Category: Deities

Pagan Studies of the Gods and Goddesses: Freya, Norse Goddess of love, beauty, magic (seidhr), fertility, war and death.

 

Freya

Norse Goddess of love, beauty, magic (seidhr), fertility, war and death.

Freya (Old Norse Freyja, “Lady”) is one of the preeminent goddesses in Norse mythology. She’s a member of the Vanir tribe of deities, but became an honorary member of the Aesir gods after the Aesir-Vanir War. Her father is Njord. Her mother is unknown, but could be Nerthus. Freyr is her brother. Her husband, named Odr in late Old Norse literature, is certainly none other than Odin, and, accordingly, Freya is ultimately identical with Odin’s wife Frigg (see below for a discussion of this).

 

Freya is famous for her fondness of love, fertility, beauty, and fine material possessions – and, because of these predilections, she’s considered to be something of the “party girl” of the Aesir. In one of the Eddic poems, for example, Loki accuses Freya (probably accurately) of having slept with all of the gods and elves, including her brother.[1] She’s certainly a passionate seeker after pleasures and thrills, but she’s a lot more than only that. Freya is the archetype of the völva, a professional or semiprofessional practitioner of seidr, the most organized form of Norse magic. It was she who first brought this art to the gods,[2] and, by extension, to humans as well. Given her expertise in controlling and manipulating the desires, health, and prosperity of others, she’s a being whose knowledge and power are almost without equal.

Freya presides over the afterlife realm Folkvang. According to one Old Norse poem, she chooses half of the warriors slain in battle to dwell there. (See Death and the Afterlife.)

Freya the Völva

Seidr is a form of pre-Christian Norse magic and shamanism that involved discerning the course of fate and working within its structure to bring about change, often by symbolically weaving new events into being.[3] This power could potentially be put to any use imaginable, and examples that cover virtually the entire range of the human condition can be found in Old Norse literature.

In the Viking Age, the völva was an itinerant seeress and sorceress who traveled from town to town performing commissioned acts of seidr in exchange for lodging, food, and often other forms of compensation as well. Like other northern Eurasian shamans, her social status was highly ambiguous – she was by turns exalted, feared, longed for, propitiated, celebrated, and scorned.[4]

Freya’s occupying this role amongst the gods is stated directly in the Ynglinga Saga, and indirect hints are dropped elsewhere in the Eddas and sagas. For example, in one tale, we’re informed that Freya possesses falcon plumes that allow their bearer to shift his or her shape into that of a falcon.[6]

During the so-called Völkerwanderung or “Migration Period” – roughly 400-800 CE, and thus the period that immediately preceded the Viking Age – the figure who would later become the völva held a much more institutionally necessary and universally acclaimed role among the Germanic tribes. One of the core societal institutions of the period was the warband, a tightly organized military society presided over by a chieftain and his wife. The wife of the warband’s leader, according to the Roman historian Tacitus, held the title of veleda, and her role in the warband was to foretell the outcome of a suggested plan of action by means of divination and to influence that outcome by means of more active magic, as well as to serve a special cup of liquor that was a powerful symbol of both temporal and spiritual power in the warband’s periodic ritual feasts.[7][8]

One literary portrait of such a woman comes to us from the medieval Old English epic poem Beowulf, which recounts the deeds of King Hroðgar and his warband in the land that we today know as Denmark. The name of Hroðgar’s queen, Wealhþeow, is almost certainly the Old English equivalent of the Proto-Germanic title that Tacitus latinised as “veleda.”[9] Wealhþeow’s “domestic” actions in the poem – which are, properly understood, enactments of the liquor ritual described above – are indispensable for the upkeep of the unity of the warband and its power structures. The poem, despite its Christian veneer, “hint[s] at the queen’s oracular powers… The Hrothgar/Wealhtheow association as presented in the poem is an echo of an earlier more robust and vigorous politico-theological conception.”[10]

This “politico-theological conception” was based on the mythological model provided by the divine pair Frija and Woðanaz, deities who later evolved into, respectively, Freya/Frigg and Odin. Woðanaz is the warband’s chieftain, and Frija is its veleda. In addition to the structural congruencies outlined above, Wealhþeow and Freya even own a piece of jewelry with the same name: Old English Brosinga mene and Old Norse Brísingamen (both meaning something like “fiery/glowing necklace”). That both figures refer to the same ancient archetype, whether on the human or the divine plane, is certain.

Freya and Frigg

While the late Old Norse literary sources that form the basis of our current knowledge of pre-Christian Germanic religion present Freya and Frigg as being at least nominally distinct goddesses, the similarities between them run deep. Their differences, however, are superficial and can be satisfactorily explained by consulting the history and evolution of the common Germanic goddess whom the Norse were in the process of splitting into Freya and Frigg sometime shortly before the conversion of Scandinavia and Iceland to Christianity (around the year 1000 CE).

As we’ve noted above, the Migration Period goddess who later became Freya was the wife of the god who later became Odin. While somewhat veiled, this is ultimately still the case in Old Norse literature. Freya’s husband is named Óðr, a name which is virtually identical to that of Óðinn (the Old Norse form of “Odin”). Óðr means “ecstasy, inspiration, furor.” Óðinn is simply the word óðr with the masculine definite article (-inn) added onto the end. The two names come from the same word and have the same meaning. Óðr is an obscure and seldom-mentioned character in Old Norse literature. The one passage that tells us anything about his personality or deeds – anything beyond merely listing his name in connection with Freya – comes from the Prose Edda, which states that Óðr is often away on long journeys, and that Freya can often be found weeping tears of red gold over his absence.[11] Many of the surviving tales involving Odin have him traveling far and wide throughout the Nine Worlds, to the point that he’s probably more often away from Asgard than within it. Many of Odin’s numerous bynames allude to his wanderings or are names he assumed to disguise his identity while abroad. Thus, it’s hard to see Freya’s husband as anything but an only nominally distinct extension of Odin.

Freyja and Frigg are similarly accused of infidelity to their (apparently common) husband. Alongside the several mentions of Freya’s loose sexual practices can be placed the words of the medieval Danish historian Saxo Grammaticus, who relates that Frigg slept with a slave on at least one occasion.[12] In Lokasenna and the Ynglinga Saga, Odin was once exiled from Asgard, leaving his brothers Vili and Ve in command. In addition to presiding over the realm, they also regularly slept with Frigg until Odin’s return.[13][14] Many scholars have tried to differentiate between Freya and Frigg by asserting that the former is more promiscuous and less steadfast than the latter,[15] but these tales suggest otherwise.

Frigg is depicted as a völva herself. Once again in Lokasenna, after Loki slanders Frigg for her infidelity, Freya warns him that Frigg knows the fate of all beings, an intimation of her ability to perform seidr.[16] Frigg’s weaving activities are likely an allusion to this role as well. And, as it turns out, Freya is not the only goddess to own a set of bird-of-prey feathers for shapeshifting – Frigg is also in possession of one.[17]

The word for “Friday” in Germanic languages (including English) is named after Frija,[18] the Proto-Germanic goddess who is the foremother of Freya and Frigg. None of the other Germanic peoples seem to have spoken of Frija as if she were two goddesses; this approach is unique to the Norse sources. It should come as no surprise, therefore, that in the Norse sources we find a confusion as to which goddess this day should have as its namesake. Both Freyjudagr (from Freyja) and Frjádagr (from Frigg) are used.

The names of the two goddesses are also particularly interesting in this regard. Freyja, “Lady,” is a title rather than a true name. It’s a cognate of the modern German word Frau, which is used in much the same way as the English title “Mrs.” In the Viking Age, Scandinavian and Icelandic aristocratic women were sometimes called freyjur, the plural of freyja.[19] “Frigg,” meanwhile, comes from an ancient root that means “beloved.”[20] Frigg’s name therefore links her to love and desire, precisely the areas of life over which Freya presides. Here again we can discern the ultimate reducibility of both goddesses to one another: one’s name is identical to the other’s attributes, and the other name is a generic title rather than a unique name.

Clearly, then, the two are ultimately the same goddess. Why, then, are they presented as nominally distinct in the late Old Norse sources? Unfortunately, no one really knows.

Looking for more great information on Norse mythology and religion? While this site provides the ultimate online introduction to the topic, my book The Viking Spirit provides the ultimate introduction to Norse mythology and religion period. I’ve also written a popular list of The 10 Best Norse Mythology Books, which you’ll probably find helpful in your pursuit.


Originally Published on Norse Mythology for Smart People

References:

[1] The Poetic Edda. Lokasenna, stanzas 30, 32.

[2] Snorri Sturluson. Ynglinga Saga 4. In Heimskringla: eða Sögur Noregs Konunga.

[3] Heide, Eldar. 2006. Spinning Seiðr. In Old Norse Religion in Long-Term Perspectives: Origins, Changes and Interactions. Edited by Anders Andrén, Kristina Jennbert, and Catharina Raudvere. p. 166.

[4] Price, Neil S. 2002. The Viking Way: Religion and War in Late Iron Age Scandinavia. p. 279-328.

[5] Snorri Sturluson. Ynglinga Saga 4. In Heimskringla: eða Sögur Noregs Konunga.

[6] Ellis-Davidson, Hilda Roderick. 1964. Gods and Myths of Northern Europe. p. 117.

[7] Tacitus, Cornelius. Germania 8.

[8] Enright, Michael J. 1996. Lady with a Mead Cup: Ritual, Prophecy and Lordship in the European Warband from La Tène to the Viking Age.

