Invocation To Freyr

“Freyr, Son of Njrd, Join us.
Freyr, Husband of Gerdr, Join us.
Freyr, Brother of Freyja, Join us.
Freyr, Father of kings, Join us.
Freyr, Whose sword would fight for itself, Join us.
Freyr, Who gave his sword for Gerdr, Join us.
Freyr, Patron of married couples, Join us.
Freyr, Most beautiful of Gods, Join us.
Freyr, Whose tooth-gift was Alfheimr, Join us.
Freyr, Master of Gullinbursti, Join us.
Freyr, Owner of Skidbladnir, Join us.
Freyr, Slayer of Beli, Join us.
Freyr, Master of Frodi’s Peace, Join us.
Freyr, Who directs Man’s good fortune, Join us.
Freyr, Who brings fruitful seasons, Join us. Freyr,
Your servant _______ calls you! Come to me NOW!”

WitchWay

Earth Goddesses – CORN WOMAN

Earth Goddesses – CORN WOMAN

In Native American lore, it is the Corn Woman who is known as the “first mother.” It is said that there was once a time of great famine. The Corn Woman went to her husband and asked that he kill her. The husband, distraught, went to the tribe’s teacher, who confirmed that he must do as his wife asked. With great reluctance, he complied. He dragged her body around a field and burned her in the center of it. In a few months, corn and tobacco filled the field, saving the tribe from starvation.

In the Pawnee tribe, Corn Woman held rule over the west, while Buffalo Woman held the east. Together they guaranteed that the tribe had both meat and corn.

In one of the earliest tales, we find that the Corn Woman emerged from an older world, one in which animals were not slaughtered for food and hides but rather were treated as kin. The old world had a greater respect for life, be it animal or human. The people began to lose balance and greed crept in. The deer set forth a punishment for any who would eat of its flesh – man’s first known disease. Corn Woman thought it was time to begin again and restore balance and harmony to the people.

She watched her grandsons preparing to go out to hunt and asked them to stay. She said she would cook the finest meal they had ever tasted. The grandsons replied that they were hunters and must hunt, Corn Woman nodded sadly and went about creating her meal, but not before she asked her grandsons to respect the animal life they came across in the forest. The grandsons laughed.

Corn Woman cooked, all the while singing and blessing the food. When her grandsons returned home, she saw that they had killed a wild pig. She said nothing. They sat down and began to eat of her feast. Loudly, the grandsons proclaimed the food the best they had ever tasted and proceeded to eat their fill. They asked her where she had gotten the corn, but she did not answer. She just listened to the compliments and smiled.

The next day, the young men again reached for their weapons. Corn Woman cooked again. The aromas from her kitchen reached them out in the woods as they hunted. That day, they brought home a slain deer. Corn Woman said nothing. The grandsons gifted her with the deer, and she recognized it as an honor and so returned it to the forest. She sang long into the night, invading the dreams of her grandsons.

When they awoke the next morning, instead of reaching for their weapons, the grandsons asked Corn Woman to make them breakfast. She did and they ate until they were sleepy again. When they awoke from their naps, they gathered their weapons and set about preparing to hunt. Corn Woman asked the not to go. She said, “we have so much food already.” The grandsons said they were hunters and set out toward the forest. Corn Woman called after them to respect animal life.

While on the hunt, one of the young men asked the other where Corn Woman got all the corn she was using to cook with. The other man replied that he did not care and the he knew Corn Woman would only give him what was good for him. They returned home with a turkey but once again sat down to a delightful meal of corn.

After many days of wondering, the younger of the two grandsons decided to sneak back to the home and find out where Corn Woman was getting all of the corn. As he watched, she slapped her sides and the corn fell out of her body and into a basket at her side. He ran to tell his older brother. The eldest grandson was upset. He said. “this is a bad thing, an unnatural thing. We cannot eat our grandmother. Something has taken hold of her.”

That night the grandsons returned home in fear. Corn Woman piled their plates high but the two could not eat. Her heart grew heavy as she realized that they knew her secret. She began to age rapidly before their eyes. The youngest started to cry and beg forgiveness. Corn Woman replied, “Listen well, child. For I have no long as I am to tell you all you need know. I am the Corn Mother. I a her for your abundance, harmony, health and peace. When I pass, you are to drag my body through the field and plant me in the center. I will come back to you as tall, glorious plant, with yellow hair at my fruit. Do not eat all of the seeds; save some for the planting again the next year, so that I might be with you forever.” The grandsons swore to do as she wished. Thereafter they refused to hunt unless they were on the verge of starvation. Hence, balance and harmony returned to the people.

In the Navajo tribe, we find variations of the Corn Woman. According to Navajo beliefs, there was a Corn Girl (yellow corn) and a Corn Boy (white corn) sent forth by the creator god to bring corn to the tribe. Corn was sacred and the main food of the people and was also used in religious ceremonies. Shaman’s masks were fed corn meal to “bring them into being,” or animate them.

The Aztecs have their own version of the Corn Woman in Chicomecoatl, the goddess of sustenance. It was thought that yearly sacrifices held in her honor assured a good crop. Each year a young girl was chosen to represent Chicomecoatl and was ritually decapitated. Her blood was poured over a statue of the goddess as an offering. She was skinned and her flesh was them worn by a priest.

The Hopi and Pueblo tribes have the Blue Corn Maiden as their representative of Corn Woman. On a cold winter day, the Blue Corn Maiden went out in search of firewood. Normally this was not a task for her. While she was out searching, she ran across Winter Katsina, the spirit of winter. When Winter Katsina saw the Blue Corn Maiden, he immediately feel in love. He took her back to his house, whereupon he blocked the door and windows with ice and snow. He was very kind to her, but she was sad. She wanted to go home and make the blue corn grow for her people.

While Winter Katsina was out one day going about his duties, Blue Corn Maiden sneaked out and found four blades of Yucca plant. She stated a fire. As she did, in walked Summer Katsina, carrying more yucca and blue corn. When Winter Katsina returned, the two fought. Seemingly getting nowhere, they sat down to talk. They agreed that Blue Corn Maiden would live half the year with her people, during the reign of Summer Katsina, and the people would have corn. During the other half of the year, she would live with Winter Katsina, and the people would have no corn.

Earth Goddesses – FAUNA

Earth Goddesses – FAUNA

Fauna, the Roman goddess of nature and animals, was most often called Bona Dea (“the Good Goddess”), which is a title, not a name. Sometimes she was referred to as Bona Mater, which means “Good Mother.” To say the actual name of Fauna was taboo in ancient Roman society. Fauna was a Earth Goddess and was worshipped primarily by women. She was the daughter (sometimes represented as consort) of the nature god Faunus. It was said that after her marriage, she never laid eyes upon another man. This chastity. Improved her ranking among the gods. She was a country goddess, the protector of cattle and farmlands. She also presided over virginity and fertility in women. Today the word fauna is used to encompass all animal life.

Fauna is depicted as an old woman with pointed ears. She is represented holding the horn of plenty, and a snake is her symbol. It is said that the snake represents her phallic nature; however, men were not allowed at her temples or festivals. Her image is often found on Roman coins.

Bona Dea had two major festivals, one in May and the other on December 3 or 4. (This feast was moveable.) The festival held in December was a secret rite. It was unique because it was often held in the homes of high-ranking Roman magistrates as opposed to public temples. It was an invitation-only affair. Men were not allowed, nor was any depiction of a man welcome. Paintings and statues that included a male figure were covered up or removed. This festival was said to be a lesbian orgy; however, it has been suggested that it was actually a purification rite. It was forbidden to use the word “wine” or “myrtle,” because Fauna’s father had beaten her to death with a myrtle stick upon finding that she had gotten drunk. Wine was forbidden to women under Roman law. However, it was also her father who gifted her with her divinity, be repenting of her killing and bestowing divinity upon her. Wine was served at her festival but was called milk. It was traditionally kept in a jar covered with cloth. The jar was referred to as the honey pot.

Fauna’s May celebrations took place in her temple and was held on May 1. Wine was served in the same manner as in the December rites. The temple was decorated with vines, flowers, and plants, with the careful exclusion of myrtle. This celebration was public and open to all women. The festival was rumored to included the ritual sacrifice of a pregnant sow.

Fauna’s temple was built over a cave that housed consecrated serpents. Enslaved women were prominent among the worshippers. In fact, Fauna was the only Roman deity to allow freed slaves to serve among her priestesses. Her rites were unique because she allowed high-ranking Roman women, poor women, prostitutes, and slaves to worship together side by side.

Fauna was also seen as the mother of the fairies. In this role she was a prophetess and seer. In addition, Fauna was the female essence of wildlife. In this role she was the companion of Faunus, who served as the male essence.

Fauna was a healing goddess and her temple garden was filled with medicinal herbs. The sick were brought to her temple gardens to be healed.

Earth Goddesses – FLORA

Flora (“flourishing one”) in the Roman and Greek goddess of flowers, youth, fertility, and springtime. She is also identified with the Greek Goddess Chloris. It was said in the Greek myths that when Chloris (originally a nymph) was captured by Zephyrus, he gifted her with the realm of flowers in return for marrying him. So Chloris became known as the Roman Flora.

Flora was thought to give the charm to youth and the sweetness to honey and to protect the petals and give the fragrance to blossoms. She was particularly important in Roman society. Her cults are among the oldest found in Rome, and she was one of the few deities that had her own priests, who were known as the Flamen Floralis. Her bounty was the precursor of modern medicine, as Flora was not only responsible for flowers but was originally responsible for all crops. All gardens fell under her protection, and iron was strictly prohibited within them to allow the plant devas and nature spirits to prosper peacefully. Fairy folk are known for their aversion to iron.

Flora had a special garden of her own, which featured all of the mythological creatures that turned into flowers upon their deaths. Among the blossoms were Narcissus; Ajax, who became a larkspur; Clytie, who became a sunflower; Hyacinth, who had been Apollo’s lover; and Adonis, who became the anemone.

Greek myths also relate a tale where Flora was responsible for the rose. While on an early morning walk through the woods, she stumbled upon the dead body of a beautiful young girl. Saddened to see such a lovely creature dead, she decided to restore her life by transforming her into the most delicate and beautiful of all flowers. In order to accomplish this, she called upon her husband, Zephyrus, god of the western wind, to blow away all of the clouds from the sky. She then called upon Apollo to send his warm rays of sunlight down as blessings. She called upon Aphrodite to add beauty and grace and Dionysus for nectar and fragrance. Everyone agreed that this was the most beautiful of all the flowers.

Flora went to work gathering dewdrops to restore life to the flower and crowned her queen of all flowers. She then called upon Aurora and Iris in spread the word about this new flower. Iris borrowed just a touch of the flower’s color to spread among her rainbows, and Aurora painted the morning sky with the rose-tinted hue.

Aphrodite named the flower the rose in honor of her son Eros, the Greek god of love. Hence, roses are associated with love. Flora presented Eros with the rose as his own in the hope that it would maintain the romantic associations. Eros shared it with Harpocrates, the god of silence, as a bribe to keep secret the indiscretions of his mother, and the rose became associated with silence and secrets as well as love.

According to Roman legend, Flora also had a hand in the creation of Mars, the god of war. Juno, the wife of Jupiter, was jealous that Jupiter had given life to Minerva on his own, so she enlisted the aid of Flora to help her create a son of her own. Flora reluctantly agreed after Juno swore by the river Styx to never tell Jupiter that Flora had taken part. Flora touched Juno with a magickal flower, and Mars began to grown in Juno’s womb. Mars was born and went on to sire Romulus and Remus, who became the founders of Rome.

There was an ancient and somewhat infamous, Roman festival held in Flora’s honor, called the Floralia. It was celebrated annually from the end of April through the beginning of May. The dates suggest that the original purpose of the festival was to beseech Flora to refrain from allowing mildew to fall upon the crops. It is further believed that the Floralia was the inspiration for the Maypole and Mayday celebrations known today as Beltane. The floralia featured chariot races, theater shows, games and lavish banquets. Altars and temples were decorated with every type of flower known to humankind. The participants wore wreaths of flowers in their hair and left offerings of milk and honey.

The Floralia was also a festival known for its unrestrained pleasures. During the celebrations, marriage vows were temporarily forgotten and the celebrants allowed themselves a wide range of a sexual partners. Prostitutes claimed Flora as their matron deity and celebrated her festival vigorously.

Later, as Beltane traditions evolved, Flora became known as a companion of the fairies. This eventually evolved into legends of Flora as a fairy herself. However, it is believed that was borne of some confusion between the Goddess Flora and the fairy Florelia, who is mentioned in tomes of old as a treasure of the Earth akin to Queen Mah.

The role of the flower, and therefore that of Flora, is as important today as it was in ancient times. Almost all holidays and customs include an appropriate flower. We often send flowers to cheer those who are sick, to say farewell to those who have passed, and to celebrate mile-marker events such as birthdays, weddings, and anniversaries. We make use of the scents in perfumes and potpourris and bathing products. We make candles, jellies, wines, and salads from the petals. Flora’s bounty covers everything from poisonous to healing flowers. Chamomile, jasmine, and linden flowers are commonly added to herbal teas. The purple foxglove is the base of the medicine digitalis, which is used in the treatment of heart conditions.

Flowers also have magickal qualities, many of which are steeped in superstition. For instance, the daisy is often used as a divination tool in love matters by plucking the petals off while reciting, “He/she loves me, he/she loves me not.” The dandelion is often used as a tool to bring one’s wishes to fruition by flowing the seeds to the wind. As the wind carries the seeds, it carries one’s wishes to the Goddess as well.

In the Victorian era, flowers were given their own language. A certain type of flower had a specific meaning, which was further sub-divided into categories determined by the color of the flower. For instance, to send a red rose meant “I love you,” whereas to send a yellow rose meant friendship or jealousy. The number of flowers sent also had a specific meaning. It was said to be bad luck to send an even number of flowers.

When the Spanish explorer Ponce de Leon landed in Florida, he looked around at all the many flowers and thought he had found the land containing the Fountain of Youth. He then name the state Florida in honor of Flora.

While we may not choose to celebrate Flora the same way the Romans did, we can honor her on her special days with simple things that remind us of her presence. We can drink flower teas, add flower petals to our baths, prepare meals with edible flowers, decorate our homes and altars with garland and wreaths, wear floral colors, or perform a ritual, or even simply take a walk through flower-strewn fields.

Today We Honor The Goddess Morrigan

The Goddess Morrigan

The Morrígan (“phantom queen”) or Mórrígan (“great queen”), also written as Morrígu or in the plural as Morrígna, and spelt Morríghan or Mór-ríoghain in Modern Irish, is a figure from Irish mythology who appears to have once been a goddess, although she is not explicitly referred to as such in the texts.

The Morrigan is a goddess of battle, strife, and fertility. She sometimes appears in the form of a crow, flying above the warriors, and in the Ulster cycle she also takes the form of an eel, a wolf and a cow. She is generally considered a war deity comparable with the Germanic Valkyries, although her association with cattle also suggests a role connected with fertility, wealth, and the land.

She is often depicted as a triple goddess,although membership of the triad varies; the most common combination is the Badb, Macha and Nemain, but other accounts name Fea, Anann, and others.

The Morrígan is often considered a triple goddess, but her supposed triple nature is ambiguous and inconsistent. Sometimes she appears as one of three sisters, the daughters of Ernmas: the Morrígan, the Badb and Macha. Sometimes the trinity consists of the Badb, Macha and Nemain, collectively known as the Morrígan, or in the plural as the Morrígna. Occasionally Fea or Anu also appear in various combinations. However the Morrígan also frequently appears alone, and her name is sometimes used interchangeably with the Badb, with no third “aspect” mentioned.

The Morrígan is usually interpreted as a “war goddess”: W. M. Hennessey’s “The Ancient Irish Goddess of War”, written in 1870, was influential in establishing this interpretation. Her role often involves premonitions of a particular warrior’s violent death, suggesting a link with the Banshee of later folklore. This connection is further noted by Patricia Lysaght: “In certain areas of Ireland this supernatural being is, in addition to the name banshee, also called the badhb“. Her role was to not only be a symbol of imminent death, but to also influence the outcome of war. She did this by most often appearing as a crow flying overhead and would either inspire fear or courage in the hearts of the warriors. There are also a few rare accounts where she would join in the battle itself as a warrior and show her favortism in a more direct manner.

It has also been suggested that she was closely tied to Irish männerbund groups (described as “bands of youthful warrior-hunters, living on the borders of civilized society and indulging in lawless activities for a time before inheriting property and taking their places as members of settled, landed communities”) and that these groups may have been in some way dedicated to her. If true, her worship may have resembled that of Perchta groups in Germanic areas.

