Hemitheos

"Our current obsession with creativity is the result of our continued striving for immortality in an era when most people no longer believe in an after-life."

~Arianna Stassinopoulos

Last week I had the opportunity to travel back to the very spot where this story began and spend the week in the Gardens of Lisocea which have changed somewhat since my last visit. The central lion head fountain is where Hera left the peacock feather that began this tale is now surrounded by over 100 solar lights. One of which sets right inside the fountain marking the exact spot where the feather was discovered. 

The sacred spot continues to be built upon, changed, and maintained with votives of all kinds added throughout and has come to also include 3 graves within the central garden of the lost and beloved pets of the family who maintains the grounds. 

Over 50 different species of flowers have already been planted throughout the gardens for the season with work also being done to the nearby frog pond and river of flowers that flows into it. As of now, not a single day goes by that the Gardens of Lisocea are not tended by the caretakers. 

This photo (left) was taken near sunset over the central fountain, showing the solar light marker where Hera's feather was discovered years ago. The story of which was recounted by the family while setting around a campfire on the third night I was there.

Many spiritual people can recall the events that led them to the path they have found themselves on. Not so many have a photo of the exact spot where that path began, the spot where everything in their lives changed (for better or worse), a spot considered to be sacred - not only by those on the path but to all those who have heard the tale and believe. 

This week long visit back to where this very story began marks a turning point and insights into what is to come. Gifts and votives for Hera's Altar Room were brought back from the trip including a rare hand blown crystal wine glass from Romania. While there I also had the rare opportunity to film a lightning storm which passed over. Oddly, there was no rain and little thunder. Just a grande display of lightning which I was able to film and include into a recap video for The Journeybook titled Hemitheos. (See Below)

Both the visit to the gardens and the new video mark a turn in the video documentary of this journey as I prepare to head west, back into the wilds, in one of the most action packed adventures of the season. The quest is to find and obtain a golden chain votive that long ago was dedicated to Lachesis - the second Sister of Fate and guarded by a giant spider. 

The golden, crystal encrusted talisman is thought to have the ability to cloak the fate of anyone who wears it, rendering them invisible to oracles as well as the Sisters themselves. While the talisman does not have the power to change ones fate it does offer the opportunity for the bearer to change it themselves through their cloaked actions.

But Lachesis did not make the ritual trails to obtain her golden chain easy. It is hidden somewhere in a forested labyrinth, in a hole that was naturally carved into the earth itself by a mighty waterfall, deep within a river valley that is surrounded by dead falls and crumbling shale cliffs. A hard place to find, a hard test to come.

Angel Snowden and the Altar of Hera

The Seven Mile Altar Stone (July 2, 2012)

