Yesterday, I got a wonderful e-mail from a reader of Baring the Aegis, who came here through the Pagan Blog Project. Many who participate in the project are some form of Wiccan or witch--the writer herself included. The writer told me about reading this blog with only a Wiccan mindset to rely upon, and asked me the following question:
"How does Hellenistic worship work in a group? Is it more like a circle with equal participants sharing tasks, or is it more like a congregational model we know from most Christian churches with one or a few priests in front performing the rites and the rest of the participants witnessing without performing tasks of their own? Or is it completely different?"
Because I write with Hellenists in mind, I realize I don't often make comparissons between Hellenismos and other religions or Traditions. Her questions are therefor absolutely logical. For those of you who also came here from a non-Hellenistic, or non-Recon path, I wanted to share my answer to her with you, just to see if I can clear up some confusion.
Coming of age ceremonies are prevalent in most cultures and are often linked to the religious views of the people performing it. Famous examples are the bar mitswa's and bat mitswa's of the Jewish. The ancient Hellens had coming of age rituals as well, and like almost everything else in ancient Hellenic life, these rituals were tied into deity worship. Today, I'm going to talk about these coming of age ceremonies, but because the differences are so great between girls and boys, I'm going to describe their coming of age ceremonies separately.
When a whole family gets uplifted into the sky, the breakdown of their constellations gets a little repetitive over time, sorry about that. When we last saw the Aethiopia ruling family, we discussed the constellations Androméda and Cassiopeia. Today, we close the trilogy with Capheus, father of Andromeda, and husband to Cassiopeia, and add a good bit of info to the myth.
I have noticed that Hellenismos has its own, very specific, cleaning problems. As you have seen, my altar stands on carpet, and the longer I practice, the more wine stains appear on it. The bowl I use to give burnt offerings is stained with soot, and I'm sure that if it stood near a wall, that would be blackened as well. On top of that, the copper bowl I use to keep my daily khernips in, stains due to the water, and the salt in it. On days of purification as well as on the Deipnon, I spent some time cleaning these items. Today, I wanted to share with you some natural ways to clean these tools. Note that there are chemical cleaning tools available for all these stains--so if you're desperate to have a stain removed, that is always a possibility--but I prefer the natural way.
I'm doing a combination post today: I'm combining a Pagan Blog Post, and a constellation series post. As such, I'll be talking about the mythical creatures as well as the constellation named after a few very famous examples of the species. Centaurs (kéntauros, kένταυρος) are depicted as half man, half horse; having the torso of a man extending where the neck of a horse should be. They were said to be wild, savage, and lustful, and in very old Hellenic artwork, they were often depicted as fully human, with a horse's end added to them. This shape for Centaurs remained in art for civilized Centaurs like Kheiron and Pholus.
Today, I'm kicking off a new series, based on ancient Hellenic mythology. Like with the constellation series, in this series, I will take an often well-known piece of knowledge or myth, and will attempt to provide a more well-rounded view, or provide you with information you might not have about it. This series, in particular, focusses on the connection between certain Theoi and the various flowers, plants and trees we associate with Them through mythology.
I'm starting this series off with a flower, associated with a very tragic love story: the hyacinth. From Wikipedia: "Hyacinthus is a small genus of bulbous flowering plants in the family Asparagaceae, subfamily Scilloideae. Plants are commonly called hyacinths. The genus was formerly the type genus of the separate family Hyacinthaceae; prior to that it was placed in the lily family Liliaceae. Hyacinthus is native to the eastern Mediterranean (from south Turkey to northern Israel), north-east Iran, and Turkmenistan."
Within Hellenic mythology, we find Hyakinthos (Ὑάκινθος), a divine hero with a cult in Amykles (Αμύκλες), a village located southwest of Sparta.
On top of the Acropolis, the oxen are released from the temple of Zeus Polieus. Outside, put out in sacrifice to the mighty Protector of the City, lie cakes on a table, and the oxen sniff them readily as they are herded past them. Nearby, two women with bowls of water in their hands stand by a man who is sharpening an axe and knife, using the water sporadically to cool and clean the blades. They watch as the third oxen in line reaches for one of the cakes with eager lips, devouring the sweet product merrily. One of the nearby men shouts at the ox, and--enraged at the cow's desecration--rushes to the man who is sharpening his weapons. He grabs the double-bladed axe and with one big swing, ends the life of the ox. As the ox falls dead on the ground, the Ox-Slayer realizes what he has done, and drops the axe in mortification. As fast as his legs can carry him, he flees the scene.
Those who have witnessed the events rush to butcher the slain animal and sacrifice it properly to Zeus Polieus. All who witnessed the slaying, eat the flesh of the murdered ox. The hide of the ox is stuffed with hay and sewn closed. The filled skin is put in front of a yoke, out in the field. Afterwards, a hunt begins for the murderer of Zeus' sacred ox. He is found, eventually, and brought to trial. The man says it was not his fault he slew the animal; the man who had been sharpening the axe should not have been there. If he had not been there, he would never have been able to slay the ox. And so, the sharpener is heard. He, also, pleads innocence: if the women with the water had not been there, he could not have sharpened the axe, and he would not have been there. The women are called to explain themselves. They, too, claim the death of the ox is not their fault: they would not have been there if the axe had not needed sharpening. And so, the axe is heard, as well as the knife used to cut up the animal, but the objects remain silent. Because they will not defend themselves, they are found guilty of the murder of the ox, and as punishment, are tossed off of a cliff, into the sea below.
Every year on the fourteenth day of Skirophorion, from the time of Erechtheus (1397 - 1347 BC) to--at least--the second century AD, this odd ritual was reenacted. It was called the 'Bouphónia' (βουφόνια), and was part of another festival; the 'Dipolieia' (τὰ Διπολίεια), a feast in honor of Zeus Polieus (Zeus of the City).