However, Máire Herbert has argued that “war per se is not a primary aspect of the role of the goddess”, and that her association with cattle suggests her role was connected to the earth, fertility and sovereignty; she suggests that her association with war is a result of a confusion between her and the Badb, who she argues was originally a separate figure. She can be interpreted as providing political or military aid, or protection to the king—acting as a goddess of sovereignty, not necessarily a war goddess.

There is a burnt mound site in County Tipperary known as Fulacht na Mór Ríoghna (“cooking pit of the Mórrígan”). The fulachta sites are found in wild areas, and usually associated with outsiders such as the Fianna and the above-mentioned männerbund groups, as well as with the hunting of deer. The cooking connection also suggests to some a connection with the three mythical hags who cook the meal of dogflesh that brings the hero Cúchulainn to his doom. The Dá Chich na Morrigna (“two breasts of the Mórrígan”), a pair of hills in County Meath, suggest to some a role as a tutelary goddess, comparable to Danu or Anu, who has her own hills in County Kerry. Other goddesses known to have similar hills are Áine and Grian of County Limerick who, in addition to a tutelary function, also have solar attributes.

Wikipedia

Today We Honor The Goddess Athena

In Greek religion and mythology, Athena or Athene ( /ə ˈ θ iː n ə / or /ə ˈ θ iː n iː /; Attic: Ἀθηνᾶ, Athēnā or Ἀθηναία, Athēnaia; Epic: Ἀθηναίη, Athēnaiē; Ionic: Ἀθήνη, Athēnē; Doric: Ἀθάνα, Athana), also referred to as Pallas Athena/Athene ( /ˈ p æ l ə s /; Παλλὰς Ἀθηνᾶ; Παλλὰς Ἀθήνη), is the goddess of wisdom, courage, inspiration, civilization, law and justice, just warfare, mathematics, strength, strategy, the arts, crafts, and skill. Minerva, Athena’s Roman incarnation, embodies similar attributes.^[4] Athena is also a shrewd companion of heroes and is the goddess of heroic endeavour. She is the virgin patron of Athens. The Athenians founded the Parthenon on the Acropolis of her namesake city, Athens (Athena Parthenos), in her honour.^[4]

Athena’s veneration as the patron of Athens seems to have existed from the earliest times, and was so persistent that archaic myths about her were recast to adapt to cultural changes. In her role as a protector of the city (polis), many people throughout the Greek world worshiped Athena as Athena Polias (Ἀθηνᾶ Πολιάς “Athena of the city”). The city of Athens and the goddess Athena essentially bear the same name, “Athenai” meaning “[many] Athenas”.

Athena as the goddess of philosophy became an aspect of the cult in Classical Greece during the late 5th century BC. She is the patroness of various crafts, especially of weaving, as Athena Ergane. The metalwork of weapons also fell under her patronage. She led battles (Athena Promachos or the warrior maiden Athena Parthenos) as the disciplined, strategic side of war, in contrast to her brother Ares, the patron of violence, bloodlust and slaughter—”the raw force of war”. Athena’s wisdom includes the cunning intelligence (metis) of such figures as Odysseus. Not only was this version of Athena the opposite of Ares in combat, it was also the polar opposite of the serene earth goddess version of the deity, Athena Polias.

Athena appears in Greek mythology as the patron and helper of many heroes, including Odysseus, Jason, and Heracles. In Classical Greek myths, she never consorts with a lover, nor does she ever marry, earning the title Athena Parthenos. A remnant of archaic myth depicts her as the adoptive mother of Erechtheus/Erichthonius through the foiled rape by Hephaestus. Other variants relate that Erichthonius, the serpent that accompanied Athena, was born to Gaia: when the rape failed, the semen landed on Gaia and impregnated her.. After Erechthonius was born, Gaia gave him to Athena.

Though Athena is a goddess of war strategy, she disliked fighting without purpose and preferred to use wisdom to settle predicaments. The goddess only encouraged fighting for a reasonable cause or to resolve conflict. As patron of Athens she fought in the Trojan war on the side of the Achaeans.

Brighid Lore for Imbolc

Brighid Lore for Imbolc
by Doreen Motheral

The goddess Brighid (also known as Brigit, Bride, Biddy and other names throughout Europe) is a goddess who is near and dear to my heart for many reasons. I like the fact that she is associated with both water (her wells in Kildare and other parts of Ireland) and fire (her fire pit in Kildare). I like the fact that she spans both the pagan and Christian worlds and some of her traditions are still celebrated today.

Since the festival of Imbolc (also called Óimelc) is this weekend I thought I’d write a few thoughts for those who aren’t familiar with her (and perhaps renew an acquaintance for those who already were). Imbolc is the time of the year that the ewes lactated, and the successful timing of this event was approximate, so the exact date of Imbolc could vary from region to region and from year to year depending on the climate. Production of this milk supply was very important to both man and animal. From the milk comes butter and cheese. Newly calved cows were also put under Brighid’s protection. Here’s an old saying:

Samhain Eve without food,
Christmas night without bread,
St. Brighid’s Eve without butter,
That is a sorry complaint.

Cormac mac Cuillenàin, who lived in the 9th century said, “Brighid i.e. a learned woman, daughter of the Dagda. That is Brighid of learning, i.e. a goddess who filid worshipped. For her protecting care was very great and very wonderful. So they call her a goddess of poets. Her sisters were Brighid woman of healing, and Brighid woman of smithcraft, daughters of the Dagda, from whose names among all the Irish a goddess used to be called Brighid” In this writing, Cormac mentions her triple aspect of three sisters, common among the Celts. I often call on one or more of her aspects of creativity, writing and healing, but she is much more than that.

The Christian aspects of Brighid and the pagan aspects often overlap, so it’s difficult to figure out which stories have pre-Christian beginnings. I think there is a seed of paganism in many of the later stories associated with her. We’ll never know for sure, but in my own private practice I take many of her current customs and use them for my own worship of her – and I don’t worry about the pre-Christian aspect of the story or not. Your mileage may vary, of course.

On the eve of Imbolc, a piece of linen, other cloth or ribbons is placed outside (some folks put them on their window sill). This piece of cloth is called Brighid’s Brat or Brighid’s Mantle. It is said that Brighid travels all over the land on Imbolc eve and if she sees this cloth, she will bless it and give it healing powers. Some folks in Ireland say that the older your brat is, the more powerful it is. Mugwort Grove (the grove to which I belong) destroys ours from year to year. We put out a whole piece of linen and tear it into strips for members of the Grove during our Imbolc ritual. People take the strips home to use for healing and some are kept on personal altars throughout the year.

Other folklore says that if the mantle gets bigger overnight, you will be especially blessed. It’s a nice tradition, especially if you have a lot of illness to overcome for the following year, and a brat is nice to have for healing rituals later in the year.

Brighid’s fiery aspect makes her the perfect goddess of the hearth – in fact, my hearth at home is dedicated to Brighid. There are many hearth prayers dedicated to Brighid, especially concerning smooring. Ashes and embers were often deposited in the fields. Also, indoor activity associated with Imbolc often took place near the hearth, and if there was a feast, an extra place was set for Brighid. It is also considered bad luck to do any type of spinning on Brighid’s Day.

There is also the custom of Brighid’s Bed. A small bed is made near the hearth and a doll (called a Brídeog), often made from a sheaf of corn and made into the likeness of a woman and is sometimes placed in the bed. In Ireland the doll was often made from a churn dash decorated in clothing (associations t milk again). Sometimes the doll was carried around town to visit houses in the neighborhood. Songs, music and dances are performed – then prayers are said to St. Brighid for blessings upon the house (this is similar to wassailing in other countries around Christmas). Then the family is asked to contribute a donation – which used to be bread and butter (there’s that dairy again!) but now it’s often money (sometimes given to charity).

There is much, much more about Brighid I could share, but this is just the tip of the iceberg. A bit of trivia – Brighid is so loved by the Irish people that in 1942 a survey was taken on “The Feast of St. Brighid”. The replies about the customs run to 2,435 manuscript pages. A great book, if you can find it, is The Festival of Brighid Celtic Goddess and Holy Woman by Séamas Ó Catháin. There are many really cool stories and legends about her.

Last but not least one of the other interesting aspects of Brighid is a prayer attributed to her from the 11th century which goes like this:

I would like a great lake of ale, for the King of the Kings
I would like the angels of Heaven to be among us.
I would like an abundance of peace.
I would like full vessels of charity.
I would like rich treasures of mercy.
I would like cheerfulness to preside over all.
I would like Jesus to be present.
I would like the three Marys of illustrious renown to be with us.
I would like the friends of Heaven to be gathered around us from all parts.
I would like myself to be a rent payer to the Lord; that I should suffer distress, that he would bestow a good blessing upon me.
I would like a great lake of beer for the King of Kings.
I would like to be watching Heaven’s family drinking it through all eternity.

Drink up!

Today We Honor The Goddess Nekhbet

The Goddess Nekhbet

In Egyptian mythology, Nekhbet (also spelt Nechbet, and Nekhebit) was an early predynastic local goddess who was the patron of the city of Nekheb, her name meaning of Nekheb. Ultimately, she became the patron of Upper Egypt and one of the two patron deities for all of Ancient Egypt when it was unified.

She was seen as a goddess who had chosen to adopt the city, and consequently depicted as the Egyptian white vulture, a creature that the Egyptians thought only existed as females (not knowing that, lacking sexual dimorphism, the males are identical). They were presumed to be reproducing via parthenogenesis.

Egypt’s oldest oracle was the shrine of Nekhbet at Nekheb, the original necropolis or city of the dead. It was the companion city to Nekhen, the religious and political capital of Upper Egypt at the end of the Predynastic period (c. 3200–3100 BC) and probably, also during the Early Dynastic Period (c. 3100–2686 BC). The original settlement on the Nekhen site dates from Naqada I or the late Badarian cultures. At its height, from about 3400 BC, Nekhen had at least 5,000 and possibly as many as 10,000 inhabitants.

The priestesses of Nekhbet were called muu (mothers) and wore robes of Egyptian vulture feathers.

Later, as with Wadjet, Nekhbet’s sister, became patron of the pharaohs, in her case becoming the personification of Upper Egypt. The images of these two primal goddesses became the protecting deities for all of Egypt, also known as the “two ladies” and one of the titles of each ruler was the Nebty name, which was associated with these goddesses and beginning as [s/he] of the Two Ladies… with the remainder of that title.

In art, Nekhbet was depicted as the white vulture (representing purification), always seen on the front of pharaoh’s double crown along with Wadjet. Nekhbet usually was depicted hovering, with her wings spread above the royal image, clutching a shen symbol (representing infinity, all, or everything), frequently in both of her claws. As patron of the pharaoh, she was sometimes seen to be the mother of the divine aspect of the pharaoh, and it was in this capacity that she was Mother of Mothers, and the Great White Cow of Nekheb.

The vulture hieroglyph was the uniliteral sign used for the glottal sound (3) including words such as mother, prosperous, grandmother, and ruler. In some late texts of the Book of the Dead, Nekhbet is referred to as Father of Fathers, Mother of Mothers, who hath existed from the Beginning, and is Creatrix of this World.

When pairing began to occur in the Egyptian pantheon, giving most of the goddesses a husband, Nekhbet was said to become the wife of Hapy, a deity of the inundation of the Nile. Given the early and constant association of Nekhbet with being a good mother, in later myths she was said to have adopted children.

Wikipedia

Today We Honor The Goddess Hecate

Hecate – Dark Goddess of Magic & Sorcery

By Patti Wigington

Hecate (sometimes spelled Hekate) was originally a Thracian, and pre-Olympian Greek goddess, and ruled over the realms of earth and fertility rituals. As a goddess of childbirth, she was often invoked for rites of puberty, and in some cases watched over maidens who were beginning to menstruate. Eventually, Hecate evolved to become a goddess of magic and sorcery. She was venerated as a mother goddess, and during the Ptolemaic period in Alexandria was elevated to her position as goddess of ghosts and the spirit world.

Much like the Celtic hearth goddess Brighid, Hecate is a guardian of crossroads, and often symbolized by a spinning wheel. In addition to her connection to Brighid, she is associated with Diana Lucifera, who is the Roman Diana in her aspect as light-bearer. Hecate is often portrayed wearing the keys to the spirit world at her belt, accompanied by a three-headed hound, and surrounded by lit torches.

The epic poet Hesiod tells us Hecate was the only child of Asteria, a star goddess who was the aunt of Apollo and Artemis. The event of Hecate’s birth was tied to the reappearance of Phoebe, a lunar goddess, who appeared during the darkest phase of the moon.

Today, many contemporary Pagans and Wiccans honor Hecate in her guise as a Dark Goddess, although it would be incorrect to refer to her as an aspect of the Crone, because of her connection to childbirth and maidenhood. It’s more likely that her role as “dark goddess” comes from her connection to the spirit world, ghosts, the dark moon, and magic. She is known as a goddess who is not to be invoked lightly, or by those who are calling upon her frivolously. She is honored on November 30, the night of Hecate Trivia, the night of the crossroads.

Today We Honor The Goddess Nephthys

The Goddess Nephthys

In Egyptian mythology, Nephthys is a member of the Great Ennead of Heliopolis, a daughter of Nut and Geb. Nephthys was typically paired with her sister Isis in funerary rites because of their role as protectors of the mummy and the god Osiris and as the sister-wife of Seth.

Nephthys is regarded as the mother of the funerary-deity Anubis(Inpu) in some myths. Alternatively Anubis appears as the son of Bastet or Isis.

Nephthys was known in some ancient Egyptian temple theologies and cosmologies as the “Useful Goddess” or the “Excellent Goddess”. These late Ancient Egyptian temple texts describe a goddess who represented divine assistance and protective guardianship.

Less well understood than her sister Isis, Nephthys was no less important in Egyptian Religion as confirmed by the work of E. Hornung, along with the work of several noted scholars.

As the primary “nursing mother” of the incarnate Pharaonic-god, Horus, Nephthys also was considered to be the nurse of the reigning Pharaoh himself. Though other goddesses could assume this role, Nephthys was most usually portrayed in this function. In contrast Nephthys is sometimes featured as a rather ferocious and dangerous divinity, capable of incinerating the enemies of the Pharaoh with her fiery breath.

New Kingdom Ramesside Pharaohs, in particular, were enamored of Mother Nephthys, as is attested in various stelae and a wealth of inscriptions at Karnak and Luxor, where Nephthys was a member of that great city’s Ennead and her altars were present in the massive complex.

Nephthys was one of the few national goddesses to serve as tutelary deity of her own district, or nome, in Ancient Egyptian history. Upper Egyptian Nome VII and its city, Hwt-Sekhem, were considered (at least by Greco-Roman times) to be the domain of Nephthys.

http://www.wikipedia.org

Today We Honor The Goddess Danu

The Goddess Danu

As the mother of the gods, Danu has strong parallels with the Welsh literary figure (or goddess) Dôn, who is the mother figure of the medieval tales in the Mabinogion.

Danu was considered as the mythic mother goddess of the Tuatha Dé Danann, the Celtic tribes that first invaded Ireland. The Celts, also on the continent, had several goddesses, also of war. “Apart from these goddesses of war, there were other Amazonian figures who led armies into battle. Often they were also endowed with legendary sexual prowess…” “The Celts included the cult of the mother goddess in their rites, as archeological evidence testifies. Indeed, the Tuatha Dé were the descendants of the goddess Danu, and in some local instances, the ruler of the otherworld was a goddess, rather than a god, just as some folktales represented the otherworld as ‘the Land of Women’. Danu may be connected with Bridget, daughter of Kildare and of learning, culture and skills. She was known as Brigantia in northern England, and survived as St Bride in Christianity”

Today We Honor The Goddess Kali

The Goddess Kali

Kālī, also known as Kālikā is the Hindu goddess associated with power, shakti. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Kali means “the black one”. Since Shiva is called Kāla—the eternal time—Kālī, his consort, also means “Time” or “Death” (as in time has come). Hence, Kāli is considered the goddess of time and change. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation still has some influence. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally “redeemer of the universe”). Comparatively recent devotional movements largely conceive Kāli as a benevolent mother goddess.

Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing. She is associated with many other Hindu goddesses like Durga, Bhadrakali, Sati, Rudrani, Parvati and Chamunda. She is the foremost among the Dasa Mahavidyas, ten fierce Tantric goddesses.

Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.

In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces and ten feet and three eyes. She has ornaments decked on all her limbs. There is no association with Shiva.

