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The Triple Goddess

In ancient Indo-European mythologies, various goddesses or demi-goddesses appear as a triad, either as three separate beings who always appear as a group (the Greek, Moirae, Charites, Erinnyes and the Norse, Norns) or as a single deity who is commonly depicted in three aspects (Greek Hecate). Often it is ambiguous whether a single being or three are represented, as is the case with the Irish Brighid and her two sisters, also called Brighid, or the Morrigan who is known by at least three or four different names. In most ancient portrayals of triple goddesses, the separate deities perform different yet related functions, and there is no obvious difference in their ages. In Wicca and related Neo-pagan religions, the Triple Goddess is, along with the Horned God, held in particular reverence, and her three aspects are most often portrayed as being of different ages: Maiden, Mother and Crone.
The term Triple Goddess was popularised by poet and scholar Robert Graves, in his "work of poetic imagination," The White Goddess (1948). Graves believed that an archetypal goddess triad occurred throughout Indo-European mythology. He was not the originator of this theory; it appears as a recurrent theme in the "Myth and Ritual" school of classical archaeology at the end of the nineteenth and the beginning of the twentieth century, among scholars concerned with the ritual purposes of myths. The "Myth and Ritual" school is often associated with Cambridge University and with Oxford University in England.
The theme of the goddess trinity can also be found in the works of Jane Ellen Harrison, A.B. Cook, George Thomson, Sir James Frazer, Robert Briffault and Jack Lindsay. The Triple Goddess mytheme was also explored by psychologists involved in the study of archetypes Carl Kerenyi, Erich Neumann, and even Carl Jung. One of the most recent of archaeologists to explore this theme is Professor Marija Gimbutas whose studies on the Chalcolithic period of Old Europe (6500-3500 B.C.E.) have opened up entirely new avenues of research.
The publication of the complete texts of the magical papyri from Greco-Roman Egypt provide exhaustive examples of the imagery usually wrongly ascribed to Graves' imagination. In one hymn, for instance, the "Three-faced Selene" is simultaneously identified as the three Charites, the three Moirae, and the three Erinyes; she is further addressed by the titles of several goddesses:
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... they call You Hekate,
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Many-named, Mene, cleaving Air just like
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Dart-shooter Artemis, Persephone,
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Shooter of Deer, night shining, triple-sounding,
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Triple-headed, triple-voiced Selene
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Triple-pointed, triple-faced, triple-necked,
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And Goddess of the Triple Ways, who hold
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Untiring Flaming Fire in Triple Baskets,
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And You who oft frequent the Triple Way
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And rule the Triple Decades...
She is variously described within the one poem as young, bringing light to mortals ... Child of Morn, as Mother of All, before whom gods tremble, and as Goddess of Dark, Quiet and Frightful One who has her meal amid the graves. She is exalted as the supreme goddess of time and space,
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...Mother of Gods
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And Men, and Nature, Mother of All Things...
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...Beginning
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And End are You, and You Alone rule All.
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For All Things are from You, and in You do
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All Things, Eternal One, come to their End.
The Greek Magical Papyri reveal elements of the culture of Greco-Roman Egypt that were drawn not only from Classical and Egyptian tradition but also from earlier cultures such as those of Mesopotamia and the Near East. The triplicity of the Goddess in these texts is one of the most recurrent themes.
This imagery was well-known to those with a Classical education and continued in poetry throughout English history. A case in point is the Garland of Laurell by the English poet, John Skelton (c. 1460 - June 21, 1529):
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Diana in the leavës green,
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Luna that so bright doth sheen,
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Persephone in Hell.
The Goddess triad is an essential feature of the Shakti forms of Hinduism and a distinction is made between the separate goddesses Sarasvati, Lakshmi and Kali and their manifestation as three aspects of MahaDevi ("The Great Goddess") when they are named MahaSarasvati, MahaLaksmi, and MahaKali. In the annual festival of Navaratri images of the Triple Goddess are carried in procession throughout India and in Hindu communities worldwide.

An archetypal Goddess triad is not limited to Indo-European cultures, and can also be found in some mythologies of Africa and Asia. The triadic theme also appears in medieval Christian folk traditions — notably with the three Mary's.
Images of Goddess triads are well attested from both inscriptions and sculptural sources from the time of the Upper Palaeolithic. The shrine rooms of Catal Huyuk which dated from 7500 B.C.E. contain bas-relief images of a Goddess in three forms.
