Constellation Delphinus: the dolphin

It's time for another constellation in the series. I am happy to announce we have reached the 'D's! This post makes number twenty-three in the series, with twenty-six more to go. Nearly half way there. Today's constellation is connected to several myths I have spoken about before, but also to a new account, one that is said to be an actual event that took place in ancient Hellas.

The first dolphin myth Delphinus is linked to is to Poseidon's courtship of Amphitrite, Queen of the sea., and mother to all dolphins. I have written about her before, and the myth goes as follows:

"Poseidon saw Her [Amphitrite] dancing with Her Nereids at Naxos (Νάξος), one of the larger islands of Greece. He fell for Her instantly and tried to take Her. She rebuffed His advances and fled to Atlas, the farthest end of the sea. Poseidon, sick with love, sent His dolphin after Her to persuade Her to talk to Him, at least. He eventually found Her and spoke on behalf of His master. His words were so sweet and rang so true, that Amphitrite decided to give Poseidon a chance. It was because of the dolphin, Poseidon eventually got to marry Amphitrite, and He was so grateful, He placed the dolphin in the sky as the constellation Delphinus."

The second dolphin the constellation is connected to is Apollon Delphinios. I have written about this myth before as well, when I discussed the Delphinia festival. In the Homeric Hymn to Apollon, Apollon shows the Kretan colonists the way to Delphi, while riding on a dolphin or metamorphosing Himself into a dolphin.

"I am the son of Zeus; Apollo is my name: but you I brought here over the wide gulf of the sea, meaning you no hurt; nay, here you shall keep my rich temple that is greatly honoured among men, and you shall know the plans of the deathless gods, and by their will you shall be honoured continually for all time. [...] Take out your goods and the gear of the straight ship, and make an altar upon the beach of the sea: light fire upon it and make an offering of white meal. Next, stand side by side around the altar and pray: and in as much as at the first on the hazy sea I sprang upon the swift ship in the form of a dolphin, pray to me as Apollo Delphinius; also the altar itself shall be called Delphinius and overlooking for ever." (474)

In the other myth, it was again Apollon who placed the dolphin among the constellations, this time for saving the life of Arion of Methymna, a poet and musician born on the island of Lesbos, whose skill with the lyre made him famous in the 7th century BC. He was also the first to invent the dithyrambic measure, to give it its name, and to recite in it at Corinth. During the journey home from a tour, there was a mutiny. Arion was allowed to sing one last song, and drew dolphins to the ship. One of them took Arion home. Herodotos described the story:

"He had lived for many years at the court of Periander, when a longing came upon him to sail across to Italy and Sicily. Having made rich profits in those parts, he wanted to recross the seas to Corinth. He therefore hired a vessel, the crew of which were Corinthians, thinking that there was no people in whom he could more safely confide; and, going on board, he set sail from Tarentum. The sailors, however, when they reached the open sea, formed a plot to throw him overboard and seize upon his riches. Discovering their design, he fell on his knees, beseeching them to spare his life, and making them welcome to his money. But they refused; and required him either to kill himself outright, if he wished for a grave on the dry land, or without loss of time to leap overboard into the sea. In this strait Arion begged them, since such was their pleasure, to allow him to mount upon the quarter-deck, dressed in his full costume, and there to play and sing, and promising that, as soon as his song was ended, he would destroy himself. Delighted at the prospect of hearing the very best harper in the world, they consented, and withdrew from the stern to the middle of the vessel: while Arion dressed himself in the full costume of his calling, took his harp, and standing on the quarter-deck, chanted the Orthian. His strain ended, he flung himself, fully attired as he was, headlong into the sea. The Corinthians then sailed on to Corinth.

As for Arion, a dolphin, they say, took him upon his back and carried him to Taenarum, where he went ashore, and thence proceeded to Corinth in his musician's dress, and told all that had happened to him. Periander, however, disbelieved the story, and put Arion in ward, to prevent his leaving Corinth, while he watched anxiously for the return of the mariners. On their arrival he summoned them before him and asked them if they could give him any tiding of Arion. They returned for answer that he was alive and in good health in Italy, and that they had left him at Tarentum, where he was doing well. Thereupon Arion appeared before them, just as he was when he jumped from the vessel: the men, astonished and detected in falsehood, could no longer deny their guilt. Such is the account which the Corinthians and Lesbians give; and there is to this day at Taenarum, an offering of Arion's at the shrine, which is a small figure in bronze, representing a man seated upon a dolphin."

