Category Archives: Sun
Also Called: Wiracocha, Wiro Qocha, Wiraqoca, Apu Qun Tiqsi Wiraqutra, Huiracocha, Ticciviracocha, and Con-Tici
Etymology: “Sea Foam”
Epitaphs: Ilya (Light), Ticci (Beginning), Tunuupa, Wiraqoca Pacayacaciq (Instructor)
In Incan and Pre-Incan mythology, Viracocha is the Creator Deity of the cosmos. As a Creator deity, Viracocha is one of the most important gods within the Incan pantheon. Everything stems ultimately from his creation. The universe, Sun, Moon and Stars, right down to civilization itself. Similar to other primordial deities, Viracocha is also associated with the oceans and seas as the source of all life and creation. If it exists, Viracocha created it. Something of a remote god who left the daily grind and workings of the world to other deities, Viracocha was mainly worshiped by the Incan nobility, especially during times of crisis and trouble.
Patron of: Creation
Planet: Sun, Saturn
Sphere of Influence: Creation, Ocean, Storms, Lightning, Rain, Oracles, Language, Ethics, Fertility
In Incan art, Viracocha has been shown wearing the Sun as a crown and holding thunder bolts in both hands while tears come from his eyes representing rain. There is a sculpture of Viracocha identified at the ruins of Tiwanaku near Lake Titicaca that shows him weeping.
Under Spanish influence, for example, a Pedro Sarmiento de Gamboa describes Viracocha as a man of average height, white with a white robe and carrying a staff and book in each hand. The Spanish described Viracocha as being the most important of the Incan gods who, being invisible was nowhere, yet everywhere.
In the village of Ollantaytambo in southern Peru, there is a rock facing in the Incan ruins depicts a version of Viracocha known as Wiracochan or Tunupa. This rock carving has been described as having mouth, eyes and nose in an angry expression wearing a crown and by some artists saying the image also has a beard and carrying a sack on its shoulders.
Another figure called Tunupa found in Ollantaytambo was described by Fernando and Edgar Elorrieta Salazar.
What’s In A Name?
Viracocha’s name has been given as meaning “Sea Foam” and alludes to how often many of the stories involving him, have him walking away across the sea to disappear. When we look into the Quechuan language, alternative names for Viracocha are Tiqsi Huiracocha which can have several meanings. The first part of the name, “tiqsi” can have the meanings of foundation or base. The second part of the name, “wira” mean fat and the third part of the name, “qucha” means lake, sea or reservoir. An interpretation for the name Wiraqucha could mean “Fat or Foam of the Sea.”
Continued historical and archaeological linguistics show that Viracocha’s name could be borrowed from the Aymara language for the name Wila Quta meaning: “wila” for blood and “quta” for lake due to the sacrifices of llamas at Lake Titiqaqa by the pre-Incan Andean cultures in the area.
Viracocha also has several epitaphs that he’s known by that mean Great, All Knowing and Powerful to name a few. Another epitaph is “Tunuupa” that in both the Aymara and Quechua languages breaks down into “Tunu” for a mill or central support pillar and “upa” meaning the bearer or the one who carries. This is a reference to time and the keeping track of time in Incan culture. The other interpretation for the name is “the works that make civilization.”
Further, with the epitaph “Tunuupa,” it likely is a name borrowed from the Bolivian god Thunupa, who is also a creator deity and god of the thunder and weather. Another god is Illapa, also a god of the weather and thunder that Viracocha has been connected too.
Incan Culture & Religion
The Incan culture found in western South America was a very culturally rich and complex society when they were encountered by the Spanish Conquistadors and explorers during their Age of Conquest, roughly 1500 to 1550 C.E.
The Inca held a vast empire that reached from the present-day Colombia to Chile. Their emperor ruled from the city of Cuzco. They worshiped a small pantheon of deities that included Viracocha, the Creator, Inti, the Sun and Chuqui Illa, the Thunder. The constellations that the Incans identified were all associated with celestial animals. The Incans also worshiped places and things that were given extraordinary qualities. These places and things were known as huacas and could include a cave, waterfalls, rivers and even rocks with a notable shape. Essentially these are sacred places.
In the city of Cuzco, there was a temple dedicated to Viracocha. There was a gold statue representing Viracocha inside the Temple of the Sun. Nearby was a local huaca in the form of a stone sacred to Viracocha where sacrifices of brown llamas were notably made. During the festival of Camay that occurred in time of year corresponding to the month of January, offerings were also made to Viracocha that would be tossed into a river and carried away to him. Hymns and prayers dedicated to Viracocha also exist that often began with “O’ Creator.”
Like many cosmic deities, Viracocha was probably identified with the Milky Way as it resembles a great river. His throne was said to be in the sky. All the Sun, Moon and Star deities deferred and obeyed Viracocha’s decrees.