The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.

In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And, because of her terrible form she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, “Maharaj, when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?”

According to Ramakrishna, darkness is the Ultimate Mother, or Kali:

My Mother is the principle of consciousness. She is Akhanda Satchidananda; indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black. The waters of the ocean depths are the same; The infinite is always mysteriously dark. This inebriating darkness is my beloved Kali.

-Sri Ramakrishna

Great Lady Brid, Goddess of Eire

by Darrion

Goddess of smith-craft, gift us with the joyful sound of the hammer and anvil as the craftsman hammers on the metal heated in the forge of Your hearth and heart, warm us in this cold and dark time period with Your love and creative spirit.

Goddess of healing, gift us with Your gentleness, wisdom and love for all who seek Your healing energy, allow us to tap that well of intuition, spirit and knowledge; as we open our hearts to assist others on their healing journeys, guide our hands and hearts.

Goddess of poetry, gift us with Your lightheartedness and playful spirit, grant us with that creative spark, open our vision so we may be aware of and use this energy to tap the wealth of our inner awareness, and allow me the strength to step aside and allow You
to guide my pen.

Goddess of fertility, gift us with the strength of the union of Goddess and God, take the firmness of the God and bury it deeply in the mound of the hill of Tara, fertilizing the earth and preparing her for the planting season to come.

Goddess of inner vision, prophecy and divination, gift us with that inner gaze and awareness, so that we may devote ourselves to unending service in joy and love to serve the Great Mother,
clan and tribe.

Finding the Goddess

Finding the Goddess
By: GrannyMoon
.
“How did you find the Goddess”? I have asked this of many people and usually the answer
I receive, “She found me”. Now how is that possible you ask?

I have studied witchcraft and the occult since a teen. My lessons came from the late
great Dr. Leo Martello himself. I did not join the feminist movement in the 70’s,
as I was up to my ears in dirty diapers and dirty dishes.

However, I did order my herbs and other supplies from a tiny shop out in California,
calling itself, “The Feminist Wicca”, it was run by a rather unknown witch by the name
of Z. Budapest. You could buy all the best herbs there in those days!

However, I did not follow the Goddess in those days, I thought of her as consort
to the God. The God and Goddess were so important to me, how warm, beautiful and sexy
they made me feel! My husband and I were young, two wild horses, we could run and play
with the best of them! Youthful, fresh and full of life. Giving love to our children
and loving life in general, so beautiful and health abounded! They were not sick a day
in their life and I thanked the God and Goddess for this.

The years passed with the birthday’s of the children marking time. We grew older
as did our parents, friends and relatives. I didn’t notice the silver in my mother’s
hair or the gray in my own. But it was there. Waiting.

Grandparents passed away, then our fathers. While we mourned their deaths, we coped.
We had new life, new careers,new hope, in our children and in ourselves.

Somewhere in the midst of marking time with my children, grandchildren appeared.
I hadn’t noticed that my children had grown, my girls had become myself.
The Maidens into the Mother. How was this possible?

As I was analyzing that fact, I lost my mother to a horrific disease. How in MY perfect
world could this happen? This was MY mother! What a bad joke, it couldn’t be true.
But it was true. The warning signs were there, but I had chosen to ignore them.

I felt that I had let her down, how could I let this happen to her? I was an orphan,
I was parent-less, thrown to the wind like chaff from wheat. Cast into the sea,
without a life boat.

As I was beseeching the Gods, the Crone slipped in unannounced. I did not recognize her.
Gone was the youth, the fresh beauty was replaced by aged beauty and kindness.

Who was this divine woman?

The Goddess, the Crone, offered herself. We had become one, when I wasn’t looking.
She offered me love and compassion, understanding and wisdom. She helped me to realize
that all things must pass. That death and dying was just as important as birth and
re-birth. We all must be prepared for the end, for it will surely come.

The Goddess filled my heart and my very being to the core. I felt oneness with all
Women, I now know that we are all connected. My heart overflows love and compassion
for my sisters of the universe and for myself. They are my Mother and I am theirs.
We Are One… We Are Goddess.

The Goddess Isis

Isis or in original more likely Aset (Ancient Greek: Ἶσις) was a goddess in Ancient Egyptian religious beliefs, whose worship spread throughout the Greco-Roman world. She was worshipped as the ideal mother and wife as well as the matron of nature and magic. She was the friend of slaves, sinners, artisans, and the downtrodden, and she listened to the prayers of the wealthy, maidens, aristocrats, and rulers. Isis is the goddess of motherhood, magic and fertility.

The goddess Isis (the mother of Horus) was the first daughter of Geb, god of the Earth, and Nut, the goddess of the Overarching Sky, and was born on the fourth intercalary day. At some time Isis and Hathor had the same headdress. In later myths about Isis, she had a brother, Osiris, who became her husband, and she then was said to have conceived Horus. Isis was instrumental in the resurrection of Osiris when he was murdered by Seth. Her magical skills restored his body to life after she gathered the body parts that had been strewn about the earth by Set. This myth became very important in later Egyptian religious beliefs.

Isis is also known as protector of the dead and goddess of children from whom all beginnings arose. In later times, the Ancient Egyptians believed that the Nile River flooded every year because of her tears of sorrow for her dead husband, Osiris. This occurrence of his death and rebirth was relived each year through rituals. The worship of Isis eventually spread throughout the Greco-Roman world, continuing until the suppression of paganism in the Christian era.

Origin Of The Name

The name “Isis” is an anglicized version of the Greek version of her name, which itself changed the original Egyptian name spelling by the addition of a last “-s” because of the grammatical requirements of Greek endings.

The Egyptian name was recorded as ỉs.t or ȝs.t and meant “(She of the) Throne.” The true Egyptian pronunciation remains uncertain, however, because hieroglyphs do not have vowels. Based on recent studies which present us with approximations based on contemporary languages (specifically, Greek) and Coptic evidence, the reconstructed pronunciation of her name is *Usat [*ˈʔyːsəʔ]. Osiris’s name—that is, *Usir ‘Osiris’ (ws-ỉr) also starts with the throne glyph ʔs (“-s”). The name survived in Coptic dialects as Ēse or Ēsi, as well as in compound words surviving in names of later people such as “Har-si-Ese”, which means “Horus, son of Isis”.

For convenience, Egyptologists arbitrarily choose to pronounce her name as “ee-set”. Sometimes they may also say “ee-sa” because the final “t” in her name was a feminine suffix, which is known to have been dropped in speech during the last stages of the Egyptian language.

The name Isis means “Throne”. Her headdress is a throne. As the personification of the throne, she was an important representation of the pharaoh’s power, as the pharaoh was depicted as her child, who sat on the throne she provided. Her cult was popular throughout Egypt, but the most important sanctuaries were at Behbeit El-Hagar in the Nile delta, in Lower Egypt and, beginning in the reign with Nectanebo I (380-362 BCE), on the Upper Egyptian island of Philae.

Early History

Her origins are uncertain, but are believed to have come from the Nile Delta. Like other Egyptian deities she did have a centralized Cult of Isis (New cults) in the Hellenistic Civilization. First mentions of Isis date back to the Fifth dynasty of Egypt which is when the first literary inscriptions are found, but her cult became prominent late in Egyptian history, when it began to absorb the cults of many other goddesses with strong cult centers. This is when the cult of Osiris arose and she became such an important figure in those beliefs. Her cult eventually spread outside Egypt.

During the formative centuries of Christianity, the religion of Isis drew converts from every corner of the Roman Empire. In Italy itself, the Egyptian faith was a dominant force. At Pompeii, archaeological evidence reveals that Isis played a major role. In Rome, temples were built and obelisks erected in her honour. In Greece, traditional centres of worship in Delos, Delphi, and Eleusis were taken over by followers of Isis, and this occurred in northern Greece and Athens as well. Harbours of Isis were to be found on the Arabian Sea and the Black Sea. Inscriptions show followers in Gaul, Spain, Pannonia, Germany, Arabia, Asia Minor, Portugal and many shrines even in Britain.

Temples

Most Egyptian deities first appeared as very local cults and throughout their history retained those local centres of worship, with most major cities and towns widely known as the home of these deities. Isis originally was an independent and popular deity established in predynastic times, prior to 3100 BC, at Sebennytos in the northern delta.

Eventually temples to Isis began to spread outside of Egypt. In many locations, devotees of Isis considered a number of the local goddesses to be Isis, but under different names. The worship of Isis was joined to that of other Mediterranean goddesses, such as Demeter, Astarte, Aphrodite, and more. During the Hellenic era, due to her attributes as a protector and mother, as well as a lusty aspect gained when she absorbed some aspects of Hathor, she became the patron goddess of sailors, who spread her worship with the trading ships circulating the Mediterranean Sea.

Likewise, the Arabian goddess Al-Ozza or Al-Uzza العُزّى (al ȝozza), whose name is close to that of Isis, is believed to be a manifestation of her. This, however, is thought to be based on the similarity in the name.

Throughout the Graeco-Roman world, Isis became one of the most significant of the mystery religions, and many classical writers refer to her temples, cults, and rites.

Temples to Isis were built in Iraq, Greece and Rome, with a well preserved example discovered in Pompeii. On the Greek island of Delos a Doric Temple of Isis was built on a high over-looking hill at the beginning of the Roman period to venerate the familiar trinity of Isis, the Alexandrian Serapis and Harpocrates. The creation of this temple is significant as Delos is particularly known as the birthplace of the Greek gods Artemis and Apollo who had temples of their own on the island long before the temple to Isis was built. At Philae her worship persisted until the 6th century, long after the rise of Christianity and the subsequent suppression of paganism. The cult of Isis and Osiris continued up until the 6th century AD on the island of Philae in Upper Nile. The Theodosian decree (in about 380 AD) to destroy all pagan temples was not enforced there until the time of Justinian. This toleration was due to an old treaty made between the Blemyes-Nobadae and Diocletian. Every year they visited Elaphantine and at certain intervals took the image of Isis up river to the land of the Blemyes for oracular purposes before returning it. Justinian sent Narses to destroy the sanctuaries, with the priests being arrested and the divine images taken to Constantinople. Philae was the last of the ancient Egyptian temples to be closed.

Associations

Due to the association between knots and magical power, a symbol of Isis was the tiet or tyet (meaning welfare/life), also called the Knot of Isis, Buckle of Isis, or the Blood of Isis, which is shown to the right. In many respects the tyet resembles an ankh, except that its arms point downward, and when used as such, seems to represent the idea of eternal life or resurrection. The meaning of Blood of Isis is more obscure, but the tyet often was used as a funerary amulet made of red wood, stone, or glass, so this may simply have been a description of the appearance of the materials used.

The star Sopdet (Sirius) is associated with Isis. The appearance of the star signified the advent of a new year and Isis was likewise considered the goddess of rebirth and reincarnation, and as a protector of the dead. The Book of the Dead outlines a particular ritual that would protect the dead, enabling travel anywhere in the underworld, and most of the titles Isis holds signify her as the goddess of protection of the dead.

Probably due to assimilation with the goddesses Aphrodite and Venus, during the Roman period, the rose was used in her worship. The demand for roses throughout the empire turned rose production into an important industry.

Mythology

When seen as the deification of the wife of the pharaoh in later myths, the prominent role of Isis was as the assistant to the deceased pharaoh. Thus she gained a funerary association, her name appearing over eighty times in the Pyramid Texts, and she was said to be the mother of the four deities who protected the canopic jars—more specifically, Isis was viewed as protector of the liver-jar-deity, Imsety. This association with the pharaoh’s wife also brought the idea that Isis was considered the spouse of Horus (once seen as her child), who was protector, and later the deification of the pharaoh. By the Middle Kingdom, the 11th through 14th dynasties between 2040 and 1640 BC, as the funeral texts began to be used by more members of Egyptian society, other than the royal family, her role also grows to protect the nobles and even the commoners

By the New Kingdom, the 18th, 19th, and 20th dynasties between 1570 and 1070 BC, Isis gained prominence as the mother and protector of the pharaoh. During this period, she is said to breastfeed the pharaoh and often is depicted doing so.

The role of her name and her throne-crown is uncertain. Some early Egyptologists believed that being the throne-mother was Isis’s original function, however, a more modern view states that aspects of that role came later by association. In many African tribes, the throne is known as the mother of the king, and that concept fits well with either theory, possibly giving insight into the thinking of ancient Egyptians.

*Sister-wife to Osiris

In the Old Kingdom, the 3rd Dynasty through to the 6th Dynasty dated between 2686 to 2134 BC, the pantheons of individual Egyptian cities varied by region. During the 5th dynasty, Isis became one of the Ennead of the city of Heliopolis. She was believed to be a daughter of Nut and Geb, and sister to Osiris, Nephthys, and Set. The two sisters, Isis and Nephthys, often were depicted on coffins, with wings outstretched, as protectors against evil. As a funerary deity, she was associated with Osiris, lord of the underworld (Duat), and was considered his wife.

A later mythology (ultimately a result of the replacement of another deity, Anubis, of the underworld when the cult of Osiris gained more authority), tells us of the birth of Anubis. The tale describes how Nephthys was denied a child by Set and disguised herself as the much more attractive Isis to seduce him. The plot failed, but Osiris now found Nephthys very attractive, as he thought she was Isis. They coupled, resulting in the birth of Anubis. Alternatively, Nephthys had intentionally assumed the form of Isis in order to trick Osiris into fathering her son. In fear of Set’s retribution upon them, Nephthys persuaded Isis to adopt Anubis, so that Set would not find out and kill the child. The tale describes both why Anubis is seen as an underworld deity (he becomes a son of Osiris), and why he could not inherit Osiris’s position (he was not a legitimate heir in this new birth scenario), neatly preserving Osiris’s position as lord of the underworld. It should be remembered, however, that this new myth was only a later creation of the Osirian cult who wanted to depict Set in an evil position, as the enemy of Osiris.

In another Osirian myth, Set had a banquet for Osiris in which he brought in a beautiful box and said that whoever could fit in the box perfectly would get to keep it. Set had measured Osiris in his sleep and made sure that he was the only one who could fit the box. Several tried to see whether they fit. Once it was Osiris’s turn to see if he could fit in the box, Set closed the lid on him so that the box was now a coffin for Osiris. Set flung the box in the Nile so that it would drift far away. Isis went looking for the box so that Osiris could have a proper burial. She found the box in a tree in Byblos, a city along the Phoenician coast, and brought it back to Egypt, hiding it in a swamp. But Set went hunting that night and found the box. Enraged, Set chopped Osiris’s body into fourteen pieces and scattered them all over Egypt to ensure that Isis could never find Osiris again for a proper burial. Isis and her sister Nephthys went looking for these pieces, but could only find thirteen of the fourteen. Fish had swallowed the last piece, his phallus, so Isis made him a new one with magic, putting his body back together after which they conceived Horus. The number of pieces is described on temple walls variously as fourteen and sixteen, and occasionally forty-two, one for each nome or district.

* Assimilation of Hathor

When the cult of Ra rose to prominence he became associated with the similar deity, Horus. Hathor had been paired with Ra in some regions and when Isis began to be paired with Ra, soon Hathor and Isis began to be merged in some regions also as, Isis-Hathor.

*Mother of Horus

By merging with Hathor, Isis became the mother of Horus, rather than his wife, and thus, when beliefs of Ra absorbed Atum into Atum-Ra, it also had to be taken into account that Isis was one of the Ennead, as the wife of Osiris. It had to be explained how Osiris, however, who (as lord of the dead) being dead, could be considered a father to Horus, who was not considered dead. This conflict in themes led to the evolution of the idea that Osiris needed to be resurrected, and therefore, to the Legend of Osiris and Isis, of which Plutarch’s Greek description written in the 1st century AD, De Iside et Osiride, contains the most extensive account known today.

Yet another set of late myths detail the adventures of Isis after the birth of Osiris’s posthumous son, Horus. Isis was said to have given birth to Horus at Khemmis, thought to be located on the Nile Delta. Many dangers faced Horus after birth, and Isis fled with the newborn to escape the wrath of Set, the murderer of her husband. In one instance, Isis heals Horus from a lethal scorpion sting; she also performs other miracles in relation to the cippi, or the plaques of Horus. Isis protected and raised Horus until he was old enough to face Set, and subsequently, became the pharaoh of Egypt.