Herodotos' version does not include the addition that Apollon placed the dolphin in the sky for saving one of the best musicians alive at the time, but Roman author Gaius Julius Hyginus (64 BC - 17 AD) does, in his Atronomica. He also describes the creation of the dolphins:

"Aglaosthenes, who wrote the Naxica, says that there were certain Tyrrhenian shipmasters, who were to take Father Liber [Roman God, associated with Dionysos], when a child, to Naxos with his companions and give him over to the nymphs, his nurses. Both our writers and many Greek ones, in books on the genealogy of the gods, have said that he was reared by them. But, to return to the subject at hand, the shipmates, tempted by love of gain, were going to turn the ship off course, when Liber, suspecting their plan, bade his companions chant a melody. The Tyrrhenians were so charmed by the unaccustomed sounds that they were seized by desire even in their dancing, and unwittingly cast themselves into the sea, and were there made dolphins. Since Liber desired to recall thought of them to men’s memory, he put the image of one of them among the constellations."
 

Delphinus is visible at latitudes between +90° and −70°, and best visible at 21:00 (9 p.m.) during the month of September.

• Friday, April 30, 2021
  Amphitrite Apollon Apollon Delphinios Arion astronomy Constellation series herodotos Mythology 101 Ptolemy

Constellations Corona Australis & Corona Borealis: the two crowns

Because it's been a while since the last constellation, and yesterday's blog post hardly counted, I'm going to give you not one but two constellations today (also because it's much easier to describe both in one post, seeing as the mythology surrounding these two has mixed throughout the years, so I'm really just making it easier on myself).

The Corona Australis, the southern crown, is located in the southern hemisphere, next to the constellation Sagittarius. As such, it is often linked to that constellation and regarded as the wreath that fell off of the head of one of the kéntauros that particular constellation is linked to. In the same regard, it is also linked to the kéntauros 'Centaurus'.

Corona Australis is most often regarded as a wreath, but in some descriptions and depictions, the Corona Australis is a crown. There is, however, one myth in which the Corona Australis does not depict a wreath or crown: in this myth, the constellation represents Ixion, king of the Lapits, who fell in love with Hera after being invited up to Olympos by Zeus. Zeus decided to test his integrity after He discovered His guest' lust for Hera, but Ixion failed miserably. Ixion was expelled from Olympus and blasted with a thunderbolt for failing his test. Zeus then ordered Hermes to bind Ixion to a winged fiery wheel that was always spinning. Therefore, Ixion is bound to a burning solar wheel for all eternity, at first spinning across the heavens, then into Tartaros. The Corona Australis is this very wheel, with Ixion tied to it.

The most famous of myths associated with the Corona Australis is the story of the birth of Dionysos, and the death of His mother Semele. In this version of the myth, Dionysos is born from Semele and Zeus, and while Semele is pregnant with Him, Hera plants seeds of doubt in her mind about the father of the child truly being Zeus. Semele asks Zeus to reveal Himself to her in His true form, and when He is left with no other option, He does so, killing her in the process. Zeus takes pity on His child, and takes Him into either His thigh or testicle, where He is eventually born from. When Dionysos grows up, He raises Semele to Olympos and grants her eternal life. He also places a wreath into the sky to honor her. The wreath would be made of myrtle leaves, for Dionysos left a gift of myrtle in the Underworld in return for His mother, and the followers of Dionysos wore crowns of myrtle.

Interestingly enough, Roman author Hyginus ascribes this myth to the Corona Borealis, and adds that Dionysos first received this wreath--now a golden crown--from Aphrodite. He gave it to His beloved Ariadne, daughter of Minos. According to Hyginus, it was the light that reflected off of this crown, that led Theseus from the labyrinth after slaying the minotaur. Hyginus then goes on to retell the story above, and says that Dionysos did not want to take the crown into the Underworld in fear of it being contaminated with miasma. When He returned from the Underworld, he threw the golden crown into the sky as a memorial.

Hyginus also gives another account for the the northern crown, the Corona Borealis:

"It is said that when Theseus came to Crete to Minos with seven maidens and six youths, Minos, inflamed by the beauty of one of the maidens, Eriboea by name, wished to lie with her. Theseus, as was fitting for a son of Neptune[Poseidon], and one able to strive against a tyrant for a girl’s safety, refused to allow this. So when the dispute became one not about the girl but about the parentage of Theseus, whether he was the son of Neptune or not, Minos is said to have drawn a gold ring from his finger and cast it into the sea. 

He bade Theseus bring it back, if he wanted him to believe he was a son of Neptune; as for himself, he could easily show he was a son of Jove [Zeus]. So, invoking his father, he asked for some sign to prove he was his son, and straightway thunder and lightning gave token of assent. For a similar reason, Theseus, without any invoking of his father or obligation of an oath, cast himself into the sea. And at once a great swarm of dolphins, tumbling forward over the sea, led him through gently swelling waves to the Nereids. 