While there is no controversy about the fact that a wide variety of ancient cultures worshipped some types of Goddesses who at times were seen as threefold, many scholars consider Graves' statements that they fit a "universal" pattern to be highly speculative, and his lumping together of diverse cultures in the quest for this universal pattern to be inappropriate. Graves attempted to apply his theory of "Maiden, Mother, Crone" to Goddesses who do not fit that pattern, such as the triple goddesses of Celtic Mythology, whose triple aspects are based on function, not age. The Celtic Goddesses also cannot be said to fulfil roles that are static or well-divided. The three aspects of Celtic Triple Goddesses may all be Goddesses of war (such as in the case of the Morrigan) or manifestations of different types of creativity (such as with Brighid). The existence of triple goddesses in a variety of cultures does not mean that those cultures experienced these goddesses in the same way, or that there were universal religious patterns that could be applied to all these diverse cultures.

Some followers of Neopagan religions believe that in ancient Old Europe, the Aegean and the Near East, a great Triple Goddess was worshipped, predating the patriarchal religions imported by nomadic speakers of Indo-European languages (later superseded by patriarchal monotheism). Some identify this goddess with Gaia, the Earth Mother (Roman Magna Mater). That such a Great Goddess existed is disputed by authors such as Cynthia Ellers and Philip G. Davis.
Descriptions of the relation between Greek Mythology and the Triple Goddess can be found in many of the myths translated in Robert Graves' anthology The Greek Myths and more cryptically and poetically in his book The White Goddess and his book of essays entitled Mammon and the Black Goddess. In his novel Watch the North Wind Rise (1949) Graves extrapolated this further into a future world where the present Monotheistic religions are discarded and the Triple Goddess once again rules supreme (one of the Goddess' manifestations is called "Mari", implying the Mary of Christianity is a disguised form of the same Goddess)
In his introduction The Sufis, a book he co-wrote with Idries Shah, Graves translates a poem of the Sufi mystic Ibn Arabi (1165-1240) which illustrates a triple goddess as a theme among medieval Sufis:
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I follow the religion of Love,
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Now I am sometimes called
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A Shepherd of gazelles
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And now a Christian monk,
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And now a Persian sage.
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My beloved is three-
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Three yet only one;
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Many things appear as three,
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Which are no more than one.
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Give Her no name,
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As if to limit one
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At sight of Whom
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All limitation is confounded.
A triple goddess features in the Eleusinian Mysteries, her aspects being Persephone, Demeter and the coarse and obscene crone goddess Baubo. These goddesses, when grouped together, may also represent the cycle of birth, life, death and rebirth.
Some Wiccans and Neopagans honour their Goddess in the triple aspects of Maiden, Mother and Crone. Some also syncretise goddesses who do not historically fit this pattern. Such goddesses include Hecate, who when in triplicate was historically depicted as three young women, and Celtic goddesses who sometimes appear in triple form, but for whom there are no clear age patterns.
Maiden
Among Pagans, "The Maiden" represents enchantment, inception, expansion, the promise of new beginnings, birth, youth and youthful enthusiasm.
Mother
The Mother represents ripeness, fertility, sexuality, nurturance, fulfillment, stability, power and life.
Crone
The Crone represents wisdom, repose, death, and endings. Like the moon which waxes once again after the new moon and like in the year, where spring always follows winter. The Crone is an end, but she is always followed by the Maiden once more. It is death and rebirth, representing the common pagan belief of reincarnation as well as the renewing cycles of the moon and of the year.
Triadic imagery
In The White Goddess, Graves said:
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the New Moon is the white goddess of birth and growth;
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the Full Moon, the red goddess of love and battle;
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the Old Moon, the black goddess of death and divination.
This relates the three life-thresholds of birth, procreation and death with phases of the moon. It should be noted that this order is not consistent with that usually cited by some Neopagans and that the triadic structure is not dependent upon the division of the lunar month into three phases.
In Neopagan writings, the "new moon" refers to when the moon is completely black in the sky. This is slightly contradictory, since the traditional new moon (which is the sighting of the first crescent moon in the western sky at sunset) which was used as the starting point of lunar calendars.


Hecate/Hekate

There was a fane sacred to Hecate in the precincts of the Temple of Artemis at Ephesus, where the eunuch priests, megabyzi, officiated. Hesiod records that she was among the offspring of Gaia and Uranus, the Earth and Sky. In Theogony he ascribed to Hecate such wide-ranging and fundamental powers, that it is hard to resist seeing such a deity as a figuration of the Great Goddess, though as a good Olympian Hesiod ascribes her powers as the "gift" of Zeus:
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"Hecate whom Zeus the son of Cronos honoured above all. He gave her splendid gifts, to have a share of the earth and the unfruitful sea. She received honour also in starry heaven, and is honoured exceedingly by the deathless gods.... The son of Cronos did her no wrong nor took anything away of all that was her portion among the former Titan gods: but she holds, as the division was at the first from the beginning, privilege both in earth, and in heaven, and in sea".
