I'm currently making preparations to head out on a long journey into a 300 million year old landscape that will require traveling over 40 miles by mountain bike followed by 10 miles worth of cross country hiking through the rugged terrain of an ancient sea bed - the first endurance challenge of this season of The Journeybook and the continued quest in the name of Hera.
It takes longer to prepare for these long journeys and more to anticipate. Learning from past travels and adventures I know what I am facing and what I will putting my mind, body and soul through in the next 15+ hours. I'll be setting out on the journey before sunrise so that I might make it to the goal area of this quest with plenty of daylight in which to explore and film. I'll be in touch with those who follow me along on these journeys via Facebook by sending out live updates throughout the day.
To help with the challenges to come I've prepared a couple of simple aids: an infusion of lemon, honey, herbs and white tea extract, a balm made from extra virgin olive oil and simple things of that nature. The journey is to go slow and steady because of the distance, terrain and the elements themselves. Injury, exhaustion, dehydration, all the standard risks are high this time and need to be considered.
Once again I have the persistent feeling that there is something out there to obtain with no real clue as to what that something is. Perhaps it is the journey itself. To take on the challenges to come, pass all of the unknown tests and do it all in front of a live audience. An example, and instance where the time for talking about a path, a Goddess a destiny is over and the opportunity has come to offer up proof through actions. A judgment by deeds rather than words.
In which case, it's time to stop writing and get back to preparing. The journey begins in 4 hours. You can watch it all unfold HERE.
Long before I developed an interest in dusty ancient texts (or anything else for that matter) I was heavily influenced and immersing myself in the study of various martial arts. Those studies are what likely got me through my teenage years relatively unscathed. It's all I did, all I cared to do. I wasn't interested in getting my first car, drinking, drugs, school, girls... if I wasn't training, I wasn't happy.
I spent 4 years studying on my own until my parents were finally convinced enough to get me into formal training and the Imperial Dragon - a very secret society type of set up hidden away in the attic of an old auto parts building. They didn't advertise, didn't compete for points and trophies, and didn't expect you to do those things either. In fact, the first rule was: Never tell anyone about this place. The thinking was that if you sought them out and found them, you might have the qualities they were looking for. Chief among those qualities: desire.
While studying at the Imperial Dragon I continued to study on my own. I made my own training equipment, obstacle courses, weapons, and my parents even allowed me to design my own dojo in our garage which was laid out in the design of a Buddhist temple. There I studied the myths and culture of the East while beating myself to a pulp. All the while, no one outside of my family members knew anything about it until my Jr. year in high school when I was pulled into letting the cat out of the bag.
My Sensei from the Imperial Dragon was invited to give demonstrations in one of my classes. During the first part of the demonstration he didn't acknowledge me much at all as he gave a quick lesson on meditation. Which I was fine with. The second part of that same demonstration was based on how controlling one's mind aids in controlling the abilities of one's body. To demonstrate this sense of focus and control he wanted to display the standard breaking of the boards. The twist was that he called me up to do it and in doing so let all of my classmates in on my little secret.
At this point I had still never done the breaking technique nor did I care in trying it. I thought the breaking of the boards was a showman thing and I was not all that impressed by the idea showmanship because usually it just invited trouble. But in the dojo or out when your Sensei tells you to do something, you do it.
So, I stood up from my desk and walked to the center of the room, the stunned eyes of all of my classmates locked on me. I was anything but comfortable up there and can remember thinking that it was going to be the most humiliated event of my life if I failed. As my Sensei was prepping everything for the demonstration I whispered to him that I had never done the breaking technique. He whispered back that he would not have called me up there if he didn't think I could do it. He knew I was ready. I wasn't so sure.
He gave an enigmatic explanation of what we were about to show the class and took his place, board in hand, me directly in front of him, fists at the ready. I took one deep breath while staring at the wall behind my Sensei. THAT wall was my target. Not the board, not him. Just the single point on the wall behind them both. It was then that I experienced what I can only describe as tunnel vision. The room, the class, the board all fell away from my sight and all there was in my field of vision was that focal point on the wall. Seemingly in slow motion I threw the strike and stepped into it at the same time. The board snapped loudly, pieces of it flying from my Sensei's grip, exploding across the room. When my senses came flooding back I found myself gripping a fist full of his shirt. A final detail to stop the remaining power of the strike. My classmates all gasped in silence for what seemed like an eternity before they busted out in screams and applause.
Eventually I would take my studies in various martial arts and combine them with western pagan spirituality rather than the more common eastern philosophies of their origin. The psychology behind witchcraft would come into play as a new kind of technique making me into a new kind of weapon. But what I was doing back then was not your neo-pagan, love and light, we're all peaceful crap. In fact, I as doing the exact opposite and doing it all very publicly with absolutely no care for the consequences because the simple truth is: there were none. I was an absolute menace, a nightmare come to life for many. Even the police could do little to even get in my way let alone stop me. And I excelled at terrorizing anyone I took a disliking to. Beating them down both physically and mentally with techniques and notions that today I believe no one (especially a rebelling teenager) should ever possess the knowledge of. Something inside me wanted blood, blood is what it took, and lots of it.
I stayed in that state of mind for nearly 5 years before I finally outgrew it. The story of what changed me is a different tale all together. But what happened in that tale instantly put me on a path of trying to redeem myself for all of the pain and hell I had unleashed into the world.
I know all of the darkness and evil that men are capable of because I have done it all myself. In the years since, I have taken out a hundred times more evil than the victims I created when I was evil myself. But I am also well aware that no matter how immersed in the light and blessings of ancient gods I can be there is still some shred of that old darkness inside me. Still those random thoughts, emotions, desires that come from the demon half pacing and roaring in his cage. Especially when I am challenged or under high levels of stress. It's simply not a good thing for me to get angry. Anger seems to trigger that old darkness, wake it up. And when it wakes it is extremely difficult to keep it in the cage.
I have learned to control it better and use its energy in more creative ways. Working out, taking on the enormous physical challenges of The Journeybook, focusing on my spiritual path, things like that. I have tried to pass all of this knowledge of training, darkness and light down to my younger brother who today is the same age I was when I was dark and holds a kind of darkness of his own.
Before I moved away we would train together constantly. We've been doing it since before he could walk. Today those training opportunities are rare. But we have made it a habit to get together at least once a year for a week or so of training and we film just about every minute of it.
This is the more hidden side of this overall tale. Sure there are ancient gods, artifacts, weapons, incredible landscapes, and unbelievable manifestations that defy imagination. But there is also the training, the violence, the brute force and the pain. Now, for all to see.
A quest had been planned for this coming Sunday ( June 2, 2013) to return to the island where I discovered the 7 Mile Altar Stone and Zeus's Lightning infused Eagle stone. This same island is also where three bald eagles appeared during the journey to place the last of the stone Hera Votives to complete the Ritual of Moira a 22 part, 9 month long ritual meant to release Hera from her bindings by Zeus.