* Magic

In order to resurrect Osiris for the purpose of having the child Horus, it was necessary for Isis to “learn” magic (which long had been her domain before the cult of Ra arose), and so it was said that Isis tricked Ra (i.e. Amun-Ra/Atum-Ra) into telling her his “secret name,” by causing a snake to bite him, for which only Isis had the cure. The names of deities were secret and not divulged to any but the religious leaders. Knowing the secret name of a deity enabled one to have power of the deity. That he would use his “secret name” to “survive” implies that the serpent had to be a more powerful deity than Ra. The oldest deity known in Egypt was Wadjet, the Egyptian cobra, whose cult never was eclipsed in Ancient Egyptian religion. As a deity from the same region, she would have been a benevolent resource for Isis. The use of secret names became central in late Egyptian magic spells, and Isis often is implored to “use the true name of Ra” in the performance of rituals. By the late Egyptian historical period, after the occupations by the Greeks and the Romans, Isis became the most important and most powerful deity of the Egyptian pantheon because of her magical skills. Magic is central to the entire mythology of Isis, arguably more so than any other Egyptian deity.

Prior to this late change in the nature of Egyptian religion, the rule of Ma’at had governed the correct actions for most of the thousands of years of Egyptian religion, with little need for magic. Thoth had been the deity who resorted to magic when it was needed. The goddess which held the quadruple roles of healer, protector of the canopic jars, protector of marriage, and goddess of magic previously had been Serket. She then became considered an aspect of Isis. Thus it is not surprising that Isis had a central role in Egyptian magic spells and ritual, especially those of protection and healing. In many spells, she also is completely merged even with Horus, where invocations of Isis are supposed to involve Horus’s powers automatically as well. In Egyptian history the image of a wounded Horus became a standard feature of Isis’s healing spells, which typically invoked the curative powers of the milk of Isis. (Silverman, Ancient Egypt, 135)

In Egypt

Isis was venerated first in Egypt. Isis was the only goddess worshiped by all Egyptians alike, and whose influence was so widespread that she had become completely syncretic with the Greek goddess Demeter. After the conquest of Egypt by Alexander the Great, and the Hellenization of the Egyptian culture initiated by Ptolemy I Soter, Isis eventually became known as Queen of Heaven.

*Greco-Roman world

Following the conquest of Egypt by Alexander the Great the worship of Isis spread throughout the Graeco-Roman world. Tacitus writes that after Julius Caesar’s assassination, a temple in honour of Isis had been decreed; Augustus suspended this, and tried to turn Romans back to the Roman deities who were closely associated with the state. Eventually the Roman emperor Caligula abandoned the Augustan wariness toward what was described as oriental cults, and it was in his reign that the Isiac festival of the Navigium Isidis was established in Rome. According to Josephus, Caligula donned female garb and took part in the mysteries he instituted, and in the Hellenistic age Isis acquired a “new rank as a leading goddess of the Mediterranean world.” Vespasian, along with Titus, practised incubation in the Roman Iseum. Domitian built another Iseum along with a Serapeum. Trajan appears before Isis and Horus, presenting them with votive offerings of wine, in a bas-relief on his triumphal arch in Rome. Hadrian decorated his villa at Tibur with Isiac scenes. Galerius regarded Isis as his protectress

Roman perspectives on cults were syncretic, seeing in new deities, merely local aspects of a familiar one. For many Romans, Egyptian Isis was an aspect of Phrygian Cybele, whose orgiastic rites were long-naturalized at Rome, indeed, she was known as Isis of Ten Thousand Names.

Among these names of Roman Isis, Queen of Heaven is outstanding for its long and continuous history. Herodotus identified Isis with the Greek and Roman goddesses of agriculture, Demeter and Ceres.

In later years, Isis also had temples throughout Europe, Africa and Asia. An alabaster statue of Isis from the 3rd century BC, found in Ohrid, in the Republic of Macedonia, is depicted on the obverse of the Macedonian 10 denars banknote, issued in 1996.

The male first name “Isidore” (also “Isador”), means in Greek “Gift of Isis” (similar to “Theodore”, “God’s Gift”). The name, which became common in Roman times, survived the suppression of the Isis worship and remains popular up to the present – being among others the name of several Christian saints.

The Goddess Hecate

Hecate or Hekate (ancient Greek Ἑκάτη, Hekátē, pronounced /ˈhɛkətiː/, in Shakespeare /ˈhɛkət/) is a chthonic Greco-Roman goddess associated with magic, witchcraft, necromancy, and crossroads. She is attested in poetry as early as Hesiod’s Theogony. An inscription from late archaic Miletus naming her as a protector of entrances is also testimony to her presence in archaic Greek religion.

Regarding the nature of her cult, it has been remarked, “she is more at home on the fringes than in the center of Greek polytheism. Intrinsically ambivalent and polymorphous, she straddles conventional boundaries and eludes definition.” She has been associated with childbirth, nurturing the young, gates and walls, doorways, crossroads, magic, lunar lore, torches and dogs.

Hecate may have originated among the Carians of Anatolia, where children were often given variants of her name. William Berg observes, “Since children are not called after spooks, it is safe to assume that Carian theophoric names involving hekat- refer to a major deity free from the dark and unsavoury ties to the underworld and to witchcraft associated with the Hecate of classical Athens.” But he cautions, “The Laginetan goddess may have had a more infernal character than scholars have been willing to assume.”

In Ptolemaic Alexandria and elsewhere during the Hellenistic period, she appears as a three-faced goddess associated with magic, witchcraft, and curses. Today she is claimed as a goddess of witches and in the context of Hellenic Polytheistic Reconstructionism. Some neo-pagans refer to her as a “crone goddess”, though this characterization appears to conflict with her frequent characterization as a virgin in late antiquity. She closely parallels the Roman goddess Trivia.

Mythology

Hecate has been characterized as a pre-Olympian chthonic goddess. She appears in the Homeric Hymn to Demeter and in Hesiod’s Theogony, where she is promoted strongly as a great goddess. The place of origin of her following is uncertain, but it is thought that she had popular followings in Thrace. Her most important sanctuary was Lagina, a theocratic city-state in which the goddess was served by eunuchs. Lagina, where the famous temple of Hecate drew great festal assemblies every year, lay close to the originally Macedonian colony of Stratonikeia, where she was the city’s patroness. In Thrace she played a role similar to that of lesser-Hermes, namely a governess of liminal regions (particularly gates) and the wilderness, bearing little resemblance to the night-walking crone she became. Additionally, this led to her role of aiding women in childbirth and the raising of young men.

Hesiod records that she was esteemed as the offspring of Gaia and Uranus, the Earth and Sky. In Theogony he ascribed great powers to Hecate:

[…] Hecate whom Zeus the son of Cronos honored above all. He gave her splendid gifts, to have a share of the earth and the unfruitful sea. She received honor also in starry heaven, and is honored exceedingly by the deathless gods. For to this day, whenever any one of men on earth offers rich sacrifices and prays for favor according to custom, he calls upon Hecate. Great honor comes full easily to him whose prayers the goddess receives favorably, and she bestows wealth upon him; for the power surely is with her. For as many as were born of Earth and Ocean amongst all these she has her due portion. The son of Cronos did her no wrong nor took anything away of all that was her portion among the former Titan gods: but she holds, as the division was at the first from the beginning, privilege both in earth, and in heaven, and in sea.

According to Hesiod, she held sway over many things:

Whom she will she greatly aids and advances: she sits by worshipful kings in judgement, and in the assembly whom she will is distinguished among the people. And when men arm themselves for the battle that destroys men, then the goddess is at hand to give victory and grant glory readily to whom she will. Good is she also when men contend at the games, for there too the goddess is with them and profits them: and he who by might and strength gets the victory wins the rich prize easily with joy, and brings glory to his parents. And she is good to stand by horsemen, whom she will: and to those whose business is in the grey discomfortable sea, and who pray to Hecate and the loud-crashing Earth-Shaker, easily the glorious goddess gives great catch, and easily she takes it away as soon as seen, if so she will. She is good in the byre with Hermes to increase the stock. The droves of kine and wide herds of goats and flocks of fleecy sheep, if she will, she increases from a few, or makes many to be less. So, then, albeit her mother’s only child, she is honored amongst all the deathless gods. And the son of Cronos made her a nurse of the young who after that day saw with their eyes the light of all-seeing Dawn. So from the beginning she is a nurse of the young, and these are her honors.

Hesiod emphasizes that Hecate was an only child, the daughter of Perses and Asteria, a star-goddess who was the sister of Leto (the mother of Artemis and Apollo). Grandmother of the three cousins was Phoebe the ancient Titaness who personified the moon.

Hesiod’s inclusion and praise of Hecate in the Theogony has been troublesome for scholars, in that he seems to hold her in high regard, while the testimony of other writers, and surviving evidence, suggests that this was probably somewhat exceptional. It is theorized that Hesiod’s original village had a substantial Hecate following and that his inclusion of her in the Theogony was a way of adding to her prestige by spreading word of her among his readers.

Hecate possibly originated among the Carians of Anatolia, the region where most theophoric names invoking Hecate, such as Hecataeus or Hecatomnus, the father of Mausolus, are attested, and where Hecate remained a Great Goddess into historical times, at her unrivalled^[30] cult site in Lagina. While many researchers favor the idea that she has Anatolian origins, it has been argued that “Hecate must have been a Greek goddess.” The monuments to Hecate in Phrygia and Caria are numerous but of late date.

If Hecate’s cult spread from Anatolia into Greece, it is possible it presented a conflict, as her role was already filled by other more prominent deities in the Greek pantheon, above all by Artemis and Selene. This line of reasoning lies behind the widely accepted hypothesis that she was a foreign deity who was incorporated into the Greek pantheon. Other than in the Theogony, the Greek sources do not offer a consistent story of her parentage, or of her relations in the Greek pantheon: sometimes Hecate is related as a Titaness, and a mighty helper and protector of humans. Her continued presence was explained by asserting that, because she was the only Titan who aided Zeus in the battle of gods and Titans, she was not banished into the underworld realms after their defeat by the Olympians.

One surviving group of stories suggests how Hecate might have come to be incorporated into the Greek pantheon without affecting the privileged position of Artemis. Here, Hecate is a mortal priestess often associated with Iphigeneia. She scorns and insults Artemis, who in retribution eventually brings about the mortal’s suicide. There was an area sacred to Hecate in the precincts of the Temple of Artemis at Ephesus, where the priests, megabyzi, officiated.

Hecate also came to be associated with ghosts, infernal spirits, the dead and sorcery. Like the totems of Hermes—herms placed at borders as a ward against danger—images of Hecate (like Artemis and Diana, often referred to as a “liminal” goddess) were also placed at the gates of cities, and eventually domestic doorways. Over time, the association with keeping out evil spirits could have led to the belief that if offended, Hecate could also allow the evil spirits in. According to one view, this accounts for invocations to Hecate as the supreme governess of the borders between the normal world and the spirit world, and hence as one with mastery over spirits of the dead. Whatever the reasons, Hecate’s power certainly came to be closely associated with sorcery. One interesting passage exists suggesting that the word “jinx” might have originated in a cult object associated with Hecate. “The Byzantine polymath Michael Psellus […] speaks of a bullroarer, consisting of a golden sphere, decorated throughout with symbols and whirled on an oxhide thong. He adds that such an instrument is called a iunx (hence “jinx”), but as for the significance says only that it is ineffable and that the ritual is sacred to Hecate.”

Hecate is one of the most important figures in the so-called Chaldaean Oracles (2nd-3rd century CE), where she is associated in fragment 194 with a strophalos (usually translated as a spinning top, or wheel, used in magic) “Labour thou around the Strophalos of Hecate.” This appears to refer to a variant of the device mentioned by Psellus.

Variations in interpretations of Hecate’s role or roles can be traced in 5th-century Athens. In two fragments of Aeschylus she appears as a great goddess. In Sophocles and Euripides she is characterized as the mistress of witchcraft and the Keres.

In the Homeric Hymn to Demeter, Hecate is called the “tender-hearted”, a euphemism perhaps intended to emphasize her concern with the disappearance of Persephone, when she addressed Demeter with sweet words at a time when the goddess was distressed. She later became Persephone’s minister and close companion in the Underworld. But Hecate was never fully incorporated among the Olympian deities.

The modern understanding of Hecate has been strongly influenced by syncretic Hellenistic interpretations. Many of the attributes she was assigned in this period appear to have an older basis. For example, in the magical papyri of Ptolemaic Egypt, she is called the ‘she-dog’ or ‘bitch’, and her presence is signified by the barking of dogs. In late imagery she also has two ghostly dogs as servants by her side. However, her association with dogs predates the conquests of Alexander the Great and the emergence of the Hellenistic world. When Philip II laid siege to Byzantium she had already been associated with dogs for some time; the light in the sky and the barking of dogs that warned the citizens of a night time attack, saving the city, were attributed to Hecate Lampadephoros (the tale is preserved in the Suda). In gratitude the Byzantines erected a statue in her honor.

As a virgin goddess, she remained unmarried and had no regular consort, though some traditions named her as the mother of Scylla.

Although associated with other moon goddesses such as Selene, she ruled over three kingdoms; the earth, the sea, and the sky. She had the power to create or hold back storms, which influenced her patronage of shepherds and sailors.

Goddess of the crossroads

Cult images and altars of Hecate in her triplicate or trimorphic form were placed at crossroads (though they also appeared before private homes and in front of city gates). In this form she came to be known as the goddess Trivia “the three ways” in Roman mythology. In what appears to be a 7th century indication of the survival of cult practices of this general sort, Saint Eligius, in his Sermo warns the sick among his recently converted flock in Flanders against putting “devilish charms at springs or trees or crossroads”, and, according to Saint Ouen would urge them “No Christian should make or render any devotion to the deities of the trivium, where three roads meet…”.^[

Animals Associated With Hecate

Dogs were closely associated with Hecate in the Classical world. “In art and in literature Hecate is constantly represented as dog-shaped or as accompanied by a dog. Her approach was heralded by the howling of a dog. The dog was Hecate’s regular sacrificial animal, and was often eaten in solemn sacrament.” The sacrifice of dogs to Hecate is attested for Thrace, Samothrace, Colophon, and Athens.

It has been claimed that her association with dogs is “suggestive of her connection with birth, for the dog was sacred to Eileithyia, Genetyllis, and other birth goddesses. Although in later times Hecate’s dog came to be thought of as a manifestation of restless souls or demons who accompanied her, its docile appearance and its accompaniment of a Hecate who looks completely friendly in many pieces of ancient art suggests that its original signification was positive and thus likelier to have arisen from the dog’s connection with birth than the dog’s demonic associations.”

Athenaeus (writing in the 1st or 2nd century BCE, and drawing on the etymological speculation of Apollodorus) notes that the red mullet is sacred to Hecate, “on account of the resemblance of their names; for that the goddess is trimorphos, of a triple form”. The Greek word for mullet was trigle and later trigla. He goes on to quote a fragment of verse “O mistress Hecate, Trioditis / With three forms and three faces / Propitiated with mullets”. In relation to Greek concepts of pollution, Parker observes, “The fish that was most commonly banned was the red mullet (trigle), which fits neatly into the pattern. It ‘delighted in polluted things,’ and ‘would eat the corpse of a fish or a man’. Blood-coloured itself, it was sacred to the blood-eating goddess Hecate. It seems a symbolic summation of all the negative characteristics of the creatures of the deep.” At Athens, it is said there stood a statue of Hecate Triglathena, to whom the red mullet was offered in sacrifice. After mentioning that this fish was sacred to Hecate, Alan Davidson writes, “Cicero, Horace, Juvenal, Martial, Pliny, Seneca and Suetonius have left abundant and interesting testimony to the red mullet fever which began to affect wealthy Romans during the last years of the Republic and really gripped them in the early Empire. The main symptoms were a preoccupation with size, the consequent rise to absurd heights of the prices of large specimens, a habit of keeping red mullet in captivity, and the enjoyment of the highly specialized aesthetic experience induced by watching the color of the dying fish change.”

The frog, significantly a creature that can cross between two elements, also is sacred to Hecate.

In her three-headed representations, discussed above, Hecate often has one or more animal heads, including cow, dog, boar, serpent and horse.

The Goddess Diana

Research on the Goddess Diana

Part 1 “Goddess Of The Hunt”

Diana (lt. “heavenly” or “divine”) was the goddess of the hunt, being associated with wild animals and woodland, and also of the moon in Roman mythology. In literature she was the equal of the Greek goddess Artemis, though in cult beliefs she was Italic, not Greek, in origin. Diana was worshiped in ancient Roman religion and is currently revered in Roman Neopaganism and Stregheria. Dianic Wicca, a largely feminist form of the practice, is named for her. Diana was known to be the virgin goddess and looked after virgins and women. She was one of the three maiden goddesses, Diana, Minerva and Vesta, who swore never to marry.