From them he brought back the ring of Minos and a crown, bright with many gems, from Thetis, which she had received at her wedding as a gift from Venus [Aphrodite]. Others say that the crown came from the wife of Neptune, and Theseus is said to have given it to Ariadne as a gift, when on account of his valor and courage she was given to him in marriage. After Ariadne’s death, Liber [Dionysos] placed it among the constellations."

As you can see, there are many myths surrounding the two crowns. The Hellenic poet Aratos named them 'Stephanoi' (Στεφάνοι) around 300 BC, but did not differnetiate between the two, although they are not placed close together. As such, the Stephanoi are visible and best viewed at different times throughout the year. The Corona Australis is visible at latitudes between +40° and −90°, and best visible at 21:00 (9 p.m.) during the month of August. The Corona Borealis, located near the constellations of Hēraklēs and Boötes, is visible at latitudes between +90° and −50°, and best visible at 21:00 (9 p.m.) during the month of July.

• Friday, March 26, 2021
  Amphitrite Aphrodite Aratos Ariadne astronomy Centaurs Constellation series Dionysos Hyginus Minos Mythology 101 Poseidon Ptolemy Semele

Question Collections post 34

I get a lot of questions from readers, and most of the time, the answers are fairly short. When I feel the question or the reply would be valuable to others as well, I make a post with a collection of them and post them in one go. Today is one of those posts.

"Do you know of any invocations or hymns to Amphitrite?"

No, sorry. As far as I am aware there have either been none made or none have survived. The one quote I like to use when I honour Her is a bit younger, from the 4th century AD. It was written down by Quintus Smyrnaeus, in his 'Fall of Troy':

'A ruining storm maddens along the wide gulfs of the deep, and moans Amphitrite with her anguished waves which sweep from every hand, uptowering like precipiced mountains, while the bitter squall, ceaselessly veering, shrieks across the sea.' [8.62]

This could be adapted to:

'A ruining storm maddens along the wide gulfs of the deep, and [thus] moans Amphitrite with her anguished waves which sweep from every hand, uptowering like precipiced mountains, while the bitter squall, ceaselessly veering, shrieks across the sea. Blessed Goddess Amphitrite...'

 

---

 

"As someone who lives in a very large apartment complex that can't very well go outside and dig a pit in the ground without causing a stir with their neighbours and landlord, what is the best way to properly sacrifice to cthonic deities?"

 

A pot. I'm serious. Most likely your best bet except for going out and practicing 'in the wild' is to use a standard pot you would put a garden plant in. One you'd put on your balcony, for example. Fill it with soil and maybe some weeds that will survive being dug up every once in a while and getting doused in wine. Is it ideal? Is it exactly Recon? No, but what matters is that you get to dig a (tiny) hole, that you can bury the sacrifice. That it's covered up and gone. Perhaps, once a month (at the Deipnon, for example), smuggle the dirt out somehow and fill the pot anew to start the month cleansed and renewed. That would be my advice.

 

---

 

"I was going through and reading some of your answers to other's questions, and you mentioned that people who want to practice hellenismos need to understand that the theoi come as a one package deal. As a beginner, is it acceptable to start slow and work on introducing yourself to the gods sort of one at a time so as not to get particularly overwhelmed? or is it more like a jump in head first and good luck sort of deal?"

 

It's the mindset that matters, really. How you go about it is up to you. Say I am just starting out and I want to make a ritual that honours Apollon. What I am trying to convey to people is that when you sit down and you have written down to libate to Apollon and have picked out a hymn to Him, you then think 'how else can I honour Apollon' and make the mental jump to: 'I should include hymns to the Gods who matter most to Him!'. And you'd include a hymn and libation to His sister Artemis, and His mother Leto, and His father Zeus. And depending on the festival, you might include a sacrifice to one or more of His lovers or another God that works within the same domain as the side of Apollon you wish to honour. Asklēpiós, for example, for healing. Or Dionysos in His role as Lightbringer.

 

What I am trying to convey is that all the Gods are connected in some way and sacrificing to the Gods in the periphery of the main God you wish to worship establishes kharis and is simply good form. I'm not asking you to jump in and celebrate every festival, sacrifice twice daily, and build a dozen shrines overnight. Some never do any of that and that is quite alright. Because, as you have just seen, you will honour all Gods in some way through the handful of rituals you do perform. It's the mindset of it I am trying to get across, not the practicality of it. I hope this explains it!

 

---

 

"How does one apologize to the gods? Like, I used to be a huge believer in them when I was younger, and as I got older I stopped believing. But know I'm starting to believe in them again , and I just want to say sorry for not believing and saying rude things about them but I just don't know how to apologize. Is there a certain ritual or?"

