Showing posts with label Apollon. Show all posts
Showing posts with label Apollon. Show all posts

The festival that gives its name to the month. It might have been sacred to Apollon, and was thus most likely held on His sacred day--the seventh of the month. The Boedromia might have been another war commemoration. The epithet of Apollon associated with this festival is 'Boedromios', the helper in distress. The origin of the epithet and festival are explained in different ways. According to Plutarch, the name was awarded to Him (and the festival created) because he had assisted the Athenians in the war with the Amazons, who were defeated on the seventh of Boedromion, the day on which the Boedromia were afterwards celebrated. According to others, the name was awarded after the war of Erechtheus and Ion against Eumolpus, because Apollon had advised the Athenians to rush upon the enemy with a war-shout (Boê), if they wanted to win--and they did.

We have already commemorated many ancient wars, but with this ritual, we would like to address the many wars currently taking place in our world. We want to plead the Theoi to bring them to a swift end and bring refuge to the many displaced. We ask that xenia--hospitality--prevail in a time where many would turn these refugees away.

You can join the community page on Facebook here and the ritual can be found here. We hope you join us today, on 14 September, at 10 AM EDT.

Exorcisms have a long and varied history, and the best known version of it is the 'Major Exorcism' as performed by a Catholic priest. This rite is recorded in the Rituale Romanum which seems to date from around 1600 AD. How old the ritual itself is, I am not sure, but the concept of possession is most certainly ancient. The idea of the Major Exorcism is to establish that a demon has taken possession of a person--which should be measurable by certain signs like speaking in tongues and convulsing--and then to drive out the possessor by reciting ritual texts and presenting the creature with holy iconography. I was asked if there was something like an exorcism in Hellenismos.


The question makes a few assumptions that need to be addressed before answering your question:
  1. Did the ancient Hellenes believe in possession?
  2. Did they believe it was a bad thing?
  3. Did the ancient Hellenes believe creatures which classically possess humans and/or animals existed?
  4. Did they believe these creatures would, indeed, possess humans and/or animals?
  5. Was it possible to cast out these creatures through religious (or even secular) rites?
The short answer to the first question is yes, they did. Certain Gods--especially wilder Gods like Dionysos and Pan were said to influence their followers in such a way that they became unaware of their surroundings and actions. The Maenads--followers of Dionysos, often female--in mythology at least are often portrayed as tearing people apart in their fit of madness and to see things while doing so. Most often, this is the way they are tricked into committing these acts. Almost always, they are inspired to do so by Dionysos Himself. The longer answer is a debate on if this constitutes possession as laid out by the Roman Catholic church. In the Rituale Romanum, the signs of possession are described as follows:

"[The] ability to speak with some facility in a strange tongue or to understand it when spoken by another; the faculty of divulging future and hidden events; display of powers which are beyond the subject's age and natural condition; and various other indications which, when taken together as a whole, build up the evidence."

As you can see, it leave a lot of room for interpretation. While the actions of the Maenads might fit part of the bill, it is more interesting to look at oracles as subjects of possession, as they tended to speak in tongues or riddles, divulge hidden events, and would often show physical signs of not being in control of their bodies. The oracle at Delphi is a classic example, and indeed, the ancient Hellenes believed the oracle possessed--not by an evil entity, but by a God; in this case, Apollon (for the majority of history anyway).

As such, I don't believe possession in these forms was considered a bad thing; it was the way the Theoi spoke to or through their followers, and in general, it was a much sought-out and desired skill of both mystery cults and divination.

Classical creatures who possess people according to the church are mostly demons, malevolent beings sent by the Devil or acting on their own accord. In general, their only goal is to bring pain and suffering to humanity. The word 'demon' comes from the ancient Greek root 'δαίμων'--'daímōn'. Hesiod gives us our first glimpse into daímōns as he writes about the five Ages of Man in 'Works and Days'. He gives us the following references:

"First of all the deathless gods who dwell on Olympus made a golden race of mortal men who lived in the time of Kronos when he was reigning in heaven. [...] But after earth had covered this generation -- they are called pure spirits dwelling on the earth, and are kindly, delivering from harm, and guardians of mortal men; for they roam everywhere over the earth, clothed in mist and keep watch on judgments and cruel deeds, givers of wealth; for this royal right also they received.

[...] then they who dwell on Olympus made a second generation which was of silver and less noble by far. It was like the golden race neither in body nor in spirit. [...] But when earth had covered this generation also -- they are called blessed spirits of the underworld by men, and, though they are of second order, yet honour attends them also." [ll. 109-120]

Hesiod's Ages speak of only one race who became daímōns; those of the Golden Age, yet those of the Silver and Heroic Age also received many honors after their passing, and they were held in high regard. Hesiod makes clear distinction between the Theoi and daímōns: the Theoi are Gods, daímōns are members of the Gold Age who gained immortality. This differentiation is much less pronounced in the writings of Hómēros, where God and daímōn are used virtually interchangeably.

This difference led to a misinterpretation of the nature of the race of the Silver Age: they became dangerous daímōns in the eyes of later writers (like Plato), and eventually the demons of Christianity. Yet, neither Hómēros or Hesiod ever intended them to be so: all daímōns were pure and Deathless; they acted as a policing force for humanity. Especially through Neo-Platonics comes the placement of daímōns between the Theoi and mankind. They are less powerful than the Theoi, with lesser domains; more concerned with the daily happenings of life than the Theoi are, but they, too, are immortal, and deserve honors. Daímōns fulfill an important role in mythology and life: all aspects of life can be overseen by Deathless beings, without taking away from--or needlessly adding to--the portfolio of the Gods.

A daímōn could also be a personal guardian spirit or the personification of a person's conscious--or even their muse--this idea seems to be a Neo-Platonic evolution of Hesiod's classical daímōns, popularized by Socrates (and his followers), who described his personal daímōn in his trial. From Plato's 'Apology':
 
"You have often heard me speak of an oracle or sign which comes to me, and is the divinity which Meletus ridicules in the indictment. This sign I have had ever since I was a child. The sign is a voice which comes to me and always forbids me to do something which I am going to do, but never commands me to do anything, and this is what stands in the way of my being a politician."

Daímōns had been separated from their Hesiodic cousins by then, but they were still considered positive forces. The later corruption of the term came from the Christians. The ancient Hellenes did not know demons in the way we know them now; the earliest mention I know of is from the Papyri Graecae Magicae, which also includes an exorcism rite. Note that this document can be dated anywhere from the 2nd century BC to the 5th century AD, and that it was Graeco-Roman/Egyptian in origin. It was a rather obscure document even in its time, but for this search, it might suffice. Note that it is in essence a Christian rite, though, and adresses the Christian God and pantheon.

Now, I would like to focus a moment on 'evil' entities the ancient Hellenes did believe in: ghosts. Ghosts were the people who could not find the entrance to the Underworld or who didn't have the money to pay Kharon for their passage. Those who were not properly buried were also doomed to wander the Earth for a hundred years. Interestingly enough, Hellenic heroes were also considered ghosts and were honored in the same type of rites as other types of ghosts.