Her gifts to humans are all-encompassing, Hesiod tells:
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"Whom she will she greatly aids and advances: she sits by worshipful kings in judgement, and in the assembly whom her will is distinguished among the people. And when men arm themselves for the battle that destroys men, then the goddess is at hand to give victory and grant glory readily to whom she will. Good is she also when men contend at the games, for there too the goddess is with them and profits them: and he who by might and strength gets the victory wins the rich prize easily with joy, and brings glory to his parents. And she is good to stand by horsemen, whom she will: and to those whose business is in the grey discomfortable sea, and who pray to Hecate and the loud-crashing Earth-Shaker, easily the glorious goddess gives great catch, and easily she takes it away as soon as seen, if so she will. She is good in the byre with Hermes to increase the stock. The droves of kine and wide herds of goats and flocks of fleecy sheep, if she will, she increases from a few, or makes many to be less".
Hecate was carefully attended:
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"For to this day, whenever any one of men on earth offers rich sacrifices and prays for favour according to custom, he calls upon Hecate. Great honour comes full easily to him whose prayers the goddess receives favourably, and she bestows wealth upon him; for the power surely is with her".
Hesiod emphasizes that Hecate was an only child, the daughter of Asteria, a star-goddess who was the sister of Leto, the mother of Artemis and Apollo. Grandmother of the three cousins was Phoebe the ancient Titaness who personified the moon. Hecate was a reappearance of Phoebe, a moon goddess herself, who appeared in the dark of the moon.
His inclusion and praise of Hecate in Theogony is troublesome for scholars in that he seems fulsomely to praise her attributes and responsibilities in the ancient cosmos even though she is both relatively minor and foreign. It is theorized that Hesiod¡¯s original village had a substantial Hecate following and that his inclusion of her in the Theogony was his own way to boost the home-goddess for unfamiliar hearers.
As her cult spread into areas of Greece it presented a conflict, as Hecate¡'s role was already filled by other more prominent deities in the Greek pantheon, above all by Artemis, and by more archaic figures, such as Nemesis.
There are two versions of Hecate that emerge in Greek myth. The lesser role integrates Hecate while not diminishing Artemis. In this version, Hecate is a mortal priestess who is commonly associated with Iphigeneia and scorns and insults Artemis, eventually leading to her suicide. Artemis then adorns the dead body with jewelry and whispers for her spirit to rise and become her Hecate, and act similar to Nemesis as an avenging spirit, but solely for injured women. Such myths where a home deity sponsors or ¡®creates¡¯ a foreign one were widespread in ancient cultures as a way of integrating foreign cults. Additionally, as Hecate¡¯s cult grew, her figure was added to the later myth of the birth of Zeus as one of the midwives that hid the child, while Cronus consumed the deceiving rock handed to him by Gaia.
The second version helps to explain how Hecate gains the title of the "Queen of Ghosts" and her role as a goddess of sorcery. Similar to totems of Hermes¡ªherms¡ª placed at borders as a ward against danger, images of Hecate, as a liminal goddess, could also serve in such a protective role. It became common to place statues of the goddess at the gates of cities, and eventually domestic doorways. Over time, the association of keeping out evil spirits led to the belief that if offended Hecate could also let in evil spirits. Thus invocations to Hecate arose as the supreme governess of the borders between the normal world and the spirit world.
The transition of the figure of Hekate can be traced in fifth-century Athens. In two fragments of Aeschylus she appears as a great goddess. In Sophocles and Euripides she has become the mistress of witchcraft and the Keres.
Eventually, Hecate¡¯s power resembled that of sorcery. Medea, who was a priestess of Hecate, used witchcraft in order to handle magic herbs and poisons with skill, and to be able to stay the course of rivers, or check the paths of the stars and the moon.
Implacable Hecate has been called "tender-hearted", a euphemism perhaps to emphasize her concern with the disappearance of Persephone, when she addressed Demeter with sweet words at a time when the goddess was distressed. She later became Persephone's minister and close companion in the Underworld.
Although she was never truly incorporated among the Olympian deities, the modern understanding of Hecate is derived from the syncretic Hellenistic culture of Alexandria. In the magical papyri of Ptolemaic Egypt, she is called the she-dog or bitch, and her presence is signified by the barking of dogs. She sustained a large following as a goddess of protection and childbirth. In late imagery she also has two ghostly dogs as servants by her side.
In modern times Hecate has become a prevalent figure in feminist-inspired Neopagan religions, and a version of Hecate has been appropriated by Wicca and other modern magic-practising traditions.