 

At the risk of alienating anyone--I don't believe you have to. I also don't believe you have to introduce yourself to the Theoi when you start worshipping Them or do anything but give sacrifice, perform rites, and believe. If you had angered The Gods, you would have known beyond the shadow of a doubt. We are talking about the beings who level cities out of scorn and murder every single child of a mother who has shown Them disrespect. I am not saying the Theoi would ruin your life, or that They are vengeful, but I am saying that you would have noticed.

 

You did nothing wrong by not believing. We are not in ancient Hellas where you would have been raised with faith in the Theoi and you had a rebel period where you decided to raise your middle finger to the sky and every priest you saw pass, shouting at the top of your lungs the Theoi are imaginary. What happened is that you live in a society that--as a whole--does not believe in the ancient Hellenic Gods. You live in a society that has relegated the Theoi to the realm of fantasy and fairytale. You may have said things that you now consider rude--and perhaps they were--but you have since come to realize the Theoi are quite real, and worthy of honouring.

 

So honour Them. Words are cheap. I believe that the best way to make up for past mistakes is to stop making them in the future. So speak only good things of the Theoi (or at least truthful), show respect and honour, perform the rites, learn of Them and Their lives, and practice the ethical rules They have imparted on us. You don't need a ritual, you need a lifestyle--a faith--and to start living it. The past is in the past, I fear, so look ahead and find the very best ways to honour the Theoi.

• Thursday, January 28, 2016
  Amphitrite ancient Hellenic culture Apollon Asklēpiós Hekate's Deipnon Hellenic Reconstruction Hellenismos 101 Khthonic Mythology 101 personal Quintus Smyrnaeus

Zeugma yields more stunning mosaics

I am posting a lot of pictures this week, I realize. What can I say? There are lots of pretty things in the world right now, and I could use some. it's a long week. Anyway, let me share something else that is very pretty: archaeologists at the ancient Hellenic City of Zeugma in Turkey have revealed stunning mosaics that went straight to my heart when I first saw them.

The ancient city of Zeugma was originally founded as a Greek settlement by Seleucus I Nicator, one of the generals of Alexander the Great, in 300 BC. The population of the city at its peak was approximately 80,000 inhabitants. Zeugma is 80 percent underwater, after it was flooded with the waters of a nearby artificial lake. The mosaics, which were recovered in excellent condition, belong to the 2nd century B.C.

 

 

The first mosaic depicts the nine Muses in portraits. This mosaic was originally in a large room of a house that archaeologists have named 'House of Muses'. In the center of the mosaic is Muse Calliope and she is surrounded by her sisters.

The second mosaic depicts Ocean and Tithys. What is really striking about this mosaic is the wonderful and vivid colors used as well as the beauty of the heroes’ faces. Experts say that special glass mosaic pieces have been created for this mosaic alone.

I was unable to locate an image of the third mosaic, but it depicts an unidentified young man. It was also revealed to be in very good condition.

Zeugma was founded by Seleucus Nicator I, one of Alexander the Great’s commanding generals. It is situated at one of the easiest fording places on the Euphrates. Hence its name, ‘Zeugma’, which means ‘bridgehead’ or ‘crossing place’. Thanks to its strategic situation on an east-west axis, it quickly grew and developed, becoming one of the four major cities of the Commagene Kingdom founded in the 1st century B.C. in the post-Hellenistic period.

When the region came under Roman hegemony, one of the empire’s thirty legions was stationed here, the 4th Scythian. Its presence fuelled trade, trade in turn brought wealth, and when that wealth attracted artists, Zeugma became a metropolis of 70.000 people. On the banks of the Euphrates merchants built villas with a perfect view of the sunset. In the courtyards of those villas they added refreshing, mosaic-paved pools. With their mosaics depicting Poseidon, Okeanos, Tethys and the river gods, these villas on the banks of the Euphrates transformed Zeugma into a virtual fine arts museum. Swelling shortly to twice the size of London and three times that of Pompeii, the city rivalled the Athens of its day.

Many beautiful mosaics have been discovered at Zeugma, and many of those can be viewed online and in person at the Zeugma Mosaic Museum. The museum is located in the town of Gaziantep, Turkey, and it is the biggest mosaic museum on the world, containing 1700m2 of mosaics. You can see a slideshow of some of them here.

• Friday, November 21, 2014
  Amphitrite archeology current affairs Muses Poseidon

Constellation Delphinus: the dolphin

It's time for another constellation in the series. I am happy to announce we have reached the 'D's! This post makes number twenty-three in the series, with twenty-six more to go. Nearly half way there. Today's constellation is connected to several myths I have spoken about before, but also to a new account, one that is said to be an actual event that took place in ancient Hellas.