[9] Ibid. p. 192.

[10] Ibid. p. 66.

[11] Snorri Sturluson. The Prose Edda. Gylfaginning 35.

[12] Saxo Grammaticus. The History of the Danes.

[13] The Poetic Edda. Lokasenna, verse 26.

[14] Snorri Sturluson. Ynglinga Saga 3. In Heimskringla: eða Sögur Noregs Konunga.

[15] See, for example: Grimm, Jacob. 1882. Teutonic Mythology, Volume 1. Translated by James Steven Stallybrass. p. 302.

[16] The Poetic Edda. Lokasenna, verse 29.

[17] Snorri Sturluson. The Prose Edda. Skáldskaparmál 18-19.

[18] Ellis-Davidson, Hilda Roderick. 1964. Gods and Myths of Northern Europe. p. 111.

[19] Grimm, Jacob. 1882. Teutonic Mythology, Volume 1. Translated by James Steven Stallybrass. p. 300.

[20] Orel, Vladimir. 2003. A Handbook of Germanic Etymology. p. 114.

Freyja

Definition
by Emma Groeneveld

Freyja (Old Norse for ‘Lady’, ‘Woman’, or ‘Mistress’) is the best-known and most important goddess in Norse mythology. Beautiful and many-functioned, she features heavily as a fertility goddess stemming from her place in the Vanir family of the gods (the other and main one is the Æsir family) along with her twin brother Freyr and father Njord, and stars in many myths recorded in Old Norse literature as lover or object of lust. She lives in Fólkvangr (‘Field of the People’), rides a carriage drawn by cats, and is connected not just with love and lust but also with wealth, magic, as well as hand-picking half of all fallen warriors on battlefields to go into Odin’s hall of Valhalla – the other half being selected by Odin himself. She likely played an important role in old Scandinavian religion.

FAMILY
Freyja is part of the Vanir family of the gods who handle all things fertility-related, including harvests (her brother Freyr); wind, sea, and wealth (her father Njord); and her own expertise regarding love, lust, and wealth, too. Her mother appears to have been giant-daughter and wife of Njord, Skadi, and while originally Freyja may have been paired in a brother-sister married couple with Freyr, Icelandic mythographer Snorri Sturluson (1179-1241 CE) – our most comprehensive source when it comes to Norse mythology – has her down as wife of Ódr, who she has two daughters with; Hnoss and Gersimi (Gylfaginning, 35). These names both mean something along the lines of ‘preciousness’ or ‘treasure’ and were possibly used in later poetry as manifestations of Freyja herself.

Ódr is said to have gone traipsing around on long journeys, inexplicably leaving Freyja behind, who would then search for him while weeping golden tears; this tale dates back to at least as early as the 10th century CE. He and Odin are commonly thought to have originally been one and the same person, with Ódr functioning as a shortened form of Odin.

ATTRIBUTES
One of Freyja’s attributes has already been mentioned: her cat-drawn carriage with which she zooms around the Norse mythological cosmos. Another is a garment – a coat, cloak or dress-like thing – made out of falcon feathers. Possibly, the boar Hildisvíni should also be counted among Freyja’s attributes; the Hyndluljóð poem has her riding said boar, and a boar connection, in general, is made more plausible by the fact that her brother Freyr is also associated with a boar, in his case named Gullinborsti. Sýr, another name of Freyja’s, is sometimes translated as ‘sow’, too, but it also might mean ‘to protect’, ‘to shield,’ in which case it would negate this third boar link. Germanic mythological powerhouse H. R. Ellis Davidson adds another animal: “Horses were certainly associated with the fertility pair Freyr and Freyja, and said to be kept in their holy places” (104). Her last – but not least – attribute is the necklace Brísingamen.

FREYJA’S MANY ROLES
The baseline of Freyja’s various functions comes from her role as fertility goddess as per her Vanir descent. Specifically, her other name Horn (Hǫrn, or Härn) probably comes from Old Norse horr, which means flax or linen. This was an important product which began being cultivated early on in Scandinavia and was thought to ward off evil and give fertility to humankind. Flax manufacture was a female affair, and as bridal dresses were made of linen, Freyja became a sort of defender of love and weddings, too. Another one of her names, Gefn, is Old Norse for ‘giver’, bringing to mind a role as a goddess of plenty.

The handed-down mythology emphasises Freyja’s role in all things related to sexuality (apart from childbirth, with which she seems unconcerned). For one, she often features as an irresistible object of lust, mainly in the eyes of the giants. The giant Thrym, for example, is only cool with returning the hammer he has stolen from Thor if he gets Freyja for his own. Besides her being the ‘price’ of many things – which the other gods try to avoid paying, as such – other myths reinforce Freyja’s supposed free and considerable sexuality. Although Loki in the Lokasenna poem badmouths everyone around him and accuses all the goddesses of various sexual acts, Freyja is reprimanded by Loki as follows:

 

Be silent, Freyja! | for fully I know thee,

Sinless thou art not thyself;

Of the gods and elves | who are gathered here,

Each one as thy lover has lain. (30)

 

She also consents to sleep with four dwarves in turn in order for them to hand over the Brísingamen to her and is accused in the Hyndluljóð poem of being the hero Óttar’s lover. Presumably, then, early Scandinavians looked to Freyja in matters of love and lust.

To make things even better, Freyja is also a goddess of wealth, as attested to by the many poetic references that link her to treasure. Her tears are said to be made of gold, even being synonymous with the material:

 

Gold is called Freyja’s Tears (…). So sang Skúli Thorsteinsson:

Many a fearless swordsman

Received the Tears of Freyja.

(Skáldskaparmál, 37)

 

The fact that Freyja’s daughters’ names Hnoss and Gersimi mean ‘preciousness’ or ‘treasure’ could arguably be seen as the “product of poetic convention in which Freyja was recognized as the source of treasure: perhaps as the weeper of golden tears, perhaps as a goddess ruling over wealth” (Billington & Green, 61).

Her connection with magic is also well-known, and Snorri Sturluson relays how it was Freyja who first taught the shamanistic magic called seiðr to the Æsir. Finally, the way Freyja chooses slain warriors to be on her as opposed to Odin’s team carries her into more ferocious spheres, functioning as a goddess of death and perhaps even battle itself. Which god selects you seems to boil down to social or personal status, or perhaps comes from the fact that both the Vanir and the Æsir needed someone to fulfil this role on the battlefield. This link between Freyja and Odin, as well as Odin’s own strong proficiency with magic, helps illustrate how Odin and Ódr, Freyja’s husband, could plausibly have originally been the same person.

MYTHS INVOLVING FREYJA
As evidenced above, there are plenty of myths recorded in the Old Norse sources that are keen to dive into the subject of Freyja. The Hyndluljóð poem emphasises she was more than just a pretty face; in it, Freyja visits wise-woman Hyndla asking her to unravel the hero Óttar’s ancestry, soaking up this knowledge. However, in the Þrymskviða (the ‘Lay of Thrym’, a poem possibly composed in the 12th or 13th century CE and found in the Poetic Edda), her desirability is once again a core theme. The story tells of Thor’s hammer being stolen by the giant Thrym, who will not return the hammer unless he gets his hands on Freyja. Freyja refuses to tag along, however, giving up the Brísingamen to help Thor disguise himself as her. After almost giving things away because Thor gorged himself to such an extent at the wedding banquet so as to raise suspicion – his burning eyes not helping either – Loki luckily smooth-talks his way out of it and ensures they get the hammer back. For good measure, Thor kills Thrym and a bunch of other giants on his way out.

As for other giant-related myths, the giant Hrungnir boasts he would bodily move Valhalla into Jotunheimen (the realm of the giants), sink Asgard (the realm of the gods), and kill all the gods except for Freyja and Sif, who he will take home with him (Skáldskaparmál, 17). In the tale of the Giant Master Builder, a giant offers to build walls around Asgard as long as he gets Freyja, the sun and the moon. Regarding her necklace Brísingamen, which is assigned to Freyja by Late Old Norse sources (13th and 14th centuries CE), the most famous myth concerns its theft (most commonly by Loki) but is preserved in such a fragmentary and tricky way that it is now rather hard to come up with one comprehensive story. The most detailed version is also the youngest and thus not the pinnacle of reliability: the Sǫrla Þáttr, which survives in the 14th century CE Flateyjarbók, describes how Freyja sleeps with four dwarves to get the Brísingamen, and how Odin then forces Loki to steal the necklace from her. Loki enters her bedroom as a fly, stings her so she moves her hand off of the necklace, and grabs it. By contrast, Snorri Sturluson has Loki and Heimdall fighting each other over the necklace (Skáldskaparmál, 8).

CULT OF FREYJA
As a fertility goddess, Freyja would have taken up a central role in old Scandinavian religion, playing a part in the circle of life. J. P. Schjødt explains her special position:

Freyja is one of the few individual goddesses who has had a major role in the more official religious cult (whereas many female deities seen as collectives played a part in both myth and ritual). She incorporates many traits that can be found in fertility goddesses all over the world, among whom is a clear connection also to death. (Brink & Price, 221)

The Old Norse sources do not specifically detail the existence of a cult of Freyja per se, but the large number of place-names in Sweden and Norway related to her name, such as Frøihov (from Freyjuhof, ‘Freyja’s temple’) and Frǫvi (from Freyjuvé, ‘Freyja’s shrine’), show clear worship, perhaps even pointing to a public cult as opposed to the domestic cult one would expect of a goddess of love. It is clear that the people of Iceland on the cusp of conversion to Christianity around the year 1000 CE still had Freyja clearly on their mind. The Íslendingabók states that Hjalti Skeggjason, a supporter of Christianity, was outlawed for blasphemy after calling Freyja a bitch (in this case a female dog, but taken to mean he wanted to call her a whore) at the Althing parliament. She was obviously still important enough for people to not successfully get away with these sorts of things.