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

Map of the Pagan Afterlife

I've always had a strange fascination with antique maps, the older
the better. And if you go back far enough into history you will find
maps of a world that look so unlike the one we know today that, for a
moment, you think it is a work of fiction. But man has always drawn
the world the way they see it. From the planet we live on to the
lands of our dreams where maps of fictional lands often invoke more
mystery and wonder-lust in us than the reality based ones do.
My love for such maps led me to crafting a few of my own. After a bit
of kitchen witchery I made up a brew that would stain and stiffen
normal paper and make it look like the antique pictures I always
enjoyed glaring at. The stain is easy to infuse with different herbs
and oils to give it texture, durability, and even scent.
These simple pieces of art are decorative and enchanting and if the
brew is right you don't even have to draw the images yourself. A good
printer and good printing paper will set the moder day cyber-witch on
a path that will rip anything out of the realm of fiction and make it
real, with a pagan look and feel that is one of a kind.
But one map I have never come across or created myself was a map of
the Pagan Afterlife.
The vision is of a single land, broken on the east cost in a series
of coves and small islands where towering white statues of many
different gods loom like sentinels looking out to the realm beyond
the sea, into the mist of eternity and to the mortal world. These
statues are so massive that anything mankind has ever created pales
in comparison to their sheer size and mass. At the base of each
colossus is a temple, a home away from home for the patron Deity
symbolized above.
Just off the coast line to the east begins the Elysian Fields. A vast
open plain glittered with wildflowers and hidden pathways through the
briers. The Elysian Fields run in a narrow column from north to south
and are cracked in a jagged line just off of the center by the
rippling river Acheron. The Elysian Fields are peppered with small
villages with dome-like houses that are dark brown in contrast to the
colors of summer and the tans of autumn. Each village is often a
necessary stop to all travelers who are wondering through the Fields
because of the long distance from one end to the other. But the more
experienced traveler has discovered that in this world there are
faster ways to travel than walking. It's just not as scenic.
On the far north of the Elysian Fields is a small shadowy land known
as Tartarus. Tartarus, unlike the plains of the Elysian Fields is
hilly and littered with large grey stones. A few tangled trees
struggle to survive in the rocky soil that is covered year round by
tannish grasses. It is a land locked in a season of fall. Only three
villages are in this land and none of the locals are very friendly to
strangers. They live in rough stone houses and entertain themselves
with difficult games made up to challenge ones soul. The rudeness to
wanderers is sparked by the entertainment value in getting someone
who has no idea what they are doing to play the games. One of which
is recovering certain items from the volcanic island that lies to the
north.
Separated from the rest of the land by the River Styx, running east
and west just below the norther border is the black smokey island of
Hades.
Hades might look bleak but it is packed full of otherworldly
treasures that are extremely valuable in this land. There are weapons
and armor here that can kill the soul and some that can even kill a
God or protect the wearer from such harm. Death in the Afterlife
means rebirth in the mortal realm, or worse, vanishing into
nothingness. The problem is attaining one of the artifacts and
actually keeping it on your way back out. Anyone who has ever ran
this gauntlet might tell you it's not worth the price, even if you
are already dead.
Bordering both Hades and the Elysian Fields and running the breadth
of this realm from north to south is the grey and sharp Valhalla
Mountain Rage. The mountain paths are tangled and twisted and most
who wonder into them never come out again. Not because of some hidden
danger but because it is an extremely easy place to get lost in.
There is no guides to aid you along the way. Here you best chance of
getting any help at all is to find the only building in the entire
land, The Great Hall. The problem is that no one knows for sure where
it will be from one day to the next. The only clue that was ever
given was "Look Up". The Hall rests on the mountain top for one day
and one day only before it vanishes only to reappear on the top of
another. Of course, the residents of the Great Hall are all warriors.
To them it seems fit to set a challenge for those who wish to enter
both in life and beyond.
However there is said to be a path leading through the heart of the
mountains and if you stay true to it it will lead you to the "silver
city". It is the only place still within the mountain rage that is
not part Valhalla itself. The city is called Tir na nOg and it is
rumored to be centered by a tower the reaches far above the highest
mountain peak of Valhalla. Which doesn't aid in finding it because at
that height the top of the tower is always in the clouds.
Tir na nOg is a huge city that rivals any on earth. The residents are
aristocratic types who are welcome enough to those who venture here
but have the worst habit of wanting to "enlighten" both traveler and
each other with lectures that go on for eternity. Because of this
habit it has never been considered rude do get up in the middle of a
conversation and simply leave. In fact, it is seen as being wise
because even the dead don't want to spend eternity in school.
Some distance due south is the sister city of Tir na nOg. The easiest
way to get there is by following the River Acheron which winds its
way through the mountains into the foothills to the south and runs
right down the middles of the smaller city of Tir na mBeo. This river
is known for its silver sheen that by moonlight makes it look like
pure mercury. There is a fiery that makes a run from Tir na nOg to
Tir na mBeo three times a day.
Tir na Beo, unlike its sister city is much calmer and easier to get
around in. There are no huge buildings or twisting streets here and
the locals are warm and inviting. The southern end of the city is
lines by the snake river Lethe. No one knows why they call it a river
really. It's more of a creek that you could nearly jump across. But
it is a good setting for some nice arch bridges.
the Lethe runs west until it meets the much larger tributary of the
Phlegethon River. Where the two meet is the ruins of Sheol which lies
in the foothills. A once beautiful village Sheol was home to many but
was lost some time ago in a great storm that came in off the coast.
Rumor has it that it was punishment after a resident stole a gem from
one of the coastal temples. All that remains here now is a jagged
pile of rock and wall faces. After the village was destroyed the
residents moved into vast underground caverns known as Underworld.
But those caverns are home to more than just spirits. Nearly every
nightmare mortals have ever had came from this place. But it is said
that there is a great gothic city beneath the ruins of Sheol were the
torches burn brightly all the time and a peace can be found there
unlike any other.
Just beyond the foothills of the Valhalla Mountains in the evergreen
forest lies the two tiny villages of Jekinnah and Gehenna. Both
villages coexist and in the past have came to depend on each other.
Together they make up the afterlife's largest marketplace and they
have found a reason for a festival for everyday. This is the party
place where your every whim and delight can be found, cooked, or
crafted. Merchants from all over the mortal world come here to
entertain their earthly habits and passions.
If you happen to travel just beyond the forest to the east you will
come to a ridge overlooking the only place in the entire afterlife
that might be considered a capital. The great city of Asgard.
Asgard sets on the southern border and is so massive that it could be
interpreted as the entirety of the afterlife. From the ridge it spans
the entire horizon and glitters like red diamonds at sunset. Asgard
is the hub of the land. Everyone has been there and everyone has met
there to get news from everywhere else. It's gossip central with all
the food and wine to keep the gossip fueled forever, whether its true
or not.
Asgard is so massive that it engulfs the entire River of Cocytus.
From start to finish the river is within the city limits, running
north to south in an almost perfect straight line.
Beyond the city is the playful Summerland that sets on the southern
end of the Elysian Fields. The Summerland doesn't have any towns or
villages. It's residents seem to prefer nature and nature alone.
Spotted with small forests and wide open meadows the Summerland is
home to some of the most emotional but loving spirits in the realm.
If you have a sweet tooth after death this place can cure you of it.
The Summerland is the latest to be founded, if founding is what you
call it. It looks a lot like a water painting where all of the colors
are melting together in a frightful rainbow display that makes your
eyes water. But the frolicking locals love it. Mind your tongue when
visiting this place. Their a bit confused here and just about
everything you say is wrong or will grant you bad karma. Then some
spirit dressed as a fairy will inform you time and again that you
will be sent back to the mortal realm as a goat or something. No one
really takes them seriously of course. They hardly ever take each
other seriously. They just play and dance on whims and dreams.
Gifting hope and innocents to the mortal realm and a lot of color to
all the others.
And now we are back the the Elysian Fields. Not a bad journey through
the afterlife I suppose. Now all I have to do is actually draw the
map and stain it with the magical brew of imagination.