Hesiod considered Hecate to be a daughter, with Leto, of Perses and Asteria, two pre-Olympian Titans. As in most cultures with multi-generational deities, the preceding Titans were originally the only deities worshipped by the earlier Greek cultures while the later Olympians were the deities worshipped by later invaders who conquered Greece Some readers of mythography find elements of cultural history reflected in myth: as Hecate was one of the only Titans who kept power and status after the Titans lost their war with the Olympians¡ª she was always regarded as having great favor with Olympian Zeus and it seems likely that Hecate's cult was so strong that it could not be suppressed by the invading new religions.As with many ancient mother- or earth-goddesses she remained unmarried, had no regular consort, and often is said to have reproduced via parthenogenesis.
In another aspect she is the mother of many monsters, such as Scylla, who represented the dreaded aspects of nature that elicited fear as well as awe.
Chthonian (Earth/Underworld goddess)
Crataeis (the Mighty One)
Enodia (Goddess of the paths)
Antania (Enemy of mankind)
Kurotrophos (Nurse of the Children and Protectress of mankind)
Artemis of the crossroads
Propylaia (the one before the gate)
Propolos (the attendant who leads)
Phosphoros (the light-bringer)
Soteira ("Saviour")
Prytania (invincible Queen of the Dead)
Trioditis (gr.) Trivia (Latin: Goddess of Three Roads)
Kl¨ºidouchos (Keeper of the Keys)
Tricephalus or Triceps (The Three-Headed)
Goddess of the crossroads
Hecate had a special role at three-way crossroads, where the Greeks set poles with masks of each of her heads facing in different directions.
The crossroad aspect of Hecate stems from her original sphere as a goddess of the wilderness and untamed areas. This led to sacrifice to assure safe travel into these areas. This role is similar to lesser Hermes, that is, a god of liminal points or boundaries.
Hecate is the Greek version of Trivia "the three ways" in Roman mythology. Eligius in the 7th century reminded his recently converted flock in Flanders "No Christian should make or render any devotion to the gods of the trivium, where three roads meet, to the fanes or the rocks, or springs or groves or corners".
Hecate was the goddess who appeared most often in magical texts such as the Greek Magical Papyri and curse tablets, along with Hermes.
Goddess of sorcery
In the so-called "Chaldean Oracles" that were edited in Alexandria, she was also associated with a serpentine maze around a spiral, known as Hecate's wheel (the "Strophalos of Hecate", verse 194 of Isaac Preston Cory's 1836 translation). The symbolism referred to the serpent's power of rebirth, to the labyrinth of knowledge through which Hecate could lead mankind, and to the flame of life itself: "The life-producing bosom of Hecate, that Living Flame which clothes itself in Matter to manifest Existence" (verse 55 of Cory's translation of the Chaldean Oracles).
The goddess of sorcery or magic is Hecate's most common modern title.
Queen of ghosts
Queen of Ghosts is a title associated with Hecate due to the belief that she can both prevent harm from leaving, but also allow harm to enter from the spirit world Hecate thus has a role and special power in graveyards and at crossroads She guards the "ways and paths that cross". Her association with graveyards also played a large part in the idea of Hecate as a lunar goddess.The leaves of the black poplar are dark on one side and light on the other, symbolizing the boundary between the worlds. The yew has long been associated with the Underworld.
Animals
The bitch is the animal most commonly associated with Hecate. She was sometimes called the 'Black bitch' and black dogs were once sacrificed to her in purification rituals. At Colophon in Thrace, Hecate might be manifest as a dog. The sound of barking dogs was the first sign of her approach in Greek and Roman literature.
The frog, significantly a creature that can cross between two elements, also is sacred to Hecate.As a triple goddess, she sometimes appears with three heads-one each of a dog, horse, and bear or of dog, serpent, and lion.
Ii was asserted in Malleus Malificarum (1486) that Hecate was revered by witches who adopted parts of her mythos as their goddess of sorcery. Because Hecate had already been much maligned by the late Roman period, Christians found it easy to vilify her image. Thus were all her creatures also considered "creatures of darkness"; however, the history of creatures such as ravens, night-owls, snakes, scorpions, asses, bats, horses, bears, and lions as her creatures is not always a dark and frightening one. (Rabinovich 1990)
Plants and herbs
The yew, cypress, hazel, black poplar, cedar, and willow are all sacred to Hecate.
The yew has strong associations with death as well as rebirth. A poison prepared from the seeds was used on arrows, and yew wood was commonly used to make bows and dagger hilts. The potion in Hecate's cauldron contains 'slips of yew'. Yew berries carry Hecate's power, and can bring wisdom or death. The seeds are highly poisonous, but the fleshy, coral-colored 'berry' surrounding it is not.