The ancient Hellens held festivals in honor of ghosts, and the Theoi that presided over them, so they would be sated and appeased and would not haunt them. Most of these festivals included a holókaustos--a sacrificial offering given in its entirety to the Gods--and were solemn affairs, conducted at night and without an offering of wine.

This fear of spirits and other supernatural entities was named 'deisidaimonia' (δεισιδαιμονία). The ceremonies of riddance were known to the Hellenes as apopompai (ἀποποπμαί), 'sendings away'. There isn't a single word in the English language that conveys the practice. Closest would be, indeed, 'exorcism'.

It is important to note here that these 'exorcisms' weren't performed on people, but on the ghosts themselves and in short, they consisted of rites to ask the Gods (especially Hekate) to keep these unfortunate souls away from their homes and families, because the ghosts could bring misery down upon them. Possession was not part of the fear. Many rites in the ancient Hellenic religion--including monthly ones like the Deipnon--were apotropaic. Many of these rites were also linked to miasma.

Within Hellenic practice, miasma describes the lingering aura of uncleanliness in regards to a person or space through which contact is made with the Gods. Next to piety, being ritually clean is one of the most important things to adhere to within Hellenismos. Severe miasma needs to be cleansed by the Gods, and these rites were apotropaic in nature.

The answer to the question at hand is thus that it depends on the time period and your definition. Strictly speaking, the ancient Hellenes in general did not believe in possession, but did have specific rites to ward off the evil and miasmic. Later on, especially in cult worship, some forms of demon possession became a known issue, but by and large, demon possession did not occur until the Roman empire and the rise of Christianity. Perhaps it was a different understanding of the same thing, but the concept would have been foreign to the ancient Hellenes. By extension, exorcisms were too.

On 12 Metageitnion, two separate rites were held, one in Erkhia and one in Athens. The first was in honor of Demeter, the other in honor of Zeus Polieus, Athena Polias, and Apollon Lykeios. On 21 August, so today, at 10:00 AM EDT, we will combine both rites into a single PAT ritual.



Demeter, we all know, and she is not listed with a specific epithet. Zeus, Athena, and Apollon, however, are. Zeus Polieus and Athena Polias were protectors of the city. That is literally the translation of their epithet: 'of the city'. Apollon Lykeios means 'of the wolves'.

From the Erkhian ritual calendar, we know that the sacrifices to Apollon, Zeus, and Athena were not to be removed from the site and were thus to be eaten on the spot after part of the offering was sacrificed. In all cases, this offering was a white sheep, male for the male Gods, female for the female Gods. Demeter also got a female sheep, but her entry does not have a note to not remove the meat from the location, meaning the meat could potentially be taken away to be eaten later, or sold at shops founded especially for the purpose.

Will you be joining us in honoring these Gods on 21 August, at 10:00 AM EDT? The ritual can be found here, and you can join our community here.

 I greatly enjoy watching the Olympics. I enjoy watching sport in general, but this is a competition which started in Greece, by the people who worshipped the same Gods as I do, people whose lives I'm trying to reconstruct. Watching the Olympics is religious for me. Did you know all of this about the Olympics?


An artist's impression of Altis, the sanctuary in Olympia
  1. The Olympic Games were held every four years, like they are now, from 776 B.C. to A.D. 394. They were, however, part of a cycle of sports events, known as the Panhellenic Games. The Olympic Games were dedicated to Zeus, were held in Olympia, Elis, and were held every four years. The Pythian Games were dedicated to Apollon, were held in Delphi and were held every four years, starting three years after the Olympic Games. The Nemean Games were dedicated to Zeus also, were held in Nemea, Corinthia, and were held every two years. Lastly, the Isthmian Games were dedicated to Poseidon, were held in Corinth, and were also held every two years.
  2. The most important events at the Olympic Games weren't the sport events; they were the sacrifices, offerings and other dedicatory practices which were continually performed during the five day event. There were also artistic happenings; writers, sculptures and painters showed what they could do in their given trade. Palmistry was practiced, wine flowed freely and there were a lot of prostitutes, who made more money in these five days than in the whole of a year without the sporting event. The Olympics were a festival unlike any other and every four years Hellas went nuts for it.
  3. The opening ceremony was as spectacular as it is today, but in an entirely different manner; athletes filed into the arena and were presented to the audience. Then, they were presented to a towering statue of Zeus, who carried a thunderbolt and a heft scowl. They swore on a bloody slice of boar's meat that they would obey the rules of the competition and not cheat to gain victory.
  4. The torch relay I take great joy in, was not practiced in Ancient Greece. In fact, it was introduced in 1936 by Hitler in response to an idea by Carl Diem to further the reign of the Nazi's and, in their eyes, glorify the Aryan super race, the Spartans. 
  5. Not everyone was allowed to participate in the games; non-Hellenics and women were unable to compete. There were exceptions made for non-Hellenics, like Roman Emperor Nero, when the situation called for it, but women were never allowed to compete. Married women weren't even allowed to enter the arena. There was, however, a secondary series of sporting events held in honor of Hera where women competed.
  6. The Olympic sport events back then were: chariot racing, wrestling, boxing, pankration, foot races, and the pentathlon which consisted of wrestling, stadion, long jump, javelin throw, and discus throw. Pankration was a fighting sport in which everything went. It was a kind of mixed martial-arts event in which broken bones were the norm, choke holds were encouraged and the only thing that you really couldn't do was gauge someone's eyes out. Everything else went. You won when the other guy went K.O.
  7. Except the chariot races, all Olympic sports were performed naked. This included the Pankration, so you can imagine where most of the pain was inflicted. The woman weren't completely naked, but participated with one breast exposed, in honor of the Amazonian women who were said to be so incredible at sports and warfare alike. 
  8. Over 40.000 people came to watch the Games. Olympia was in the middle of nowhere. If you came from Athens, it meant a 340 kilometer (210 mile) long walk just to get to Altis. Because of the festival and the presence of the Gods, all these people traveled the distance anyway.
  9. The end of the Olympic Games is guestimated to 394 A.D. after a decree to cease all pagan festivals by Christian emperor Theodosius I.
  10. Winners of the Olympic Games got rather minor rewards; Olympic winners received a garland of olives, Pythian winners received a laurel wreath, Nemean winners received a wild celery garland and the Isthmian winner received a pine garland. There was no runner-up; you won or you lost. All athletes were bathed in fame and glory until they lost, but the winner was brought home to his polis a king. He would never have to work again, was covered in riches and women, and his name and family name would be forever remembered and honored.

 Time for another bit of ancient beauty! I love little gems like this. It is not truly a hymn as such, but more an invocation: a short work that is meant to supplicate. This one is to Apollon and the muse Kalliope, the muse who presides over eloquence and epic poetry. It was written by Mesomodes.


Mesomedes of Krete (Μεσομήδης ὁ Κρής) was a Roman-era Greek lyric poet and composer of the early 2nd century AD. Two epigrams by him in the Greek Anthology are extant, and a hymn to Nemesis as well as one to Helios. The hymn is one of four which preserve the ancient musical notation written over the text. A total of 15 poems by Mesomedes are known. Prior to the discovery of the Seikilos epitaph in the late 19th century, the hymns of Mesomedes were the only surviving written music from the ancient world. The hymns to Nemesis, the muse Kalliope, and Helios can be read here and listened to here.