ABOUT THE AUTHOR
Emma Groeneveld
Emma has studied History & Ancient History. During her Master’s she focused on Herodotus as well as the juicy politics of ancient courts, but more recently she has been immersing herself in everything prehistoric. She both writes and edits for AHE.

 

Originally published on Ancient History Encyclopedia

(One Person’s View Person) Venus, The Goddess of Fridays and Love

Venus

 

Venus is the Roman goddess of love, beauty, prosperity, fertility, and victory. She was so important to Romans that they claimed her as their ancestress. According to mythology, her son Aeneas fled from Troy to Italy. He became the ancestor of Remus and Romulus, who founded Rome.

So, in a way, it’s accurate to say that Venus was the mother of Rome. However, Venus had strong ties to GREEK MYTHOLOGY, too. The Romans thought she was the same goddess as APHRODITE, the GREEK GODDESS of love. They adopted many of Aphrodite’s symbols, such as roses and myrtle, to represent Venus. Myrtle was so important to this goddess that, during her festival, worshipers and even statues of her wore myrtle wreaths.

Venus’s festival took place on April 1. It was called the Veneralia. Aside from draping Venus in flowers, followers also carefully washed her statue, and promised to fulfill the moral obligations of good Roman wives and husbands. Many men and women also asked her advice on matters of the heart.

Other symbols of Venus included the scallop shell, doves, dolphins, pomegranates, pearls, mirrors, and girdles. Many of these were also adopted from Aphrodite. So was her origin story; she was said to be born of seafoam.

One of the most famous works of Western art depicts this event: Botticelli’s The Birth of Venus. It portrays her as standing on a large shell, her hair covering her, surrounded by other mythical figures. This artwork from hundreds of years after the Romans worshiped Venus shows how important her mythology continued to be even after the fall of Rome.

Plenty of other artworks also depict Venus, her birth, and her other myths. In fact, painting Venus was so popular that, after the classical era, any unclothed female figure came to be called a ‘Venus’.

Venus had many titles, representing her importance. These included:

  • Venus Cloacina – the Purifier
  • Venus Felix – the Lucky, suggesting she could be prayed to for good luck
  • Venus Genetrix – Mother, representing her role as mother of rome
  • Venus Murcia – Myrtle, representing the importance of this plant to her
  • Venus Verticordia – the Changer of Hearts, representing her role in love
  • Venus Victrix – Victorious, showing that she was a godess of victory

Later on in the Roman empire, Venus became even more important to Rome. She got new festivals on August 12 and October 9, and a shrine on a famous hill in Rome. Why? Well, Julius Caesar claimed her as his ancestor. Many other famous Roman politicians began to vie for her favor, and eventually, as Caeser became the head of a dynasty, she became associated with his legacy.

Venus was married to Vulcan, the god of fire and the forge. Vulcan was notoriously ugly – one of the ugliest of the gods. But he loved her so much that he created a golden carriage to pull her around. The carriage was drawn by doves to match Venus’s own beauty.

Venus was also the mother of CUPID, the god of love. Next time you see a picture of Cupid – maybe on Valentine’s day – you can think of his mother, Venus.

Despite her identification with Aphrodite, Venus was a native Roman goddess who was not adopted from anywhere. Her name is exactly the same as a Roman word for a particular kind of love. That name can be traced all the way back to the language before Latin, to a word meaning “to desire or love”. It’s clear that Venus was with the Romans for a long time.

Because she was the goddess of love, Venus was very important to new brides. They made offerings to her before they got married. Some people also say that they gave their childhood toys to her when they left home to get married.

Venus had many temples in Rome, since she was so important. The earliest known one was founded in 295 BC. Later, in 217 BC, Rome decided to give Venus a newer and even better temple after they lost an important battle. They thought that Venus was on the side of their enemies, and wanted to sway her. From this story, it’s easy to see how important Venus was to victory for the Romans.

You might be wondering why we have a planet named Venus. The planet is, indeed, name after the goddess. It was visible in the ancient night sky at certain times of the year, and looked like a very bright star. Because it was so bright and beautiful, it was named Venus. Ironically, the planet Venus is covered with acid clouds, so the name is not very suitable for a goddess of love and fertility. Nevertheless, the name shows us how much of an impact the Romans had on science.

Although Venus is no longer worshiped by large numbers of people, we still remember her in art and science thanks to her widespread influence.

 

Source: Venus: https://greekgodsandgoddesses.net – Greek Gods & Goddesses, February 22, 2017

(One Person’s View Point) Goddesses and Gods – The main Celtic Gods and Goddesses

(The lists below name the more well known Irish Celtic gods and goddesses. There are lessor know ones as well.)

Who are the Celtic Gods and Celtic Goddesses?…

 

Table of Contents

1 Who are the Celtic Gods and Celtic Goddesses?

2 Celtic Deities vs Roman Deities

3 Who are the main Celtic Gods and Goddesses?

4 Celtic Gods and Goddesses in Irish Mythology

5 Irish Gods

6 Irish Goddesses

7 Celtic Deity Types

The names of Celtic gods and the names of Celtic goddesses that occur often in Celtic mythology are listed below.

List of Celtic Gods

Lugh – Celtic God of Justice and Mischief

The Dagda – Celtic God of Agriculture, Fertility and Seasons and King of the Gods

Aengus – Celtic God of Love, Youth, Summer and poetry

Manannan – Celtic God of the Sea

Cú Chullain – Demigod and Warrior Hero

Belenus – Celtic God of Fire

Donn – Celtic God of Death

Neit – Celtic God of War

List of Celtic Goddesses

Danu – Celtic Mother Goddess

The Morrigan – Celtic Goddess of War

Áine – Celtic Goddess of Love, Wealth and Sovereignty

Brigid – Celtic Goddess of Healing, Poetry and Blacksmithing

Flidas – Celtic Goddess of Cattle and Fertility

Bébinn – Celtic Goddess of Birth

Airmed – Celtic Goddess of Herbalism

Celtic Gods and Goddesses in Irish Mythology…

Click here or on the hyperlinks to read the rest of this article Source: letsgoireland.com

 

Apollo’s Devotional Chant for Inspiration

(YOU CAN COPY AND PASTE ANY SPELLS POSTED TO A DOCUMENT TO PRINT AND/OR SAVE ON YOUR COMPUTER FOR PERSONAL USE ONLY. You can find the origin of the spell by clicking on the hyperlink.)

Apollo’s Devotional Chant for Inspiration

In Greek and Roman mythology, Apollo is a standout god, born to Zeus and Leto and twin to the huntress Artemis. Over time, Apollo and the sun god Helios started to blend in people’s minds, similar to how Artemis got linked with Selene, the moon goddess. Despite this confusion in religious circles, myths and literature always kept Apollo and Helios, as well as Artemis and Selene, separate. The Etruscans also honored him as Aplu, showing Apollo’s wide-reaching influence in ancient cultures.

Light an orange candle during this devotional.

Incense for Apollo:

Frankincense, Vanilla, Cedar.

Offerings to Apollo:

Bay leaves, Olive oil, Wine, Sunflowers, Sunflower seeds.

In Greek mythology, Apollo is one of the most important and multifaceted Olympian gods.

The ideal of the young beardless, Apollo has been variously recognized as the god of truth and prophecy; archery; medicine and healing; music, poetry, healing, and more. In later times, Apollo became partially equated with Helios, the Sun god. But Apollo and Helios remained separated beings in literary and mythological texts. In Etruscan mythology he was known as Aplu.

Invoke Apollo’s power and bring inspiration, focus, concentration and creativity to your art, your new project or work. Use this chant as a morning ritual prayer, or combine it with a spell for good luck, healing, creativity and more.

Devotional text

Come blessed healer,

Bearing a golden lyre, generative, agrarian, Oracular one,

Wild, radiant divinity, lovely one, glorious son,

Cultivator of joy, whose arrows achieve their aim, mighty archer.

You who achieve from afar, prophet, holy one,

all-seeing eye bringing the light which shines on mortals,

Golden-haired, making clear oracular utterances,

Hear me with gracious soul as I pray on behalf of mankind.

Upon the blessed earth you look from above through the dark of night.

In the restful shadow of a night filled with stars,

You clearly see the root below and you arrange and support the boundary of all:

For the origin and completion are both in your care,

The cause of the blooming of all things,

with your resonant lyre you command the axis of the heavens,

Placing all in harmony, by which, indeed, you advance to the lowest pitch,

Elsewhere to the highest, at times playing in the Dorian mode,

Tempering all the poles you keep the tribes of living creatures distinct.

Let inspiration come to me.

Support my quest for creativity.

Make my imagination unlimited.

And my mind open to new ideas as I manifest my talents.

Let me surround myself with creative people.

So I can be in touch with my creative source.

Help me release any resistance to fully expressing my creativity.

Give me the time to think, to relax and focus.

Powerful spirit, express yourself in all possible ways.

Let inspiration flow so that I can easily express myself.