Many other herbs and plants are associated with Hecate, including garlic, almonds, lavender, thyme, myrrh, mugwort, cardamon, mint, dandelion, hellebore, yarrow and lesser celandine. Several poisons and hallucinogens are linked to Hecate, including belladonna, hemlock, mandrake, aconite (known as hecateis), and the opium poppy. Many of Hecate's plants were those that can be used shamanistically to achieve varyings states of consciousness.
Places
Wild areas, forests, borders, city walls and doorways, crossroads, and graveyards are all associated with Hecate at various times.
It is often stated that the moon is sacred to Hecate. This is argued against by Farnell (1896, p.4):
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Some of the late writers on mythology, such as Cornutus and Cleomedes, and some of the modern, such as Preller and the writer in Roscher's Lexicon and Petersen, explain the three figures as symbols of the three phases of the moon. But very little can be said in favour of this, and very much against it. In the first place, the statue of Alcamenes represented Hekate ¦¥¦Ð¦É¦Ð¦Ô¦Ñ¦Ã¦É¦Ä¦É¦Á, whom the Athenian of that period regarded as the warder of the gate of his Acropolis, and as associated in this particular spot with the Charites, deities of the life that blossoms and yields fruit. Neither in this place nor before the door of the citizen's house did she appear as a lunar goddess.
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We may also ask, why should a divinity who was sometimes regarded as the moon, but had many other and even more important connexions, be given three forms to mark the three phases of the moon, and why should Greek sculpture have been in this solitary instance guilty of a frigid astronomical symbolism, while Selene, who was obviously the moon and nothing else, was never treated in this way? With as much taste and propriety Helios might have been given twelve heads.
However in the magical papyri of Greco-Roman Egypt there survive several hymns which identify Hecate with Selene and the moon, extolling her as supreme Goddess, mother of the gods. In this form, as a threefold goddess, Hecate continues to have followers in some neopagan religions.
Festivals
Hecate was worshipped by both the Greeks and the Romans who had their own festivals dedicated to her. According to Ruickbie (2004:19) the Greeks observed two days sacred to Hecate, one on the 13th of August and one on the 30th of November, whilst the Romans observed the 29th of every month as her sacred day.


In Greek mythology, Artemis [(Greek: (nominative) Ἄñôåìéò, (genitive) ἈñôÝìéäïò)] was the daughter of Zeus and Leto, and the twin sister of Apollo. She was the goddess of forests and hills and was often depicted as carrying a bow and arrows. The deer and the cypress were sacred to her.
Her later association with the moon is a popular idea which has little foundation. She became associated with Selene, goddess of the moon, and was sometimes depicted with a crescent moon above her head.
Artemis was one of the most widely venerated of the gods and one of the oldest (Burkert 1985, 149). In later times, she became associated with the Roman goddess Diana and with the Etruscan goddess, Artume.
Artemis, the goddess of hunting and the keeper of forests and hills, was worshipped throughout the Hellenic world. Her best known cults were in the island of Delos (her birthplace); in Attica at Brauron and Mounikhia (near Piraeus); and in Sparta. She was often depicted in paintings and statues in a forest setting, carrying a bow and arrows and accompanied by a deer.
She gradually displaced Selene (the titaness of the moon) as goddess of the moon.
- In Ionia the "Lady of Ephesus", a goddess whom Hellenes identified with Artemis, was a principal deity. Her temple at Ephesus (an ancient Greek city located in western part of Turkey), one of the Seven Wonders of the World, was probably the best known center of her worship apart from Delos. In Acts of the Apostles, the Ephesian metalsmiths who feel threatened by Paul's preaching of the new faith, jealously riot in her defense, shouting "Great is Artemis of the Ephesians!" (Acts 19:28 KJV).
Athenian festivals in honor of Artemis include Elaphebolia, Mounikhia, Kharisteria, Brauronia; the festival of Artemis Orthia was observed in Sparta.
- Pre-pubescent Athenian girls young Athenian girls approaching marriageable age were sent to the sanctuary of Artemis at Brauron to serve the Goddess for one year. During this time the girls were known as arktoi, or little she-bears. A myth explaining this servitude relates that a bear had formed the habit of regularly visiting the town of Brauron, and the people there fed it, so that over time the bear became tame. A young girl teased the bear, and, in some versions of the myth it killed her, while in other versions it clawed her eyes out. Either way, the girl's brothers killed the bear, and Artemis was enraged. She demanded that young girls "act the bear" at her sanctuary in atonement for the bear's death.
Virginal Artemis was worshipped as a fertility/childbirth goddess in some places, assimilating Ilithyia, since, according to some myths, she assisted her mother in the delivery of her twin. During the Classical period in Athens, she was identified with Hecate. Artemis also assimilated Caryatis (Carya).