This version was reconstructed by Christodoulos Halaris and has been recorded on his album 'Music of Ancient Greece'. Greek composer and scholar Christodoulos Halaris is a leading expert on the study and reconstruction of ancient Greek and Byzantine music. He turned to musicology and composing after studying mathematics in Paris. Taking his cues from religious iconography and traditional popular Greek music, Halaris began reconstructing fragmentary (and sometimes nonexistent) old Greek music documents. He has published more than fifty CD's of this music and helped create the Museum of Thessalonica, devoted to Greek music. The English translations are from Ancient Greek Music by M. L. West, Oxford University Press, 1992.


Invocation to Apollon and Kalliope

Sing for me, dear Muse,
begin my tuneful strain;
a breeze blow from your groves
to stir my listless brain.
 
Skilful Calliope,
leader of the delightsome Muses,
and skilful instructor,
son of Leto, Delian Paian,
favour and be with me.

 It had been a long journey. Hermes had kept him safe through most of it, so he was not mugged, nor killed. His feet hurt from his blisters as he walked the final steps into the temple. He had arrived four days ago and was housed in one of the guesthouses by the priests of Delphi. He was asked to wait with the other petitioners until the Oracle was ready to receive him. He was lucky; he had only had to wait four days. Others had been here for weeks. 


He had been relieved of his gifts and offerings to the Oracle as soon as he walked through the gates. Four long days had passed and now he entered the dark temple, lit only by a couple of torches lining the wall. He was led deeper into the complex by a silent priest and he wondered if it was the same one who had greeted him at the gate. His thoughts halted as he laid eyes on Pythia; the Oracle.

She was younger than he had expected, in her early thirties, perhaps, and seated on a three legged stool, flanked by two priests. She swayed slightly, inhaling the fumes of laurel and barley, which hung heavily in the air. He held back a cough and waited when the priest who had led him here motioned for him to do so. The priest walked on and ascended the few steps to reach the Oracle. He tried to keep his eyes off of the woman on the stool. She unnerved him. As he heard a light whisper, he did look up, in time to see the priest whisper his question in the Oracle's ear. Should his brother leave the farm to his eldest or youngest son, or perhaps split it? It was a question which was tearing his family apart and so he had come here to hear the will of the Theos Apollon. 

The priest stepped away and the Oracle sunk deeper into herself. The swaying became a shaking that rocked her body and he could barely hold back a gasp when she threw her head back and inhaled sharply. The two priests stepped closer to hold her lightly as she begun to mutter, the words too soft for him to hear. The words swelled rapidly and soon her words carried through the entire hall but he was barely able to register them, enthralled as he was by the Oracle. His guide begun to scribe down the words, sitting at the feet of the Oracle. He remained silent, unsure what to do with himself now the Gods were so close to him. Then the Oracle's head fell forward and his guide stood. He silently motioned for him to follow him out and he did, not chancing a look at the Oracle, who was being supported by the two priests as she left the room through a doorway he had not seen.

When he stepped outside, the sunlight was painful to his eyes. the sounds were too harsh on his senses. Something had shifted in him, the universe redone through the words of the God. The priest halted him and spoke a few words. His interpretation of the words of the Oracle. His brother should offer libations of wine to Apollon and look to the birds on the dawn of the second day after the new moon. The son who commented on them should inherit the farm. He thanked the priest and, after gathering his belongings, he took to the road with relief in his heart. His family would be saved by a sign from the Gods.

This is how archeologists think a petition at the Oracle of Delphi could have gone, combined with some dramatization on my part. The Oracles of Delphi are, by far, the best known oracles but there were many, many more. Some were stationary, holding office in their hometown. Amphiaraus in Oropus, for example. Others traveled the country, providing the voice of the Gods in family disputes, fights over land and cattle ownership, and any other number of disputed that they could help with. They often walked a very thin line, as  they often had to pick a side in disputes and the losing party often did not appreciate it.

Oracles given directly, like at Delphi, were rare and called chesmomancy. All other forms of divination practiced in ancient Hellas were performed by seers, not oracles. Seer staples were divination through the spotting of birds (ornithomancy and augury), dream interpretation (oneiromancy) and animal sacrifice (hieromancy, haruspicy, empyromancy and extispicy) but other forms of divination were definitely used, including cledonomancy (listening to words spoken by a crowd), oneiromancy (divination through the reading of birthmarks) and Phyllorhodomancy, the reading of the sound rose petals make when slapping them together with your hands. The biggest difference between oracles and seers was that oracles gave long answers which usually needed some for of interpretation while seers usually answered yes-or-no questions.

Divination of any kind was rarely turned to, to predict the future. To desire knowledge of the future was considered hubris. Instead, oracles and seers were petitioned to help answer questions about the present or to advice on a decision which had to be made in the very near future. 'Shall I go to war?', ' Shall I put my sheep out on the high pasture?'. Most often, oracular questions were posed in a way which made it easy for the God(dess)--and the seer--to answer; they did not ask 'Shall I go to war?', they asked 'Don't you think I ought to go to war?'. Most likely, the answer of seers (and perhaps even oracles) depended on the offertory; if it was large enough, the answer was 'yes', if the offertory was dissatisfactory, the answer would be 'no'.

Divination played a fairly large role in Hellenic every day life, but it played an even greater role in mythology. many of the epic stories, like those written by Hómēros, feature signs given by the Gods and interpreted by humans. The eagles, sent by Zeus, in the Odysseia, for example:

"So Telemachus spoke, and Far-Seeing Zeus sent out two eagles from a high mountain peak. They flew for a while with outspread wings, side by side in the currents of air, but when they were above the voice-filled assembly they swiftly slanted their wings, circling round, gazing down on the heads below, and death was in their gaze. Then they clawed at each other’s head and neck with their talons, and soared away eastward over the roofs of the town. The people saw them and wondered, and considered what this might foreshadow. Then the old hero Halitherses, Mastor’s son, spoke out, for he was the wisest man of his day in bird-lore and prophecy. With goodwill in his heart he addressed the assembly:

‘Men of Ithaca, listen to me: and I say these words to the Suitors especially, since disaster approaches them. Odysseus will not be far from his friends much longer, and I believe even now he is near, sowing the seeds of dark death for all these men. Yes, and he will bring trouble to many another of us, who live in clear-skied Ithaca. Let us think in advance how we might prevent all this, or let them prevent it of their own accord, easily their best option. I am not unskilled in prophecy, but have true knowledge. I say that all things for that man will be fulfilled, just as I told him when the Argives sailed for Troy, he among them, resourceful Odysseus. I declared that, suffering many troubles, losing all comrades, he would return in the twentieth year, unknown to all: and now it is coming to pass.’ "

Many divinatory practices remain today but most modern Hellenics divine differently than the Hellens of old. Tarot has become a staple in divination. I have my Olympus Tarot deck for readings. Yet, I also practice cledonomancy when I have access to a crowd and no access to my tarot cards, and I absolutely believe in the prophetic powers of dreams.