The first dolphin myth Delphinus is linked to is to Poseidon's courtship of Amphitrite, Queen of the sea., and mother to all dolphins. I have written about her before, and the myth goes as follows:

"Poseidon saw Her [Amphitrite] dancing with Her Nereids at Naxos (Νάξος), one of the larger islands of Greece. He fell for Her instantly and tried to take Her. She rebuffed His advances and fled to Atlas, the farthest end of the sea. Poseidon, sick with love, sent His dolphin after Her to persuade Her to talk to Him, at least. He eventually found Her and spoke on behalf of His master. His words were so sweet and rang so true, that Amphitrite decided to give Poseidon a chance. It was because of the dolphin, Poseidon eventually got to marry Amphitrite, and He was so grateful, He placed the dolphin in the sky as the constellation Delphinus."

The second dolphin the constellation is connected to is Apollon Delphinios. I have written about this myth before as well, when I discussed the Delphinia festival. In the Homeric Hymn to Apollon, Apollon shows the Kretan colonists the way to Delphi, while riding on a dolphin or metamorphosing Himself into a dolphin.

"I am the son of Zeus; Apollo is my name: but you I brought here over the wide gulf of the sea, meaning you no hurt; nay, here you shall keep my rich temple that is greatly honoured among men, and you shall know the plans of the deathless gods, and by their will you shall be honoured continually for all time. [...] Take out your goods and the gear of the straight ship, and make an altar upon the beach of the sea: light fire upon it and make an offering of white meal. Next, stand side by side around the altar and pray: and in as much as at the first on the hazy sea I sprang upon the swift ship in the form of a dolphin, pray to me as Apollo Delphinius; also the altar itself shall be called Delphinius and overlooking for ever." (474)

In the other myth, it was again Apollon who placed the dolphin among the constellations, this time for saving the life of Arion of Methymna, a poet and musician born on the island of Lesbos, whose skill with the lyre made him famous in the 7th century BC. He was also the first to invent the dithyrambic measure, to give it its name, and to recite in it at Corinth. During the journey home from a tour, there was a mutiny. Arion was allowed to sing one last song, and drew dolphins to the ship. One of them took Arion home. Herodotos described the story:

"He had lived for many years at the court of Periander, when a longing came upon him to sail across to Italy and Sicily. Having made rich profits in those parts, he wanted to recross the seas to Corinth. He therefore hired a vessel, the crew of which were Corinthians, thinking that there was no people in whom he could more safely confide; and, going on board, he set sail from Tarentum. The sailors, however, when they reached the open sea, formed a plot to throw him overboard and seize upon his riches. Discovering their design, he fell on his knees, beseeching them to spare his life, and making them welcome to his money. But they refused; and required him either to kill himself outright, if he wished for a grave on the dry land, or without loss of time to leap overboard into the sea. In this strait Arion begged them, since such was their pleasure, to allow him to mount upon the quarter-deck, dressed in his full costume, and there to play and sing, and promising that, as soon as his song was ended, he would destroy himself. Delighted at the prospect of hearing the very best harper in the world, they consented, and withdrew from the stern to the middle of the vessel: while Arion dressed himself in the full costume of his calling, took his harp, and standing on the quarter-deck, chanted the Orthian. His strain ended, he flung himself, fully attired as he was, headlong into the sea. The Corinthians then sailed on to Corinth.

As for Arion, a dolphin, they say, took him upon his back and carried him to Taenarum, where he went ashore, and thence proceeded to Corinth in his musician's dress, and told all that had happened to him. Periander, however, disbelieved the story, and put Arion in ward, to prevent his leaving Corinth, while he watched anxiously for the return of the mariners. On their arrival he summoned them before him and asked them if they could give him any tiding of Arion. They returned for answer that he was alive and in good health in Italy, and that they had left him at Tarentum, where he was doing well. Thereupon Arion appeared before them, just as he was when he jumped from the vessel: the men, astonished and detected in falsehood, could no longer deny their guilt. Such is the account which the Corinthians and Lesbians give; and there is to this day at Taenarum, an offering of Arion's at the shrine, which is a small figure in bronze, representing a man seated upon a dolphin."

Herodotos' version does not include the addition that Apollon placed the dolphin in the sky for saving one of the best musicians alive at the time, but Roman author Gaius Julius Hyginus (64 BC - 17 AD) does, in his Atronomica. He also describes the creation of the dolphins:

"Aglaosthenes, who wrote the Naxica, says that there were certain Tyrrhenian shipmasters, who were to take Father Liber [Roman God, associated with Dionysos], when a child, to Naxos with his companions and give him over to the nymphs, his nurses. Both our writers and many Greek ones, in books on the genealogy of the gods, have said that he was reared by them. But, to return to the subject at hand, the shipmates, tempted by love of gain, were going to turn the ship off course, when Liber, suspecting their plan, bade his companions chant a melody. The Tyrrhenians were so charmed by the unaccustomed sounds that they were seized by desire even in their dancing, and unwittingly cast themselves into the sea, and were there made dolphins. Since Liber desired to recall thought of them to men’s memory, he put the image of one of them among the constellations."
 