Artemis as the Lady of Ephesus
- At Ephesus, her temple became one of the Seven Wonders of the World. There the Lady whom Greeks associated with Artemis through interpretatio Graeca was worshipped primarily as a mother goddess, akin to the Phrygian goddess Cybele, in an ancient sanctuary where her cult image depicted the "Lady of Ephesus" adorned with multiple rounded breastlike protuberances on her chest. They had been traditionally interpreted as multiple accessory breasts, or as sacrificed bull testes, as some newer scholars claimed, until excavation at the site of the Artemision in 1987-88 identified the multitude of tear-shaped amber beads that had adorned her ancient wooden xoanon.
Epithets
As Aeginaea, she was worshiped in Sparta; the name means either huntress of chamois, or the wielder of the javelin (áéãáíÝá). She was worshipped at Naupactus as Aetole; in her temple in that town there was a statue of white marble representing her throwing a javelin. This "Aetolian Artemis" would not have been introduced at Naupactus, anciently a place of Ozolian Locris, until it was awarded to the Aetolians by Philip II of Macedon. Strabo records another precinct of "Aetolian Artemos" at the head of the Adriatic. As Agrotera, she was especially associated as the patron goddess of hunters. In Athens Artemis was often associated with the local Aeginian goddess, Aphaea. As Potnia Theron, she was the patron of wild animals; Homer used this title. As Kourotrophos, she was the nurse of youths. As Locheia, she was the goddess of childbirth and midwives. She was sometimes known as Cynthia, from her birthplace on Mount Cynthus on Delos, or Amarynthia from a festival in her honor originally held at Amarynthus in Euboea. She was sometimes identified by the name Phoebe, the feminine form of her brother Apollo's solar epithet Phoebus.
The ancient Spartans used to sacrifice to her as one of their patron goddesses before starting a new military campaign.
Various conflicting accounts are given in Greek mythology of the birth of Artemis and her twin brother, Apollo. All accounts agree, however, that she was the daughter of Zeus and Leto.
An account by Callimachus has it that Hera forbade Leto to give birth on either terra firma (the mainland) or on an island. Hera was angry with Zeus, her husband, because he had impregnated Leto. But the island of Delos (or possibly Ortygia) disobeyed Hera, and Leto gave birth there
The childhood of Artemis is not embodied in any surviving myth: the Iliad reduced the figure of the dread goddess to a girl, who, having been thrashed by Hera, climbs weeping into the lap of Zeus. A poem of Callimachus — the goddess "who amuses herself on mountains with archery" — imagines some charming vignettes: at three years old, Artemis asked her father, Zeus, while sitting on his knee, to grant her six wishes. Her first wish was to remain chaste for eternity, and never to be confined by marriage. She then asked for lop-eared hounds, stags to lead her chariot, and nymphs to be her hunting companions, 60 from the river and 20 from the ocean. Also, she asked for a silver bow like her brother Apollo. He granted her wishes. All of her companions remained virgins, and Artemis guarded her own chastity closely. Her symbol was the silver bow and arrow.
Artemis and Actaeon
She was once bathing in a vale on Mount Cithaeron, when the Theban prince and hunter Actaeon stumbled across her. One version of this story says that Actaeon hid in the bushes and spied on her as she continued to bathe; she was enraged to discover the spy, and turned him into a stag which was pursued and killed by his own hounds. Alternatively, Actaeon boasted that he was a better hunter than she and Artemis turned him into a stag and he was eaten by his hounds.
Artemis and Adonis
In some versions of the story of Adonis, Artemis sent a wild boar to kill the youth as punishment for the hubristic boast that he was a superior to the goddess in hunting. In others, she killed him for revenge. Adonis was a favorite of Aphrodite so Artemis killed him to get back at Aphrodite for the death of Hippolytus, a favorite of Artemis.
Siproites
A Cretan, Siproites, saw Artemis like Actaeon and was changed by her into a woman. The complete story does not survive in any mythographer's works, but is mentioned offhand by Antoninus Liberalis, suggesting that the story was current.
Orion
Orion was a hunting companion of the goddess Artemis. In some versions of his story he was killed by Artemis, while in others he was killed by a scorpion sent by Gaea. In some versions, Orion tried to rape one of her followers and she killed him. In one version, Orion tried to rape Artemis herself and she killed him in self-defense. According to Hyginus (quoting the Greek poet Istrus) Artemis once loved Orion and wanted to marry him, but was tricked into killing him by her brother Apollo who was protective of his sister's maidenhood.