Since these manifestations all came to pass on the same island the island was named "The Island of the Gods" and deemed to be 'holy ground'. I have not been to the island since the encounter with the eagles. Nor had I intended to until I had a vague dream about it which has since infused me with a sense of urgency in getting back there for some reason.
I planned the journey to answer the pull to the island and then a change in the weather came about. 2 days of thunderstorms are expected over the weekend which prevents the planned journey on Sunday and the rains to come with these storms will increase the flow of the river making the island that much harder to set foot on for a time after the storms themselves pass.
I don't know what lies on that island, what manifestations will present themselves when I return to it, or why the sense of urgency to get there. The appearance of the thunderstorms does delay the journey but it is also a fools errand considering I have been harvesting the essence of such storms and welcome every one of them in order to gain more measures.
Another manifestation has appeared behind the coming storms. The past 2 days have been the hottest of the year thus far. But a cold front coming in behind the line of thunderstorms will drop the temperature and humidity drastically for a few days. The cooling veil of the cold front will make journeying far easier and more comfortable.
So it would seem that I have gained a hindrance from Zeus and a blessing from Hera when it comes to venturing back to the Island. The only thing to do now however, is wait.
The Journeybook is the ongoing interactive project that not only records many of the events written about in this very chronicle but also brings others into the story as both witnesses and philosophical debaters. There is a vast number of people out there who make and swear to lot of things. But when it comes to offering up visual proofs, when it comes to walking their talk, they come up short.
My relationship with Hera which led to the creation of The Heraian and The Journeybook Network on YouTube where this story plays out in front of the world is both simple and radical. Surely it is an unbelievable story to many, until they see it playing out in the near 100 videos already included in The Journeybook. The first season of which, chronicled the adventure of placing 22 hand carved stone votives to the Goddess Hera in various locations as part of a lengthy ritual that defied Zeus. A defiance that did not go unnoticed or unanswered for. I did, in point of fact, fail in the quest to place the final votive and complete the ritual in the final chapter of the season. A failure which was also well documented here. I have no shame in this. It happened, it was recorded, an none of us involved in this story are entirely invincible.
My story is an anomaly in the modern Age. Paganism in general is on the rise the world over in countless different flavors and interpretations. But no one else has dared take on a path such as this one and even within classical Greek myth those who aligned themselves with Hera and defied Zeus in one way or another did not end up with a "happy ever after". In fact, some of the most sadistic punishments ever conceived came from the mind of an offended Zeus. I know those cautionary tales well. I simply don't care.
As the events of last year played out, as votive after votive to Hera was placed, and I came closer and closer to pulling off the ritual my own realm and people were all but annihilated. Once the most powerful, feared, and revolutionary force in the global pagan community has fallen to ruin where only a precious few struggle to hang on. While I was out questing for the glory of Hera my world and all that I had suffered for and loved fell to apathy and betrayal. By the time the final votive was to be placed my people were expecting a victory and instead they saw me fall just 3 miles short of the end after suffering an abdominal injury and enduring freezing temperatures in the middle of a forest with no shelter.
Following the defeat I was insatiably angry and full of rage. I had been defeated after traveling over 1,000 miles in my quest, my world and people lay in ruin, and at the center of it all stood Zeus - the God who I had defied at the side of his reluctant Queen.
It was to Hera which I turned following the assault and from Hera which new power came forth. Holding to the idea that all not only had to be written but shown this new strength was also filmed and displayed before the eyes of the world, quickly becoming one of the most viewed and awe inspiring videos in the entire story.
For the past 5 months I have been in training to hone my strengths and abilities in order to continue on with my quest and this very story. As of this writing we are only 2 days away (March 30th) from the first quest of the Second Season of The Journeybook where this story will continue to unfold before the eyes of the world in a new series of videos and thousands of new photos along with the written account that is this very blog.
Not only will The Journeybook reveal stunning landscapes as we quest to place the final votive and rob Zeus of his power - breaking his bond over Hera - but it will display and illustrate abilities that come only from this level of devotion to a singular Goddess. I will not only write and talk about it, I will show you and I will do it all LIVE.
I could, like many others, have these experiences and keep them to myself. Never offering such proofs of what I claim and write of. But what would be the point in having them if they are not shared experiences? However unbelievable it is a story that should be and needs to be told. You do have to see it in order to believe it.
I am a pagan who came from nothing, rose up to become a King, created a spiritual pagan dynamic and realm that is unmatched and peerless, gained the favor and love from an individual Goddess who I have honored and glorified with unprecedented passion and devotion, and defied the will of Zeus to the point that I have made a clear and welcomed enemy of him.
Zeus represents everything I have come to hate about the world of men and the petty nature of the Gods. His affronts to Hera and misogyny will be answered for and it will be me who passes down the punishment in Hera's name.
Anyone who watches The Journeybook beyond the written accounts of this blog will witness a battle between a Pagan King and the King of the Gods. And we will battle it out until only one of us remains.
I have already publicly announced that I am putting my title as the King of the Denians on the line in the Second Season of The Journeybook. If Zeus answers my challenge and manifests to face off with me again he will either end my 17 year reign (and this very story) or the world will bear witness to me setting before them with Zeus's power in my own hands.
Defied, robbed of his power, his bond over Hera broken, Zeus himself - the ancient King of the Gods - will lay defeated at the hands of a mortal who fought, suffered, and sacrificed to become something else. But it is not the power of Zeus that is to be my prize for victory. This is not a quest or battle for power. It is a battle for the hand and heart of Hera herself.
To win the hand of Hera Zeus himself must be defeated. And the battle between mortal and God to see that happen is about to unfold before the eyes all all.
(NOTE: The 22 Chapter adventure chronicling the placement of the 22 Hera Votives in both picture and videos can be viewed HERE)
Hidden within the proverbial pages of The Journeybook Adventures is a somewhat hidden secret that has only been mentioned in one of the chapters thus far.
Among the items taken on each adventure is a single hand carved stone
votive (22 votives in all). With each adventure one votive is left
behind, hidden somewhere in the landscape at the far edge of the
journey.
Each
of the stone votives are unique and each depicts the Goddess Hera, one
or more of her personal icons, and (always) her name.
This semi-secret mission hidden within each chapter of the ongoing
adventure makes each of the stories into an untold evolutionary ritual
that includes multifaceted levels of sacrifice and hardship ending with
this simple tribute to a very specific Goddess. The ongoing ritual is a
proving of worth and devotion for yet another hidden purpose.
Included with the 22 votives of each chapter and trial are many
other creations and stories. Such as the trial of the 7 mile altar
stone, the rebuilding of the altar room, the procession to the river for
a ritualized bathing of the Altar Statue, the writings, videos, and
other tributes, the scholarly studies, meditations, and more. All
smaller pieces of a much larger story that now spans years.