The Greek Herald has put together a list of five facts you need to know about music in Ancient Hellas, so I thought I'd share! 


1. Music as a gift of the Gods:

In Ancient Hellas, music was seen as a gift of the Gods and they considered that music could have a valuable effect on both body and mind of the listener.

The invention of musical instruments was attributed to specific deities including the lyre to Hermes, the flute to Athena and the panpipes to Pan.


2. Music and Education:

According to historical evidence, Hellenes started studying the theory of music from the 6th century BC. The earliest surviving text on music is the Harmonic Elements of Aristoxenos, which was written in the 4th century BC.

Music developed into an important element in the studies of philosophy by the followers of Pythagoras, the Hellenic philosopher and mathematician, who supposed that music was a mathematical expression.


3. The first school of musical education:

According to Plato, the first school of musical education was founded from the people of Crete followed by the music schools of Athens, where students were taught to sing and play the lyre. In Ancient Hellas, they believed that music taught order and discipline while allowing the educated to appreciate better the musical performance.


4. Music and Religion:

Music was associated with religious occasions in Hellenic cities including the Panathenaia and the Dionysia festivals in Athens.

Music contests in athletic competitions had a religious nature in honour of the Gods and the earliest such competitions were held in Argos, Paros and Sparta.


5. Musicians and Social Class:

The musicians of Hellas, also known as the makers of songs or melopoioi, were often regarded as composers and lyricists of the music they performed.

In Ancient Hellas, musicians had an elevated society status, indicated from robes and their presence on the lists of the royal household.

Coming of age ceremonies are prevalent in most cultures and are often linked to the religious views of the people performing it. Famous examples are the bar mitswa's and bat mitswa's of the Jewish. The ancient Hellenes had coming of age rituals as well, and like almost everything else in ancient Hellenic life, these rituals were tied into deity worship. Today, I'm going to talk about these coming of age ceremonies, but because the differences are so great between girls and boys, I'm going to describe their coming of age ceremonies separately.



Girl to woman
In ancient Hellas, a girl's coming of age ceremony was linked to her wedding day. As soon as she got married, she would move out, into her new husband's oikos, and commit to the task she was born to fulfill: gift her husband legitimate offspring--boys, preferably. It won't come as a surprise that in preparation for this entirely new role in life, a girl's coming of age ceremony was focussed almost entirely on ending her own childhood, and petitioning the Theoi for help in her life as an adult. As such, fertility and womanhood were big parts of the rituals.

Young girls rarely had a role to play in household worship. The family only had them with them for thirteen to fifteen years, on average, after that, she joined her rightful place at the oikos of her husband, where she carried more (religious) responsibility. There were religious roles young girls could fulfill outside of the home, however, most notably as 'Arrephoros' (Ἀρρήφορος)--year long handmaidens of Athena Polias (Πολιάς)--in Athens, and as 'Arktos' (αρκτος), bear, a service in the following of Artemis Brauronia (Βραυρωνια) at Brauron (Βραυρών).

During the Arkteia festival, celebrated every four or five years alongside--or as a part of--the Brauronia, named and in honor of the epithet of Artemis. Every Athenian girl, as well as many other girls from all over Attika, had to take part of the festival before they could marry. The girls were brought to Brauron, a temple of Artemis with a rich history in both myth and history. Some versions of the myth of Iphigeneia have her taken from the sacrifice and dropped in Brauronia, where she established a temple to the Theia in gratitude. Otherwise, an oracle might have told the ancient Hellenes to build a temple to the Theia at Brauron after a terrible plague or famine plagued the land following the killing of a bear by two hunters.

The symbolism of the bear might refer to the bear which was slain by the hunters, or the clothes Iphigeneia might have left at her 'sacrifice'. It's also possible that the bear reference refers to Kallisto, who was transformed into a bear by the Theia.

During the festival young girls, and it seems that on occasion young boys, would gather to celebrate Artemis Brauronia with races, and dances. They would don bear masks and dance a dance known as the 'Arkteia', which was made up of slow, solemn steps meant to imitate the movements of a bear and was performed to a tune from a diaulos (double flute). They might have carried baskets of figs. Up until as far back as the 5th century, the girls might have worn actual bear skins, but bears soon became scarce, so they wore yellow dresses called 'krokoton', which they 'shed' instead of the skins to signal their coming adulthood.

The actual reason for the 'bear' ritual has been lost. It's possible that the ritual served to exorcise 'the wildness' out of little girls, but it's more likely that it was simply a way to procure kharis for the young girls who would soon call on Artemis during childbirth. In the same spirit, young women on the threshold of marriage made an offering to Artemis of their childhood toys and other paraphernalia that represented childhood, as with an offering of one drachma (roughly $ 60,-) at the temple of Aphrodite. Most likely, the bride also honored Hera Teleia and Zeus Teleios in some way.

A young woman came of age during her wedding and the subsequent wedding night, but became a woman when she gave birth for the first time. Especially during the latter, they desperately needed the support of the Theia Artemis. Aphrodite and Hera Teleia would support her through her marriage, and help her make it a success. With the help of the Theoi, a girl could become a woman.

Boy to man
Young boys had a very different life to young girls when it came to life in ancient Hellas. Because it was very important for a man to have legitimate children, the child's paternity was attested to on multiple occasions. In Athens, this was done the first time shortly after being named, and the second time when he reached sixteen years of age. Both times, the child was presented at the 'phratria' (φ(ρ)ατρία)--brotherhood--of his father. The system of brotherhoods, four in total, was the system that preceded the system of tribes. The brotherhoods largely fades, except for the registration of male offspring, and the vetting of such with testimonials and tests. The brotherhoods were overseen by Zeus Phratrios and Athena Phratria, who were honored yearly in a three-day festival called the 'Apoutouria'.

During a son's presentation to the brotherhood, Zeus Phratrios and Athena Phratria during the Apoutouria, boys sacrificed a lock of their hair to the patron Theoi and Hēraklēs, their father an animal. If one of the phratria contested that the father was, indeed, the father of this child, he could take the animal from the father before they reached the altar, and drag it away. Doing so would have been a very serious thing to do, and very shocking for a young boy to witness, not to speak of the father. The claim would then be put to a vote. When the phratria ruled in favor of the father, the animal was sacrificed and the meat distributed to the members of the brotherhood. The son became a full member.

At sixteen, a boy was considered a young man, and he entered one or two years of public service, either to mature, or to show he had matured enough to take part. This was called his 'ephebeia', which literally means 'young man'. On completion of this public service, a young man could enter the military and became a voting member of the Ekklesia. He became a citizen. Although young man were now considered adults, he only truly became an adult at age thirty, when he could serve in the boule, and get married.