Other stories
Callisto
Daughter of Lycaon, King of Arcadia. She was one of Artemis's hunting attendants. As a companion of Artemis, Callisto took a vow of chastity. Zeus appeared to her disguised as Artemis, or in some stories Apollo, gained her confidence, then took advantage of her (or raped her, according to Ovid). As a result of this encounter she conceived a son, Arcas. Enraged, Hera or Artemis changed her into a bear. Arcas almost killed the bear, but Zeus stopped him just in time. Out of pity, Zeus placed Callisto the bear into the heavens, thus the origin of Callisto the Bear as a constellation. Some stories say that he placed both Arcas and Callisto into the heavens as bears, forming the Ursa Minor and Ursa Major constellations.
Iphigenia and the Taurian Artemis
Artemis punished Agamemnon after he killed a sacred stag in a sacred grove and boasted that he was a better hunter. When the Greek fleet was preparing at Aulis to depart for Troy to begin the Trojan War, Artemis becalmed the winds. The seer Calchis advised Agamemnon that the only way to appease Artemis was to sacrifice his daughter Iphigenia. In some version, the sacrifice goes through as planned (with Agamemnon killing his daughter), and the act results in his own death at the hands of his wife Clytemnestra and her lover, Aegisthus. In another version, Artemis snatches Iphigenia from the altar and substitutes a deer. Iphigenia is then transported to the Crimea and appointed as priestess in the goddess's Tauric temple, where strangers were offered as human sacrifice.
Niobe
A Queen of Thebes and wife of Amphion, Niobe boasted of her superiority to Leto because while she had fourteen children (Niobids), seven boys and seven girls, Leto had only one of each. When Artemis and Apollo heard this impiety, Apollo killed her sons as they practiced athletics, and Artemis shot her daughters, who died instantly without a sound. Apollo and Artemis used poisoned arrows to kill them, though according to some versions a number of the Niobids were spared (Chloris, usually). Amphion, at the sight of his dead sons, killed himself or was killed by Apollo. A devastated Niobe was turned to stone by Artemis as she wept, or committed suicide.Some myths say that her tears formed the river Achelous. Zeus had turned all the people of Thebes to stone, so no one buried the Niobids until the ninth day after their death, when the gods themselves entombed them.
Otus and Ephialtes
The Gigantes Otus and Ephialtes were sons of Poseidon. They were so strong that nothing could harm them. One night, as they slept, Gaea whispered to them, that since they were so strong, they should be the rulers of Olympus. They built a mountain as tall as Mt. Olympus, and then demanded that the gods surrender, and that Artemis and Hera become their wives. The gods fought back, but couldn't harm them. The sons even managed to kidnap Ares and hold him in a jar for thirteen months. Artemis later changed herself into a deer and ran between them. The Aloadae, not wanting her to get away because they were eager huntsmen, each threw their javelin and simultaneously killed each other.

The Meleagrids
After the death of Meleager, Artemis turned his grieving sisters, the Meleagrids into guineafowl that Artemis loved very much.
Chione
Artemis killed Chione for becoming too proud and vain after having an affair with Apollo.
Atalanta and Oeneus
Artemis saved the infant Atalanta from dying of exposure after her father abandoned her. She sent a female bear to suckle the baby, who was then raised by hunters.
Among other adventures, Atalanta participated in the hunt for the Calydonian Boar, which Artemis had sent to destroy Calydon because King Oeneus had forgotten her at the harvest sacrifices. In the hunt, Atalanta drew the first blood, and was awarded the prize of the skin. She hung it in a sacred grove at Tegea as a dedication to Artemis.
Trojan War
Artemis favored the Trojans during the ten-year war with the Greeks. She came to blows with Hera, when the divine allies of the Greeks and Trojans engaged each other in conflict. Hera struck Artemis on the ears with her own quiver, causing the arrows to fall out. As Artemis fled crying to Zeus, Leto gathered up the bow and arrows which had fallen out of the quiver. (Homer, Iliad 21,470 ff)
Artemis may have been represented as a supporter of Troy because her brother Apollo was the patron god of the city and she herself was widely worshipped in western Anatolia in historical time.
Source: http://en.wikipedia.org/wiki/Artemis

The Horned God

The Horned God is a modern syncretic term used amongst Wiccan-influenced Neopagans, which unites numerous male nature gods out of such widely-dispersed mythologies as the Celtic Cernounnos, the English Herne The Hunter, the Hindu Pashupati and the Greek Pan.
A number of figures from British folklore, though normally depicted without horns, are nonetheless considered related: Puck, Robin Goodfellow and the Green Man.