Delphinus is visible at latitudes between +90° and −70°, and best visible at 21:00 (9 p.m.) during the month of September.

• Wednesday, May 1, 2013
  Amphitrite Apollon Apollon Delphinios Arion astronomy Constellation series herodotos Mythology 101 Ptolemy

Constellations Corona Australis & Corona Borealis: the two crowns

Because it's been a while since the last constellation, and yesterday's blog post hardly counted, I'm going to give you not one but two constellations today (also because it's much easier to describe both in one post, seeing as the mythology surrounding these two has mixed throughout the years, so I'm really just making it easier on myself).

The Corona Australis, the southern crown, is located in the southern hemisphere, next to the constellation Sagittarius. As such, it is often linked to that constellation and regarded as the wreath that fell off of the head of one of the kéntauros that particular constellation is linked to. In the same regard, it is also linked to the kéntauros 'Centaurus'.

Corona Australis is most often regarded as a wreath, but in some descriptions and depictions, the Corona Australis is a crown. There is, however, one myth in which the Corona Australis does not depict a wreath or crown: in this myth, the constellation represents Ixion, king of the Lapits, who fell in love with Hera after being invited up to Olympos by Zeus. Zeus decided to test his integrity after He discovered His guest' lust for Hera, but Ixion failed miserably. Ixion was expelled from Olympus and blasted with a thunderbolt for failing his test. Zeus then ordered Hermes to bind Ixion to a winged fiery wheel that was always spinning. Therefore, Ixion is bound to a burning solar wheel for all eternity, at first spinning across the heavens, then into Tartaros. The Corona Australis is this very wheel, with Ixion tied to it.

The most famous of myths associated with the Corona Australis is the story of the birth of Dionysos, and the death of His mother Semele. In this version of the myth, Dionysos is born from Semele and Zeus, and while Semele is pregnant with Him, Hera plants seeds of doubt in her mind about the father of the child truly being Zeus. Semele asks Zeus to reveal Himself to her in His true form, and when He is left with no other option, He does so, killing her in the process. Zeus takes pity on His child, and takes Him into either His thigh or testicle, where He is eventually born from. When Dionysos grows up, He raises Semele to Olympos and grants her eternal life. He also places a wreath into the sky to honor her. The wreath would be made of myrtle leaves, for Dionysos left a gift of myrtle in the Underworld in return for His mother, and the followers of Dionysos wore crowns of myrtle.

Interestingly enough, Roman author Hyginus ascribes this myth to the Corona Borealis, and adds that Dionysos first received this wreath--now a golden crown--from Aphrodite. He gave it to His beloved Ariadne, daughter of Minos. According to Hyginus, it was the light that reflected off of this crown, that led Theseus from the labyrinth after slaying the minotaur. Hyginus then goes on to retell the story above, and says that Dionysos did not want to take the crown into the Underworld in fear of it being contaminated with miasma. When He returned from the Underworld, he threw the golden crown into the sky as a memorial.

Hyginus also gives another account for the the northern crown, the Corona Borealis:

"It is said that when Theseus came to Crete to Minos with seven maidens and six youths, Minos, inflamed by the beauty of one of the maidens, Eriboea by name, wished to lie with her. Theseus, as was fitting for a son of Neptune[Poseidon], and one able to strive against a tyrant for a girl’s safety, refused to allow this. So when the dispute became one not about the girl but about the parentage of Theseus, whether he was the son of Neptune or not, Minos is said to have drawn a gold ring from his finger and cast it into the sea. 

He bade Theseus bring it back, if he wanted him to believe he was a son of Neptune; as for himself, he could easily show he was a son of Jove [Zeus]. So, invoking his father, he asked for some sign to prove he was his son, and straightway thunder and lightning gave token of assent. For a similar reason, Theseus, without any invoking of his father or obligation of an oath, cast himself into the sea. And at once a great swarm of dolphins, tumbling forward over the sea, led him through gently swelling waves to the Nereids. 

From them he brought back the ring of Minos and a crown, bright with many gems, from Thetis, which she had received at her wedding as a gift from Venus [Aphrodite]. Others say that the crown came from the wife of Neptune, and Theseus is said to have given it to Ariadne as a gift, when on account of his valor and courage she was given to him in marriage. After Ariadne’s death, Liber [Dionysos] placed it among the constellations."