Along with her main attributes, Diana was an emblem of chastity. Oak groves were especially sacred to her. According to mythology, Diana was born with her twin brother Apollo on the island of Delos, daughter of Jupiter and Latona. Diana made up a triad with two other Roman deities: Egeria the water nymph, her servant and assistant midwife; and Virbius, the woodland god.

Diana (pronounced with long ‘i’ and a’) is an adjectival form developed from an ancient *divios, corresponding to later ‘divus’, ‘dius’, as in Dius Fidius, Dea Dia and in the neuter form dium meaning the sky. It is rooted in Indoeuropean *d(e)y(e)w meaning bright sky or daylight, from which also derived the name of Vedic god Dyaus and the Latin deus (god), dies (day, daylight).

The Greek αδει(αν)ός (adei(an)os) means empty, because Aeneas’s mother, Venus, in the form of a hunting woman was very similar to the goddess Diana and because the Aeneid describes that since Paris (mythology) the temples hallow an empty name and she went down the empty sky when Eurytion held the arrow ready on his bended bow.

Theology

The persona of Diana is complex and contains a number of archaic features. According to Dumezil it falls into a particular subset of celestial gods, referred to in histories of religion as ‘frame gods’. Such gods, while keeping the original features of celestial divinities, i.e. transcendent heavenly power and abstention from direct rule in worldly matters, did not share the fate of other celestial gods in Indoeuropean religions – that of becoming dei otiosi, since they did retain a particular sort of influence over the world and mankind.

The celestial character of Diana is reflected in her connexion with light, inaccessibility, virginity, and her preference for dwelling on high mountains and in sacred woods. Diana therefore reflects the heavenly world (dium) in its sovereignty, supremacy, impassibility, and indifference towards such secular matters as the fates of men and states. At the same time, however, she is seen as active in ensuring the succession of kings and in the preservation of mankind through the protection of childbirth.

These functions are apparent in the traditional institutions and cults related to the goddess. 1) The institution of the rex Nemorensis, Diana’s sacredos in the Arician wood, who held its position til somebody else challenged and killed him in a duel, after breaking a branch from a certain tree of the wood. This ever totally open succession reveals the character and mission of the goddess as a guarantee of the continuity of the kingly status through successive generations.The same meaning implying her function of bestower of regality is testified by the story related by Livy of the prediction of empire to the land of origin of the person who would offer her a particularly beautiful cow. 2) Diana was also worshipped by women who sought pregnancy or asked for an easy delivery. This kind of worship is testified by archeological finds of votive statuettes in her sanctuary in the nemus Aricinum as well as by ancient sources, e.g. Ovid.

According to Dumezil the forerunner of all frame gods is an Indian epic hero who was the image (avatar) of the Vedic god Dyaus. Having renounced the world, in his roles of father and king, he attained the status of an immortal being while retaining the duty of ensuring that his dynasty is preserved and that there is always a new king for each generation. The Scandinavian god Heimdallr performs an analogous function: he is born first and will die last. He too gives origin to kingship and the first king, bestowing on him regal prerogatives. Diana, although a female deity, has exactly the same functions, preserving mankind through childbirth and royal succession.

Dumezil’s interpretation appears deliberately to ignore that of James G. Frazer, who links Diana with the male god Janus as a divine couple. Frazer identifies the two with the supreme heavenly couple Jupiter-Juno and additionally ties in these figures to the overarching Indoeuropean religious complex. This regality is also linked to the cult of trees, particularly oaks. In this interpretative schema, the institution of the Rex Nemorensis and related ritual should be seen as related to the theme of the dying god and the kings of May.

Physical Description

Diana often appeared as a young woman, age around 12 to 19. It was believed that she had a fair face like Aphrodite with a tall body, slim, small hips, and a high forehead. As a goddess of hunting, she wore a very short tunic so she could hunt and run easily and is often portrayed holding a bow, and carrying a quiver on her shoulder, accompanied by a deer or hunting dog. Sometimes the hunted creature would also be shown. As goddess of the moon, however, Diana wore a long robe, sometimes with a veil covering her head. Both as goddess of hunting and goddess of the moon she is frequently portrayed wearing a moon crown.

Worship

Diana was initially just the hunting goddess, associated with wild animals and woodlands. She also later became a moon goddess, supplanting Titan goddess Luna. She also became the goddess of childbirth and ruled over the countryside.

Diana was worshipped at a festival on August 13, when King Servius Tullius, himself born a slave, dedicated her temple on the Aventine Hill in the mid-sixth century BC. Being placed on the Aventine, and thus outside the pomerium, meant that Diana’s cult essentially remained a ‘foreign’ one, like that of Bacchus; she was never officially ‘transferred’ to Rome as Juno was after the sack of Veii. It seems that her cult originated in Aricia, where her priest, the Rex Nemorensis remained. There the simple open-air fane was held in common by the Latin tribes, which Rome aspired to weld into a league and direct. Diana of the wood was soon thoroughly Hellenized, “a process which culminated with the appearance of Diana beside Apollo in the first lectisternium at Rome”. Diana was regarded with great reverence by lower-class citizens and slaves; slaves could receive asylum in her temples. This fact is of difficult interpretation. Wissowa proposed the explanation that it might be because the first slaves of the Romans must have been Latins of the neighbouring tribes.

Though some Roman patrons ordered marble replicas of the specifically Anatolian “Diana” of Ephesus, where the Temple of Artemis stood, Diana was usually depicted for educated Romans in her Greek guise. If she is accompanied by a deer, as in the Diana of Versailles this is because Diana was the patroness of hunting. The deer may also offer a covert reference to the myth of Acteon (or Actaeon), who saw her bathing naked. Diana transformed Acteon into a stag and set his own hunting dogs to kill him.

Worship of Diana is mentioned in the Bible. In Acts of the Apostles, Ephesian metal smiths who felt threatened by Saint Paul’s preaching of Christianity, jealously rioted in her defense, shouting “Great is Diana of the Ephesians!” (Acts 19:28, New English Bible). After the city secretary (γραμματεύς) quieted the crowd, he said, “Men of Ephesus, what person is there who does not know that the city of the Ephesians is the keeper (guardian) of the temple of the great Diana and of her image that fell from heaven ?” (Acts 19:36)

Sanctuaries

Diana was an ancient goddess common to all Latin tribes. Therefore many sanctuaries were dedicated to her in the lands inhabited by Latins. The first one is supposed to have been near Alba before the town was destroyed by the Romans.

The Arician wood sanctuary near the lake of Nemi was Latin confederal as testified by the dedicatory epigraph quoted by Cato.

She had a shrine in Rome on the Aventine hill, according to tradition dedicated by king Servius Tullius. Its location is remarkable as the Aventine is situated outside the pomerium, i.e. original territory of the city, in order to comply with the tradition that Diana was a goddess common to all Latins and not exclusively of the Romans.

Other sanctuaries we know about are listed here below:

Temple of Diana, in Evora, Portugal.

Colle di Corne near Tusculum where she is referred to with the archaic Latin name of deva Cornisca and where existed a collegium of worshippers.

The Algidus Mount, also near Tusculum

At Lavinium

At Tivoli, where she is referred to as Diana Opifera Nemorensis

A sacred wood mentioned by Livyad computum Anagninum(near Anagni).

On Mount Tifata, near Capua in Campania.

In Ephesus, where she was worshiped as Diana of Ephesus and the temple used to be one of world’s seven wonders.

Legacy

In religion

Diana’s cult has been related in Early Modern Europe to the cult of Nicevenn (aka Dame Habond, Perchta, Herodiana, etc.). She was related to myths of a female Wild Hunt.

Wicca

Today there is a branch of Wicca named for her, which is characterized by an exclusive focus on the feminine aspect of the Divine. In some Wiccan texts Lucifer is a name used interchangeably for Diana’s brother Apollo.

Stregheria

In Italy the old religion of Stregheria embraced goddess Diana as Queen of the Witches; witches being the wise women healers of the time. Goddess Diana created the world of her own being having in herself the seeds of all creation yet to come. It is said that out of herself she divided into the darkness and the light, keeping for herself the darkness of creation and creating her brother Apollo, the light. Goddess Diana loved and ruled with her brother Apollo, the god of the Sun. (Charles G. Leland, Aradia: The Gospel of Witches)

Since the Renaissance the mythic Diana has often been expressed in the visual and dramatic arts, including the opera L’arbore di Diana. In the sixteenth century, Diana’s image figured prominently at the Château de Fontainebleau, in deference to Diane de Poitiers, mistress of two French kings. At Versailles she was incorporated into the Olympian iconography with which Louis XIV, the Apollo-like “Sun King” liked to surround himself.

There are also references to her in common literature. In Shakespeare’s play, Romeo and Juliet, many references are made to Diana. Rosaline, a beautiful woman who has sworn to chastity, is said to have “Dian’s wit”. Later on in the play, Romeo says, “It is the East, and Juliet is the sun. Arise fair sun, and kill the envious moon.” He is saying that Juliet is better than Diana and Rosaline for not swearing chastity. Diana is also a character in the 1876 Leo Delibe ballet ‘Sylvia’. The plot deals with Sylvia, one of Diana’s nymphs and sworn to chastity and Diana’s assault on Sylvia’s affections for the shepherd Amyntas.

In Jean Cocteau’s 1946 film La Belle et la Bête it is Diana’s power which has transformed and imprisoned the beast.

In literature

In Shakespeare’s Pericles, Prince of Tyre Diana appears to Pericles in a vision, telling him to go to her temple and tell his story to her followers.

Diana is also used by Shakespeare in the famous play As You Like It to describe how Rosaline feels about marriage.

Diana is used by Shakespeare in Twelfth Night when Orsino compares Viola (in the guise of Cesario) to Diana. “Diana’s lip is not more smooth and rubious”

Speaking of his wife, Desdemona, Shakespeare’s Othello the Moor says, “Her name that was as fresh/As Dian[a]’s visage, is now begrim’d and black/As mine own face.”

There is also a reference to Diana in Shakespeare’s play Much Ado About Nothing where Hero is said to seem like ‘Dian in her orb’, in terms of her chastity.

In All’s Well That Ends Well Diana is seen again, not only as a figure in the play, but also where Helena makes multiple allusions such as, “Now, Dian, from thy altar do I fly…” and “…wish chastely and love dearly, that your Dian/was both herself and love…” The Steward also says, “…; Dian no queen of virgins,/ that would suffer her poor knight surprised, without/ rescue in the first assault or ransom afterward.” It can be assumed that ‘Dian’ simply a shortening of ‘Diana’ since later in the play when Parolles’ letter to Diana is read aloud it reads ‘Dian’.

The Goddess is also referenced indirectly in Shakespeare’s player A Midsummer Night’s Dream. The character Hippolyta states “And then the moon, like to a silver bow new bent in Heaven”. She refers to Diana, Goddesse of the moon, who is often depicted with a silver hunting bow. In the same play the character Hermia is told by the Duke Theseus that she must either wed the character Demetrius “Or on Diana’s alter to protest for aye austerity and sinle life”. He refers to her becoming a nun, with the Goddesse Diana having connotations of chastity.

In The Merchant of Venice Portia states “I will die as chaste as Diana, unless I be obtained by the manner of my father’s will”. (I.ii)

In Romeo & Juliet, Romeo describes Rosaline, saying that “She hath Dian’s wit”.

Carlos Fuentes’s novel entitled, Diana o la cazadora solitaria (Diana or the lone huntress), was based on The Goddess. Diana Soren was also a character that being described as having the same personality as the goddess.

In “The Knight’s Tale” in The Canterbury Tales by Geoffrey Chaucer, Emily prays to Diana to be spared from marriage to either of her admirers Arcite or Palomon.

In “To Science”, the sonnet by Edgar Allan Poe, science “dragged Driana from her car” (9).

In language

Pomona (left, symbolizing agriculture), and Diana (symbolizing commerce) as building decoration

Both the Romanian word for “fairy”, Zână and the Leonese word for “water nymph”, xana, seem to come from the name of Diana.

In Arts

Diana had become one of the most popular theme of arts. Painters like Titian, Peter Paul Rubens, François Boucher, Nicholas Poussin had made her as a major theme. Most of stories that being exposed are the stories of Diana with Actaeon, story of Callisto, and when she rested after hunting. Some famous work of arts with Diana theme are :

Diana and Actaeon, Diana and Callisto, and Death of Actaeon by Titian.
Diana and Callisto, Diana Resting After Bath, and Diana Getting Out of Bath by François Boucher.
Diana Bathing With Her Nymphs by Rembrandt.
Diana and Endymion by Poussin.
Diana and Callisto, Diana and Her Nymph Departing From Hunt, Diana and Her Nymphs Surprised By A Faun by Rubens.
Diana and Endymion by Johann Micheal Rottmayr.
The famous fountain at Palace of Caserta, Italy, created by Paolo Persico, Brunelli, Pietro Solari told a story about when Diana being surprised by Acteon.
A sculpture by Christophe-Gabriel Allegrain could be seen at the Musée du Louvre.
A sculptural mascot on the Diana car manufactured by the Diana Motors Company.

In Beaux Arts

Beaux Arts architecture and garden design (late 19th and early 20th centuries) used classic references in a modernized form. Two of the most popular of the period were of Pomona (goddess of orchards) as a metaphor for Agriculture, and Diana, representing Commerce, which is a perpetual hunt for advantage and profits.

In Parma at the convent of San Paolo, Antonio Allegri da Correggio painted the camera of the Abbess Giovanna Piacenza’s apartment. He was commissioned in 1519 to paint the ceiling and mantel of the fireplace. On the mantel he painted an image of Diana riding in a chariot pulled possibly by a stag.

In Film

Diana/Artemis appears at the end of the ‘Pastoral Symphony’ segment of ‘Fantasia’.

In his 1968 film La Mariée était en noir François Truffaut plays on this mythological symbol. Julie Kohler, played by Jeanne Moreau, poses as Diana/Artemis for the artist Fergus. This choice seems fitting for Julie, a character beset by revenge, of which Fergus becomes the fourth victim. She poses with a bow and arrow, wearing white.

Other

In the funeral oration of Diana, Princess of Wales in 1997, her brother drew an analogy between the ancient goddess of hunting and his sister – ‘the most hunted person of the modern age’.
William Moulton Marston used the Diana myth as a basis for Wonder Woman.
For the album art of Progressive metal band Protest the Hero’s second studio album Fortress, Diana is depicted, protected by rams and other animals. The theme of Diana is carried throughout the album.

“Hail Diana”

Hail Artemis Diana
Blessed Lady of the Beasts
I dedicate myself to You

May my path honor Thee
May my spirit celebrate Thee
May my life force magnify Thee

These things I pray
Be fulfilled this day
Goddess Mother help me
To know what is right.”
– Goddess Prayers and Invocations

Research on the Goddess Diana

Part 2

Diana . . . The Roman Goddess was known by many names including Queen of Heaven; the Great Goddess; Lunar Virgin; Mother of Animals; Lady of Wild Creatures; and the Huntress. Diana as the Roman Moon-Goddess was originally worshipped on the mountain Tifata near Capua and in sacred forests. Later she was given a temple in the working-class area on the Aventine Hill where she was mainly worshipped by the lower class (plebeians) and the slaves, of whom she was the patroness. She is often depicted carrying a bow and arrow and wearing animal skins or accompanied by animals.

When the Greek city of Ephesus fell to Roman rule, Goddess Diana was merged with the Greek Goddess Artemis. This is most likely due to the fact that around the time of the Roman empire, Romans would allow the places they over took to continue worshipping their own Gods and Goddesses, incorporating those Goddesses into the Roman Pantheon. Artemis and Diana were worshipped at the same times historically and when the Great Greek Temple of Artemis was destroyed the Romans rebuilt it in honor of Diana and the myth of Goddess Diana of Ephesus began.

Stories of Goddess Diana are told form the beginning of Troy to the Christian Bible of King James in the scriptures of Acts and the gospels of Paul.

Ephesians.”

The multi-breasted statue of Diana at Her Temple in Ephesus displayed her capability to nourish all creatures and provide for them. Worshippers adored Goddess Diana so much that the only way the Christians could rid the people of their Goddess was by assimilating her into their new religion. Thus Ephesus became a place of Mary, Mother of God. The church even invented stories of Mary living at Ephesus and being entombed there.

In Babylonia, and in the nation of Assyria, she was known as “ISHTAR” The Phoenicians called her “ASTARTE”. The Israelites knew her as “ASHTORETH”.