Young men swore an oath upon completion of their ephebia, which has largely been preserved. It read as follows:

"I will not bring shame upon these sacred weapons nor will I abandon my comrade-in-arms wherever I stand in the ranks. I will defend both the holy and profane things. I will not hand on the fatherland smaller than I received it, but larger and better, so far as it lies in my power with the assistance of all the other citizens. I will obey the officials who govern wisely and the laws, both those which are already established and those which are wisely established in the future. If anyone attempts to destroy them, I will not allow it, so far as it lies in my power with the assistance of all the other citizens. I will hold in honor the ancestral sanctuaries. The following gods are witnesses: Aglauros, Hestia, Enyo, Enyalios, Ares and Athena Areia, Zeus, Thallo, Auxo, Hegemone, Heracles, the territory of the fatherland, the wheat, barley, vines, olive trees, and fig trees."

With this oath, the world opened up for young men; they would now be held divinely accountable for any trespassing upon the law and common sense. Political life would become important for men, as well as military service. They had roughly ten years to dedicate to these before he took a wife, so young men tended to fulfill much of their obligation to the city in these ten years. After his marriage, he became the one who presented sons to the phratria, and he got to experience the entire proceedings from the spot his father once held. This--most likely--created strong familial ties that continued through family lines for centuries.

In conclusion
There is much that remains to be said about coming of age ceremonies in ancient Hellas, more to be said about coming of age ceremonies in ancient Athens, even, but that is talk for another day. For now, I hope you have a basic idea of the youth and religious focal points of an Athenian child's life. Personally, I have a soft spot for coming of age rituals, and I strongly suggest creating or adapting ceremonies for the second (or even third) generation of Hellenists. What this would look like will be left for another post, but it would surely be beautiful.

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.



"I have a question about miasma and ritual purification. I understand that many start with a shower and end with khernips. But what about modern conveniences? Is it okay to use scented soaps? Is it okay to put on deodorant after the shower? Can I style my hair? Or is it better to just go straight from drying off to khernips?"

By all means, make yourself pretty and good smelling! the ancient Hellenes sure did! This whole shower-as-part-of-katharmos is a modern invention. Katharmos, or the act of getting ritually clean, starts the second you walk into the area you have designated as sacred with the intent of performing ritual. Your shower happens way before, as does any primping. Then, you prepare your mind and start your procession into the area. this is when katharmos starts. You wash your hands with khernips–lustral water, which you prepare there and then, or you could possibly have stored–sprinkle the area with the water and strew barley groats as if sowing them. That’s your purification. As you can see, all of the things you worry about happen long before!

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"I'm really new to Hellenismos so I have a lot of questions, but in particular I have one about khernips. Do I have to use them every time I pray, or could I limit it to rituals? I am lacking in resources but I don't want to offend the gods in any way. Thank you in advance!"

You use khernips every single time you perform a rite for the Gods. This includes (daily) sacrifice, festival celebrations, etc. The only exception for the ancient Hellenes would have been the drops of wine tipped on the ground during a symposium (a social gathering where wine was consumed and philosphical talk was indulged in) or before a meal. In general, though, if you plan of getting in contact to the Gods, get ritually clean with khernips. Praying, really, is not an act that befits Hellenismos if partaken in as a standalone activity: you pray during ritual. The two are synonymous. I hope this helps!

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"Do you know any Gods that were associated with Ravens/Crows?"

The only one that comes to mind is Apollon. For a variety of reasons, Hermes is often associated with these birds as well, but there is no ancient evidence for this. Apollon, on the other hand, has a long history with the birds. It seems odd that a deity associated with light is also associated with an animal with an image as negative as the raven. Ravens are often associated with battlegrounds, cemeteries, and death, with the rotting of carcasses, and funerals. In Hellenic myth, they are also associated with vision beyond that which is present. With oracular visions, and with spotting that which can not, or should not, be spotted.

One myth that associates ravens with Apollon is the myth of Koronis (Κορωνίς). Koronis was Apollon's lover, and was pregnant with His son, when she fell for another man, a mortal man, Ischys (Ἰσχύς). A raven--then white--had been assigned by Apollon to watch over His lover, and when the raven returned to tell Apollon of Coronis' betrayal, Apollon was furious the raven had not pecked out the eyes of the mortal whom his lover fell in love with. In a fit of rage, Apollon turned its feathers black.

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"I've been reading your blog for a long time and you are one of my go-to sources. I have questions about statues which have left me stumped for months. My alter is far more "cluttered" than your own. Recently I've started to make it more deity neutral. Where would you suggest I place my statues? Would you mind sharing how you display your own? I've considered individual alters. Do you know any sources with images that might guide me? Thank you for all the amazing work you do and have a great day!"

I think there is an easy source of your confusion: there is a huge difference between an altar and a shrine. An altar is one of those basic necessities within Hellenismos, and it differs from a shrine. Where an altar is a ‘work space’, dedicated not so much to a specific deity, but used to do the bulk of the (daily) rituals, a shrine is a devotional area where an altar might be located. In ancient Hellas, the shrine was usually a temple, the altar an actual altar, standing outside of it. Household worship took place at a multitude of shrines. Labelling something a shrine does not mean you can’t sacrifice at these spots in your home. In general, you decorate a shrine but leave the altar rather bare.

As for your statues: I put them up on my shrines, not my altar. That’s why it’s bare-ish ;-)

It's time for part three of the series-within-a-series featuring the myth of Apollon and the raven. The previous parts were the constellation Corvus: the Raven, and the Constellation Crater: the Cup. This third installment is about the longest constellation we still recognize as a constellation today: Hydra, or the sea-serpent.


To recap the story of Apollon and the raven: the raven (or crow) was in service to Apollon, and was sent out on an errant for the Theos. He was asked to bring water to Him, but instead, he paused in his quest. Most commonly it is assumed is that he stopped for a meal of figs. When the raven returned without water, Apollon questioned him. Instead of giving a straight answer, the raven lied, and said he had been kept from the water by a snake. In some accounts, he actually had a snake in his talons as he said this. Apollon, however, saw that the raven was lying, and flung the raven, the krater with which the raven was supposed to collect water, as well as the snake into the sky, where they remain to this day.

Roman author Gaius Julius Hyginus (64 BC - 17 AD) talks about the serpent's continued function in his Astronomica:

"This is the sign on which the Crow sits and over which the Bowl is placed. [...] As long as the figs are ripening, the crow cannot drink, because on those days he has a sore throat. So when the god wished to illustrate the thirst of the crow, he put the bowl among the constellations, and placed the water-snake underneath to delay the thirsty crow. For the crow seems to peck at the end of its tail to be allowed to go over to the bowl." [2.40]


Another hydra the constellation is associated with is the Hydra vanquished by Hēraklēs as his second labour. After his victory over the Nemean lion, Hēraklēs is send off to handle another sticky problem: the Lernaean Hydra, who was raised from the earth by Hera just to end the life of Hēraklēs. The Lernaean Hydra (Λερναία Ὕδρα) was the offspring of Typhon, and layered in the swampy lake of Lerna. He realized he would need help for this labour, and asked it of his nephew Iolaus (Ἰόλαος). Together they devised a plan: Hēraklēs would cut off the heads, and Iolaus would sear the stumps shut, in this way, the heads could not regenerate. When Hēraklēs returns to Eurystheus after completing the labour, the king decrees that, because Hēraklēs could not have completed the labour without the help of Iolaus, the labour will not count against his total, and he will have to do an extra one to fulfill his debt.