The Mask and Mirror

While it is always important to take note of the individual identities and
backgrounds of the Gods and Goddesses that pagans worship, follow, or interact
with on different levels, one trait of the Gods that will always remain
universal and transcend all boundaries is how and when they choose to manifest
to the minds and hearts of the mortals who have gained an audience with them.

Personal interactions with the Gods tends to boarder on the taboo. These are
tales and perspectives that should be shared but are often held in secret for a
couple of primary reasons. The first is that such occurrences are often
considered to be personal and, in a way, sacred to the individual. From this
perspective the common defense to not telling the tale is that it's personal and
no one else's business. And in a world culture of possessiveness even words are
given an unrealistic weight in gold. Just ask anyone who wants to copyright and
demand credit for every single word that comes out of their little mouths. (On
this note, anything I do or say is probably more valuable to my readers than it
is to me. The more readers who gain from my words the more value the message
has. So pass it on. I adore seeing others gaining from me with no follow up
effort given to pushing the words forward. It means I did something great that
was worth someone else noting.)

A second primary, and more disturbing reason, is that interactions with the Gods
invokes a kind of fear response in those it actually happens to. Especially if
the occurrence are vivid and not simply an emotional response to a ritual,
spell, or prayer for intervening. That trend was programmed into us by the
cold, hard, and rough perspective of reality gifted to us by the scientific age.
And it's one of the great curses self imposed upon mankind. Often when we are
young and keep getting drilled about growing up. With lines that include phrases
like: ghosts and monsters aren't real. It was just your imagination, a bad
dream, get your head out of the clouds…." the list goes on forever. And what is
the one thing that us pagans value nearly more than anything else? The gift of
sight we had as children before we had that gift taken from us by the world we
live in.