Diana was also the goddess of the Latin commonwealth where She rule with Her brother Lucifer. Lucifer being a Latin word for “Light Bringer”.

In Italy the old religion of Stergheria embraced goddess Diana as Queen of the Witches. Witches being the wise women healers of the time. Goddess Diana created the world of her own being having in herself the seeds of all creation yet to come. It is said that out of herself she divided into the darkness and the light, keeping for herself the darkness of creation and creating her brother Lucifer, the light. Goddess Diana loved and ruled with her brother Lucifer, the god of the Sun and Moon.
As time went on, the Earth was created and Diana descended to Earth, as did her brother Lucifer. Diana taught magick and witches were born. One night using witchcraft in the form of a cat, His most beloved animal, Diana tricked Lucifer. She gained entrance to His chamber where She seduced Him. From this union a daughter was born. Goddess Aradia.
In other versions of this myth we find the similarities the Christain tales take as their own in attempts to dispel the Goddess.
The first being, Lucifer who is so proud of his beauty, and who for his pride is driven from the Paradise of Goddess as is the tale of Lucifer falling from Gods grace.
The second being Goddess Diana also sends Her daughter Aradia to live as a mortal and save the misfortunate people of Earth as does God send His son Jesus to live as a mortal and save the people.

As pagans my sisters, Goddess Diana is the eternal Mother of all creation, the first that is and the last that will be. She is the Huntress of the forest seeking means of survival. She is the call of the wild, the beating heart of the forests, the animal spirit within, urging us to remember our origins. She awakens nature within us that we remember to feel the rustling wind through our hair, to hear the howling of a wolf or the echo of a voice in the forest. Goddess Diana calls to us to let our animal essence out and hone our inherent sensibilities. Dance and sing to the moon, run until our heart pounds to the top of a hill, to take a swim in a creek, roll around in the grass as we once did as a children, or just gaze upon the stars in wonderment; knowing all the while that Goddess Diana is within us, sharing sharing our journey.

As with the Christian invasion into the old religion , we too are told as women what is right and wrong. We are told what is the correct thinking to blend into a society that denies us our truth. Not tonight my sisters, tonight we pray to the Goddess Diana that you never forget the wonders of creation, the joy of being alive, and the importance of being a woman. Tonight we pray to Goddess Diana to be filled with Her strength to survive the challenges that would steal our dreams. under Her Full Moon we are alive in Her reflection. As a Circle of women we pray to Goddess Diana to grants us development and change within ourselves. As we embrace Her energy that is the vibrations of the universe that lives within us let the hunt begin. Let us seek out and tame the resources that is the beast and the forest of our lives. As goddess Diana let us be the huntress of our path. Tonight as women we say “Great is the Goddess Diana and Great is the Goddess in Me”.

Research on the Goddess Diana

Part 3

Ode to Diana

I am Diana

Know me

I have many names, many faces

You know me as the Queen of Heaven, The Huntress, Lady of the Wild Creatures, Lunar Virgin, Daughter of the Moon,

My name has been Ishtar, Astarte, Artemis, Ashtoreth.

I am mother to Aradia. Sister to Lucifer. Daughter of Zeus, most high.

You will find me in Tifata, nearCapua.

My temple is atEphesus, before the time of others that stole.

My temple is in your heart.

My name is your name.

My life is your life, our hearts beat as one.

I am Diana

Celebrate me

When I am a maiden on Ostara, call me by name…

Diana, Aphrodite, Arianrhod, Venus, Cybele, Freya, and Rhiannon.

When I am the mother on Litha, call me by name…

Amaterasu, Hestia, Juno, and Sunna

When I am the Crone on Samhain, call me by name…

Hecate, Inanna, Machi, Mari, Ishtar and Lilith.

Call me down when the moon shines full.

Embrace me when the moon is dark.

Caress me when the moon waxes and wanes.

I am Diana

Honor me

In the night sky as the Great She Bear.

In the phases of the moon,

In nature, the beauty of a sunrise

The mystery of the moon rise.

Speak to me at dawn, at noon when the sun’s heat warms your face

Whisper to me at dusk when purple fingers of nights stain the sky

Sing to me at midnight as you dance beneath my silvery luminescence.

Light a white candle and I am there

Use jasmine and breathe in my spirit.

Place a moonstone in your pocket and I walk with you.

Carry me within your heart and we shall be together

Always.

Diana in prayer, magic and divination.

Hail Diana

Hail Artemis Diana
Blessed Lady of the Beasts
I dedicate myself to You

May my path honor Thee
May my spirit celebrate Thee
May my life force magnify Thee

These things I pray
Be fulfilled this day
Goddess Mother help me
to know what is right

The Goddess Bastet

Bastet is the name commonly used by scholars today to refer to a feline goddess of Ancient Egyptian religion who was worshipped at least since the Second Dynasty. Her name is also spelled Bast, Baast, Ubasti and Baset.

Name in hieroglyphs

Major cult center

Bubastis

Symbol

the cat, the lioness, the sistrum

Parents

Ra, Atum

Bastet, the form of the name which is most commonly adopted by Egyptologists today, is only a modern convention, which offers one possible reconstruction. In early Egyptian, her name appears to have been bȝstt, where ȝ represents an aleph. In Egyptian writing, the second t marks a feminine ending, but was not usually pronounced, and the aleph ȝ may have moved to a position before the accented syllable, as witnessed by the Aramaic spelling ȝbst.By the first millennium, then, bȝstt would have been something like ‘obest’ or ‘ubesti’ in Egyptian speech.

The town of Bastet’s cult (see below) was known in Greek as Boubastis (Βούβαστις). The Hebrew rendering of the name for this town is Pî-beset (“House of Bastet”), spelled without Vortonsilbe.

What the name of the goddess means remains uncertain. One recent suggestion by Stephen Quirke (Ancient Egyptian Religion) explains it as meaning “She of the ointment jar”. This ties in with the observation that her name was written with the hieroglyph “ointment jar” (bȝs) and that she was associated with protective ointments, among other things.

From the third millennium BC, when Bastet begins to appear in our record, she is depicted as either a fierce lioness or a

Originally she was viewed as the protector goddess of Lower Egypt. As protector, she was seen as defender of the pharaoh, and consequently of the later chief male deity, Ra, who was also a solar deity, gaining her the titles Lady of Flame and Eye of Ra.

Her role in the pantheon became diminished as Sekhmet, a similar lioness war deity, became more dominant in the unified culture of Lower and Upper Egypt

In the first millennium BC, when domesticated cats were popularly kept as pets, Bastet began to be represented as a woman with the head of a cat and ultimately emerged as the Egyptian cat-goddess par excellence. In the Middle Kingdom, the domestic cat appeared as Bastet’s sacred animal and after the New Kingdom she was depicted as a woman with the head of a cat or a lioness, carrying a sacred rattle and a box or basket.

History and Connection To Other Gods

Cats in ancient Egypt were revered highly, partly due to their ability to combat vermin such as mice, rats – which threatened key food supplies – and snakes, especially cobras. Cats of royalty were, in some instances, known to be dressed in golden jewelry and were allowed to eat from their owners’ plates. Turner and Bateson estimate that during the Twenty-second dynasty c.945-715 BC, Bastet worship changed to being a major cat deity (as opposed to a lioness deity). With the unification of the two Egypts, many similar deities were merged into one or the other, the significance of Bast and Sekhmet, to the regional cultures that merged, resulted in a retention of both, necessitating a change to one or the other. During later dynasties, Bast was assigned a lesser role in the pantheon, but retained.

In the temple at Per-Bast some cats were found to have been mummified and buried, many next to their owners. More than 300,000 mummified cats were discovered when Bast’s temple at Per-Bast was excavated. The main source of information about the Bast cult comes from Herodotus who visited Bubastis around 450 BC during the heyday of the cult. He equated Bastet with the Greek Goddess Artemis. He wrote extensively about the cult. Turner and Bateson suggest that the status of the cat was roughly equivalent to that of the cow in modern India. The death of a cat might leave a family in great mourning and those who could would have them embalmed or buried in cat cemeteries – pointing to the great prevalence of the cult of Bastet. Extensive burials of cat remains were found not only at Bubastis, but also at Beni Hasan and Saqqara. In 1888, a farmer uncovered a plot of many hundreds of thousands of cats in Beni Hasan.

The lioness represented the war goddess and protector of both lands. As the fierce lion god Maahes of Nubia later became part of Egyptian mythology, during the time of the New Kingdom, Bastet was held to be the daughter of Amun Ra, a newly ascending deity in the Egyptian pantheon during that late dynasty. Bastet became identified as his mother in the Lower Egypt, near the delta. Similarly the fierce lioness war goddess Sekhmet, became identified as the mother of Maashes in the Upper Egypt.

As divine mother, and more especially as protector, for Lower Egypt, Bastet became strongly associated with Wadjet, the patron goddess of Lower Egypt. She eventually became Wadjet-Bast, paralleling the similar pair of patron (Nekhbet) and lioness protector (Sekhmet) for Upper Egypt.

Later perception

Later scribes sometimes renamed her Bastet, a variation on Bast consisting of an additional feminine suffix to the one already present, thought to have been added to emphasize pronunciation; perhaps it is a diminutive name applied as she receded in the ascendancy of Sekhmet in the Egyptian pantheon. Since Bastet literally meant, (female) of the ointment jar, Her name was related with the lavish jars in which Egyptians stored their perfume. Bast thus gradually became regarded as the goddess of perfumes, earning the title, perfumed protector. In connection with this, when Anubis became the god of embalming, Bast, as goddess of ointment, came to be regarded as his wife. The association of Bastet as mother of Anubis, was broken years later when Anubis became identified as the son of Nephthys.

Lower Egypt’s loss in the wars between Upper and Lower Egypt led to a decrease in the ferocity of Bast. Thus, by the Middle Kingdom she came to be regarded as a domestic cat rather than a lioness. Occasionally, however, she was depicted holding a lioness mask, hinting at her potential ferocity.

Because domestic cats tend to be tender and protective of their offspring, Bast also was regarded as a good mother, and she was sometimes depicted with numerous kittens. Consequently, a woman who wanted children sometimes wore an amulet showing the goddess with kittens, the number of which indicated her own desired number of children.

Eventually, her position as patron and protector of Lower Egypt led to her being identified with the more substantial goddess Mut, whose cult had risen to power with that of Amun, and eventually being syncretized with her as Mut-Wadjet-Bast. Shortly after, in the constantly evolving pantheon, Mut also absorbed the identities of the Sekhmet-Nekhbet pairing as well.

This merging of identities of similar goddesses has led to considerable confusion, leading to some attributing to Bastet the title Mistress of the Sistrum (more properly belonging to Hathor, who had become thought of as an aspect of the later emerging Isis, as had Mut), and the Greek idea of her as a lunar goddess (more properly an attribute of Mut) rather than the solar deity she was. The native Egyptian rulers were replaced by Greeks during an occupation of Egypt that lasted almost five hundred years. These new rulers adopted many Egyptian beliefs and customs, but always “interpreted” them in relation to their Greek culture. These associations sought to link the antiquity of Egyptian culture to the newer Greek culture, thereby lending parallel roots and a sense of continuity. Indeed, much confusion occurred with subsequent generations; the identity of Bast slowly merged among the Greeks during their occupation of Egypt, who sometimes named her Ailuros (Greek for cat), thinking of Bast as a version of Artemis, their own moon goddess. Thus, to fit their own cosmology, to the Greeks Bast is thought of as the sister of Horus, whom they identified as Apollo (Artemis’ brother), and consequently, the daughter of the later emerging deities, Isis and Ra. Roman occupation of Egypt followed in 30 BC, and their pantheon of deities also was identified with the Greek interpretations of the Ancient Egyptians. The introduction of Christianity and Muslim beliefs followed as well, and by the sixth century AD only a few vestiges of Ancient Egyptian religious beliefs remained, although the cult of Isis had spread to the ends of the Roman Empire.

Dear Lady Bast
Shining, bright one
Goddess of Egypt
Deity of the moon
And Patroness of cats and women.
Guide me,
Bless me,
Light up my life with your divine intervention.
So mote it be.

The ritual of Bast

Begin the ritual with a breathing exercise to relax the participants and enliven their energy. Now light the anointed candles which stand before the goddess. Next, construct a cone of power. The cone is a travelling one, and the participants must visualize it leaving this world, travelling through space back in time to ancient Egypt, and alighting in the desert.

The visualizer now takes over, and says:

Step out of the cone and into the desert. Feel the warmth of the sun on your skin and the burning heat of the sand beneath your feet. In the distance you can see a vast temple rearing up to meet the sky. Begin to walk towards the temple, noting anything that you see on the way. As you draw closer you pass by an oasis pool surrounded by tall palm trees. Lionesses doze in the shade of the trees and as you pass by they lift their heads as if to grant you passage into the temple.

Walk on, past the lionesses, towards the temple. As you get closer you begin to realize what a massive structure it is. It is constructed of vast columns, which are intricately carved with symbols and hieroglyphs. Ahead of you there is a wide sandstone path leading up to the main entrance, which is flanked by two huge obelisks. These are constructed of rough golden sandstone and are so tall that they seem to reach up to the sky. Walk up the path and amongst the columns. Once you are in their shade the air feels cool and refreshing. It seems like a haven from the relentless heat of the desert. You can smell a strong fragrance of cut blooms on the air and the subtler scent of exotic musky incense.

You find that you are standing in the outer courtyard of the temple. There are trees cultivated here and in the centre you can see a large circular pool. This pool reflects the burning gold of the sun in the daytime and the silver light of the moon by night for these are both aspects of the Goddess. There are temple staff around you, all going about their duties. Many of them smile at you in greeting but none approach you. It is as if you are expected here.

At the back of the courtyard you can see a huge doorway which leads to the outer shrine. Walk towards it. Either side of this great doorway you can see that the walls are carved with pictures of cat headed people and seated cats. You can reach out and run your hand over the warm stone. Feel the contours of the carvings beneath your fingers.

Step inside the shrine now. The room is dimly lit, let your eyes adjust after the bright sunlight outside. After a moment you can see that before you stand a statue of a great cat carved from smooth, black stone. It wears thick gold earrings and an ornately crafted collar of faience. At its feet lie offerings left by visitors to the temple. You can see many flowers and perfume jars, as well as statues and figurines. Priests and priestesses are in the shrine, tending a multitude of cats. The air around you is full of the music of the cats; their purrs and cries. Pause to pay your respect to the sacred cat of Bast, and then walk on down a corridor to your right.

You are making your way towards the inner sanctum of Bast down a short corridor lit with flickering lamps and candles. At the far end the corridor opens out into a vast room lined by pillars. At the other end of the room, so huge that it fills your vision, is a flight of golden steps that leads up to an immense golden statue of the goddess. She is depicted as a beautiful cat-headed woman. She wears heavy jewellery at her ears and throat and is swathed in a robe carved from gold. In her hand she carries a golden sistrum, her sacred rattle, and at her feet are tiny golden kittens. The steps below her are covered in cats, sleeping, grooming, playing. The room is full of soft but lively music, played by priestesses on flutes and drums and rattles. Other priests and priestesses dance sinuously to the music, like cats themselves. The floor is covered in petals and as you walk upon them, they release their heady fragrance. Approach the foot of the stairs and raise your arms.

The visualizer shakes a sistrum three times. The charge-reader says:

Oh, Bast, lady of Asheru,

ruler of Sekhet-Neter,

Ruler of the divine field, lady of Ankhtawy, Life of the two lands,

We, your priestesses call to you.

Hear our prayers.

We come before you in love.

We come before you in peace.

We come before you in joy.

And ask that we might speak with you.

May your essence enter into the statue before us.

And become your living body in this world.

Dwell here in gentleness, Bast,

And let your blessings be upon us.

The whole group shake their sistra, conjuring the Heka ofBast to enter the statue, both in the visualization and in the statue at home.

Concentrate on this happening. When you feel a change in the energy of the room let the shaking die away. (A group may need a few attempts before they sense energy in unison but it will happen with practice.)

The visualizer resumes:

Now visualize that the statue before you begins to comealive. The eyes become the living eyes of a cat, and gradually the gold turns to furry skin. The kittens at her feet begin to play and the folds of her dress flow softly. The goddess begins to descend the stairs towards you, her eyes full of benevolence and peace.

While this is happening, you must cast your inner eye back to the room where your statue of the goddess stands before the anointed candles. Imagine that the light of these candles shines into the statue, which is like an extension of the senses of Bast in the temple. Through the light of these candles, Bast can see your soul, and recognizes you.