It is a hard path of many body bending, soul torchering challenges
that breaks many boundaries and preconceived limits. It is the art of
sacrifice and tribute, the path of devotion with many pains, the
practice of going beyond all reason and doubt.
22
stone votives, 22 chapters in story of passing the tests and placing
them.
When the 22 trails, adventures, and tributes are completed they
hidden stones will form a pattern over the map of the land that extends
over 30 miles in every direction with the altar room and my home at the
center of it all. Here, where the largest of all stone votives to Hera
within this story is held - the 7 mile altar stone itself.
The Journeybook has been a wonderful experience for me and I hope
that it has come to be the enjoyment of the many who subscribe and watch
the story unfold. This is simply a glimpse of the story within the
story. The somewhat hidden, the somewhat mysterious, the absolutely
pagan.
The
following video has been in the works for three weeks. The
creation of this video involved 52 different clips, 50 separate
transitions, 7 video length special effects, 6 spectrum filters (each
taking at least 3 hours each for processing) and 12 minutes and 49
seconds of digitally enhanced mixed music that plays out in two chapters
"heaven" and "earth".
The
final video file turned out to be so complex that it took over 2 1/2
hours just to upload it to YouTube so that it could be shared in this
High Definition CinemaScope format.
A
major part of this video was filmed at a Greek temple garden during the
"Master of the Arts" chapter of The Journeybook Series. I took a secret
side run during the filming to get the clips to make this very video
which I had already been planning for weeks prior. The temple gardens
you will see in this video have become an important place for me to
visit from time to time.
I
had two goals in mind with this video. The first was to tell an
unbelievable story in such a way that the story changes from viewer to
viewer. Anyone who watches this video from start to finish is going to
get a different message, a different story out of it.
The
second goal is to offer a beautiful example of what one might be able
to create and experience when they have devotion and focus within their
spiritual path. In order to experience this kind of thing in full
measure one must be able to relate to the idea of being devoted to
something beyond reason. To not only have an interest but to fall in
love with it to the point where everything beyond it seems pointless.
And
above all else, you have to be able to respect the individuality of the
Gods as singular, unique entities not much different than your fellow
man.
It
is from this perspective that such things are created, focused, and
empowered. It is from this perspective that we might see old gods
walking on new streets.
I
consider this video no different than any of the hundreds of votives
that decorate my altar room or the hundreds of pages worth of tales
involving me and Hera. The journey, the time, the effort, the stress and
frustration, the lessons in patience, that it took to create this
particular piece were all part of the tribute to her.
And with that, it is my honor to share with the world this latest tribute to Hera, the tale, and the path.
I've
written before of a fragment that tells that the greatest gift that
Hera might bestow upon a mortal is in allowing them to die in their
sleep. Several tales have been written down from the ancient temples
chronicling this very event - wherein those who are offered this gift
fall asleep within Hera's temple never to wake.
Others tales, right up into present situations, have attributed
deaths to Hera as well, but not in-so-much as a gift but as an act of
vengeance in response to one offense or another. Of which, I can present
what I consider to be a pain filled quote from the accuser while
withholding the name of the person who sent it out of respect for the
one recently taken, who said to me:
"A curse on you and your Hera for what YOU have obviously
done. I would have never believed you would have gone so far to invoke
pain." This, as mentioned, I attribute to
grief as it relates to me personally and chalk it up to that grief
seeking someone to blame. Yet, even in the freshness of this projected
grief I cannot say without certainty that Hera was not involved.
Seemingly unrelated events happened to unfold and fall into certain
places that offer the accuser some logical ground to stand on. An
offense was made by one party and answered by myself. To which I openly
admit prophesying loss and pain for said offense. Within the same time
frame that these events unfolded I did visit the river yesterday and I
did bring back offerings to the Altar of Hera. 7 spiked seed pods and
three roots from a potentially deadly plant that I had dedicated to Hera
months ago both in practice and shared forms.
Not long after my prophesy came to light and these deadly gifts were
presented to Hera, death did come within the family of the offending
party. The fact that it all took place on the same day offers them their
credibility of blame.
As shocking as that might be on its own it is not over. It will last
for the entire phase of the full moon. More pain, suffering, and loss
will come and both I and Hera will be blamed. In this, in spite of being
accuse of weaving such curses, I feel nothing but sadness for them. My
offerings to Hera on this day had no conscious ill intent behind them
(for my own part) and as far as prophesying the loss and pain before it
happened - I was simply relaying a message that had been clanging around
in my head. One that I wrestled with for hours, gaining no peace of
mind or emotion until after the message was delivered.
My sadness now comes to this unrest where I am unable to sleep as
this very story keeps playing out in my head and keeps Hypnos far away
from me.
Here at 3am I am being forced to consider the depth of my own
path and practices of which are my own and of only minute interest to
others as far as I am aware, in spite of how often I continue to share
them. My efforts and practices are derived primarily from ancient texts
which I do my best to follow to the letter in both thought and practice.
Some of which has tested me with great pain and visions of what I
thought might be my limit - all in the interest of devotion and gaining
the favors of this one specific Goddess who has long been noted for her
talents with vengeance and some of the most sadistic curses ever
recorded in human history.
Of course, I am well aware and read in on what Hera might bestow on
those she falls in love with as well as upon those she takes a disliking
to. The contrast of which is night and day, good and down right evil.
Before this day I believed the path to be something of an adventure.
From the moment I received the feather that cast me into it all,
throughout all I have learned and achieved since. In the years that this
path with Hera has been playing out many things have taken place that
defy logical explanation and even crossed the boundaries of my healthy
and well sited ego. I thought that by holding to the ancient ways rather
than some neo-pagan modern spin was an honorable approach that could do
no more or less than any other. Even within the trails the thought of
being in over my head was only a fleeting thought until I achieved what
was intended and gained the next blessing there-by. Before this day my
path and relationship with Hera has never been attributed to someone's
death.
When I received the above message I had no idea what the person was
referring to. I didn't respond before looking around to find out what
(if anything) had happened and I have not responded since I found out
that a death had occurred. It caught me completely off-guard and has
since put me here trying to get it all out of my head.
I visited the altar room after the discovery and upon entering was
washed in a strong feeling of apprehension. I felt a pang of fear
entering into my own altar room - a warning. I, in deep and stark
contrast to my own sense of strength and ability, with all of my
confidence and ego, felt extremely small in the anger that is currently
filling that room. Anger not directed at me in the least. It is tinted
with something protective but at the same time it is so intense and
overwhelming that I could do nothing but lower my head and step back out
of the room, closing the door behind me.
I set here now gazing through the glass with a single question echoing over and over again in my head and heart...
"What have you done?"