Probably one of the greatest powers that deities have is the ability to manifest
to any mortal, pagan or not, in any manner they see fit to do so at the time.
So, any account of interactions and manifestations recalled by any individual
fails in shocking me or giving me the point of view that this person might just
be crazy. Which is the response they fear the most. They wont recount the tale
simply because they are afraid of what others will say or think. Oddly enough,
the opinions of others rules over many of our actions. Meaning that they are
somewhat in control of what we say and do. Even though we speak venomously about
those we catch trying to do it.

Because of the rarity of the accounts in question they are always valuable to
those they are gifted to. And it's important to respect each tale as it is told
and not try to interpret it or disrespect it in any way. Those who have these
experiences hold some value to the Gods and Goddesses that manifest to them. By
insulting the tale you insult the God or Goddess in question. And none of them
are limited to being kind and loving to any mortal.

Manifestations are an important lesson to learn. Not because they happen but
because of how and why they happen. Those who come to the call of the Gods often
enough get the favor returned. That means that if you run into a person who has
favor with a deity you not only face that person if you have reason to pick a
fight with them. You face the wrath of the God or Goddess who they have favor
with. That is not related to the dogma of karma in any way. That is simply the
equivalent of a pissed off parent or guardian.

While some Gods and Goddesses tend to remain indifferent there are others who
quite literally fall in love with the mortals who worship them. And they will
protect them in a more intense manner than any mortal lover ever could. At the
same point in time, many of the Gods and Goddesses have a strong and intense
hitch for jealousy. There is a fine line between love and hate. Especially when
it comes to the Gods.

In learning the true nature of the Gods we interact with we are better able to
serve and cope with their influences on our daily lives and the lives of those
around us. In this, we must also side note the effects of interacting with
creatures beyond the realm of the Gods. Dragons, fairies, fauns, and all manner
of what the world views as "mythical creatures" often enough appear to us
somewhere along our path. They're part of our world that is no different than
the world of man. Different races, different cultures, different attitudes and
ways of etiquette in dealings with them.

If a God or Goddess chooses to manifest to a mortal there is almost always a
hidden agenda. This could simply be a question of a favor for a favor or they
want you to do something for them just because they want you to do something for
them. And they will use the art of manifestation to aid them in getting the end
of the deal that they want.

All Gods and Goddesses have "mortal world" symbols, animals, totems, and so on
that are considered sacred to them. The reason for such things is one: they do
have a love for the physical world, and two: it offers mortals tangible evidence
for their existence. Something that is quite valuable in any belief system,
especially this day in age. It also gives you tangible worshiping tools for all
those sympathetic magics and rituals.

Deities can mask themselves and appear as anything or anyone they wish. There is
even a wealth of accounts and tales where Gods appeared in the form of a lover,
wife or husband, for the sole purpose of having sex with a mortal. Zeus is
probably the most noted of these exploiters. Beyond deity you can view accounts
of fauns and other creatures who have done the same. These attributes help
mortals to explain our more primal instincts and urges that we most often deny
or keep to ourselves. We note that we have such experiences and we counter
manifest those experiences in the extreme to myths and tales because it helps to
justify the natural tendency to have them. It dulls our sense of shame and guilt
that is pre-set into our psychology by whatever culture or time we happen to
live in. When in Rome…

The mask of the Gods is unlimited. They will appear in whatever form suits their
needs. And they do it to exploit all the darker corners of your mind and soul
that you don't like to visit too often. They do it to let you know that you're
mortal and subject to mortal fears. Granting them instant power and a measure of
respect that they don't necessarily have to earn.

The other technique is to mirror some part of your being. Something personal to
you that you can relate to on an instinctual level. Something sacred to you or
to your "expanded" memory (meaning: transcendent life experiences). They will
mirror something that your soul is more comfortable with. It helps to keep your
mortal mind from becoming overwhelmed. Your not much good to them if you fall
into the abyss of insanity. And in this form of manifestation, if we note the
details, we may often discover aspects of our lives that we may have not
realized in the past. The trick is to realize that they can see all of you. Even
the parts that you can't or refuse to see yourself. And the mere act of
manifesting in such a way is a lesson all in its own.

One of the most potent aspects of manifestation is that they can be
overwhelmingly beautiful. The Gods and Goddesses in particular can be so
seductive that they destroy all boundaries of reason. We simply fall obsessively
in love with them. And in doing so, they claim our hearts and can manipulate our
actions beyond the point of view or perspectives of any other God and mortal
alike. We can find ourselves in their service just because they are beautiful
and have seduced us into something with the same consistency of half set jello.
An exploited weakness in being mortal that can be the single greatest experience
of our lives. Nothing can ever compare to a love spell woven by a God.