As you can see, there are many myths surrounding the two crowns. The Hellenic poet Aratos named them 'Stephanoi' (Στεφάνοι) around 300 BC, but did not differnetiate between the two, although they are not placed close together. As such, the Stephanoi are visible and best viewed at different times throughout the year. The Corona Australis is visible at latitudes between +40° and −90°, and best visible at 21:00 (9 p.m.) during the month of August. The Corona Borealis, located near the constellations of Hēraklēs and Boötes, is visible at latitudes between +90° and −50°, and best visible at 21:00 (9 p.m.) during the month of July.

• Monday, March 11, 2013
  Amphitrite Aphrodite Aratos Ariadne astronomy Centaurs Constellation series Dionysos Hyginus Minos Mythology 101 Poseidon Ptolemy Semele

Mix-tape to Poseidon

Today, I'm posting a mix-tape for Poseidon. This idea is not mine; it's a combination of a wonderful idea by Sannion and Hellenion's monthly libation schedule. Hellenion is a Hellenistic organization from America and I've been using their wonderful calender and the great store of information they have gathered to start my own practice. Every month, Hellenion members pour a libation to a different Greek God or Goddess. This month, it's Poseidon's. To make the day more special, I have created a mix-tape of songs which either describe or would speak to Him.

Poseidon is the God of the Mediterranean seas, who can strike down his trident and create fresh water springs, or disastrous earthquakes. He is also the Lord of horses, presumably because of the foamy waves rising up like a herd of horses before crashing on the shore. He has made his home underwater, with his wife Amphitrite and other water creatures, many of which immortal. He's a powerful God, one of three brothers who rule the sky, the sea and the underworld.

My relationship with Poseidon is neutral, at best. I worship Him as a powerful God, but I'm not exactly a water rat, and I don't like swimming in the sea. I did enjoy the seas of Greece when I was there, but that was mostly because they were marginally cooler than the surrounding area. These mix-tapes force me to delve into the God or Goddess at hand, and hopefully get me little closer to Them. I feel like I have succeeded at this with Poseidon, but we're still at a bit of odd footing.

Live - Run to the Water

The first song I thought of when I started brainstorming for this mix-tape was Live's run to the water. They have a lot of water-y songs. 'Dolphin's Cry', for one, and 'Overcome', the chilling 9/11 tribute. Run to the water is one of my favorites by them, and just for the clip alone, would serve its purpose well in a mix-tape to Poseidon. The lyrics, however, are quite fitting as well.

"Yeah, I can see it now lord / Out beyond all the breakin' of waves / And the tribulation / It's a place and the home of ascended souls / Who swam out there in love"

Another line which speaks to Poseidon is this one:

"In a moment we lost our minds here / And lay our spirit down / Today we lived a thousand years / All we have is now"

Poseidon is not merely the Lord of the Seas, he was also a shaker of the earth... and the mind. Certain conditions, which were accounted to madness back in the day, were attributed to Poseidon. Epilepsy is one of them, for instance. And anyone who has ever dived down into the sea and stayed down as long as they could, know that time loses all meaning beneath the waves. It's an entirely different world, one where the rules of land life fade--including time.

Edie Brickell & The New Bohemians - Air of December

Poseidon has had many lovers beyond his wife Amphitrite. Most of them were mortal. Amymone, for example, as well as Cleito, Kaineus, and Tyro. All of these couplings were extraordinary in some way; Cleito, for example, was the mother of the founders of Atlantis, Kaineus was transformed--by request--into a man after her raped her, so she would never be raped again. It was a request Poseidon granted. We all know what happened to Médousa.

A coupling with the powerful Poseidon means a life forever changed. I can imagine some of his lovers to look back favorably upon their time with Him, and long for his return. Edie captures this longing perfectly in her song.

"You stood by the lake/ I wanted to take you for granted / The grass was thin and high / The water mirrored tiny sparkles to the sky / I remember you put a chill across my face / like the air of december / I swear I remember it that way"

 
The Organ - Brother

I imagine the confusion after having grown up in your father's belly and then being spit out into the world to be a daunting affair indeed. Imagine this song, as the situation comes to Poseidon, and decisions must be made now the world is about to go to hell, fast, as a war with the Titans seems unavoidable. Also, Poseidon never seems to me the most... joyous of the brothers.

"Here we go again / Oh midnight knocks! / Oh explosions! / Maybe it's all made up in our heads / This happens to me when I'm bored / Or depressed"


Dar Williams - The Light and the Sea

I've used a song from the album 'In the Time of the Gods' before, for Hermes' mix tape, before. This one was written with Poseidon in mind and it's too beautiful to leave out of this list.