Deific Late Comer
Old and ancient as Viracocha and his worship appears to be, Viracocha likely entered the Incan pantheon as a late comer. Mostly likely in 1438 C.E. during the reign of Emperor Viracocha who took on the god’s name for his own.
For a quasi-historical list of Incan rulers, the eighth ruler took his name from the god Viracocha. According to story, Viracocha appeared in a dream to the king’s son and prince, whom, with the god’s help, raised an army to defend the city of Cuzco when it was attacked by the Chanca. This prince would become the ninth Incan ruler, Pachacuti Inca Yupanqui. He is thought to have lived about 1438 to 1470 C.E. Pachacuti Inca Yupanqui is the ruler is renowned for the Temple of Viracocha and the Temple of the Sun along with the expansion of the Incan empire.
The Incas didn’t keep any written records. Like many other ancient cultures, there were those responsible for remembering the oral histories and to pass it on. Aiding them in this endeavor, the Incans used sets of knotted strings known as quipus number notations. By this means, the Incan creation myths and other stories would be kept and passed on.
In a comparison to the Roman empire, the Incan were also very tolerant of other religions, so those people whom they either conquered or absorbed into their empire would find their beliefs and deities easily accepted and adapted into Incan religion. One such deity is Pacha Kamaq, a chthonic creator deity revered by the Ichma in southern Peru whose myth was adopted to the Incan creation myths. At the same time, the Incan religion would be thrust on those they conquered and absorbed.
On one hand, yes, we can appreciate the Spanish Conquistadors and the chroniclers they brought with them for getting these myths and history written down. They did suffer from the fallacy of being biased with believing they were hearing dangerous heresies and would treat all the creation myths and other stories accordingly. Which is why many of the myths can and do end up with a Christian influence and the idea of a “white god” is introduced.
Parentage and Family
Unknown, Incan culture and myths make mention of Viracocha as a survivor of an older generation of gods that no one knows much about.
Mama Qucha – She is mentioned as Viracocha’s wife in some myth retellings.
Daughters – Mama Killa, Pachamama
Sons – Inti, Imahmana, Tocapo
Sun & Storm God
Viracocha was worshipped by the Incans as both a Sun and Storm god, which makes sense in his role as a Creation deity. The sun is the source of light by which things can grow and without rain, nothing has what it takes to even grow in the first place.
Cosmic Myths In The Rain
Many of the stories that we have of Incan mythology were recorded by Juan de Betanzos. Naturally, being Spanish, these stories would gain a Christian influence to them.
Rise Of A Deity – In this story, Viracocha first rose up from the waters of Lake Titicaca or the Cave of Paqariq Tampu. This was during a time of darkness that would bring forth light. It is at this time that Viracocha makes the sun, the moon and stars. He then goes to make humans by breathing life into stones. The first of these creations were mindless giants that displeased Viracocha so he destroyed them in a flood. After the destruction of the giants, Viracocha breathed life into smaller stones to get humans that dispersed over the earth.
Taking A Leave Of Absence – Eventually, Viracocha would take his leave of people by heading out over the Pacific Ocean where he walked on the water. He wouldn’t stay away forever as Viracocha is said to have returned as a beggar, teaching humans the basics for civilization and performing a number of miracles. People weren’t inclined to listen to Viracocha’s teaching and eventually fell into infighting and wars. Despite this, Viracocha would still appear to his people in times of trouble.
Incan Flood – As the All-Creator, Viracocha had already created the Earth, Sky and the first people. Giants. There wasn’t any Sun yet at this point. These first people defied Viracocha, angering him such that he decided to kill them all in a flood. This flood lasted for 60 days and nights. This great flood came and drowned everyone, all save two who had hidden themselves in a box. The flood water carried the box holding the two down to the shores of Tihuanaco.
Seeing that there were survivors, Viracocha decided to forgive the two, Manco Cápac, the son of Inti (or Viracocha) and Mama Uqllu who would establish the Incan civilization. Viracocha created more people this time, much smaller to be human beings from clay. These people, Viracocha taught language, songs and civilization too before sending them out into the world through underground passages. It is now, that Viracocha would create the Sun, Moon and stars to illuminate the night sky.
Another legend says that Viracocha fathered the first eight humans from which civilization would arise. Some of these stories will mention Mama Qucha as Viracocha’s wife.
The Cañari People – Hot on the heels of the flood myth is a variation told by the Cañari people how two brothers managed to escape Viracocha’s flood by climbing up a mountain. After the water receded, the two made a hut. Some time later, the brothers would come home to find that food and drink had been left there for them. This would happen a few more times to peak the curiosity of the brothers who would hide.
Two women would arrive, bringing food. When the brothers came out, the women ran away. The two then prayed to Viracocha, asking that the women return. Viracocha heard and granted their prayer so the women returned. It is from these people, that the Cañari people would come to be.