My creative work fills you with joy,

And anything can be my source of inspiration.

I promise to always look out for new experiences.

To recognize and overcome my limitations.

If you eliminate all mental blockages, remove barriers,

And any habits that oppress my inspiration.

Dear Apollo, come to me.

You have mingled harmony into the share of all mortal men,

Giving each an equal measure of winter and summer,

The highest three strings in the winter, the lowest in the summer,

The Dorian mode produces the lovely and blooming spring.

Thereupon the mortals celebrate and call you lord and

Pan, the two-horned God who sends the whistling winds,

Wherefore you form and bear the seal of the entire Cosmos.

Hear, happy one, the supplicating voices of the initiates and save them.

Gods – Ra Egyptian Sun God

Ra The Sun God of Egypt

The ancient Egyptians revered Ra as the god who created everything. Also known as the Sun God, Ra was a powerful deity and a central god of the Egyptian pantheon. The ancient Egyptians worshiped Ra more than any other god and pharaohs often connected themselves with Ra in their efforts to be seen as the earthly embodiment of the Sun God.

Ra Mythology

The ancient Egyptians believed that as the sun god, Ra’s role was to sail across the heavens during the day in his boat called the “Barque of Millions of Years.” In the morning when Ra emerged from the east, his boat was named, “Madjet” which meant “becoming strong.” By the end of the day the boat was called, “Semektet” which meant “becoming weak.” At the end of the day, it was believed that Ra died (swallowed by Nut) and sailed on to the underworld, leaving the moon in his place to light up the world. Ra was reborn at dawn the very next day. During his journey across the heavens during the day, he fought with his main enemy, an evil serpent named Apep, or also, The Lord of Chaos. In some stories, Ra, in the form of a cat named Mau, defeats the evil serpent, Apep. This is part of the reason why cats are so highly-revered in Egypt.

Ra created himself from the primordial chaos. He is also known as Re and Atum. His children are Shu, the God of Dry Air and Father of the Sky, and his twin sister Tefnut, the Goddess of Moisture and Wetness. As a lion-headed goddess, Tefnut is responsible for dew and freshness. Humans were created from Ra’s tears.

Although Ra was highly revered and devoutly worshiped by the ancient Egyptians, there is a story to suggest he eventually grew weak. In the Legend of Ra, Isis and the Snake, as Ra grew old, he dribbled saliva. Isis knew that Ra’s power was hidden in his secret name. Isis gathered Ra’s saliva and created a snake out of it. She set the snake in Ra’s path and it bit him. Isis wanted the power Ra had always enjoyed, but she knew she had to get him to tell her his secret name. Eventually, because of the pain he was in, Ra allowed Isis to “search through him” and in so doing, she healed him and Ra’s power was transferred over to her.

The Tree of Life is an important religious symbol to the Egyptians. The Tree of Life was located within Ra’s sun temple in Heliopolis and was considered sacred. The fruit that sprang from this tree was not available to humans, but only in aging-rituals reserved for pharaohs. The Tree of Life is also referred to as the mythical, sacred Ished tree. Eternal life came to those who ate the fruit from the Tree of Life.

Another important ancient Egyptian symbol connected to Ra is the “Bennu”. Bennu is the name of the bird that represented Ra’s soul. This bird is a phoenix and it was seated at the Tree of Life in Ra’s Sun Temple in Heliopolis. Inside the temple, on top of an obelisk, sat the Benben Stone. This pyramid-shaped stone served as a beacon to Bennu and is also an important ancient Egyptian religious symbol.

Worship of the Sun God

Solar temples were built for Ra but did not contain a statue of the god. Instead, they were created to be open to the sunlight that Ra represented. The earliest known temple built in honor of Ra exists in Heliopolis (what is now a Cairo suburb). This solar temple is known as “Benu-Phoenix” and is believed to have been erected in the exact spot where Ra emerged into creation.

Although Ra dates back to the second dynasty, he is not the oldest of the Egyptian gods. It wasn’t until the fifth dynasty that Ra became closely associated with the pharaoh. As the king and leader of Egypt, the pharaoh was seen as the human manifestation of Horus, so the two gods became connected. This new deity fusion was then referred to as “Ra-Horakhty” meaning Ra is Horus of the Horizon. Ra’s relationship with other gods did not stop there. As the powerful creator of mankind and the sun god, he also became associated with Atum to make “Atum-Ra.”

Fifth Dynasty and subsequent pharaohs were all known as “The son of Ra” and Ra became incorporated into every pharaoh’s name from then onward. During the Middle Kingdom, the new deity, Amun-Ra was formed. Amun was one of the gods who formed the Ogdoad (the assembly of eight gods who represented eight elements of creation).

The New Kingdom brought new heights of worship to Ra. Many tombs in the Valley of the Kings portray depictions of Ra and his journey through the underworld. During this time, many solar temples were built.

Eye of Ra

Present in the ancient Egyptian mythology is the Eye of Ra, shown as the sun disk with two ‘uraeus’ cobras coiled around it, next to the white and red crowns of Upper and Lower Egypt. Initially associated with Horus (similarly to the wadjet, the Eye of Horus), the Eye of Ra shifted positions in the myths, becoming both an extension of Ra’s power and a separate entity altogether.

Click here to learn more about The Eye of Ra

Ra God Facts

  • The ancient Egyptians worshiped Ra to such an extent above other gods that some historians have argued that ancient Egyptian religion was indeed a monotheistic one with Ra as the singular god.
  • Historians believe that the pyramids might represent rays of sunlight, further connecting the pharaohs with Ra, the sun god.
  • During Ra’s journey through the heavens he was accompanied by several other gods including Thoth, Horus, Hathor, Maat, Abtu, and Anet.
  • Nut, goddess of the sky and heavens, is sometimes referred to as Ra’s mother, because he emerges from her and is reborn every morning.
  • The morning manifestation of Ra is known as “Khepri the scarab God.”
  • The evening manifestation of Ra is known as the ram-headed god, Khnum.
  • The sacred cobra that encircled Ra’s crown symbolized royalty, sovereignty and divine authority.
  • The right eye of Ra represented the Sun; while the left eye of Ra represented the moon.
  • Ra is also closely associated with the Tree of Life myth, the Ben-Ben Stone and the Bennu Bird myths.
  • Ra’s glory came to an end during the time when the Roman’s conquered Egypt in 30BC.

Who is Ra?

Ra (pronounced ray) represents sunlight, warmth and growth. It was only natural that the ancient Egyptians would believe him to be the creator of the world, as well as part of him being represented in every other god. The ancient Egyptians believed that every god should illustrate some aspect of him, while Ra himself should also represent every god.

Ra’s Appearance

Ra was usually depicted in human form. He had a falcon head which is crowned with a sun disc. This sun disc was encircled by a sacred cobra named Uraeus. Ra has also been depicted as a man with the head of a beetle and also a human man with the head of a ram. The ancients also depicted Ra in full species form such as a serpent, heron, bull, lion, cat, ram, hawk, beetle, phoenix and others. His main symbol, however, is the sun disk.

Spell for Tomorrow – Ra Egyptian God of the Sun

(YOU CAN COPY AND PASTE ANY SPELLS POSTED TO A DOCUMENT TO PRINT AND/OR SAVE ON YOUR COMPUTER FOR PERSONAL USE ONLY. You can find the origin of the spell by clicking on the hyperlink.)

Set Up An Altar for Ra Egyptian God of the Sun

Setting up an altar for the god Ra is a great way to invite him into your spiritual practice and life. It creates a meeting place for you and your god to connect and communicate. Any flat surface will work such as a table, nightstand, bookshelf, counter, etc. Then add things to represent Ancient Egypt and the god Ra to your altar including: crystal pyramids, a statue of Ra, the Eye of Ra symbol, candles, incense with an incense burner, sun decor, a bowl of water, etc. Cleanse and bless your Ra altar before use.

Wearing Ra Amulets Source: otherworldlyoracle.com

Traditionally, amulets were worn by Ra worshipers to invoke their beloved deity and to show their dedication. Select an amulet that means something to you, but also reminds you of the sun god’s unique qualities. Perhaps a stone the Egyptians revered such as lapis lazuli, quartz, turquoise, or onyx. More appropriately, a sunstone would make a great Ra amulet. Cleanse your new amulet, then ask Ra to imbue his power into it. I like to set my amulets on my gods’ altars to really soak up their energy. Then wear the amulet daily or during special sacred rituals in honor of Ra.

(One Person’s View Point) Goddesses and Gods – 7 Ancient Pagan Gods We Still Love Today

The old pagan gods—those legendary figures out of Norse, Greek, Roman, and many more belief systems—are fascinating subjects. These gods had all of the emotional fallibility of human beings, yet the all the power of the gods they were, and in their stories, they proved capable of shocking levels of pettiness, jealously, and downright cruelty. They were also, however, capable of great kindness, heroism, and justice, making for a set of truly interesting characters. They were us, but moreso.

It’s no wonder, then, that many of these gods that featured in stories thousands of years ago are still prominent in our contemporary fiction. We see them in our superheroes and action stars, who can be thought of as the great grandchildren of the original pagan gods.

But those gods that have survived the millennia with their names and stories intact are the ones we love the most—something about their personalities, their struggles, or their stories intrigues us. They’re the most compelling of them all, so let’s explore them by taking a look at 7 ancient pagan gods we still love today.