In the last week of July I decided to go hunting for crystals further
up the river than I normally go. The adventure landed me on a bulky
island 7 miles south of my home where I discovered several treasures.
Large chunks of anthropogenic glass, a large, heavy altar stone which I
carried home with me on my back, and perhaps the oddest of all
discoveries on that island was this:
A
simple stone engraved with the image of an eagle. Completely out of
place on that secluded island in the river. The last time I made a
discovery that was so irrationally out of place was when I discovered
the peacock feather laying in the central fountain of the Gardens of
Lisocea - the very same feather and event that set me on my path with
Hera.
Neither of us have any love loss for Zeus whose symbol this stone is.
And what a great opportunity is was to spin the unlikely event off into
a wonderful tale and sympathetically fulfill a goal I had set some time
ago to rob Zeus of his lightning bolt.
So, here we are.
The odds of me discovering this stone on that rocky island are
astronomically against the odds. As pagans we simply cannot afford to
write things off as coincidence. Not when we are dealing with the types
of things and creatures we are getting involved with. This stone was
stolen and placed on that island against all the logic in the world so
that I would find it.
My first instinct when I found it laying there amidst the rocks was
the Hera was up to something...again. So, I collected the eagle and
brought it back to the altar room where it has rested until today.
I
meditated and pondered over this stone for some time while I was
waiting to attain another item I was "inclined" to be in need of. And,
oddly enough, it did not take more than a couple of days for that item
to arrive. Even though I had ordered it from a metaphysical supply store
all the way over in England. They just happened to have what I was
looking for by way of a supplier in Australia. The item I was after has
literally been around the world. And that item is pictured here (right).
It is a fulgurite crystal - a silica based crystal
formed when lightning strikes silica rich earth and fuses it together to
form a type of glass. A literal creation of the joining of heaven and
earth, containing the metaphysical power of the lightning bolt.
I
presented the fulgurite to Hera and left it on the altar for the past
two weeks while waiting for the epiphany of what I was suppose to do
next in this odd chain of events.
I wasn't entirely sure until this afternoon. What makes today so
freaking special I have no clue. But I was lured into taking the
fulgurite that I had attained and combining it with the eagle carved
stone that Hera had stolen and placed on the island in the river.
So,
I crushed the lighting forged crystal into a glittering powder using a
mortar and pestle which caused the crystal to pop and try to shoot
shards all over the place.
I had to keep one hand over the mortar while crushing the crystal
with the other hand. After a few minutes of crushing and grinding I
ended up with a very fine glittery dust.
After crushing the crystal into a fine powder, I took the eagle stone
from the altar and I filled in the impression about half way with glue.
Then, I took the powdered lighting and poured it over the center of
the stone, allowing the whole pile of sparkling dust to set into the
glue itself and fill in the remainder of the indentation that the eagle
carving makes.
I gently tapped the edge of the stone to knock off the dust that
wasn't absorbed and held in place by the glue. Tapping off the excess
allowed for more air and humidity to reach the soaked dust, making it to
dry faster and become harder.
I took the excess lightning dust and placed it into a vile to keep on the altar for possible future use.
The eagle stone now infused with the lighting powers of the fulgurite
crystal, I detailed the edges of the encrusted engraving and I hand
carved a simple inscription on the back side of the stone - "For Hera".
And that is the story of how Hera and I stole the power of Zeus's lightning bolt.
Today
I decided it would be a good enough day to go out hunting for more
crystals in the river. Plotted out a course over a 10 mile stretch and
set out for the hunt. I hit every island and beach I aimed for except
the tow closest to home.
The
reason for missing the last 2 islands: On the return journey I was
already lugging over 70lbs of weight in 4 different bags. The bulk of
which was from a single stone that took up all of the space in my back
pack.
I
retrieved the stone from an extremely bulky island that all but
completely blocks the river, splitting it into two fast running streams
on both side of the island. The island itself is a hill that is made
from sand, gravel, and large water polished rocks of all sorts; only a
few of which was of much worth to me. Then
there was this one stone. Heavy, flat, and perfectly polished. I
wrestled with the notion of hulling it back knowing how impossible the
task was going to be. I didn't even know for sure if the thing was going
to fit in my backpack. I
dumped everything I had collected into my spare bag and tried to divide
all the weight up as much as I could. Stuff this huge stone into my
backpack not knowing if the weight was going to break the straps, or
worse, my spine. Once
I got the weight situated I made my way to a shallow area of the river
and walked across the water to the steep bank where I had to remove the
bag, toss them up, and climb out before retrieving them and setting up
again.
After
that, it was a very long slow mile journey back home that included a
climb up the western valley wall - a steep incline of over 200ft.
But
the time I reach the top of the valley I was all but ready to call for
help. it felt like my heart was about to fly out of my chest and I was
getting tunnel vision. I sat down for a few moments and tried to calm
myself down but I was overheating badly.
So,
I forced myself to make it another block to a tiny little store that
sets there near the top of the hill where I got a cold drink and took a
few moments before weaving my way through the last few blocks home.
The
things I found today are all huge in comparison to what I have gathered
out there thus far. Including three pieces of anthropogenic glass
bigger than my hand and in all of this...only one new crystal like the
others I found. I'll
be taking some pictures of the new pieces once I get them cleaned up.
At the moment I am still trying to recover from going just a little too
far across the line today.
I almost have everything I need for a rebuilding of the altar room. Almost. Carving the Altar Stone (July 3, 2012)
In
spite of the trials of the day I've stayed up to carve out the Altar
Stone I collected from the river island earlier today. I may go back and
add some finer detail but it is 1:15am now and I have already gone
through 3 diamond tipped bits carving this stone. The stone measures 16 inches wide and 5 3/4 inches tall. I
carved Hera's name on the raised back portion of the stone and
encircled it with a basic vine pattern. Then, etched my name into the
back of the stone. (Always sign your work. Otherwise, you won’t get
credit 5,000 years from now when some archeologist digs it up.) Tomorrow I will carve a votive prayer onto the bottom of the stone (which I will not be sharing). This
stone is to be used as the base for the altar statue which will rest on
a 3ft high altar table at the center of the room aligned with the
double glass doors leading into the living room. The
stone will be the first item placed into the newly designed altar room
and then the rest built up around the stone. The statue itself will be
the last item to be put into place. The Goddess needs a temple before she can walk into it. The Day of Storms (July 3, 2012)
At
this very moment the altar room is nearly empty and almost ready for
its detailed cleaning and scented water/oils wash down. And the
wonderfully odd detail of the day: at the same time I began removing the
items from the altar room a massive thunderstorm rolled in and it has
been thundering loudly enough to shake the house ever since. And
me, I have the windows all wide open, harvesting the wind and rain,
washing out the entire house with the power of the storm. Opened it all
up and let it right in. And the thunder rolls. Think Zeus might be a little pissed that I stole his wife?