Masks and mirrors. All tools and techniques used to interact with mortals on a
mortal level. Just as tangible and creditable as a mountain or a river or the
fact that you have bills to pay. Part of pagan life and the mystical experiences
that will remain beyond the realms of interpretation or expression in any true
form. Something that has to be experienced to be understood. The tales we are
willing to tell are pure gold. To the rest of the world, they don't have to be
understood. Just known to happen. For good reason or no reason what so ever.

Ritual of the Shield Covered Warrior

The Shielded Warrior of Hera is a mythical continuation of a fragment written by Asios of Samos and recounted by Duris. Within the fragment Duris describes the original priestesses of Hera and ends the fragment with the phrase “a shield-covered warrior” which almost appears out of context. Yet, it is the latter from which the modern ritual and tale is to proceed.

The first Hera at Denia Shielded Warrior Dedication Ritual incorporated a 372 year old astrological anomaly of the Winter Solstice coinciding with a full lunar eclipse on December 21, 2010. The event was described as a “return from double darkness” and made the ritual itself unique because astrologically it cannot be replicated for nearly 100 years.  

While the complete ritual itself is veiled in mystery a few of the details can be gleaned including the sympathetic ritual of the transformation of Kholos from Hera to the Shielded Warrior through the incorporation of a potion referred to as “The Blood of Hera”, which is a step beyond ancient concepts of Hera infusing a warrior with power from her breasts.

The base elements of the Blood of Hera potion was a potent brew consisting of: Water, sea salt, red wine vinegar, virgin Greek olive oil, white and green tea, apple, rosehip, chicory root, cinnamon, licorice root, ginger, orange peel, blackberry, currant, pomegranate juice, blueberry, raspberry, and Chianti.

The potion was mixed in “The Cup of Mneme”, a Denian artifact that was hand-made in Greece that is trimmed in gold. This votive offering dedicated to the Goddess was set upon the Alter of Hera during the first luminous phase of the full moon prior to the ritual bathing/cleansing ceremony. The potion was sanctified by dibbing “The Eye of Hera” crystal into the cup; relative to a more common practice of dibbing an athame into a goblet of wine. This was a form of duel sanctification. One for the Blood and one for the blood stained, teardrop crystal.

An external cleansing was incorporated with a smudging of incents and white sage fallowing the bath and an internal cleansing incorporated a feast of foods, many of which were Greek imported items such as a special type of olives; of which, the pits were places aside to be used during the ritual proper. 54 of those seeds were offered back to the earth at the climax of the eclipse and 9 others were place into a glass vial to remain within the alter room  next to an identical vial that holds a measure of the original Blood of Hera potion and thus a measure of the ritualistically invoked Kholos.

In the few moments at the climax of the eclipse the seeds were offered to the earth and thus back to an original sphere of influence regarding Hera as an earth/nature goddess and mistress of wild animals and the entirety of the Blood in the Cup of Mneme was drank; physically infusing the warrior with the Blood of Hera and the invoked Kholos; sympathetically linking the two, Goddess and man, through a mingling of blood as well as the metaphysical link that is also represented by the drinking of the Blood in “closing the deal” aspect of the ritual. The latter being both simplistic and final: an honor for an honor. The Shielded Warrior serves Hera and in turn Hera both protects and empowers the warrior. Thus it becomes a symbiotic relationship with intimate metaphysical as well as physical aspects between the divine and mortal realms and the new medium of an in-between as is describable of the Shielded Warrior himself.