The Creation of People – Dove tailing on the previous story, Viracocha has created a number of people, humans to send out and populate the Earth. These people, known as Vari Viracocharuna, were left inside the earth, Viracocha created another set of people known as viracohas and it is there people that the god spoke to learn the different aspects and characteristics of the previous group of people he created. The viracochas then headed off to the various caves, streams and rivers, telling the other people that it was time to come forth and populate the land.
Teaching Humankind – This story takes place after the stories of Creation and the Great Flood. Viracocha sends his two sons, Imahmana and Tocapo to visit the tribes to the Northeast or Andesuyo and Northwest or Condesuvo. Viracocha headed straight north towards the city of Cuzco. The intent was to see who would listen to Viracocha’s commands. As the two brothers traveled, they named all the various trees, flowers and plants, teaching the tribes which were edible, which had medicinal properties and which ones were poisonous. Eventually, the three would arrive at the city of Cusco, found in modern-day Peru and the Pacific coast. Here, they would head out, walking over the water to disappear into the horizon.
The Canas People – A side story to the previous one, after Viracocha sent his sons off to go teach the people their stories and teach civilization. As Viracocha traveled north, he would wake people who hadn’t been woken up yet, he passed through the area where the Canas people were. When they emerged from the Earth, they refused to recognize Viracocha. This angered the god as the Canas attacked him and Viracocha caused a nearby mountain to erupt, spewing down fire on the people. Realizing their error, the Canas threw themselves at Viracocha’s feet, begging for his forgiveness which he gave.
Founding The City Of Cuzco – Viracocha continues on to the mountain Urcos where he gave the people there a special statue and founded the city of Cuzco. He would then call forth the Orejones or “big-ears” as they placed large golden discs in their earlobes. These Orejones would become the nobility and ruling class of Cuzco.
His tasks done, Viracocha would head off into the ocean, walking out over it with the other Viracocha joining him. One final bit of advice would be given, to beware of those false men who would claim that they were Viracocha returned.
Right Of Conquest – In this story, Viracocha appeared before Manco Capac, the first Incan ruler, the god gave him a headdress and battle-axe, informing the Manco that the Inca would conquer everyone around them.
Yes, it’s easy to see how incoming Spaniards would equate Viracocha with Christ and likely influenced many of the myths with a Christian flair.
White God – This is a reference to Viracocha that clearly shows how the incoming Spanish Conquistadors and scholars coming in, learning about local myths instantly equated Viracocha with the Christian god. At first, in the 16th century, early Spanish chroniclers and historians make no mention of Viracocha. In 1553, Pedro Cieza de Leon is the first chronicler to describe Viracocha as a “white god” who has a beard.
It must be noted that in the native legends of the Incas, that there is no mention of Viracocha’s whiteness or beard, causing most modern scholars to agree that it is likely a Spanish addition to the myths. Other deities in Central and South America have also been affected by the Western or European influence of their deities such as Quetzalcoatl from Aztec beliefs and Bochica from Muisca beliefs all becoming described as having beards.
Though that isn’t true of all the Central and South American cultures. Some like the Peruvian Moche culture have pottery that depicted bearded men. The Aché people in Paraguay are also known to have beards. Though the debates and controversy are on with scholars arguing when the arrival of European colonialism began to influence the various native cultures.
Ultimately, equating deities such as Viracocha with a “White God” were readily used by the Spanish Catholics to convert the locals to Christianity. Much of which involved replaced the word God with Viracocha.
Pacha Kamaq – The “Earth Maker”, a chthonic creator god worshiped by the Ichma people whose myth would later be adopted by the Inca.
Saturn – It is through Viracocha’s epitaph of Tunuupa that he has been equated with the Roman god Saturn who is a generational god of creation in Roman mythology and beliefs.
Thunupa – The creator god and god of thunder and weather of the Aymara-speaking people in Bolivia.
Pronunciation: ˈjaːnʊs or jayn’-uhs
Alternate Spelling: Iānus (Latin)
Other names: Bifrons,Ianuspater (“Janus Father”), Ianus Quadrifrons (“Janus Four-faced”), Ianus Bifrons (“Two-faced Janus”), Dianus, Dionus
Other Names and Epithets: Ianitos (Keeping Track of Time), Iunonius, Consuvius (‘”The Guardian of the Beginning of Human Life”), Cozeuios, Conseuius the Sower, Patultius (the Opener), Iancus or Ianeus (the Gatekeeper), Duonus Cerus (the Good Creator), Geminus (Double), Rex King, Father of the Gods (or part of the Gods), God of Gods, Pater, Patulcius, Clusivius or Clusius (Closer of Gate), Κήνουλος (Coenulus), Κιβουλλιος (Cibullius), Curiatius
Etymology: “Arched Passage, Doorway” (Latin)
Janus is quite simply, the Roman god of Beginnings, Gates, Transitions, Time, Duality, Doorways, Frames, Portals, Passages and Endings. To the ancient Romans, Janus is one of their primordial deities who was there at the beginning of time and all existence. While Janus has an important and prominent role in the Roman Pantheon, he is not the Sovereign Deity of it.