On the hydra, Pausanias writes in his 'History of Greece'. He speaks of the birth place of the hydra, and of his alleged number of heads:

"At the source of the Amymone grows a plane tree, beneath which, they say, the hydra (water-snake) grew. I am ready to believe that this beast was superior in size to other water-snakes, and that its poison had something in it so deadly that Heracles treated the points of his arrows with its gall. It had, however, in my opinion, one head, and not several. It was Peisander76 of Camirus who, in order that the beast might appear more frightful and his poetry might be more remarkable, represented the hydra with its many heads." [2.37.4]


Constellations are often associated with the constellations they are surrounded with, and with no constellation this is clearer than with Hydra. Aratos, a Hellenic poet who flourished in Macedonia in the early third century BC, speaks best of Hydra in regards to his surrounding constellations in his 'Phaenomena':

"Another constellation trails beyond, which men call the Hydra. Like a living creature it winds afar its coiling form. Its head comes beneath the middle of the Crab, its coil beneath the body of the Lion, and its tail hangs above the Centaur himself. Midway on its coiling form is set the Crater, and at the tip the figure of a Raven that seems to peck at the coil." [443]


The constellation Hydra is visible at latitudes between +54° and −83°, and best visible at 21:00 (9 p.m.) during the month of April.

A marble altar with an ancient Greek inscription has been discovered at the site of Patara, close to the south-west coastal city of Antalya in Turkey. The ancient Hellenic altar, which features a relief of a snake wrapped around the ancient stone with a Greek inscription, is thought to be over 2,000 years old.

Speaking to Turkish media, Mustafa Koçak, an archaeologist working at the site, noted that such an altar has never been found in the area, but similar finds have been discovered at other ancient sites. He hypothesized that the snake motif relates to the worship of the Gods, as people would make sacrifices and give offerings to the gods at altars like this one.

Koçak added that archaeologists have encountered sculptural forms of large snakes throughout their excavations that resemble the one found on the altar, and theorized that they may have also been others present in the city during ancient times.

Further study and translation of the Greek inscription may reveal more information about the use and historic context of the altar. However, in descriptions of the impressive find, the Turkish press has not even mentioned the presence of the ancient Hellenic inscription on the column.

Antalya, now known as a Mediterranean resort destination on Turkey’s southern coast, was once home to a prominent ancient Hellenic city. The ancient city of Patara, located in Lycia, where the altar was found, was a hub for commerce and maritime activity in antiquity.

Taking its name after its mythological founder Patarus, son of Apollon, Patara served as an important site in Hellenic and Roman antiquity. In 333 BC, Alexander the Great conquered the city, and it was governed by a series of emperors throughout its long history.

Patara’s strategic location in modern-day southwest Turkey helped it preserve its economic and cultural importance through the Byzantine period as well, and it has significance to Christians, since it was the birthplace of St. Nicholas, the bishop of Myra, in 270 AD. With its ancient history, and because it was continually inhabited for so many centuries, the site is home to many Hellenic and Roman ruins, including an impressive Roman-era theater.

There is an almost uncountable number of ancient Hellenic and Byzantine archaeological and historical sites in Turkey, many of which attract hundreds of thousands, even millions, of visitors every year. These countless sites in not only Turkey but around the world, serve incontrovertible evidence of the Hellenic people’s long, rich history and contributions to world civilizations.

It's time for a new constellation, and this one is entirely dedicated to two brothers. While there are many twins in Hellenic mythology--Artemis/Apollon, Iphikles/Hēraklēs, Amphion/Zethos, etc., this constellation is almost solely connected to one set of them: Kastor and Polideukes. In fact, the main stars of the constellation are named after them.

 


Hyginus briefly describes the constellation in his Astronomica, and focusses almost solely on the Dioscuri:

"These stars many astronomers have called Castor and Pollux. They say that of all brothers they were the most affectionate, not striving in rivalry for the leadership, nor acting without previous consultation. As a reward for their services of friendship, Jupiter [Zeus] is thought to have put them in the sky as well-known stars. Neptune [Poseidon], with like intention, has rewarded them for he gave them horses to ride, and power to aid shipwrecked men.
 
Those who speak of Castor and Pollux add this information, that Castor was slain in the town of Aphidnae, at the time when the Lacedaemonians were fighting the Athenians. Others say that when Lynceus and Idas were attacking Sparta, he perished there. Homer states that Pollux granted to his brother one half of his life, so that they shine on alternate days." [2.22]


The twins were born from Leda, Zeus, and mortal king Tyndareus. One of the twins was mortal, the other immortal, and both hatch from an egg. Accounts vary about who was the mortal one, and who was the immortal one; in some accounts they were even both mortal or immortal. During their lifetimes, the Dioscuri became great heroes, joining Iásōn in securing the Golden Fleece, and they both fought the Calydonian Boar.

I will discuss their mythology better another time, but for now, let me suffice in saying that eventually, they aspired to marry Phoebe and Hilaeira, who were already betrothed to cousins of the Dioscuri, a second set of twin brothers named Lynceus and Idas of Thebes, sons of Tyndareus's brother Aphareus. This sparked a feud between the cousins that left Polideukes the only one standing. He was given the choice by Zeus of spending all his time on Mount Olympus or giving half his immortality to his mortal brother. He opted for the latter, and thus the two divided their time between Olympos and the Underworld.

The Dioscuri were regarded as helpers of mankind and held to be patrons of travelers and sailors. Because they excelled in horseback riding and boxing, they were regarded as the patrons of athletes and athletic contests, and in all capacities, they had shrines throughout Hellas, and were worshipped well into the Roman era. As the twins lived on after death, they became emblems of the Eleusinian Mysteries, and were said to have been initiated into it during their lifetimes.

Hyginus also mentions a few other duos connected to the constellation:

"Others have called them Hercules and Apollo; some, even Triptolemus, whom we mentioned before, and Iasion, beloved of Ceres [Demeter] - both carried to the stars." [2.22]


Hēraklēs and Apollon earned this honor because, when Apollon commanded that Hēraklēs be sold into slavery to atone for the murder of his family, Hēraklēs became enraged and wrestled the Theos for the Delphic tripod. Their match was memorialized amongst the stars as the constellation Gemini.

Triptolemos and Iasion are the last candidates. The two were favorites of the Goddess Demeter. Triptolemos was a hero who first instructed mankind in the art of agriculture, while Iasion was said to be Her lover on the island of Samothrace. Demeter must have immortalized them out of love.

Gemini is visible at latitudes between +90° and −60°, and best visible at 21:00 (9 p.m.) during the month of February.

Istros, also known as Histria, was an ancient Hellenic colony located on the western Dobrudja coast of the Black Sea. Situated approximately 300 miles north of Byzantium, this small city was founded by Miletian traders around 657 or 656 BCE. As the oldest Hellenic colony on the Black Sea, Istros survived for some 14 centuries before its eventual abandonment in the mid-seventh century CE. It is unsurprising, therefore, that such a long-lasting settlement would produce several interesting and important numismatic types. Perhaps the most recognizable Istrian coin is the “unique” anti-parallel Apollonian silvers.