Let's piss Zeus off by using the rain water from the storm to wipe down the altar room instead of tap water. Little rain, little essential oils, little stormy wind, and we have ourselves a nice clean room to start in. Base Cleaning and Cleansing (July 3, 2012)
Now
that every item has been removed from the altar room I get to the
initial cleaning and cleansing part. As I mentioned in a previous post I
gathered rain water to wash the room down in. To the rain water I added
Spring Meadow, Apple Cinnamon, and Cinnamon Nutmeg oils to give the
rain water a very natural and earthy scent. Now,
before washing anything with the scented water I used a portion of it
to fill an spray bottle. This portion will be used to scent the
carpeting, table cloths, the cushion of my moon chair, and the pillows. I
wanted to make sure to detail the base boards of the room because a lot
of detail will be put into that area of the floor. All of the walls,
woodwork, and the ceiling have all been cleaned with the scented rain
water. (People almost always forget to clean their ceilings - the one
place that collected more humid air than any other spot in a room,
making it a breeding grounds for all sorts of nasty things. After
the detailed wipe down I cleaned all 10 windows that surround the room
and the glass doors leading out. Then, I cleaned the carpet and sprayed
it down with the bottle of scented rain water. I followed that up by
opening all the windows up to flush the room with fresh, after a
thunderstorm, air. After the carpeting dried I then traced the entire room in salt. (The first boundary.) And now the room is ready for the placement of the 3ft high altar table and the new altar stone I carved last night. Once
I have that set up I will head off to the kitchen where I will be
washing every single item that will be going back into the room. Setting the Stone and Votive Displays (July 4, 2012)
Now
that the altar room has been prepped comes the placement of the altar
table. The table itself is set into the center of the room. A focal
point from both the outside as well as the inside. From the outside the
altar can be viewed by passersby when the blinds are open to allow in
sun/moonlight. Normally I leave the blinds open until I retire to bed
unless the room becomes to hot in the afternoon. In which case, I shut
the blinds and open the window so that Charlotte (my 11 year old
tarantula) doesn't die from the heat. Before
the cloths and stone can be placed on the altar table it gets its own
cleaning and a wipe down with pure essential oils. The oils will soak
into the wood and their essence will be absorbed into the altar cloths. I've
used the same altar cloth now for a few years. This time however, I
added a second cloth to cover the entire surface area of the altar
table. The extra white cloth reflects a good deal of sunlight making the
altar top appear to glow in the afternoon. Once
the altar stone is set and centered the backdrop can be built. When
setting up an altar I have always held to the general notion of: Black
on the left, White on the right. This offers a sense of realistic
balance with the Goddess at the center of all that is good and bad. The
backdrop begins with two floral arrangements. One light, one dark, both
accented with peacock feathers and pomegranates with long thin
extensions that nearly reach the ceiling and gold encrusted pear limbs. Hera,
contrary to popular uneducated bullshit, began her life as a
Nature/River Goddess with the Spring Equinox being her birthday. Hence,
the floral, earthy oils and arrangements. Pear wood was common in the
temples as a material used to make her votives and there is a long
standing connection between Hera and the Pomegranate - fruit said to be
of the Underworld. Heroes would drink pomegranate juice before going
into battle thinking it gave them a measure of immortality. And the gods
fear the nectar thinking that it temporarily robs them of theirs. Some
purpose that Hera used the potion on Zeus to weaken him before she set
him in chains and began the Gods revolt against him. Peacocks
and lions are the "Um duahs" of a Heraian Altar, both being sacred to
her. The peacock feather is important because it is a window of sorts.
Anything within the view of the peacock feather's "eye" is known to
Hera. And so the altar backdrop extends with a peacock on the left and a
lion on the right. The lion standing upon a wooden case that holds a
mummified rose wrapped in a peacock feather and covered in a bed of
crushed lavender, lilac and sage. Below
the ever watchful lion, a crystal collection. Including the crystals
gathered from the same river where the altar stone itself came from. Above
it all, "The Eye of Hera" (see archive) is suspended above the Greek
styled altar light that sets in the center of the backdrop and is never
turned off. The back-light is there to primarily illuminate the altar
statue as well as keeping the room from being cast into darkness. The
altar room is NEVER dark. Not even while we are sleeping. The light is
to remain at all times. If the power goes out the room is then lit with
special candles until the power returns. Holding
with the light/dark aspect of the left and right side of the altar -
dark stones and votives are placed on the right side of the altar
extending all the way to the corner with lighter stones and votives on
the right (light) side. The
right/front corner of the room displays a Greek column with Pan and a
fairy surrounded by river stones, incense, and feathers in an earth and
air theme. The
left front corner of the altar room is decorated with my grandfather's
cedar trunk holding frosted white, aqua, and blue anthropogenic glass,
"Hera's Pearls" (milky white rounded quartz stones) and vials of herbs
and oils. Accented with white candles and a photo backdrop. In this same
corner I place "Hera's Scepter" - made of pear wood that was soaked in
red wine for over a week to stain the wood and then crowned with a
glossy red pomegranate. Near the top of the scepter Hera's name is
carved into the wood. The right front corner displays copper and 14k gold items that were handmade and imported from Greece and a Greek calendar. The
left front corner of the room is dominated by the spider tank that is
laid out with a Greek vase, green glass, a golden clock face necklace, a
green scrying glass, mirrors, and is crowned with an import piece of
artwork known as "The Wings of Icarus". This display is still in the
works and will hold to a Sisters of Fate theme. Tonight
I crafted two glass vases. One contains a large shell from the river
surrounded by anthropogenic glass and a red ribbon. The other is of a
peacock feather eye suspended in anthropogenic glass of various colors
to accent the colors of the feather. And
now it grows dark. So, the altar room will be lit and shut up for the
full moon night and we will finish setting the room up tomorrow. After
everything is in its place the room can be sealed up and the cleansing,
charging, and blessing of the new altar room can take place to prepare
for the placement of the altar statue itself. The Day of Fates (July 4, 2012)
The
Sisters of Fate have been figures semi-hidden in my personal mythos for
a very long time. Because I take so many different types of risk and so
many of my life's tales have bordered on the irrational and unlikely
outcome is the common manifestation the Sisters are always there for the
logical conclusion of influence. However unlikely that conclusion may
really be. Within
my relics collection is a large green glass scrying orb called "The
Sphere of Time". In the past it was common for me to use this orb in
meditation to follow threads of time down the most likely course of
events. Having that ability did not go unnoticed however. Not even here
where it has often been illustrated that I know how events and threads
will unfold months before they actually take place. Even today I can
offer insights, to those who ask, of what is likely to take place 6
months from now. How certain people will react to those events and be
the one who manifests the very thing I spoke of, even if they try with
all their will not to. The
essence of Time has always been something that lent a powerful energy
to the current of Denian Tale. How things develop, who will (against the
odds) come into the story, what will be treasured and what will be lost
forever. The ability to see these threads borders on a type of
scientific method. There is a specific way to do it and if not done
correctly the prediction will simply prove wrong, every time. Such
oracle practices are all too common in the world, even today well
beyond the pagan realms. The difference between now and the ancient
world is that the people who practice these arts are rarely ever
referred to as "Oracles" but instead as "Readers". They use tarot, runes, meditations, and even mind altering drugs to do it. I use "The Sphere of Time". For
more than a decade now that very sphere has been kept inside a glass
tank and treasured by a rose haired tarantula who is now the size of my
open hand with 1/2 inch curved fangs, the ability to flick stinging
hairs into your skin, and spin enough silk to cover everything inside
her glass realm with silver silk in one spinning. She
prizes the Sphere of Time and has a habit of running to it after her
tank is cleaned or if she hears a loud noise. The sphere has long been
her one constant. The one thing that has always been there. She knows it
and in that knowing she is comforted. She also attempts to spin her web
over and around the orb in what I think is an attempt to keep it in its
place. In
keeping with Time that tank also holds a clock-face medallion encrusted
with crystals, laying on a small mirror. A piece that I have never worn
before. It was gifted to me and has been inside the tank ever since.