Effigy

There is more to spirituality than just following a path or swearing
to unexplainable or unverifiable events. In most cases spirituality
cannot be proven or disputed with hard evidence. The bulk of the
topic is based largely on faith and the word of the practitioner. But
there are a handful of universal phenomena that seem to transcend the
boundaries that lie between one faith and another. One of those
phenomena happens to be the spiritual energies that seem to flow
naturally from religious symbols, icons, pictures, and statues.
From ancient temples to modern churches mortals have sanctified the
very ground of these monolithic structures with prayers, spells, and
symbolism. The latter often being the central focal point that almost
immediately draws one eyes to the alter or other such place that acts
as the heart of the structure.
Artists have labored for hours and in many cases years to offer their
own unique interpretations of the central figures and symbols of a
particular faith. Sometimes laboring so intently on their work that
it is not out of context to say that part of their very life force is
driven into their masterpiece, be it by pen or chisel, forever
immortalizing their spirit and their passion. Such works help us to
visualize and illustrate what cannot be put into simple words. For as
vast as human language is there are some things we still cannot
explain or express. Sometimes these things simply have to be felt for
us and anyone else to know they actually do exist and many of those
feelings have yet to be named.
However, it is not only shrines, temples, and churches that seem to
be sanctified and enchanted by effigies and symbols of our various
faiths but also our own homes. It would stand to reason that the
simple act of placing an effigy of our Gods, even in the darkest
corner of our home, is an open invitation for their influences,
power, and even direct visitation. An invitation that does not often
go unanswered.
Such practices can be traced all the way back to ancient cave
paintings that remain to this day in southern France. It is clear
that even in the most ancient times of history in art forms, the
power of effigies and symbolism has forever been a wellspring of both
spiritual and metaphysical energy. Often granting us the more common
feelings of solitude, power, and most importantly of all, safety. It
also stands as a reminder to us that our faith remains in our hearts
even if clouds in our minds cover it. Which is one of the many facets
to faith that makes it such as powerful force. In fact, it is a force
that is so intense that there are occasions when the Gods we invite
into our home are not the only visitors we receive.
The energies that flow forth from icons and effigies are not often
signature energies from a particular Deity. Contrary to popular
belief just because a mortal chooses a God does not mean that the God
also chooses the mortal. Which would help to explain why we are
attracted to a particular Deity or pantheon. Our spirits can be
pulled towards the Deity or pantheon we have a certain history or
even kinship with more so than the simple and often egotistical
interests of our minds. We might lean towards one Deity for a time
and then move on to another who has a more defined lesson or interest
in mind for us.
Effigy energies seem to be more neutral in nature and much less
intense than a flow of energy that might come more directly from a
particular Deity. And anyone who has ever had such a direct influx of
energy or influence from a Deity himself or herself will testify to
the intensity of the experience and often tell you that the feeling
is not at all the same. However, we can also say that energy gifted
to the Gods is the same energy received by the Gods. In simple terms,
if you smile and nod at them they will smile and nod back. That
doesn't mean they will hang out for long after. Yet the energy that
flows forth from their effigy seems constant.
Personally I don't believe that pantheons or even the names of the
Gods and Goddesses should be mixed or are in anyway interchangeable.
To do so is both an insult to all the Deities that might be involved
and a common practice of stupidity. Certain Deities have certain
spheres of influence and just because one people have a certain Deity
for the same sphere of influence as another doesn't not mean that the
Deities that rule that sphere are the same entity.
For instance the Roman Goddess Diana is by no means the same as the
Greek Goddess Artemis, although the two are all to often combined or
seen as counterparts, which is an extreme spiritual and historical
error that has been repeated countless times by subscribers, who
choose to believe everything they're told, rather than researchers
who actually search for some accuracy. It has sadly become the norm;
especially with the new age reconstructionist who seem to lean toward
the consolidation of Deity for whatever unfathomable reasons. So when
putting this all into practice it is important to remember exactly
which Deity you are dealing with and not insult one by haphazardly
superimposing another.
In essence on can create a temple-like environment within their home
by integrating a few things into the setting. You don't need to set
up a large alter or even a central location that attracts the eyes of
visitors. Although doing so is both unique and easy enough to pull
off. The air about a home, like that of any place else, gets its
primary feel by the central theme. Structure wise, a church is a
church because of its decor more than it is anything else and the
home is not so different. A picture or even a statue of a Deity can
easily be integrated into the setting of your home in less
conspicuous ways than on some alter. Chances are, if one was to have
a colorful picture of a particular Deity hanging on the wall visitors
would enjoy it before they even knew what it was for sure. Which,
again, is more proof that the phenomenon has some basis in truth.
Any home that has been cleansed and decorated in such a way will
rapidly begin to take on a different feel about it. By opening these
small doors for energy to flow into the home and keeping everything
just a bit tidy for your coming visitors you can make your modern day
home take on a resembling feel to an age old temple.
The only side effect to which is the possibility that your home will
become a sort of spiritual rest stop for all sorts of astral and
otherworldly creatures from ghosts to dragons. They have a tendency
to enjoy the same type of feel and energy as we do. Some of them miss
it and some of them even feed off of it. It can be frustrating at
times but it can also be a blessing in disguise. Just like the
picture on the wall.