Struck in both drachmai and the associated fractional denominations, these coins portray “essentially identical” dual portraits of Apollon on their obverse. The inverted heads set these coins apart as a rarity not seen anywhere else in the ancient world. The only real design differences on the obverse come from the engravers’ skill level and artistry. Some of the obverses are finely engraved with highly realistic features, while others are rather crude, as demonstrated below. This design would not change during the entire span of this type’s production, from 434 BCE to approximately 300 BCE.

Similarly consistent, the reverse design shows an eagle in flight with wings outstretched as it clutches a dolphin in its talons. Since dolphins were, and still are found in the Black Sea, it is rather common to see them on Thracian and other Black Sea coins. Historians believe that the eagle represents Zeus and the dolphin the Black Sea. Due to the dolphin’s position as prey, it is logical to assume that the reverse image symbolizes either some unspecified military victory or Hellenic domination over the region and its vital trade routes.

But unlike the reverse imagery, the obverse has been a matter of interest and study for a long time. In all, numismatists and historians have suggested six possible meanings. The first and least likely is that the two heads represent the east-west trade routes along the River Danube and into Asia. This does not acknowledge the more important north-south trade routes into Hellas and the Mediterranean.

Another unlikely theory is that the Apollonian heads represent dual wind Gods. While possible, with their cheeks not puffed out and with their mouths open instead of closed, the obverse imagery does not match that of contemporary wind Gods.

The next theory is that the dual-headed imagery represents multiple branches of the Ister river, later to be known as the Danube. While these tributary branches no longer exist, it is possible that this interpretation is correct. Similar to the last theory, however, the iconography does not match. River Gods are usually depicted in profile, not facing forward, with beards and long flowing hair. With their short hair and beardless faces, these coins do not match this standard iconography.

A more “attractive” interpretation is that the two heads depict the rising and setting sun. Since the two Apollonian portraits are similar to those with radiate crowns from Rhodes, this is not an implausible idea. However, the “uniqueness” of the Istros imagery proves this false. The rising and setting of the sun is not a uniquely Istrian phenomenon and should therefore be seen on many coins around the ancient world, and not solely of coins from a small trading center on the periphery of the Hellenic world.

The most common theory about this interesting design is that the two heads represent Kastor and Polydeukes, the mythical Dioskuri. These identical twin brothers, sons of the princess Leda, participated in some of the most famous Hellenic mythical adventures and are known today as the Gemini twins. While this theory fits in broadly, and there are many numismatic examples of the Dioskuri being pictured on ancient coins, the Istrian type does not include many of the specific details. For example, the brothers are usually shown as full figures, and sometimes on horseback with their signature conical Dioskuri caps. More importantly, they are “seldom identical, never inverted and sometimes with stars above them.” The standard iconography is displayed on this quadrigatus from Bruttium.

We are forced to concede that while this theory is a partial fit, it cannot fully explain the enigmatic design.

In 2005, William Saslaw and Paul Murdin, noted academics at the Cambridge Institute of Astronomy, authored an influential article that argued that the double-headed Istrian coins were actually the earliest commemoration of a solar eclipse in numismatic history. Astronomers are able to predict the date and time of both future and past eclipses to within minutes. After searching for an eclipse that would have been visible from Istros between 450 and 300 BCE, Saslaw and Murdin discovered that at 6:30 am on the fourth of October, 434 BCE, there was a partial eclipse. Initially, the sun would have risen as a crescent with the two points facing up, like a bull’s horns. The sun and moon would have risen at differing speeds, thus as the sun gained altitude the horns would have “flipped” with the horns later facing down. “Clearly the Sun God was up to something astonishing.” This would have been “memorable” and “worth recording”. Since “solar eclipses are rare in both space and time,” it would not be unusual for it to be commemorated on a coin.

In fact, in the following centuries, many societies commemorated such events on their coins. The Roman emperor Vespasian included a “star” on the reverse of a denarius to commemorate the eclipse of January 5, 75 CE, and Hadrian’s mint produced the “Star and Crescent” series after the September 3, 118 CE eclipse. Hundreds of years later, the English king John included a crescent sun after there were eclipses in 1201 and 1207 CE, just to name a few.

Not only are partial eclipses “relatively rare”, a once-in-a-century phenomenon, but Istros happened to have witnessed two of them within three years. This dual occurrence should be considered “sufficient to initiate the coinage.” Since as I have discussed in past articles, coins were used to “spread news or propaganda,” it would be logical that the Istrian authorities would include “an emblem advertising Apollon’s favor” as a result of these two astronomical events. Why wouldn’t the locals take “these events as signs of good times”?

A century later on the 14th of July, 337 BCE, there was a third celestial event: a much rarer total eclipse. However, by this time, the city was beginning to decline in economic and cultural importance. Though full eclipses occur every 375 years on average at any given location, the double-headed coinage was already thought mainly to have been discontinued. There are some examples that are believed to have been struck later, but this is disputed, and they are given a date range of between 313 and 280 BCE.

One reason these dates are disputed is the general difficulty in dating this series. Unlike many other ancient coins, this Apollonian series is “never dated specifically, nor is there any datable historical reference.” Usually, there is one of these factors or the other to help numismatists date a specific example. Numismatists must therefore rely on a four-step process to date these coins.

The first step is to analyze their alloy and weights. Before the discovery of the lunar connection, this was used to date the beginning of the series to 480 to 430 BCE. The next step is to look at their production method. In the earlier issues, the mint workers employed a narrow incuse die for the reverse. This was common in Hellas during the fifth century BCE but fell out of use around 340 BCE in Istros. Another dating tool is the reverse lettering font. Between 359 and 336 BCE, it morphed to closely resemble the text on Phillip of Macedonia, the regional hegemon’s, coinage. Lastly, numismatists can use hoard membership to help date specific examples. For example, coins from the Orgamé-Argamum Necropolis Hoard were found in a ceramic pot dated to between 380 and 360 BCE. Therefore, the 39 coins inside were all struck before those dates.

Despite the difficulty in dating and the unsettled iconography, these interesting coins are fairly common and enjoyed a “relatively long run” of 150 years. They must have been intended for circulation beyond the city walls because the “variations in weight, size, and purity of the coins were small.” We can therefore infer that they were “important and reliable for commerce.”

If a collector were interested in acquiring an example of this type, they are very affordable. Examples of the full drachmai can cost as little as $80 USD and as high as $750. Fractional examples also fall within this range, with examples valued between $100 and $500.

Elaion is proud to announce that on the sixth and seventh of Thargelion, 18 and 19 May, we will be hosting another PAT ritual, this time for the Thargelia. The Thargelia (Θαργήλια) was, as said, held over the course of two days. It was an agricultural festival as well as a kathartic one. The purpose was to purify the city in order to please the Theoi and ensure a successful harvest come harvesting time. It also celebrates the birth of the divine twins Apollon and Artemis.