Click here to read about the following Gods and Goddesses

Loki

Zeus

Hercules

Odin

Thor

Shinigami

Hel

The Immortality of Entertainment

The fact that we’re still telling stories about these gods and goddesses thousands of years after their heyday is amazing, and these particular 7 beings have a special appeal that goes beyond the norm.

Maybe it’s because they’re powerful. Or perhaps it is because we wish we could affect the world like they do. But likeliest of all is that their larger-than-life personalities and stories simply allow us a glimpse of the extremes of life that few of us ever get to experience.

And that is why the gods will never die.

Gods – Overview The Olympian Gods and Goddesses

Click on the hyperlink for more information about them

The Olympian Gods and Goddesses, Main Greek Gods and Goddesses

The Olympian gods or Olympians are younger gods who got the name after their mythical place Mount Olympus. They had gained rank as the rulers of the world after dethroning the elder gods, known also as the Titans, in a ten-year war called Titanomachy. The Olympians, as they called themselves, were the main gods of Ancient Greece and were representing civilization of the world.

The first generation Olympians were descendants of a titan couple Cronus and Rhea. Together they gave birth to six children, three sons and three daughters. The sons were Poseidon, Hades, Zeus and daughters Hera, Hestia and Demeter. Zeus, Poseidon, Hera and Demeter are always considered as Olympian gods while Hestia and Hades are only included at some point of their existence. Hades was supposed to live on Mount Olympus and had every honour and right to but was given the realm of death under his control, when the three brothers had to split the cosmos after the victory over titans. And Hestia lived there just for a short period. After being granted a place on Mount Olympus by Zeus she eventually, because of her modesty, gave away her place to keep peace among gods because there were only twelve places on Mount Olympus, and the desire for these was huge among gods. The second generation Olympians were Athena, Ares, Hermes, Dionysus, Apollo, Artemis and Hephaestus. Aphrodite is also sometimes considered as the second generation goddess but is in general referred to be from the titans generation. Anyway, all of these gods are referred as Olympian gods and together they presided over every aspect of human life.

First generation of Olympian gods…

Second generation of Olympian gods…

There are also Asclepius(son of Apollo and Coronis), Eros(son of Ares and Aphrodite or primeval deity), Hebe(daughter of Zeus and Hera), Heracles(son of Zeus and Alcmene) and Persephone(daughter of Zeus and Demeter) who are sometimes referred to be among Olympians.

Goddesses and Gods – Greek Olympians – Goddess Artemis and God Aristaeus

Click on the deity name for more information about them

Greek Olympian – Artemis – Goddess of Hunting

ARTEMIS FACTS
Name(s): Artemis, Aeginaea, Aetole, Agrotera, Kourotrophos, Locheia, Cynthia, Amarynthia, Phoebe, Alphaea, Alpheaea, Alpheiusa
Rules over: the Hunt, Forests and Hills, the Moon, Archery
Gender: Female
Symbols: Bow, Arrows, Stags, Hunting dog and moon
Sacred animals: Deer
Parents: Zeus and Leto
Siblings: Ares, Athena, Apollo, Aphrodite, Dionysus, Hebe, Hermes, Heracles, Helen of Troy, Hephaestus, Perseus, Minos, the Muses, the Graces
Roman name: Diana

Greek mythology is filled with respected gods and goddesses that continue to inspire. Artemis is known as the goddess of the hunt and is one of the most respected of all the ancient Greek deities. It is thought that her name, and even the goddess herself, may even be pre-Greek. She was the daughter of ZEUS, king of the gods, and the TITANESS LETO and she has a twin brother, the god APOLLO.

Not only was Artemis the goddess of the hunt, she was also known as the goddess of wild animals, wilderness, childbirth and virginity. Also, she was protector of young children and was know to bring and relieve disease in women. In literature and art she was depicted as a huntress carrying a bow and arrow. She was the goddess of many things, but most remember her as the most recognizable of the hunting deities.

Artemis was a virgin and drew the attention and interest of many gods and men. However, it was only her hunting companion, Orion, that won her heart. It is believed that Orion was accidentally killed either by Artemis herself or by GAIA, the primordial goddess of the earth.

In one version of the stories of ADONIS – who was a late addition to Greek mythology during the Hellenistic period – Artemis sent a wild boar to kill Adonis after he continued to boast that he was a far greater hunter than her.

The Origins of Artemis…

Artemis Depictions…

Greek Olympian – Aristaeus God of Useful Arts, Countryside and Pastoral Places

ARISTAEUS FACTS
Name(s): Aristaeus
Rules over: Animal Husbandry, Bee-Keeping, Fruit Trees, Cheesemaking, Olive-Growing
Title: Minor Patron God of Animal Husbandry, God of Useful Arts
Gender: Male
Symbols: —
Sacred animals: Bees, Sheep
Items: Vine, Olives
Parents: Apollo and Cyrene
Consort: Autonoe
Other significant others: Chiron and the Muses that taught Aristaeus
Children: Actaeon and Macris, Charmos, Kallikarpos
Roman name: Mellona

In Greek mythology, Aristaeus was the god useful arts, such as bee-keeping and cheese-making, olive-growing, herding, and hunting. He was a rustic god, a god of the countryside and pastoral places.

Aristaeus was a minor god in Athens but a prominent god in Boetia, a farming region in central Greece, where he was known as “the pastoral Apollo.” Aristaeus is often pictured on Boetian pottery as a young man with wings.

Aristaeus also appears prominently in the mythology of Macedonia, Arcadia, Sicily, Sardinia, Thessaly, and Ceos. Later, stories about his travel emerged in order to account for his prominence in all these different regions.

Over time, Aristaeus became a popular Greek name, given to many famous public figures in ancient Greek politics and society.

Aristaeus’s Birth and Training…

Aristaeus, Ceos, and the Dog-Star Sirius…

Goddesses and Gods – Irish Celtic – Aine and Lugh – God of Justice and Oaths and Master of Crafts

Click on the deity name for more information about them

Picture by Judith Shawart

Áine – Goddess of Love, Summer and Wealth

As the goddess of summer and wealth, Áine represents the abundance that the land has to offer during its most plentiful season.

Good, fruitful harvests were required to provide for the people and animals, therefore much emphasis was placed on gods and goddesses that represent fertility, such as Áine.

The goddess Áine is strongly associated with the feast of midsummer and …

Lugh – God of Justice and Oaths and Master of Crafts

The god Lugh, (also spelled Lug or Luga) is one of the most notable of all the Irish deities and equates to the pan-Celtic god of Lugus.

Lugh was the god associated with justice and held power over oaths and law. He was also connected with rightfulness, especially in terms of kingship.

He was king of the glorified race of the Tuatha dé Danann, who were known for their superior skills and …

(One Person’s View Point) Fertility Deities of Beltane

Fertility Deities of Beltane

Beltane is a time of great fertility — for the earth itself, for animals, and of course for people as well. This season has been celebrated by cultures going back thousands of years, in a variety of ways, but nearly all shared the fertility aspect. Typically, this is a Sabbat to celebrate gods of the hunt or of the forest, and goddesses of passion and motherhood, as well as agricultural deities. Here are a list of gods and goddesses that can be honored as part of your tradition’s Beltane rituals.

Artemis (Greek): The moon goddess Artemis was associated with the hunt and was seen as a goddess of forests and hillsides. This pastoral connection made her a part of spring celebrations in later periods.

Bes (Egyptian): Worshiped in later dynasties, Bes was a household protection god, and watched over mothers and young children. He and his wife, Beset, were paired up in rituals to cure problems with infertility.

Bacchus (Roman): Considered the equivalent of Greek god Dionysus, Bacchus was the party god — grapes, wine, and general debauchery were his domain. In March each year, Roman women could attend secret ceremonies called the bacchanalia, and he is associated with sexual free-for-alls and fertility.

Cernunnos (Celtic): Cernunnos is a horned god found in Celtic mythology. He is connected with male animals, particularly the stag in rut, and this has led him to be associated with fertility and vegetation. Depictions of Cernunnos are found in many parts of the British Isles and western Europe. He is often portrayed with a beard and wild, shaggy hair — he is, after all, the lord of the forest.

Flora (Roman): This goddess of spring and flowers had her own festival, Floralia, which was celebrated every year between April 28 to May 3. Romans dressed in bright robes and floral wreaths, and attended theater performances and outdoor shows. Offerings of milk and honey were made to the goddess.

Hera (Greek): This goddess of marriage was the equivalent of the Roman Juno, and took it upon herself to bestow good tidings to new brides. A maiden about to marry could make offerings to Hera, in the hopes that she would bless the marriage with fertility. In her earliest forms, she appears to have been a nature goddess, who presides over wildlife and nurses the young animals which she holds in her arms.

Kokopelli (Hopi): This flute-playing, dancing spring god carries unborn children upon his own back, and then passes them out to fertile women. In the Hopi culture, he is part of rites that relate to marriage and childbearing, as well as the reproductive abilities of animals. Often portrayed with rams and stags, symbolic of his fertility, Kokopelli occasionally is seen with his consort, Kokopelmana.

Pan (Greek): This agricultural god watched over shepherds and their flocks. He was a rustic sort of god, spending lots of time roaming the woods and pastures, hunting and playing music on his flute. Pan is typically portrayed as having the hindquarters and horns of a goat, similar to a faun. Because of his connection to fields and the forest, he is often honored as a spring fertility god.