Allies and Enemies

"But for me I will abide here, setting within the fold of Olympus, where I will gladden my heart with gazing; but go ye forth that ye come among the Trojans and the Achaians and succoure these or those, howsoever each of you have in mind." (Zeus - The Iliad, Book XX-369)

All of the Gods from any land, and no land, have both a love and envy of the mortal soul. The world of men is the great game. For men, unlike any other are driven to succeed. Driven by passion and rage, by the unknown, but more importantly by themselves.

For their love, a price was paid. For in loving mortals the Gods adopted and mimicked many of mankind's attributes. Not all of which were kind. Envy, jealousy, obsessive love, and rage. In all of their might and magic the Gods themselves would turn on and to each other, day in and day out, in a never ending battle over what was best for the world below but also in smaller, more personal, matters.

In the past men were judged by their deeds. The greater the deed the greater the blessing bestowed upon them. Some where even able to obtain the mortal equivalent of immortality in that their names would forever be remembered, their deeds never forgotten. But no more so than the unforgotten deeds of the Gods who lead them to glory.

Some of the Gods and Goddesses had their favorites among mortals and they readily acted against each other in their efforts to ensure a good fate for those they watched so closely and loved. A blessing from one would bring a curse from the other. And it was the mortals who were forced to stand alone in the dust. Blinded by the love and hate of the Gods as they dueled over what would be. Even mighty Zeus would act in secret to keep white armed Hera ignorant to his own deeds. Not that he had fear of the immortal goddess but simply for the fact that he often grew weary of being forced to listen to her constant complaints. Another attribute unbecoming of a Goddess but practiced relentlessly none the less.

The Gods also adopted the plight of favoritism and vanity. They held great contests amongst themselves over things such as physical beauty, musical talent, and even who among them could drink the most wine. That honeyed potion nectar of Dionysus that could gift both wisdom and madness to God and mortal alike. A test that the God of Wine enjoyed seeing played out in any case.

Even ego plagued the Gods. They failed to fully yield to the symbiotic nature of their relationship with mortals. Their wars with each other were on such an epic scale that all things mortal seemed insignificant at times. The gods granted many things to the world of men and in return for those gifts mankind loved, honored, and worshipped them. In doing so it was man who opened the gateways between the divine realms and the mortal world. The more worshipers a God or Goddess had the more influence they had in the mortal realm. And without mankind as a grounding rod their influences would often go unnoticed or fail to manifest at all. To make things worse, the loss of worshipers and the flow of love from the mortal realm struck the old gods like a plague. They grew weaker in influence and power, less focused on a world less focused on them, and some of them would loose all musing to aid mankind at all. For mankind was no longer aiding them. The strings were cut. The pieces on the board no longer moved at the gentle nudges of the Gods. Now, it took something more.

It was only the God of War who still had a hold on the heart of man. For it is in mankind's nature to destroy. And all throughout time wherever and for whatever mankind was led into battle they did so under the watchful eye of the God of war. Though even the new generations of pagans have often denied the nature of this deity, he cared not. His nature was undeniable and seen the world over. Beyond all text, teaching, or philosophy, the gift and art of war has forever been the most honored among men. And this again was a trait reflected above.

"So urged the blessed gods both host to battle, then themselves burst into fierce war" (370)

So it is with the Gods, both kind and cruel, wise and foolish in the designs and plots against and for man and each other. Not so unlike the mortals they move to govern to some still unforeseen end. Unforeseen because like mortals they have little control over the fate of the free willed. And thus, so willed, that there have been times when even a mere mortal has dared to defy a God…and the God was defeated.

A blessing from one, a curse from another. But curses break. Deeds are forever. It was a man, not a God, that did the deed. And the man was favored many times over thereby.

Angel Snowden - 2011