Now completely wrapped in spider silk and half buried in the sand. Shards
of green glass, the green orb, the clock-face medallion, my Golden
Compass (used in The Journeybook Adventures) and a small green vase
depicting the Sisters of Fate, this is the setting for the focal point
of the front left corner of the altar room. Above the tank "The Wings of Icarus" displayed as a constant reminder and warning of going too far, too fast. Below
the tank, items collected on my adventures. Many of them to be gifted,
traded, and bartered away. Changing the course for others along the way.
All symbols of intertwined Fate, physical manifestations there as proof
that other lives and destinies are all part of the same story. And
below that still, the journals. hand written accounts of events as they
unfold. The untold, unseen details of the Denian Myth. The greatest
events in the entire tale included with dates and times that they
happened. The unpublished record of everything done here past, present
and future. This
is the work of the day. The final wall of the altar room. once finished
and presentable I will go back over every display and altar the tiniest
of details in them all. Stones to be turned a certain way to highlight
their color, crystals turned to the sun to glimmer at different times of
day. The lighting all set and balanced. When the details are done and the room is set to standard it will be time to go up a bit higher. Above
the door leading into the altar room is a acroterion - A kind of crown
that marks it from beyond the room as "sacred space". The acroterion for
the altar room is an ornamental disk displaying my Heraian Shield
Symbol with Hera's name inscribed on it. The acroterion is crowned by a
peacock eye and is flanked with dry flowers leaning into the acroterion
and two more peacock feathers leaning outward. Both sides of the doorway
are flanked by free hanging ivy vines and a large vase of purple
flowers sets in front of the right side doorway, which is normally
always shut. It
is to all be cleaned, cleansed, and redesigned; which will require
bringing out a ladder because our ceilings are just over 16ft high in
the living room. (Add another 2 inches or so for the decorative molding) Only
after the acroterion is refinished can the room be prepped for another
round of cleansing, smudging, and detailing. Once that clears, candles,
oils, incense, and sage will be burned and the altar stone blessed. It
normally takes about 3 hours to fully charge the room with elemental
energies. After
which it will be sealed for a certain period of time. No one in, no one
out as to altar room is allowed to balance itself out. Once the balance is achieved we can then move on to cleansing, blessing, and placement of the Altar Statue. Second Charging and Blessing (July 7, 2012)
After
the detailing if the display in the altar room is completed comes the
long process of blessing and enchanting the space - a ritual that takes
days to complete. The reason it takes time is because it is done in
layers of sort with each element having its own time and place in the
room and multiple cleansing of the space done in various ways. All
ten windows are traced in a potion of oils and salt water with herbs
and other things placed between the panes of glass. The carpet is
treated again with oil scented rain water, sprinkled with salt, and
quartz crystal dust. The walls and ceiling are treated with another
washing of rain water, and and all 40 of the windows that make up the
folding door entry way are also traced with pure essential oils both
inside and outside the room. The room is then allowed to rest and balance over night with the windows open to the night air. The
next day the altar stone is washed and detailed and candles are placed
on both sides. Oil burners are filled but not lit. Incense and sage are
lit throughout the day and into the twilight hour. At twilight the oil
burners, candles, incense, and sage are all lit in unison and the room
sealed up. It is to remain sealed until the candles in the oil burners
and incense go out on their own. The sage will always go out more
quickly. The candles lit on each side of the altar stone will remain lit
throughout the process, being they larger candles. The room remains sealed and filled with the scents and sage smoke, and flame to cleansing every item in the room. Once the room has settled it can once again be opened to the night air and allowed to rest. This
process can be repeated for days until the space inside the altar room
has a specific charge to it. The room is nearly set for the placement of
the altar statue. But before the statue can be placed inside on the
altar stone we must tend to the acroterion above the entry way and plan a
morning procession to the river. We
will get to the acroterion, its history, design, appearances, and
meaning in the next piece. Once we have the acroterion redesigned there
will be one last blessing of the altar room where the double doors
leading in will be left open for the process to merge the sacred space
inside with the energies in the area just beyond the doors. I will tell
you the reason why that is necessary when we discuss the acroterion. The Acroterion (July 8, 2012) The
altar room in effect is now consistent with a type of cella. In Ancient
Greek temples the cella is a room containing a statue representing the
particular deity venerated in the temple. One major difference here is
that the altar room is surrounded by windows, connecting it with the
outside. A common temple cella had no windows. Here, the entire house
and property might be considered the whole of the Temple. In addition
the cella may contain a table or plinth for votives such as votive
statues, precious and semi-precious stones, helmets, spears, arrow
heads, swords and war trophies. The accumulated offerings made Greek
temples virtual treasuries, and many of them were used as treasuries in
the ancient world. And this we have achieved in detail within the altar
room's design. Now, we move beyond the altar room itself to take a look at the Acroterion. One of the greatest muses in my Heraian Path comes from an ancient fragment that reads:
"With
combed locks they would frequent the precinct of Hera, swathed in
beautiful robes, their snow-white tunics sweeping the floor of wide
earth. Golden cicada-like brooches surrounded their hair; their flowing
tresses bound by golden bands, floated in the breeze, and intricately
decorated bracelets encircled their arms...a shield-covered warrior." (Asois)
The
last part of which has held my intrigue for some time because the line
doesn't seem to fit with the rest of the recounting of temple wonder and
the beauty of the priestesses. It is interesting to note that this
Bronze Age description of the priestesses at the Temple of Hera is still
reflected today with the dress of the priestesses who ceremoniously
light the Olympic Torch as the Temple of Hera at Olympia, officially
opening the Olympic Games.