The visualizer shakes the rattles. The charge-reader says:

Oh, Bast, queen of all cats, Daughter of Ra,

We bring offerings to you

As symbols of our love and respect.

We offer food to the great goddess in the temple of Bast.

We offer drink to the cat of the heavens.

We offer incense to the gentle cat.

We offer love to the daughter of Ra.

Now burn some incense and eat the feast, but leave a small portion of each item you eat for Bast. These morsels should be pIaced in a separate dish. The feast can be shared with any cats that are present. Pass round a goblet of wine (which can be refilled as often as you like), each person present splashing a little of it over the other offerings in the dish. Try to imagine that you are still in the temple rather than at home; the visualization has not ended. After this has been done, place the dish of offerings on the altar before the statue. Now close your eyes and make yourself comfort able to return to the visualization.

The visualizer shakes the sistrum three times, and says:

See the temple clearly once more around you.

Bast is standing before us, enjoying the offerings we have given her.

The visualizer shakes the sistrum three times again. The charge-reader says:

Oh Bast. daughter of Ra. Divine cat, lady of all magic,

Accept our offerings for they are given in love.

Grant to us our desires and come to our aid.

Reach out to us with gentle hands,

And let your blessing be upon your priestesses.

So it is spoken, so it is done.

Each member of the group now visualizes clearly in pictures exactly what he or she wants from Bast. Imagine yourself as happy, carefree, loved and loving, but show it in pictures rather than words. After an appropriate time, the visualizer shakes the sistrum and the charge-reader says:

Oh Bast, queen of cats, Lady of laue and pleasure,

We offer you our humble thanks for all that you have granted to us.

Continue to share with us your strength and your fire.

Lend us your understanding, show us your wisdom.

Give us the courage to be all that we may be

And the ability to know ourselves as you know us.

May we take with us from this temple a feeling of peace that will be with us in the days and weeks to come.

May we feel enlivened and liberated from all care.

May you strengthen this sisterhood,

With love, unity and grace.

We ask this in your name, Bast, Lady of Ankhtawy, lady of Asheru,

Ruler of the divine field,

Ruler of Sekhet-Neter.

Continue the visualization for a few moments. It is time for all present to commune privately with the goddess. She may have. knowledge to bestow or gifts to impart. She may take you to other parts of the temple, or elsewhere in her realm. You may meet other people or gods. After an appropriate time, the visualizer shakes the rattles, and the charge-reader says:

Oh, Bast, we thank you for this audience.

We go from your temple with your presence in ourhearts.

We are your priestesses and will do all in our power

To protect your children on this earth.

When we make love, we will do so as an offering to you.

When we partake of delicious food and drink, we will do so as an offering to you.

When we dance, we will do so as an offering to you.

When we sing, we will do so as an offering to you.

We give you our love and our gratitude,

Be forever in our hearts, Bast, even when we here present are apart.

The visualizer resumes:

Now bow to the goddess, and see her begin to retreat up the stairs. When she reaches the top she assumes her normal position and turns back into a sleeping statue of gold. When you are ready, bid farewell to the priests and priestesses, and to all the cats. Walk back down the corridor again. In the outer shrine it is time to have a few thoughts for your own cats. Perhaps you may like to ask for Bast’s protection for them. You can also ask for her blessing for any other loved ones. When you have finished bow your head to the statue to show your thanks and continue on out of the temple. Make your way back through the outer courtyard and out of the huge entrance again. You can see the cone of power shining in the distance. Walk towards it, past the oasis pool and the lionesses. Once you reach it step inside and sit back down.

The person designated to construct the cone now brings it back to present space and time, and dismantles it. When this is done, he or she says, ‘When you are ready, open your eyes.’

After the ritual

Once everyone has opened their eyes, it is a good idea for them to talk about their experiences. Some people might feel that their visu alizations are too personal to discuss at that time, and this must be respected. In our group, we always tape the results of a working, and type it up afterwards as a permanent record. You may like to make a note of your experiences in your magical diary.

After the discussion, we always enter party mode. The first thing we do is dance for Bast. We play our favourite songs and usually sing to them – badly, it has to be said, but we are sure Bast does not mind that! On many ritual nights we have sat up drinking wine and talking until dawn. These are special nights, and everyone should enjoy them as they see fit.

The remains of the feast should be cast out over a garden or some other appropriate spot. During the following days, many of us also like to make some kind of donation to a charity associated with cats, whether in cash or simply a can of cat food in one of the many charity dump bins in pet stores.

This rite can be adapted for use as a simple ‘thanks’ ritual. Instead of asking Bast for her help, the time in the ritual apportioned for requesting boons can be spent simply thanking the goddess for past help and for her presence in our lives. We think it is as important to do this as any potent ritual to improve a situationor create opportunities. The aid of the gods should never be taken for granted.

Now visualize that the statue before you begins to comealive. The eyes become the living eyes of a cat, and gradually the gold turns to furry skin. The kittens at her feet begin to play and the folds of her dress flow softly. The goddess begins to descend the stairs towards you, her eyes full of benevolence and peace.

While this is happening, you must cast your inner eye back to the room where your statue of the goddess stands before the anointed candles. Imagine that the light of these candles shines into the statue, which is like an extension of the senses of Bast in the temple. Through the light of these candles, Bast can see your soul, and recognizes you.

The visualizer shakes the rattles. The charge-reader says:

Oh, Bast, queen of all cats, Daughter of Ra,

We bring offerings to you

As symbols of our love and respect.

We offer food to the great goddess in the temple of Bast.

We offer drink to the cat of the heavens.

We offer incense to the gentle cat.

We offer love to the daughter of Ra.

Now burn some incense and eat the feast, but leave a small portion of each item you eat for Bast. These morsels should be pIaced in a separate dish. The feast can be shared with any cats that are present. Pass round a goblet of wine (which can be refilled as often as you like), each person present splashing a little of it over the other offerings in the dish. Try to imagine that you are still in the temple rather than at home; the visualization has not ended. After this has been done, place the dish of offerings on the altar before the statue. Now close your eyes and make yourself comfort able to return to the visualization.

The visualizer shakes the sistrum three times, and says:

See the temple clearly once more around you.

Bast is standing before us, enjoying the offerings we have given her.

The visualizer shakes the sistrum three times again. The charge-reader says:

Oh Bast. daughter of Ra. Divine cat, lady of all magic,

Accept our offerings for they are given in love.

Grant to us our desires and come to our aid.

Reach out to us with gentle hands,

And let your blessing be upon your priestesses.

So it is spoken, so it is done.

Each member of the group now visualizes clearly in pictures exactly what he or she wants from Bast. Imagine yourself as happy, carefree, loved and loving, but show it in pictures rather than words. After an appropriate time, the visualizer shakes the sistrum and the charge-reader says:

Oh Bast, queen of cats, Lady of laue and pleasure,

We offer you our humble thanks for all that you have granted to us.

Continue to share with us your strength and your fire.

Lend us your understanding, show us your wisdom.

Give us the courage to be all that we may be

And the ability to know ourselves as you know us.

May we take with us from this temple a feeling of peace that will be with us in the days and weeks to come.

May we feel enlivened and liberated from all care.

May you strengthen this sisterhood,

With love, unity and grace.

We ask this in your name, Bast, Lady of Ankhtawy, lady of Asheru,

Ruler of the divine field,

Ruler of Sekhet-Neter.

Continue the visualization for a few moments. It is time for all present to commune privately with the goddess. She may have. knowledge to bestow or gifts to impart. She may take you to other parts of the temple, or elsewhere in her realm. You may meet other people or gods. After an appropriate time, the visualizer shakes the rattles, and the charge-reader says:

Oh, Bast, we thank you for this audience.

We go from your temple with your presence in ourhearts.

We are your priestesses and will do all in our power

To protect your children on this earth.

When we make love, we will do so as an offering to you.

When we partake of delicious food and drink, we will do so as an offering to you.

When we dance, we will do so as an offering to you.

When we sing, we will do so as an offering to you.

We give you our love and our gratitude,

Be forever in our hearts, Bast, even when we here present are apart.

The visualizer resumes:

Now bow to the goddess, and see her begin to retreat up the stairs. When she reaches the top she assumes her normal position and turns back into a sleeping statue of gold. When you are ready, bid farewell to the priests and priestesses, and to all the cats. Walk back down the corridor again. In the outer shrine it is time to have a few thoughts for your own cats. Perhaps you may like to ask for Bast’s protection for them. You can also ask for her blessing for any other loved ones. When you have finished bow your head to the statue to show your thanks and continue on out of the temple. Make your way back through the outer courtyard and out of the huge entrance again. You can see the cone of power shining in the distance. Walk towards it, past the oasis pool and the lionesses. Once you reach it step inside and sit back down.

The person designated to construct the cone now brings it back to present space and time, and dismantles it. When this is done, he or she says, ‘When you are ready, open your eyes.’

After the ritual

Once everyone has opened their eyes, it is a good idea for them to talk about their experiences. Some people might feel that their visu alizations are too personal to discuss at that time, and this must be respected. In our group, we always tape the results of a working, and type it up afterwards as a permanent record. You may like to make a note of your experiences in your magical diary.

After the discussion, we always enter party mode. The first thing we do is dance for Bast. We play our favourite songs and usually sing to them – badly, it has to be said, but we are sure Bast does not mind that! On many ritual nights we have sat up drinking wine and talking until dawn. These are special nights, and everyone should enjoy them as they see fit.

The remains of the feast should be cast out over a garden or some other appropriate spot. During the following days, many of us also like to make some kind of donation to a charity associated with cats, whether in cash or simply a can of cat food in one of the many charity dump bins in pet stores.

This rite can be adapted for use as a simple ‘thanks’ ritual. Instead of asking Bast for her help, the time in the ritual apportioned for requesting boons can be spent simply thanking the goddess for past help and for her presence in our lives. We think it is as important to do this as any potent ritual to improve a situation or create opportunities. The aid of the gods should never be taken for granted.

Homage to Bast

Oh Bast, Lady of Aheru, ruler of Sekhet-neter

Lady of Ankhtawy, ruler of the Divine Field

Life of the Two lands

We call to you.

Hear us and awaken to our presence.

Bast, you are beauty, health and gentleness.

You comfort those who are made mad by the moon,

When you walk at their side in the shadow lands.

You, oh lady, are of the gods who protect this world.

Thunder and lightning strike the skies,

But you return in glory with your father, the sun.

You can blast and you can forgive

You can punish and you can reward

You can grant sunshine unto children

You can grant moonshine unto lovers

You have died and yet you live.

It is whispered that if one man or woman should believe in your power

You can hearken to the prayers of all the world. Hear us, oh Bast,

You can twist the skein and weave the thread of destiny.

You are sacred and beautiful, a lady of music.

You are lustrous and all-powerful,

And the world rides upon the arch of your back.

You are venerated and called the Lady of the East.

Bast the divine, ruler of the night, goddess of love, Infinite, all-wise and all-knowing.

Grant blessings unto us who follows in your ways.

Great cat, who is the cat of the heavens,

Grant to us our desires.

Be favourable unto us.

From Sekhem Heka written by Storm Constantine

The Goddess Artemis – Goddess Of The Hunt

Artemis was one of the most widely venerated of the Ancient Greek deities. Some scholars believe that the name, and indeed the goddess herself, was originally pre-Greek. Homer refers to her as Artemis Agrotera, Potnia Theron “Artemis of the wildland, Mistress of Animals”. In the classical period of Greek mythology, Artemis (Greek: (nominative) Ἄρτεμις, (genitive) Ἀρτέμιδος) was often described as the daughter of Zeus and Leto, and the twin sister of Apollo. She was the Hellenic goddess of the hunt, wild animals, wilderness, childbirth, virginity and young girls, bringing and relieving disease in women; she often was depicted as a huntress carrying a bow and arrows. The deer and the cypress were sacred to her. In later Hellenistic times, she even assumed the ancient role of Eileithyia in aiding childbirth.

Artemis later became identified with Selene, a Titaness who was a Greek moon goddess, sometimes depicted with a crescent moon above her head. She was also identified with the Roman goddess Diana, with the Etruscan goddess Artume, and with the Greek or Carian goddess Hecate.

Artemis in mythology

Birth

Various conflicting accounts are given in Classical Greek mythology of the birth of Artemis and her twin brother, Apollo. All accounts agree, however, that she was the daughter of Zeus and Leto and that she was the twin sister of Apollo.

An account by Callimachus has it that Hera forbade Leto to give birth on either terra firma (the mainland) or on an island. Hera was angry with Zeus, her husband, because he had impregnated Leto. But the island of Delos (or Ortygia in the Homeric Hymn to Artemis) disobeyed Hera, and Leto gave birth there.

In ancient Cretan history Leto was worshipped at Phaistos and in Cretan mythology Leto gave birth to Apollo and Artemis at the islands known today as the Paximadia.

A scholium of Servius on Aeneid iii. 72 accounts for the island’s archaic name Ortygia by asserting that Zeus transformed Leto into a quail (ortux) in order to prevent Hera from finding out his infidelity, and Kenneth McLeish suggested further that in quail form Leto would have given birth with as few birth-pains as a mother quail suffers when it lays an egg.

The myths also differ as to whether Artemis was born first, or Apollo. Most stories depict Artemis as born first, becoming her mother’s mid-wife upon the birth of her brother Apollo.

Childhood

Roman marble Bust of Artemis after Kephisodotos (Musei Capitolini), Rome

The childhood of Artemis is not fully related in any surviving myth. The Iliad reduced the figure of the dread goddess to that of a girl, who, having been thrashed by Hera, climbs weeping into the lap of Zeus. A poem of Callimachus to the goddess “who amuses herself on mountains with archery” imagines some charming vignettes: according to Callimachus, at three years old, Artemis, while sitting on the knee of her father, Zeus, asked him to grant her six wishes: to remain always a virgin; to have many names to set her apart from her brother Apollo; to be the Phaesporia or Light Bringer; to have a bow and arrow and a knee-length tunic so that she could hunt; to have sixty “daughters of Okeanos”, all nine years of age, to be her choir; and for twenty Amnisides Nymphs as handmaidens to watch her dogs and bow while she rested. She wished for no city dedicated to her, but to rule the mountains, and for the ability to help women in the pains of childbirth.

Artemis believed that she had been chosen by the Fates to be a midwife, particularly since she had assisted her mother in the delivery of her twin brother, Apollo. All of her companions remained virgins and Artemis guarded her own chastity closely. Her symbols included the golden bow and arrow, the hunting dog, the stag, and the moon. Callimachus tells how Artemis spent her girlhood seeking out the things that she would need to be a huntress, how she obtained her bow and arrows from the isle of Lipara, where Hephaestus and the Cyclops worked. Okeanus’ daughters were filled with fear, but the young Artemis bravely approached and asked for bow and arrows. Callimachus then tells how Artemis visited Pan, the god of forest and he gave her seven bitches and six dogs. She then captured six golden-horned deer to pull her chariot. Artemis practiced with her bow first by shooting at trees and then at wild beasts.

Wooing the Goddess

As a young virgin, Artemis had interested many gods and men, but none of them successfully won her heart, except her hunting companion Orion, who was then accidentally killed either by the goddess herself or by Gaia.

Alpheus, a river god, was in love with Artemis, but he realized that nothing he could do would win her heart. So he decided to capture her. Artemis who was with her companions at Letrenoi, went to Alpheus, but suspicious of his motives, she covered her face with mud so the river god would not recognize her. Another story involving the god is the story where he tried to rape Artemis’ attendant Arethusa. The goddess felt pity for her and saved her by transforming Arethusa into a spring in Artemis’ temple, Artemis Alphaea in Letrini, where the goddess and her attendant drink.

Bouphagos, the son of the Titan Iapetos, saw Artemis and had a thought of raping her. Detecting his sinful thoughts Artemis struck him at Mount Pholoe.

Sipriotes was a boy who, either because he accidentally saw Artemis bathing or attempted to rape her, was turned into a girl by the goddess.

Actaeon

Artemis was once bathing in a vale on Mount Cithaeron, when the Theban hunter Actaeon stumbled across her. Enraged, Artemis turned him into a stag and, not knowing their own owner, Actaeon’s own dogs killed him.

Adonis

In some versions of the story of Adonis, who was a late addition to Greek mythology during the Hellenistic period, Artemis sent a wild boar to kill Adonis as punishment for his hubristic boast that he was a better hunter than she.

In other versions, Artemis killed Adonis for revenge. In later myths, Adonis had been related as a favorite of Aphrodite, and Aphrodite was responsible for the death of Hippolytus, who had been a favorite of Artemis. Therefore, Artemis killed Adonis to avenge Hippolytus’s death.