Priapus (Greek): This fairly minor rural god has one giant claim to fame — his permanently erect and enormous phallus. The son of Aphrodite by Dionysus (or possibly Zeus, depending on the source), Priapus was mostly worshiped in homes rather than in an organized cult. Despite his constant lust, most stories portray him as sexually frustrated, or even impotent. However, in agricultural areas he was still regarded as a god of fertility, and at one point he was considered a protective god, who threatened sexual violence against anyone — male or female — who transgressed the boundaries he guarded.

Sheela-na-Gig (Celtic): Although the Sheela-na-Gig is technically the name applied to the carvings of women with exaggerated vulvae that have been found in Ireland and England, there’s a theory that the carvings are representative of a lost pre-Christian goddess. Typically, the Sheela-na-Gig adorns buildings in areas of Ireland that were part of the Anglo-Norman conquests in the 12th century. She is shown as a homely woman with a giant yoni, which is spread wide to accept the seed of the male. Folkloric evidence indicates that the figures are theory that the figures were part of a fertility rite, similar to “birthing stones”, which were used to bring on conception.

Xochiquetzal (Aztec): This fertility goddess was associated with spring, and represented not only flowers but the fruits of life and abundance. She was also the patron goddess of prostitutes and craftsmen.

Source: Patti Wigington Published on ThoughtCo

Information About the Moon and the Sun In Magickal Practice

Something to me that gets over looked often is the place the Sun has in pagan/witchcraft traditions. There are many spells better done during the day rather than at night. I personally always do protection spells during the day as negative entities are weaker than and the Sun can and does help make this type of spell stronger in my experience.

The Sun has phases just as the Moon does. Where the Moon phases go on a monthly basis the Sun’s phases are daily. So I decided the topic of informationally posts this week will be about the Moon or Sun in witchcraft. I find the differences in working spells and/or rituals during the day rather than at night can make a spell and/or ritual either stronger or weaker.

If there is a specific Sun and/or Moon Goddesses and/or Gods you would like me to post more information about please leave the deities name or names in a comment on this post.

(One Person’s View Point) 23 Moon Goddesses and Gods

The moon has long been a source of mystery, magic, and divine energy. Considering the celestial orb impacts the tides, the agriculture, and perhaps, us, it’s not surprising that it’s captivated us for so long. And, because of this, for thousands of years, many cultures have worshiped Moon gods and goddesses around the world.

Today, we think mostly of the connection between the moon and women, and female lunar deities such as Artemis and Hecate, but many of the earliest known lunar gods were male, including those from Mesopotamia, from where we have the first historical record of magic.

Whether you’re looking to deepen your lunar rituals, work with a specific moon deity, or simply learn more about the divine forces linked to the night sky, this guide will introduce you to some of the most powerful moon gods and goddesses throughout history.

Greek and Roman Moon Gods and Goddesses…

Egyptian Lunar Deities…

Mesopotamian & Near Eastern Lunar Deities…

Etruscan Moon Gods and Goddesses…

Norse and Celtic Lunar Deities…

African Moon Goddess…

Mesoamerican Lunar Deities…

South and East Asian Moon Gods and Goddesses…

Sources and Additional Reading…

Click here to read the rest of this article Source: .pagangrimoire.com

Woman Finds 3,000-Year-Old Egyptian Goddess Figurine During Beach Walk

Afigurine from the age of pharaohs and pyramids has been found on a beach in Israel by a surprised beachgoer.

Lydia Marner, 74, found the ancient Egyptian figurine on Palmachim Beach in southern Israel, about 17 miles south of Tel Aviv, spotting it in the waves.

The figurine was revealed by the Israel Antiquities Authority to be more than 3,000 years old, a model of the Egyptian goddess Hathor.

“It was a very stormy day, the waves were high, the weather was wintery,” Marner told the Times of Israel. “We were walking along the sea when I suddenly noticed a stone coming to me.”

Hathor was an ancient Egyptian sun goddess, considered to be one of the most powerful.

“Hathor was often depicted as a cow goddess, or as a woman with cow horns and a sun disk on her head, representing fertility and abundance,” Liam Davis, an art historian for Art File Magazine, told the History Channel. “She was associated with love, beauty, music, dance, joy, motherhood, and feminine power. She was believed to protect women during childbirth, and to help the deceased in the afterlife, acting as a guide.”

Amir Golani, senior research archaeologist for the Israel Antiquities Authority (IAA), told the Jewish News Syndicate that the figurine was clearly Hathor, despite its age and wear, because of the characteristic ox horn-shaped hairstyle.

Figurines like these were often placed around the house by the Egyptian people to bring good luck and fortune.

“The Canaanites used to adopt ritual and religious customs of the Egyptians, who ruled our region at the time,” Golani said. “Just like homes today, where you install a mezuzah or hang a picture of a saint on the wall, then, they used to place ritual figurines in a central place in the house, for good luck and protection from bad things.”

“These figurines, which were used for worship…are indicative of the Canaanite culture in the Land of Israel, especially during the late Bronze Age,” Golani told the Times of Israel.

Marner was not allowed to keep her incredible find, as Israeli law states that all ancient treasures are under the jurisdiction of the IAA… Click here to read the rest of this article on newsweek.com

(One Person’s View) Working With the Gods and Goddesses c.2014

Working With the Gods and Goddesses

By

There are literally thousands of different deities out there in the Universe, and which ones you choose to honor will often depend significantly upon what pantheon your spiritual path follows. However, many modern Pagans and Wiccans describe themselves as eclectic, which means they may honor a god of one tradition beside a goddess of another. In some cases, we may choose to ask a deity for assistance in a magical working or in problem solving. Regardless, at some point, you’re going to have to sit and sort them all out. If you don’t have a specific, written tradition, then how do you know which gods to call upon?

A good way to look at it is to figure out which deity of your pantheon would be interested in your purpose. In other words, what gods might take the time to look into your situation? This is where the concept of appropriate worship comes in handy — if you can’t take the time to get to know the deities of your path, then you probably shouldn’t be asking them for favors. So first, figure out your goal. Are you doing a working regarding home and domesticity? Then don’t call upon some masculine power deity. What if you’re celebrating the end of the harvest season, and the dying of the earth? Then you shouldn’t be offering milk and flowers to a spring goddess.

Consider your purpose carefully, before you make offerings or prayers to a particular god or goddess.

Although this is certainly not a comprehensive list of all the gods and their domains, it may help you a bit to get an idea of who is out there, and what sorts of things they may be able to help you with:

Artisanship

For assistance relating to skills, crafts, or handiwork, call upon the Celtic smith god, Lugh. Many other pantheons have forge and craftsmanship gods as well.

Chaos

When it comes to matters of discord and upsetting the balance of things, some people choose to to check in with Loki the Norse prankster god. However, it’s generally recommended that you don’t do this unless you’re a devotee of Loki in the first place – you may end up getting more than you bargained for.

Destruction

If you’re doing a working related to destruction, the Celtic war goddess the Morrighan may assist you, but don’t trifle with her lightly. A safer bet might be working with Demeter, the Dark Mother of the harvest season.

Fall Harvest

When you celebrate the fall harvest, you may want to take time to honor Herne, the god of the wild hunt, or Osiris, who is often connected with grain and the harvest. Demeter and her daughter, Persephone, are typically connected with the waning part of the year. Pomona is associated with fruit orchards and the bounty of trees in fall. There are also a number of other harvest gods and gods of the vine who may be interested in what you’re doing.

Feminine Energy

For workings related to the moon, lunar energy, or the sacred feminine, consider invoking Artemis or Venus.

Fertility

When it comes to fertility, there are plenty of deities out there to ask for assistance. Consider Cernunnos, the wild stag of the forest, or Freya, a goddess of sexual power and energy. If you follow a Roman-based path, try honoring Bona Dea. There are a number of other fertility gods out there as well, each with their own specific domain.

Home and Marriage

Brighid is a protector of hearth and home, and Juno and Vesta are both patronesses of marriage.

Love and Lust

Aphrodite has long been associated with love and beauty, and so has her counterpart, Venus. Likewise, Eros and Cupid are considered representative of masculine lust. Priapus is a god of raw sexuality, including sexual violence.

Magic

Isis, the mother goddess of Egypt, is often called upon for magical workings, as is Hecate, a goddess of sorcery.

Masculine Energy

Cernunnos is a strong symbol of masculine energy and power, as is Herne, the god of the hunt. Odin and Thor, both Norse gods, are known as powerful, masculine gods.

Motherhood

Isis is a mother goddess on a grand scale, and Juno watches over women in labor.

Prophecy and Divination

Brighid is known as a goddess of prophecy, and so is Cerridwen, with her cauldron of knowledge. Janus, the two-faced god, sees both the past and future.

Underworld

Because of his harvest associations, Osiris is often connected with the underworld. There are a number of other deities of death and dying.

War and Conflict

The Morrighan is not only a goddess of war, but also of sovereignty and loyalty. Athena protects warriors and imparts them with wisdom. Freya and Thor guide fighters in battle.

Wisdom

Thoth was the Egyptian god of wisdom, and Athena and Odin may also be called upon, depending on your purpose.

Seasonal

There are a number of deities associated with the various times of the Wheel of the Year, including the Winter Solstice, Late winter, the Spring Equinox, and the Summer solstice.