This
same fragment is what mused the design for my personal crest that is
also the center piece for the Acroterion, along with the original
peacock feather that was found in the central fountain in the Gardens of
Lisocea that set me on my current path. The story of the discovery of
the feather can be read at The Temple of Hera at DENIA.
Now,
an Acroterion is just a fancy word for a decorative center piece that
is placed at the apex or highest point of a Greek Temple in Classical
design. Often these were based on a floral design but many different
patterns and notions have come up in architecture around the world with
the same principle in mind. The notion dates all the way back beyond 420
BC.
I
took the classical note of floral design and blended it with the Asois
fragment "a shield-covered warrior" to design my personal crest that is
the crown of the altar room's Acroterion. I bordered the shield with
peacock feathers, lily stems, threads of pine tipped with pearls, and
dried flowers. Then, topped the shield with the original peacock
feather. Handing down from the entryway one both sides of the Acroterion
are free hanging ivy vines.
The
entry way to the altar room is 10ft high from the crest of the
Acroterion to the floor, the double glass folding doors take up 7ft of
that space. When fully open the entry way into the altar room is 6 1/2ft
x 7 ft leading into the living room where the altar statue and displays
can be viewed while lounging around with the Acroterion there blending
the two rooms, marking the altar room as sacred space, and on a more
metaphysical note, project the energies of the altar room outward as I
reflected in my new design with the peacock/floral pattern lending
outward in a "bursting" pattern.
Inside
the altar room, the altar itself also reflects this outward energy in
its design with the angles of the edge displays and votives matched with
the angles of the outward flowing Acroterion above the door. The
combination of the two outward flowing designs offers a kind of "open
arms" feeling to the entire scene, drawing one's eye to the altar itself
as a focal point, and creating a welcoming feel. Follow all of the
lines of both the Acroterion and the angles of the altar room displays
and they all lead right to where the altar statue will set. In
the next piece we will be headed outside where tonight I am tending to
another part of the altar room (that is also part of the over-all layout
on the inside) and discover why it is important that the altar room be
surrounded on the outside of the house by a flower garden - peacocks and
all. The Gardens (July 8, 2012)
Hera,
long before she was raped by Zeus and married him to hide her shame,
long before she was seen as the patron goddess of subservient wives and
marriage, long before Zeus ever even came into prominent status in Greek
society, was a Nature Goddess who's birth was on the Spring Equinox,
tended to her own orchards where she grew the Golden Apples (a gift from
Gaia, one of the Titans), as a River Goddess in respects to her place
of birth on the bank of the Imbrasos River, as a prophetic Goddess who
was able to influence the destinies of mortals as well as imbue them
with great power as she saw fit, and as the Queen of the Sky and Starry
Heavens. Hera
is a purely Greek divinity, and one of the few who, according to
Herodotus, were not introduced into Greece from Egypt and antithetical
to popular notion and incompetent would-be scholars should never be
confused with, equated to, or remotely related to Juno, Isis, or any
other Goddess. They do not share her birth, life, reign, spheres of
influence, or nature. Nearly
every single Temple in Greece was built facing East/West so that it
faced the rising sun. Here, the length of the altar room also faces
East/West with the windows on both ends always open to bring in light
from the rising and setting sun as well as keeping it open to the
outside air which is scented by the flowers and herbs that surround the
outside of the altar room all the way up around the windows. In
keeping with the movements of the sun and the Queen of the Sky aspect
of Hera, each section of the surrounding gardens are comprised of
flowers that bloom at different times of day and in different seasons. In
the morning, morning-glories bloom on the East side of the garden and
spread all the way around to enclose the entire front porch. In
the afternoon, the morning-glories close and the tall four-o'clocks
open at the center of the garden directly in front of where the altar
stands on the inside. In the evening, white clematis and jasmine are warmed by the setting sun that enters into the west window. Spring
brings forth the lilies and hycanthus which give way to the summer
marigolds, morning glories and four-o'clocks, which then lend their way
to the late summer/fall bursts of clematis and lingering nightshade. Mixed
in with the flowers are fruits, vegetables, herbs, and gourds all
considered to be blessed foods. The lily stalks, gourds, dried flowers
and herbs, are all cut and used in decorating the altar room with new
flower arrangements or other displays. Some are dried and kept in jars
for use later and seeds are harvested every fall for the replanting of
the garden next season. Some things are even taken down to the river and
offered up as votives. This
surrounding ring of green and life not only scents and cleanses the air
coming into the altar room but encloses it with green, natural energy,
connects what is on the inside with the nature on the outside, and
honors Hera in an increasingly rare light that shines into the present
from the ancient past when she was the highest of all the Gods,
including Zeus. Zeus
did not come into his power until after he forced Hera into marriage
and within the mortal sphere males began their posturing as being
dominant over all things feminine - a mortal trend that still holds a
choking grip to this day that began in ancient times. Even after Zeus
had been noted as Hera's husband and thus "King" it still took nearly
1,000 years for his power to increase to a worthy note and his cults
began to have political sway. Mortal
posturing aside, Hera still bears no love for Zeus and his reign which
is why she never hesitated to punish, torment, curse, and murder
anything that Zeus ever showed favor to. Nor did she hesitate to lead a
full out revolt against him and his rule. Binding him in chains and
holding him as her prisoner until he was set free with help from the
Underworld. Following
the revolt Zeus returned the deed in kind by hanging Hera from the sky
by golden chains, leaving her there until she swore and oath that she
would never directly threaten his rule again. It is within this same
story that we might see the breaking point of feminine influence in
society and the rise of male dominance. Luckily
for Hera, thousands of years later a mortal would be born who would
have no intentions what so ever of honoring her forced oath. The Statue of Hera (July 9, 2012)
Hera
cared for her beauty carefully. She went to bathe every year in the
spring Canathus as Nauplia and renewed her virginity in the mystical
waters. She was known as the "white armed goddess" and was irresistible
when she fragranced her body with a lotion so sweet that it filled the
whole universe with its fragrance. Athene had woven her a robe with art
and she wore her earrings with three tear-dropped clusters, the robe
clasped at her breast with a golden pin, and a white veil draping from
her head.
Hera,
as mentioned was born on the island of Samos on the bank of the
Imbrasos River. (Her childhood was spent on the isle of Euboa). At the
Temple of Hera at Samos, every year on the Spring Equinox, there would
be a procession to the river of her birth where the altar statue was
bound to a tree and bathed in the waters of the river. This annual
procession cast Hera back into the light of "Mother Earth". So great are
her powers over the earth that she was able to birth the monster Typhon
(Typhoeus) by striking the earth with her open hand and calling for aid
as alluded to most famously in this fragment:
Homeric Hymn 3 to Pythian Apollo 300 ff (trans. Evelyn-White) (Greek epic C7th - 4th B.C.) : "Hera
went apart from the gods, being very angry. Then straightway large-eyed
queenly Hera prayed, striking the ground flatwise with her hand, and
speaking thus: ‘Hear now, I pray, Gaia (Earth) and wide Ouranos (Sky)
above, and you Titanes gods who dwell beneath the earth about great
Tartaros, and from whom are sprung both gods and men! Harken you now to
me, one and all, and grant that I may bear a child apart from Zeus, no
wit lesser than him in strength--nay, let him be as much stronger than
Zeus as all-seeing Zeus than Kronos."