In yet another version, Adonis was not killed by Artemis, but by Ares, as punishment for being with Aphrodite.

Orion

Orion was a hunting companion of the goddess Artemis. In some versions of his story he was killed by Artemis, while in others he was killed by a scorpion sent by Gaia. In some versions, Orion tried to seduce Opis, one of her followers, and she killed him. In a version by Aratus, Orion took hold of Artemis’ robe and she killed him in self-defense. In yet another version, Apollo sent the scorpion. According to Hyginus Artemis once loved Orion (in spite of the late source, this version appears to be a rare remnant of her as the pre-Olympian goddess, who took consorts, as Eos did), but was tricked into killing him by her brother Apollo, who was “protective” of his sister’s maidenhood.

The Aloadae

These twin sons of Iphidemia and Poseidon, Otos and Ephialtes, grew enormously at a young age. They were aggressive, great hunters, and could not be killed unless they killed each other. The growth of the Aloadae never stopped, and they boasted that as soon as they could reach heaven, they would kidnap Artemis and Hera and take them as wives. The gods were afraid of them, except for Artemis who captured a fine deer (or in another version of the story, she changed herself into a doe) and jumped out between them. The Aloadae threw their spears and so mistakenly killed each other.

Callisto

Callisto was the daughter of Lycaon, King of Arcadia and also was one of Artemis’s hunting attendants. As a companion of Artemis, she took a vow of chastity. Zeus appeared to her disguised as Artemis, or in some stories Apollo, gained her confidence, then took advantage of her (or raped her, according to Ovid). As a result of this encounter she conceived a son, Arcas. Enraged, Hera or Artemis (some accounts say both) changed her into a bear. Arcas almost killed the bear, but Zeus stopped him just in time. Out of pity, Zeus placed Callisto the bear into the heavens, thus the origin of Callisto the Bear as a constellation. Some stories say that he placed both Arcas and Callisto into the heavens as bears, forming the Ursa Minor and Ursa Major constellations.

Iphigenia and the Taurian Artemis

Artemis punished Agamemnon after he killed a sacred stag in a sacred grove and boasted that he was a better hunter than the goddess. When the Greek fleet was preparing at Aulis to depart for Troy to begin the Trojan War, Artemis becalmed the winds. The seer Calchas advised Agamemnon that the only way to appease Artemis was to sacrifice his daughter Iphigenia. Artemis then snatched Iphigenia from the altar and substituted a deer. Various myths have been told around what happened after Artemis took her. Either she was brought to Tauros and led the priests there, or became Artemis’ immortal companion.

Niobe

A Queen of Thebes and wife of Amphion, Niobe boasted of her superiority to Leto because while she had fourteen children (Niobids), seven boys and seven girls, Leto had only one of each. When Artemis and Apollo heard this impiety, Apollo killed her sons as they practiced athletics, and Artemis shot her daughters, who died instantly without a sound. Apollo and Artemis used poisoned arrows to kill them, though according to some versions two of the Niobids were spared, one boy and one girl. Amphion, at the sight of his dead sons, killed himself. A devastated Niobe and her remaining children were turned to stone by Artemis as they wept. The gods themselves entombed them.

Chione

Chione was a princess of Pokis. She was beloved by two gods, Hermes and Apollo, and boasted that she was prettier than Artemis because she made two gods fall in love with her at once. Artemis was furious and killed Chione with her arrow or struck her dumb by shooting off her tongue. However, some versions of this myth say Apollo and Hermes protected her from Artemis’ wrath.

Atalanta, Oeneus and the Meleagrids

Artemis saved the infant Atalanta from dying of exposure after her father abandoned her. She sent a female bear to suckle the baby, who was then raised by hunters. But she later sent a bear to hurt Atalanta because people said Atalanta was a better hunter. This is in some stories.

Among other adventures, Atalanta participated in the hunt for the Calydonian Boar, which Artemis had sent to destroy Calydon because King Oeneus had forgotten her at the harvest sacrifices. In the hunt, Atalanta drew the first blood, and was awarded the prize of the skin. She hung it in a sacred grove at Tegea as a dedication to Artemis.

Meleager was a hero of Aetolia. King Oeneus had him gather heroes from all over Greece to hunt the Calydonian Boar. After the death of Meleager, Artemis turned his grieving sisters, the Meleagrids into guineafowl that Artemis loved very much.

Aura

In Nonnus’ Dionysiaca, Aura was Greek goddess of breezes and cool air, daughter of Lelantos and Periboia. She was a virgin huntress, just like Artemis, and proud of her maidenhood. One day, she claimed that Artemis’ body was too womanly and she doubted her virginity. Artemis asked for Nemesis’ help to avenge her dignity and caused the rape of Aura by Dionysus. Aura became a mad and dangerous killer. When she bore twin sons, she ate one of them while the other one, Iakhos, was saved by Artemis. Iakhos later became an attendant of Demeter and the leader of Eleusinian Mysteries.

Trojan War

Artemis may have been represented as a supporter of Troy because her brother Apollo was the patron god of the city and she herself was widely worshipped in western Anatolia in historical times. In the Iliad she came to blows with Hera, when the divine allies of the Greeks and Trojans engaged each other in conflict. Hera struck Artemis on the ears with her own quiver, causing the arrows to fall out. As Artemis fled crying to Zeus, Leto gathered up the bow and arrows.

Artemis played quite a large part in this war. Like her mother and brother, who was widely worshiped at Troy, Artemis took the side of the Trojans. At the Greek’s journey to Troy, Artemis becalmed the sea and stopped the journey until an oracle came and said they could win the goddess’ heart by sacrificing Iphigenia, Agamemnon’s daughter. Agamemnon once promised the goddess he would sacrifice the dearest thing to him, which was Iphigenia, but broke the promise. Other sources said he boasted about his hunting ability and provoked the goddess’ anger. Artemis saved Iphigenia because of her bravery. In some versions of the myth, Artemis made Iphigenia her attendant or turned her into Hecate, goddess of night, witchcraft, and the underworld.

Aeneas was helped by Artemis, Leto, and Apollo. Apollo found him wounded by Diomedes and lifted him to heaven. There, the three of them secretly healed him in a great chamber.

Worship of Artemis

Artemis, the goddess of forests and hills, was worshipped throughout ancient Greece. Her best known cults were on the island of Delos (her birthplace); in Attica at Brauron and Mounikhia (near Piraeus); in Sparta. She was often depicted in paintings and statues in a forest setting, carrying a bow and arrows, and accompanied by a deer.

The ancient Spartans used to sacrifice to her as one of their patron goddesses before starting a new military campaign.

Athenian festivals in honor of Artemis included Elaphebolia, Mounikhia, Kharisteria, and Brauronia. The festival of Artemis Orthia was observed in Sparta.

Pre-pubescent Athenian girls and young Athenian girls approaching marriageable age were sent to the sanctuary of Artemis at Brauron to serve the Goddess for one year. During this time the girls were known as arktoi, or little she-bears. A myth explaining this servitude relates that a bear had formed the habit of regularly visiting the town of Brauron, and the people there fed it, so that over time the bear became tame. A young girl teased the bear, and, in some versions of the myth it killed her, while in other versions it clawed her eyes out. Either way, the girl’s brothers killed the bear, and Artemis was enraged. She demanded that young girls “act the bear” at her sanctuary in atonement for the bear’s death.

Virginal Artemis was worshipped as a fertility/childbirth goddess in some places, assimilating Ilithyia, since, according to some myths, she assisted her mother in the delivery of her twin. During the Classical period in Athens, she was identified with Hecate. Artemis also assimilated Caryatis (Carya).

Epithets

As Aeginaea, she was worshiped in Sparta; the name means either huntress of chamois, or the wielder of the javelin (αιγανέα). She was worshipped at Naupactus as Aetole; in her temple in that town there was a statue of white marble representing her throwing a javelin. This “Aetolian Artemis” would not have been introduced at Naupactus, anciently a place of Ozolian Locris, until it was awarded to the Aetolians by Philip II of Macedon. Strabo records another precinct of “Aetolian Artemos” at the head of the Adriatic. As Agoraea she was the protector of the agora. As Agrotera, she was especially associated as the patron goddess of hunters. In Elis she was worshiped as Alphaea. In Athens Artemis was often associated with the local Aeginian goddess, Aphaea. As Potnia Theron, she was the patron of wild animals; Homer used this title. As Kourotrophos, she was the nurse of youths. As Locheia, she was the goddess of childbirth and midwives. She was sometimes known as Cynthia, from her birthplace on Mount Cynthus on Delos, or Amarynthia from a festival in her honor originally held at Amarynthus in Euboea. She was sometimes identified by the name Phoebe, the feminine form of her brother Apollo’s solar epithet Phoebus.

Festivals

Artemis was born at the sixth day, the reason why it was sacred for her.

Festival of Artemis in Brauron, where girls aged not more than 10 and not less than 5 dressed in saffron robes played the bear to appease the goddess after the plagued she sent when her bear was killed.
Festival of Amarysia is a celebration to worship Artemis Amarysia in Attica. In 2007, a team of Swiss and Greek archaeologists found the ruin of Artemis Amarysia Temple, at Euboea, Greece.
Festival of Artemis Saronia, a festival to celebrate Artemis in Trozeinos, a town in Argolis. A king named Saron built a sanctuary for the goddess after the goddess saved his life when he went on hunting and swept by the wave and held a festival for her.
At the 16 of Metageitnio (second month on Athenian calendar), people sacrifice to Artemis and Hecate at deme of Erchia.
Kharisteria Festival on 6 of Boidromion (third month) to celebrate the victory of Marathon and also known as the Athenian “Thanksgiving”.
Day six of Elaphobolia (ninth month) festival of Artemis the Deer Huntress where she was offered cakes shaped like stags, made from dough, honey and sesame-seeds.
Day 6 of 16 of Mounikhion (tenth month) a celebration of her as the goddess of nature and animal. A goat was being sacrificed to her.
Day 6 of Thargelion (eleventh month) the ‘birthday’ of the goddess, while the seventh was Apollo’s.
A festival for Artemis Diktynna (of the net) in Hypsous.
Laphria, a festival for Artemis in Patrai. The procession started by setting the logs of wood around the altar, each of them sixteen cubits long. On the altar, within the circle, is placed the driest of their wood. Just before the time of the festival, they construct a smooth ascent to the altar, piling earth upon the altar steps. The festival begins with a most splendid procession in honor of Artemis, and the maiden officiating as priestess rides last in the procession upon a car yoked to deer. It is, however, not until the next day that the sacrifice is offered.
In Orchomenus, a sanctuary was built for Artemis Hymnia where her festival was celebrated every year.

Attributes

Bow and arrow

According to the Homeric Hymn to Artemis, she had golden bow and arrows, as her epithet was Khryselakatos, “of the Golden Shaft”, and Iokheira (Showered by Arrows). The arrows of Artemis could also to bring sudden death and disease to girls and women. Artemis got her bow and arrow for the first time from The Kyklopes, as the one she asked from her father. The bow of Artemis also became the witness of Callisto’s oath of her virginity. In later cult, the bow became the symbol of waxing moon.^[42]

Chariots

Artemis’ chariot was made of gold and was pulled by four golden horned deer (Elaphoi Khrysokeroi). The bridles of her chariot were also made of gold.

Spears, nets, and lyre

Although quite seldom, Artemis is sometimes portrayed with a hunting spear. Her cult in Aetolia, the Artemis Aetolian, showed her with a hunting spear. The description about Artemis’ spear can be found in Ovid’s Metamorphosis, while Artemis with a fishing connected with her cult as a patron goddess of fishing.

As a goddess of maiden dances and songs, Artemis is often portrayed with a lyre.

Fauna

Deer

Deer were the only animals held sacred to Artemis herself. On seeing a deer larger than a bull with horns shining, she fell in love with these creatures and held them sacred. Deer were also the first animals she captured. She caught five golden horned deer called Elaphoi Khrysokeroi and harnessed them to her chariot. The third labour of Heracles, commanded by Eurystheus, consisted in catching the Cerynitian Hind alive. Heracles begged Artemis for forgiveness and promised to return it alive. Artemis forgave him but targeted Eurystheus for her wrath.

Hunting dog

Artemis got her hunting dogs from Pan in the forest of Arcadia. Pan gave Artemis two black-and-white dogs, three reddish ones, and one spotted one – these dogs were able to hunt even lions. Pan also gave Atemis seven bitches of the finest Arcadian race. However, Artemis only ever brought seven dogs hunting with her at any one time.

Boar

The boar is one of the favorite animals of the hunters, and also hard to tame. In honor of Artemis’ skill, they sacrificed it to her. Oineus and Adonis were both killed by Artemis’ boar.

Bear

The sacrifice of a bear for Artemis started from the Brauron cult. Every year, a little girl age not more than ten and less than five sent to Artemis’ temple at Brauron. Arktos e Brauroniois, a text by, Suidas, a Byzantine writer, told a legend about a bear that was tamed by Artemis, and introduced to people of Athens. They touched it and played with it, until one day a group of young girls poked the bear which became furious and attacked the girls. One of the girls’ brother found out what had happened and killed the bear so Artemis sent a plague in revenge. The Athenians consulted an oracle to understand how to end the plague. The oracle suggested that, in payment for the bear’s blood, every young Athenian virgin should not be allowed to marry until she had served Artemis in her temple (‘played the bear for the goddess’).

Guinea fowl

Artemis felt pity for the Meleagrids as they mourned for their lost brother, Meleagor, so she transformed them into Guinea Fowl to be her favorite animals.

Buzzard hawk

Hawks were the favored birds of many of the gods, Artemis included.

Flora

Palm and Cypress were issued to be her birth place. Other plants sacred to Artemis are Amaranth and Asphodel.

Artemis as the Lady of Ephesus

At Ephesus in Ionia, Turkey, her temple became one of the Seven Wonders of the World. It was probably the best known center of her worship except for Delos. There the Lady whom the Ionians associated with Artemis through interpretatio graeca was worshiped primarily as a mother goddess, akin to the Phrygian goddess Cybele, in an ancient sanctuary where her cult image depicted the “Lady of Ephesus” adorned with multiple rounded breast like protuberances on her chest. They had been traditionally interpreted as multiple accessory breasts, or as sacrificed bull testes, as some newer scholars claimed, until excavation at the site of the Artemision in 1987-88 identified the multitude of tear-shaped amber beads that had adorned her ancient wooden xoanon. In Acts of the Apostles, Ephesian metalsmiths who felt threatened by Saint Paul’s preaching of Christianity, jealously rioted in her defense, shouting “Great is Artemis of the Ephesians!” Only one of 121 columns still stand in Ephesus. The rest were used for making churches, roads, and forts.

Artemis, light-footed maiden, child of great Zeus
and blessed Leto, sharp-eyed one whose aim never fails.
Luminous Artemis, sure-stepping huntress,
graceful one who takes joy in dance and in contests,
ruthless protector of children and young women,
kind one to whom mothers turn in their travail.
Artemis, deer-slayer, guardian of untamed life,
I pray to you. Dark-eyed mistress of animals,
in thick-grown woods and sun-soaked fields we know you,
in the maddening chase, in the fire in our lungs,
in skill and precision, in the body’s memory;
grant me understanding of such chaste passion.

The Goddess Is Alive

Goddess Comments & Graphics
THE GODDESS IS ALIVE

Moon shines down upon a sea of Light,
Shifting sands lay singing in the Heart of the Night.
I looked upon a scene that gripped me to the core,
White-clad maidens below were dancing on the shore.

Sweet sounds slipped from moon-lit throats,
Wind whipped hair abound,
Lit by the light within and without,
The Women circled ’round.

As I stood, water engulfed my feet,
My body swayed to your Heavenly Heart beat.
Wind and wave and fire light,
Paled in my mind Earthly delight.

Time slipped by me as you held your embrace,
And windblown spray covered my face.
Protected deep within your Womb,
I could feel the tender pain of Life’s bloom.

Candles flared high as the Dance progressed,
Deep inside with a healing touch you blessed.
All around, wind, wave and fire shouted of your life,
Your light speared deep within, soothing my strife.

Divine Mother, Goddess of Light,
To you I come seeking protection from the night.
Come home to shelter within your arm,
Surrounded by Love, hidden from harm.

Holy Mother, Queen of Heaven and Earth,
From you we all trace our Birth.
Heavenly Goddess, light from above,
Shine down upon us, we pray for your Love. ~Magickal Graphics~

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