Source: About.com

(One Person’s View Point) THE GOD AND GODDESS OF WITCHCRAFT

THE GOD AND GODDESS OF WITCHCRAFT

A general complaint about Christianity by Witches is that there is the worship of the male deity to the exclusion of the female. In fact this is one of the main reasons for people (women especially) leaving Christianity and returning to the Old Religion. And yet it’s a strange paradox that many—if not the majority—of Witchcraft traditions are guilty of this same crime of
Christianity, if in reverse … they laud the Goddess to the near, or even total, exclusion of the God!

Witchcraft is a religion of nature, as any Witch will tell you. Everywhere in nature there is male and female, and both are necessary (I have yet to meet anyone who does not have both a mother and a father). It follows, then, that both the God and the Goddess are important and
should be equally revered. There should be balance. But balance is as woefully missing in most traditions of the Craft as it is in Christianity.

We are all—every single one of us—made up of both masculine and feminine attributes. The toughest, most macho man has feminine aspects just as the most traditionally-feminine woman has male aspects. So it is with the deities. The God has feminine aspects as well as masculine, and the Goddess has masculine as well as feminine.

What names you use for your deities is a matter of personal preference. In Saxon Witchcraft the name Woden is given to the God; in Gardnerian the Latin term Cernunnos is used; in Scottish, Devla. Each tradition has its own name. But names are only labels; they are only a
means of identifying. You should identify, then, using a name with which you can feel completely comfortable. For, after all, religion is a most personal thing, at the core, and—to be of real purpose—should therefore be related to on the most personal level possible. Even if you join an established tradition this is still valid—find a tradition that seems right for you (as I spoke about in Lesson One) but… don’t be afraid to modify where necessary to make it totally right for you. If the name used to identify the God, in the tradition you have chosen, happens to be Cernunnos (for example) and you have difficulty relating to that name, then choose another for your own use. In other words, respect the name Cernunnos in group worship and all matters pertaining to the coven but, in your own mind—and in personal rites—don’t hesitate to substitute Pan or Mananna or Lief or whatever. A name, as I have said, is a label. The God himself knows you are “talking” to him; he’s not going to be confused! (This all
applies equally to the Goddess of course).

It may well be for the above reason that the name Cernunnos is found in so many branches of the Craft. As I’ve mentioned, it is simply the Latin word for “the Homed One”. To add your own personal identification, then, in no way conflicts.

Traditionally the “dark half” of the year is associated with the God. But this does not (or should not) mean that he is “dead”, or incommunicado, in the “light half” of the year (and vice versa with the Goddess). During the light half he is fully active in his feminine aspect; just as the
Goddess is active in the dark half in her masculine aspect. So, both deities are active throughout the year, even though deference may be given to one over the other at certain times.

There is a common theme of death and resurrection found in myths throughout the world. The symbolism is frequently furthered in a descent to the underworld with a later return. We find it with Ishtar’s descent and search for Tannaz; with Sif’s loss of her golden tresses; with Idunn’s loss of her golden apples; with Jesus’ death and resurrection; with Siva’s death and resurrection, and many more. Basically all represent the coming of fall and winter followed by the return of spring and summer; the lead figure represnting the spirit of vegetation. From Witchcraft here are “The Myth Of the Goddess” as found in (a) Gardnerian Wicca and (b)
Saxon Wicca.

“Now G* had never loved, but she would solve all the Mysteries, even the Mystery of Death; and so she journeyed to the Nether Lands. The Guardians of the Portals challenged her, ‘Strip off thy garments, lay aside thy jewels; for naught may ye bring with ye into this our land.’

So she laid down her garments and her jewels and was bound, as are all who enter the Realms of Death the Mighty One. Such was her beauty that Death himself knelt and kissed her feet,
saying, “Blessed be thy feet that have brought thee in these ways. Abide with me, let me place my cold hand on thy heart.’ She replied, ‘I love thee not. Why dost thou cause all things that I love and take delight in to fade and die?’

‘Lady/ replied Death, ‘it is Age and Fate, against which I am helpless. Age causes all things to wither; but when men die at the end of time I give them rest and peace, and strength so that
they may return. But thou, thou art lovely. Return not; abide with me.’

But she answered, 1 love thee not’.

Then said Death, ‘An’ thou receive not my hand on thy heart, thou must receive Death’s scourge’.

It is Fate; better so’, she said and she knelt; and Death scourged her and she cried, ‘I feel the pangs of love’.

And Death said, ‘Blessed be’ and gave her the Fivefold Kiss, saying, ‘Thus only may ye attain to joy and knowledge’.

And he taught her all the mysteries. And they loved and were one, and he taught her all the Magicks.

For there are three great events in the life of Man: Love, Death and Resurrection in a new body; and Magick controls them all.

For to fulfill love you must return again at the same time and place as the loved one, and you must remember and love them again. But to be reborn you must die, and be ready for a new
body; and to die you must be born; and without love you may not be born. And these be all the Magicks.”

–The Meaning of Witchcraft
Gerald B. Gardner, Aquarian Press, London 1959

“All day had Freya, most lovely of the goddesses, played and romped in the fields. Then did she lay down to rest. And while she slept deft Loki, the Prankster, the Mischief-Maker of the
Gods, did espy the glimmering oiBrosingamene, formed of Galdra, her constant companion. Silent as night did Loki move to the Goddess’ side and, with fingers formed over the ages in
lightness, did remove the silver circlet from about her snow-white neck.

Straightway did Freya arouse, on sensing its loss. Though he moved with the speed of the winds yet Loki she glimpsed as he passed swiftly from sight into the Barrow that leads to
Dreun.

Then was Freya in despair. Darkness descended all about her to hide her tears. Great was her anguish. All light, all life, all creatures joined in her doom. To all corners were sent the
Searchers, in quest of Loki; yet knew they, they would find him not. For who is there may descend into Dreun and return again from thence? Excepting the Gods themselves and, alack, mischievous Loki.

So it was that, still weak from grief, Freya herself elected to descend in search otBrosinga-mene. At the portals of the Barrow was she challenged yet recognized and passed. The
multitude of souls within cried joyfully to see her yet could she not tarry as she sought her stolen light. The infamous Loki left no trail to follow, yet was he everywhere past seen. Those to whom she spake held to Freya (that) Loki carried no jewel as he went by. Where, then, was it hid? In despair she searched an age. Hearhden, the mighty smith of the Gods, did arise from his rest to sense the bewailment of the souls to Freya’s sorrow. Striding from his smithy, to find the cause of the sorrow, did he espy the Silver Circlet where Loki Mischief-Maker had laid it:
upon the rock before his door.

Then was all clear. As Hearhden took hold of Brosingamene, (then did) Loki appear before him, his face wild with rage. Yet would Loki not attack Hearhden, this Mighty Smith whose strength was known even beyond Dreun.

By wiles and tricks did he strive to get his hands upon the silver circlet. He shape-shifted; he darted here and there; he was visible then invisible. Yet could he not sway the smith.

Tiring of the fight, Hearhden raised his mighty club. Then sped Loki away. Great was the joy of Freya when Hearhden placed Brosingamene once more about her snow-white neck.

Great were the cries of joy from Dreun and above.

Great were the thanks that Freya, and all Men, gave to the Gods for the return of Brosingamene.”

–The Tree: The Complete Book of
Saxon Witchcraft
Raymond Buckland, Samuel Weiser, NY 1974

Source: Buckland’s Complete Book of Witchcraft

(One Person’s View) The Goddess And The Horned God In Wicca c.2014

The Goddess And The Horned God In Wicca

 

Neither evocation nor invocation is part of modern witchcraft, however, and white witches do not recognize any demonic figures in their religion. When we refer to the Goddess and her son-consort, the Horned God of Wicca, we are referring to the archetype or source energies of the feminine and masculine aspects of ultimate power. They are the creative female and male principles, acting not in opposition to each other but as complementary and necessary parts of a whole. All the named goddesses and gods in witchcraft represent the different qualities of these supreme forms, for example the goddesses of the hunt, or specific forms in different cultures.

There are, of course, variations within Wicca; some traditions emphasise the importance of the Goddess, while others regard the Horned God as her equal, with each assuming different aspects according to the season and ritual. For example, the Goddess may appear as the Earth or Moon deity, and her male counterpart as the Corn God or the Sun.

 

Source: Cassandra Eason

Brigid, Celtic Goddess of Imbolc c. 2016

 

Brigid, Celtic Goddess of Imbolc

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

The Fear of Lilith

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The Fear of Lilith

Examining the Lilith Myth and the Male Fear of Dominant Women

By Charles Alexander Moffat

Men’s fear of women has caused them to portray women in two specific archetypes and continued to compare women in such a fashion because the majority of their writing was written by men for other men. Thus was born an unspoken tradition amongst men to portray women as weak submissives and/or seductive, evil succubi/monsters such as Lilith, and is the result of men’s fear of being controlled.

Psychologically, a man may be willing to have sex, but if the woman is not, the denial of sex perpetuates a breach in the male ego. The male response to this rejection is fear and anger, and in order to find a solution to the problem, the male reacts by finding excuses for his superiority. Believing that if he is superior and that the woman is weaker and inferior, then whether or not the woman is willing will now be unimportant and inconsequential, as far as the man is concerned.

Women do not have this sexual rejection problem however, for at any time they are willing, men can be made willing through the use of female charms or even simple aggression. Only male impotence can prevent this, which is no fault of the female. Men subconsciously understand this and also understand that they are vulnerable against females in this way, and are afraid of being seduced and manipulated.

Putting these two in perspective, men have defined two types of women: The submissive woman who falls prey to a man’s every whim, and the aggressive, manipulative woman who can seduce a man into performing her every whim.