The first day, a sheep was sacrificed to Demeter Khloe on the Acropolis, and perhaps a swine to the Fates, but most telling about that first day was the following that took place:

In ancient times, two poor, ugly men (or a man and one woman) were chosen each year to be Pharmakoi.  They were fed for a while at public expense and were then paraded around Athens as scapegoats for the people, one wearing a string of black figs to represent the men, the other white figs to represent the women. At the end of the procession, they were driven out of the city by flogging and beaten them with branches and squills (sea onions), and killed. The bodies were burned and the ashes thrown into the sea or land, to fertilize.

This sacrifice became symbolic as time wore on, first with banishment, then with play acting where they were beaten with branches of figs and pelted with squills instead of beaten with branches and stoned to death. What matters was that they were driven out and with them, so was the pollution of ever man and woman in the city.

The first day focused on purification and appeasement but the second day was a lot less gruesome: a great pot of vegetables was prepared as an offering of the first fruits to Apollon. A panspermia was ritually sown into the earth. The Thargelia also featured choral contests among pairs of phratriai, and was recognized by phratriai as a day of festival and sacrifice. An eiresione (olive branch of supplication) with fillets of white wool and first fruits attached was carried in procession along with a winnowing basket full of fruit.

Sources tell us clearly that Apollon was linked to the festival as well as the sun, Helios, and the seasons, the Horai. With Apollon's birth, so came the light that grew the vegetation, that ripened the corn and barley. And in line with Apollon is Helios who journeys across the sky every day and the Horai who precede over the lengthening and shortening of the days, giving Apollon and Helios more or less time with us to ripen our crops.

At its core this festival is a festival of Apollon, but myth tells us Artemis helped bring Him into the world and thus She is honored as well. And we bring Demeter offerings because She taught us how to grow crops and once Persephone leaves for the Underworld again, She will kill them all. Add to that the Horai and Helios and you have a very involved and intricate festival that was absolutely essential to ensure a good harvest. And so we shall celebrate it as well and honor to all these Theoi in appeasement.

You can find the rituals for the events here, for both days, and the community page here.

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.

On Mounuchion 6, the Athenian festival of the Delphinia (Δελφίνια) starts in honor of Apollon and Artemis. To celebrate this festival, Elaion is hosting a PAT ritual at 10 am EDT on April 18. Will you be joining us?


The Delphinia is a festival to ask for the protection of all ships and sailors, to ask for guidance for young boys and girls transitioning into adulthood and--as a festival of purification--the Delphinia can be interpreted to be open to all who are going through a time of transition and/or struggle.

What is known about this festival is that virgin girls walked to the Delphinion (Δελφίνιον) atop the Acropolis in procession, carrying olive branches bound with wool (known as 'iketiria') and baked cakes known as Popana, made of soft cheese and flower. There is overwhelming evidence that the festival was held on the sixth of the month of Mounukhion, most notably from Plutarch, but the seventh of same month is also considered a possible date, quite possibly because the festivities could have taken place in the daylight hours of the sixth day, which is the same day as the start of the seventh of the month, as dusk rained in a new day.

Plutarch connects the sixth of the month Mounukhion to Apollon and Theseus--most importantly to Theseus' quest for the Minotaur--in his 'Life of Theseus'. Theseus vows to look over those the lots choose to be offered to the Minotaur in the maze on Krete. Roughly in the month of Mounukhion, the seafaring season started. It's therefor not odd that lots would have been cast about this time, for the youths--and everyone else with business across the sea--would set sail as soon as the weather allowed. The rising of the Pleiades, located in the constellation of Taurus, around late April, the beginning of May, was a signal for the boldest of sea-goers that the treacherous sea was at least moderately accessible. Still, it would be at least several months before the favoured seafaring season started, so anyone braving the sea, could probably use some protection. Somewhere shortly after the Delphinia would have been Theseus' first opportunity to sail to Krete, but it would place his return almost five months later; quite some time for a three day journey (one way) in favourable conditions.

During the Delphinia, young maidens presented Apollon Delphinion, and perhaps Artemis Delphinia, with the iketiria Theseus had presented them with as well, in the hopes of receiving for the Athenians the same guidance and protection at sea as the Kretan colonists, as well as Theseus and the youths, had gotten.

A connection can also be made with Theseus visiting the shrine of Apollon Delphinios as an opportunity for purification before his great quest, as the young supplicants who prepared for their personal collective journeys into adulthood would desire purification of their own, and Apollon in many of his epithets is a purifier. Also, in a little less than a month, the Thargelia took place in Delos, an event where the births of Artemis, and especially Apollon were celebrated. The rites at the Delphinia might have been part of the purification processes for those who were to go to Delos (with thanks to Daphne Lykeia for this interpretation).

As a festival of purification, the Delphinia can be interpreted to be open to all who are going through a time of transition and/or struggle. A divine purification of miasma might allow you to focus better on these issues, and receive guidance from the Theoi more easily--like Theseus, who purified himself  at the Delphinion and prayed for the guidance of Aphrodite directly thereafter. Aphrodite made Ariadne fall for him, saving his life and those of the young men and women in the process.

One can celebrate this day by offering both Apollon and Artemis hymns, libations, and Popana cakes, and presenting Artemis with an iketiria, an olive branch wrapped with white wool, if you are a young female looking for aid. An iketiria was primarily used in rites of supplication.

The popana (or popanon) should be a flat cake with a single 'knob' in the center. We don't have a surviving recipe, but Cato's recipes for 'libum' seems to hold many of the same ingredients. It goes as follows:

"'Make libum by this method. Break up two pounds of cheese well in a mortar. When they will have been well broken up, put in a pound of wheat flour or, if you wish it to be more delicate, half a pound of fine flour and mix it well together with the cheese. Add one egg ...and mix together well. Then make into bread, places leaves beneath, and cook slowly on a hot hearth under an earthen pot."

That's a lot of Popana. Make this if you're with a large group, else the recipe would look something like this for something the size of a good loaf of bread or its equivalent in smaller portions:

- 14 ounces good ricotta or any fresh cheese, preferably unpasteurized (ricotta should always be drained overnight in a colander)
- 4 ounces (approx) flour, preferably farro
- 1 large egg
- a pinch of salt
- several bay leaves, preferably fresh
- olive oil, for the pan

Preheat the oven to 350°F/180°C.

You can either make large cakes or small ones. If you're making large ones, line a baking pan or sheet with bay leaves and brush them lightly with olive oil. If you don't have enough leaves to cover the surface, distribute the leaves as best you can. If you are going to make smaller cakes, brush one leaf with oil for each cake you are going to make.

Knead all the ingredients (except the bay leaves) until well blended. Add flour until the dough is no longer sticky. Shape the dough into a single, or several smaller cakes. Place either the large cake on top of the bay leaves, or put each little one on top of one. Then put it in a baking pan and into the oven.

Bake for about 30 minutes for a large cake, or (much) less long for smaller cakes. Just watch them until they are firm and light golden brown. Don't forget to enjoy it yourself!

The ritual for the event can be found here and you can join the community here.