The idea that all such horned images were of deities and that they represented manifestations of a single Horned God, and that Christianity had attempted to suppress his worship by associating him with Satan, originally developed in the fashionable 19th-century Occultist circles of England and France. Eliphas Levi's famous illustration of Baphomet, in his Dogme et Rituel de la Haute Magie (1855) (based on Goyas's Witches Sabbath painting, 1789) accompanied the first suggestions to this effect. Levi's image of "Baphomet" is reflected in most depictions of the Devil made since. Symbolism is drawn from the Diable card of the 17th and 18th century Tarot of Marseille: the bat-winged, horned and hoofed figure with female breasts, perched upon a globe; Levi added the caduceus of Mercury at his groin, moved the flaming torch to crown his head and had him gesture towards lunar crescents above and below.
This was not an evil figure, Levi contended, but a god of the old world, driven underground and condemned as a figure of witchcraft by hostile Christianity. Margaret Murray took up this suggestion and blended it with an adaptation of the cultural anthropologies of James Frazer to define a pan-European fertility god. Where Frazer saw modern folklore and folk customs as the echoes of forgotten agricultural rituals, authors such as Murray and her contemporaries at the Folklore Society saw it as evidence of the survival of an esoteric fertility cult, a secret tradition driven underground and suppressed by Christianity.
Margaret Murray selected and heavily edited sources in order to forward the position that witches meeting in the woods with Satan were actually representatives of a pan-European fertility cult worshiping a Horned God. These themes shaped both the popular image of the Devil and the modern concept of the Horned God revered by some neopagan groups (such as Wicca) today. Murray's theories have subsequently been discredited due to her selection of evidence yet her influence, in part by having authored her theories in the Encyclopedia Britannica, persists.
Margaret Murray associated the Horned God with woods, wild animals, and hunting. He has also been associated with male virility and sexuality, mainly heterosexuality but also homosexuality.
In the religion of Wicca, first publicised in 1954, the Horned God is revered as the partner and/or child of the Goddess (commonly described as the Great Mother or the Triple Goddess). According to Gerald Gardner Wicca is a modern survival of an ancient pan-European pagan religion that was driven underground during the witch trials. As such the Goddess and Horned God (the "Lady" and "Lord") of Wicca are the supposed ancient tribal gods of this faith. However, there is little evidence to support claims that the religion originates earlier than the mid-20th century, and Gardner himself states that he had reconstructed the rites from fragments, incorporating elements from English folklore such as Murray (see above) and contemporary influences such as the Hermetic Order of the Golden Dawn.
In Wicca, "The Horned God" may refer individually to any of a multitude of localized gods of different cultures (such as Cernunnos or Pan), or to the universal archetype many Wiccans believe such gods represent. In the latter context, he is sometimes referred to as the "Great God" or the "Great Father", who impregnates the Goddess and then dies during the autumn and winter months and is reborn in spring.
Some Wiccans have attempted to reconcile the lack of historical precedence of their beliefs, as scholar and Medieval history professor, Jenny Gibbons states:
We Neopagans now face a crisis. As new data appeared, historians altered their theories to account for it. We have not. Therefore an enormous gap has opened between the academic and the "average" Pagan view of witchcraft. We continue to use of out-dated and poor writers, like Margaret Murray, Montague Summers, Gerald Gardner, and Jules Michelet. We avoid the somewhat dull academic texts that present solid research, preferring sensational writers who play to our emotions ...

Cernunnos

Cernunnos is a Celtic God whose representations were widespread in the ancient Celtic world. As a horned god, Cernunnos is associated with horned male animals, especially stags and the ram-headed snake; this and other attributes associate him with produce and fertility.
Cernunnos is known from archaeological sources such as inscriptions and depictions, to have been worshipped in Gaul, Northern Italy (Gallia Cisalpina) and parts of Britain. The earliest known probable depiction of Cernunnos was found at Val Camonica in Italy, dating from the 4th century BC, while the best known depiction is on the famous Gundestrup cauldron found on jutland, dating to the 1st century B.C. The Cauldron was likely to have been stolen by the Germanic Cimbri tribe or another tribe that inhabited Jutland as it is quite clearly from south east Europe (See the external link below).
In Gallo-Roman religion, his name is known from the "Pillar of the Boatmen" (Pilier des nautes), a monument now displayed in the Musée National du Moyen Age in Paris. It was constructed by Gaulish sailors in the early first century CE, from the inscription (CIL XIII number 03026) probably in the year 14, on the accession of the emperor Tiberius. It was found in 1710 in the foundations of the cathedral of Notre-Dame de Paris on the site of Lutetia, the civitas capital of the Celtic Parisii tribe. It depicts Cernunnos and other Celtic deities alongside Roman divinities such as Jupiter, Vulcan, Castor, and Pollux.
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