecy foretold, Cu Chulainn had reached fame but died at a young age.
The legends of Cu Chulainn are still told to this day. As a mythological hero, the stories of his strength and power have lived on, re-told throughout the years in many ways. Today, the image of Cú Chulainn is invoked by both Irish and Ulster (Northern Ireland) nationalists. Irish nationalists see him as the most important Celtic Irish hero, while unionists see him as an Ulsterman defending the province from enemies to the south.
If you would like to read more about Cu Chulainn warrior tales here is a link for a general search on Táin Bó Cúailnge



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