When communicating these ideas to other men, the emphasis of a woman’s description is placed upon her beauty, her weaknesses and her lack rationality. These are ideas that men subconsciously/consciously seek to promote about women as a result of their own insecurities.

Aristotle was obsessed with his penis, that much is evident from a psychologically perspective. According to Aristotle, the penis and its semen is the source of all souls and spirit, and that women, being “mutilated” and without a penis is soulless. He goes into more detail, believing that women are unable to create souls because they themselves are “impure” and “incapable of concocting the nutriment in its last stage into semen. If she does have a soul, it is an “impure” one, and thus needs a man’s “purity” in the form of semen. In short, Aristotle likely believed that the world revolved around his penis.

Going further on Aristotle’s beliefs, if women are soulless, then their feelings don’t matter, and thus men must be the masters over women because women are cold, heartless and lack authority. He admits that women have intelligence/faculty, “but it is without authority” and thus men must be the masters. The end result is that Aristotle likely believes that the perfect woman is a “mutilated” quiet, cold, and submissive creature, something similar to Helen of Troy or Andromeda.

As the exact opposite, the worst woman by his definition would likely coincide with many of the mythological creatures of his time. The medusa, sirens, gorgons and harpies portray intelligent women as cunning, powerful, independent, and yet deformed monsters. They would still be “mutilated” by Aristotle’s definition, and would suffer the consequences for their independence, for they were all defeated by men. In essence these myths could be considered allegory warning women not to become independent and proud of their intelligence.

Respected for his beliefs by his male colleagues (and they were all male and thus with male egos and “in love with their penises” and no doubt loving the idea that the world revolves around their penis), Aristotle’s beliefs were written down for men and mass produced for men. These beliefs are then passed down upon children, who then take these beliefs to be the absolute truth, and never questioning it. “Men commonly think according to their inclinations, speak according to their learning and imbibed opinions, but generally act according to custom,” said Francis Bacon, speaking of this usually “unspoken tradition” that is passed down through the generations.

In the Biblical Genesis (the King James/Yahwist version), Eve is portrayed as being lesser than Adam by the simple fact that she is made by only part of him, and is not made wholly of the earth like Adam was. This shortcoming is then shown when she is tricked so easily by the serpent into eating the fruit from the Tree of Knowledge of Good and Evil, and she in turn manipulates and tricks Adam into also eating of the tree. Furthermore, when caught and questioned, Eve quickly blames the snake for her shortcomings. Thus Eve presents parts of both archetypes, the submissive woman who is easily tricked by the snake, but after eating the fruit, she becomes the cunning and manipulative woman who seduces/tricks Adam.

In a different version of Genesis, the ben-Sira version~, the person known as Lilith (Adam’s first wife, before Eve) is introduced:

“When the Almighty created the first, solitary man, He said: It is not good for man to be alone. And He fashioned for man a woman from the earth, like him (Adam), and called her Lilith. Soon, they began to quarrel with each other. She said to him: I will not lie underneath, and he said: I will not lie underneath but above, for you are meant to lie underneath and I to lie above. She said to him: We are both equal, because we are both created from the earth. But they didn’t listen to each other. When Lilith saw this, she pronounced God’s avowed name and flew into the air. Adam stood in prayer before his Creator and said: Lord of the World! The woman you have given me has gone away from me. Immediately, the Almighty sent three angels after her, to bring her back. The Almighty said to Adam: If she decides to return, it is good, but if not, then she must take it upon herself to ensure that a hundred of her children die each day. They went to her and found her in the middle of the Red Sea. And they told her the word of God. But she refused to return. They said to her: We must drown you in the sea. She said: Leave me! I was created for no other purpose than to harm children, eight days for boys and twenty for girls. When they heard what she said, they pressed her even more. She said: I swear by the name of the living God that I, when I see you or your image on an amulet, will have no power over that particular child. And she took it upon herself to ensure that, every day, a hundred of her children died. That is why we say that, every day, a hundred of her demons die. That is why we write the names Senoi, Sansenoi and Semangloph on an amulet for small children. And when Lilith sees it, she remembers her promise and the child is saved.”

According to accompanying legends, Lilith was cursed and turned into a succubus. God created Eve as an afterthought out of Adam’s rib, in order to make her more submissive. Lilith’s descendants and Eve’s descendants mingled together and bred, and God decreed that Lilith is kill all of her descendants, except for those protected by an amulet. This belief that Lilith will come to slay young children is still held in awe today in many cultures. As the mother of all other succubi, Lilith’s daughters (succubi, or simply “Liliths (according to some tales) are also held to this and cannot harm any child protected by the amulet. This is Lilith’s curse for being too dominating according to many tales, although it is also questioned as to whether the real reason is because she spoke God’s avowed name.

Other Biblical and non-Biblical legends* portray Lilith as being a “terrible mother-goddess”. Her clergy is described as being “temple prostitutes” according to some historians. This belief changed over time, with Lilith (or succubi in general) becoming the “divine whore” according to men, described as being a tall beautiful, obsidian-skinned, bat-winged female with long red (some legends say black) hair and sharp blue eyes. This creature then seduces men and kills them. This is a perfect example of men describing the physical characteristics of women, and also their obvious fear of being powerless against a woman and controlled by them.

There are many other legends (mostly Sumerian, Babylonian and Assyrian) calling Lilith (or creatures like her) by other names such as Shedu, Lamashtu, Marilith, Succubus, Ahhazu, Alu, Gallu, Lamia, Ishtar. The legend of Lilith is so widespread that it reaches even Malayasia where she is called Langsuir (or Langsuyar) and feared as a demon seductress of the night. This enforces the idea that man’s fear of seductive/dominating women is universal amongst all men.

During the Spanish Inquisition (and various other witch hunts), witches were associated with the demon Lilith, and anyone having red hair like Lilith were more likely to be hung or burnt at the stake. This perhaps is the reason why red hair is so rare and also why the current stereotypes that all red-haired people are regarded as aggressive, hot tempered, troublesome, and otherworldly. These witchhunts were led by men, usually clergy, who were obviously afraid of being bewitched, seduced and controlled.

The power struggle between Adam and Lilith is a reflection of the power struggle between the sexes, a man’s patriarchal attitude versus a woman’s demands for independence and equality. Psychologically, this is the result of Adam’s fear of Lilith being in control, Lilith’s equal fear of Adam being in control, and both rejecting the others demands for dominance. Adam and Lilith obviously could not meet with a marital therapist however, but since the two are viewed as being mythical characters, then they reflect universal characteristics and behaviour such as all people’s (not just men’s) fear of being controlled.

A number of modern psychologists/analysts have studied the ben-Sira version and have come up with their conclusions about Lilith, Adam and Eve, and their archetypes:

Vogelsang asserts that Adam bears the guilt for the disagreement. “From the beginning [he] was trying to assert his superiority and to dominate her, a power play on the part of the masculine.” He also says “it should be emphasized that she was not trying to subjugate him. She was trying to maintain her rights.” Essentially this means that Adam represents the average aggressive male, whereas Lilith should actually be considered a model female who stands up for her rights. Perhaps women should be feared, for it is the fear between both sexes that makes them equal.

Lenherr-Baumgartner claims that Adam’s demand for the upper position was the result of “is evolutionary understandable as a certain male fear of an equal female. In addition she considers the separation of the two metaphorical in the sense that male and female shall be forever separated by their fears of each other.

In modern times it would be very easy to compare Adam, Eve and Lilith to a patriarchal husband, a weak, submissive wife, and a vindictive, dominating ex-wife. A slightly different example would be patriarchal President Bill Clinton (perhaps as the result of his obsession with his penis), submissive stand-by-your-husband Hillary Clinton, and the aggressive “succubi” (no pun intended) Monica Lewinsky. The First Lady has deliberately played the submissive/supportive wife because she understands that she will be considered more socially acceptable because of it, whereas Lewinsky has found popularity amongst some feminists who support her for her aggressiveness. Bill Clinton himself however faces a special problem with his ego, having the American-Made title of the “Most Powerful Man In The World” and likely believing that the world really does revolve around his penis, and his true fears are more complex because of the high price some believe that he should have paid for his adultery.

In conclusion, the dominance of men has been implemented by unspoken tradition amongst men through the generations of men writing for other men, such as Aristotle and the many variations of Genesis. This has caused men to create two specific archetypes of a submissive weak woman and an aggressive “Lilith” both of which are the result of men’s fears of a dominant/equal female.

Cernunnos: Horned God of the Celts

Cernunnos is one of the most enigmatic and fascinating figures in Celtic mythology. Depicted as a horned god, he was worshipped by the ancient Celts throughout much of Europe.

| Horned God | Protector | Fertility | Underworld |

In this article, we will explore the myths and legends associated with Cernunnos, and examine the many roles he played in Celtic religion and society.

Who was Cernunnos?

Cernunnos was a god of the Celts, who were an ancient people that inhabited much of Europe during the Iron Age. He is depicted as a horned figure, often holding a torque, or twisted metal necklace, and accompanied by various animals, such as stags, bulls, and serpents. Despite his popularity, little is known about Cernunnos and his exact role in Celtic religion and society remains a matter of debate among scholars.

The Horned God

The image of the horned god is one of the most distinctive and enduring symbols of the Celts. The horns are typically those of a stag, and they represent the god’s connection to … Click here to read the rest of this article Source: celticnative.com