It
is in the light of Hera as a nature/river Goddess that the traditions
here are to reflect in practice insomuch as the altar statue only being
bathed in river or spring waters as is both the ancient practice as well
as Hera's way. The
night before the statue is to be placed upon the altar stone the east
windows are to be opened to welcome in the first rays of the rising sun. Since
the entirety of the altar room has been redone, re-cleansed, and
elementally recharged it is important for the altar statue itself to be
re-cleansed and re-blessed before placing it within the altar room upon
the newly cut altar stone. For this, we will be taking the altar statue
to the river for a bathing. This secondary washing of the altar statue
aside from the annual Rite of Spring we can think of more in the light
of Hera bathing in the spring in order to renew her virginity.
My
altar statue of Hera is made of cold-cast resin that was bronzed and
then hand-painted. It measures 9 1/2" tall and 7" wide and weighs close
to 5lbs. This particular statue of Hera is becoming exceedingly hard to
find and more expensive in that rarity. Mine is rarer still because it
holds an engraved inscription on the bottom of the base - the only one
of its kind. Like the altar room and this entire practice, now written
for all to see.
Once
the altar statue is cleaned it can then be returned home for a
cleansing of white sage. Once the cleansing is done, after a full week
of preparing the altar room the statue can finally be placed on the
altar stone, where it will remain until the annual procession come
Spring.
Once
placed on the altar stone the statue is anointed with oils and votives
of semi-precious stones and fresh cut flowers are placed before it. A
handful of earth is placed on the left side of the altar stone and a
bowel of river water (collected during the bathing) is placed on the
right. Two white candles are lit on either side before the statue,
incense, sage, and oils are burned to welcome the Goddess home.
The
flower votives will remain on the altar until they are dry. Then, they
will be crushed and mixed with the earth from the other side of the
altar. To this is added the sage and incense ashes that were burned over
the past week. Half of this mixture will be placed in a jar for use in
the future and half will be taken to the garden outside that surrounds
the altar room and offered back to the earth - once again linking what
is outside with what is within.
From
here, it will be business and practice as usual. I will visit the altar
room every single day, often several times a day, work, write, collect,
eat and dream in this newly enchanted and blessed place. With my
Goddess, relics from my many journeys and tales, secret journals, and
hidden thoughts.
Next, I think I'll present Hera with Zeus's thunderbolt. Angel Snowden - 2012
Nightshade - Upon Hera's Altar are three glass vials. The first vial holds a number of dried Greek olive pits, the second holds a blood colored measure of the potion used during the Ritual of the Shielded-Warrior during the lunar eclipse winter solstice in 2010. And the third holds a deadly concoction of Nightshade.
Pictured here is the Nightshade during "processing". In this practice only four branches of wild nightshade are to be cut at a time. The blossoms and berries are removed first and place on the altar plate. Then, the leaves are sorted. From the first branch a number of "perfect leaves" are press dried between two stones. Another number of them are placed along with the berries and blossoms on the altar plate. The rest of the selected leaves are placed in an open urn to dry on their own.
The three remaining branches that are left whole are placed into vases on the left and right side of the altar and allowed to cross over the center.
The leaves and blossoms of the Nightshade dry much faster than the berries. As they dry they are crushed in a marble mortar and pestle and the powder is then mixed with half dried green and red berries creating a paste. The paste is then spread on a second plate to dry before it is crushed a second time in the mortar and allowed to set again until the next new moon.
On the night of the new moon the Nightshade powder is then placed into it's glass vial and allowed to remain open until the full moon. Only then is it capped and sealed. By the end of the ritual to create just one vial of "Heraian Nightshade" nearly two months may have passed.
The three vials represent the Sisters of Fate. The seeds of birth, the blood of life, and the dust of death. In a ritual that combines the three "the birth is crushed, the blood is spilled, and death is released".
In a later part of the same ritual enters one of the most mysterious and well guarded secrets of the ancient world. This being pure pomegranate juice.
The pomegranate was once the most sacred and most popular votive offered to the Goddess Hera. Myths abound about this sacred fruit the world over. Visitors to the Temple of Hera would never speak of nor write about it's power aside from one illumination that the juice of the pomegranate temporarily robs a God or Goddess of their immortality yet has the opposite effects on demigods and mortals, temporarily making them immune to the influence of the Fates or will of the Gods.
But when combined with cows milk the metaphysical effects of pomegranate juice are altered. Both are sacred to Hera and when combined become symbolic of her breast-milk ("kholos") or "The Rage of Hera" which, within the myths, are what gave demigods such as Achilles their ability and power. Once inside a demigod or mortal body the potion manifests itself as a "venom" and consumes the heart of the one "inflicted". Like any venom, once the milk of the Goddess is consumed by anyone it will remain in their veins for the rest of their lives.
In other myths, like that of Persephone, the pomegranate is considered to be a fruit of the underworld. It was the food used to trick Persephone into becoming the unwilling wife of Hades. Persephone ate three of the blood red segments of the fruit while in the Underworld and therefore must return to the underworld for 3 months out of every year.
This of course is the mythical reasoning behind the winter months when nothing grows as Persephone is locked away in the underworld and her mother searches for her.
Pomegranate votives were the most common gift left at the Temples of Hera up until about the 6th century B.C.E. when the offerings suddenly stopped. Scholars believe that this was around the same time that Hera went through a "mortal metamorphosis". Meaning that it was around this time that they began to stop seeing her as the all powerful Queen of the Gods, love above all, and began to see her as the more sub-servant wife of Zeus. Zeus, at the time, was not as highly respected or feared as the King of the Gods. Hera had many more followers and influences on the realms of man as an earth/river Goddess than Zeus did as the lord of the skies. But even after their supposed "marriage" which some might interpret as a play for power by Zeus or the early beginnings of a masculine dominated society where women had their rights and influence all but stripped away.
Pure pomegranate juice is a potent brew all to itself. Its a very bold flavored blood red juice that can have a hint of bitterness. It also does not store long. Once opened it should be drank within 10 days. Otherwise, it will begin to ferment itself.
The importance and symbolism of the pomegranate here reflects that of ancient times before the metamorphosis. It is a common drink, votive offering, and ritual component in anything dealing with Herain the modern world.
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