Florence & The Machine - Shake it Out

Something about this song just reminds me of Poseidon's dark but comforting prescence. It could be the mention of shaking--as Poseidon is also know as the Earth Shaker--or horses--as He is also the Tamer of Horses--that reminds me of it. Also, the line 'it's always darkest before the dawn' reminds me of watching the sun rising while looking out over the sea. The quiet, the true shaking of emotions as you realize a new day is forthcoming. Whatever the case, this mix-tape needed to end with this song. I could listen to this song forever.

• Saturday, October 13, 2012
  Amphitrite Amymone Cleito Kaineus Médousa mix-tape series Poseidon Tyro

Introducing Amphitrite, Queen of the sea

The Hellenic pantheon literally has hundreds of Gods, Goddesses, Titans, nature spirits, heroes, kings and queens. Although Hellenismos focusses mostly on the Big Twelve, Hades, Hestia and Hekate, Hellenic mythology is a true treasure trove of immortals. Most of these 'lesser' immortals get very little attention, and I'd like to change this. So, ever now and again, I'm going to introduce one of the lesser known immortals and  try and find a place for them in modern Hellenistic worship, based off of their ancient Hellenic worship. Today, I'm introducing to you Amphitrite (Ἀμφιτρίτη), wife of Poseidon.

Amphitrite's parentage is debated. She is described as being a daughter of Oceanos and Tethys, and thus one of the Oceanids, in Apollodorus' Bibliotheca, but Hesiod lists her as a Nereid, the daughter of Nereus and Doris. In the Theogony, Hesiod writes:

"And of Nereus and rich-haired Doris, daughter of Ocean the perfect river, were born children, passing lovely amongst goddesses, Ploto, Eucrante, Sao, and Amphitrite."

From this, we can deduce that Amphitrite's genealogy looks something like this, according to Hesiod:

Or like this, from the Bibliotheca:

Amphitrite is a sea Goddess, as is clear by Her parentage (no matter the author) and Her marriage to Poseidon, Lord of the Mediterranean seas. Amphitrite's offspring are many, seeing and both seals and dolphins were born from Her. She also had a merman son, Triton (Τρίτων), and a sea nymph daughter, Rhode (Ῥόδη), with Poseidon. According to the Bibliotheca, the two had another daughter, Benthesikyme, who went on to rear Her half brother Eumolpus, son of Chione and Poseidon.

Amphitrite didn't have a cult dedicated to Her worship back in ancient Hellas, but She was of great importance in the archaic age. She is mentioned in the Homeric Hymn to Delian Apollon as one of Leto's midwives and before Poseidon's rule of the sea became supreme, Amphitrite ruled it, along with Her Nereids. This remained true at least until the Illiad. Even after that, when Amphitrite was mentioned in texts which proclaimed Her dominance of the sea, Poseidon was rarely mentioned. If anything, He was mentioned as her husband, and not the other way around. There is evidence of Her worship at the temple of Poseidon at Korinthos, at the altar of Apollon at Amyklai in Lakonia and at Olympia.

Another indication that this was one special Lady is the tale of how the two ended up together. Poseidon saw her dancing with Her Nereids at Naxos (Νάξος), one of the larger islands of Greece. He fell for Her instantly and tried to take Her. She rebuffed His advances and fled to Atlas, the farthest end of the sea. Poseidon, sick with love, sent His dolphin after Her to persuade Her to talk to Him, at least. He eventually found Her and spoke on behalf of His master. His words were so sweet and rang so true, that Amphitrite decided to give Poseidon a chance. It was because of the dolphin, Poseidon eventually got to marry Amphitrite, and He was so grateful, He placed the dolphin in the sky as the constellation Delphinus.

Due to her marriage with Poseidon, She is often depicted with a crown on Her head. Most often, She is beside Him, on a throne or in His chariot, like above. She is depicted as a young woman, often with a hand raised like a pincer. Often times, Her hair is covered with a net, and small crab claws adorn Her brow like little horns. 

Amphitrite is the female personification of the sea; she is not merely of the sea, she is it. She is the Queen of the sea and its supreme ruler, although She shares this glory with Poseidon, Oceanos, and other immortals of the sea. When calling to Her, you may use one of Her official titles: the loud-moaning mother of fish, seals and dolphins. For modern Hellenists, it may be wise to praise and offer to Her as well as Her husband when traveling over water, or when celebrating His festivals. This is specially true when worshipping Poseidon in one of His sea-related epithets. Like Poseidon, She may be appeased with fumigations of myrrh incense and the outpour of (sea) water.

• Wednesday, October 10, 2012
  Amphitrite Doris Gaea genealogy Hellenismos 101 Hesiod Introduction series Mythology 101 Nereus Nymphs Oceanos Ouranos Poseidon