It should be noted that there is no Greek equivalent to Janus. However, I should note, that some later Greek authors would place Janus as having been a mortal from Greece. Plutarch specifically, says that Janus was from Perrhebia.
Day of the Week: The first day of every month
Number: 300 & 65
Patron of: Transitions, Travelers
Planet: Sun, Moon
Plant: White Hawthorne, Olive Tree
Sphere of Influence: Transitions, Giving form to Chaos
Symbols: Keys, Staff, Two-Faces, Doors, Archways, Gateways, Portals
Given the many aspects that Janus presided over, many of which are abstract ideas and concepts for duality, Janus is often shown as having two faces. One looking forward to the future and the other looking back towards the past. Additionally, one face is bearded while the other is not. Later, both faces would be bearded. In Janus’ right hand, he holds a key and a staff in the other.
The double-faced head is found on many early Roman coins. In the 2nd century C.E., Janus is sometimes depicted with four faces.
During the Renaissance, the two-faces of Janus not only represented the past and future, but wisdom as well.
Janus had no flamen or specialized priests dedicated to him. However, the King of the Sacred Rites, the Rex Sanctorum, would carry out Janus’ ceremonies.
There are several rites for Janus. All prayers, regardless of which deity was to be invoked, didn’t start without Janus first being mentioned, regardless of which deity was being invoked. For that matter, every day, every week, every month began with invoking and calling on Janus. Incidentally, every prayer and rite ended with invoking the goddess Vesta.
Military Season – For the Romans, the start of their military season began with March 1st with the Rite of Arma Movere and ended on October 1st with the Right of Arma Condere. The first rite is also known as the Rites of the Salii. The aspect of Janus as Janus Quirinus would be invoked on the anniversary of the dedication to Mars on June 1st that corresponds with the festival of Carna. Another festival was held on June 29th which had been the end of the month under the Julian calendar for Quirinus.
The Military Season also marks something of a seemingly paradoxical connection between Janus and the war god Mars. The peace-loving King Numa sends out the army to ensure peace while later, it’s the warmongering King Tullus in his battle with the Sabines who sees Roman Soldiers coming home to peace.
It’s a connection that makes sense that for the Romans, having been attacked once, vowed that peace would come when everyone else around them was subdued. This creates a couple other epitaphs for Janus of belliger and pacificus, depending on which role he is in. As Janus Quirinus, the deity brings the closing of the Rites of March at the end of the month and then later in October as soldiers return victorious.
Janus doesn’t seem to have many prominent temples for worship. We do see that the covered portaculis and areas over gates to a building are called iani. There is an altar, that later becomes a temple for Janus near the Porta Carmentalis that leads to where the Veii road ended.
The gates of the Argiletum were called Ianus Geminus. This gate yard was built by Numa around 260 B.C.E. after the Battle of Mylae. Other names for this passageway are Janus Bifrons, Janus Quirinus, and Porta Belli. These gates would be open during times of war and closed during peace, something that didn’t happen often with Roman history. A statue here dedicated to Janus shows him with the symbol for 300 in the right hand and on the other hand, the number 65 for the days in the solar year. There were also twelve altars, one for each month. In the Christian religion, early Christian clerics claimed that these gates were closed when Jesus was born.
There is also the Porta Ianualis that protected the city of Rome from the Sabine that were all thought to be places where Janus was present. Janus was also seen as having a presence at the Janiculum leading out of Rome towards Etruria and the Sororium Tigillum that lead to Latium.
What’s In A Name?
In Latin, Janus’ name is spelt as Ianus as their alphabet has no letter “j.”
Jansus’ name translates from Latin to English as “Arched Passage” or Doorway.” In turn, there’s a root word from Proto-Italic language of “iānu” for “door” and another from Proto-Indo-European of “iehnu” for “passage.” There is also a cognate word found in Sanskrit of “yāti” meaning “to go” or “travel.” Another cognate in Lithuanian of “jóti” meaning “to go” or “ride.” And lastly found in Serbo-Croatian is the word “jàhati” meaning “to go.”
Some modern scholars reject the Indo-European etymology though others see in the word “Iānus,” an action name that expresses movement. My favorite though is how the word “Janitor” derives from “ianua” and Janus.
Among the ancients, there are a few different interpretations that all tie into the nature of Janus as a deity. The first is Paul the Deacon’s definition that connects Ianus to chaos. As seen in the phrase: “hiantem hiare” to “be open,” indicating the transitional state of this deity.
The second definition comes from Nigidius Figulus where Ianus would be Apollo and Diana. That the “D” in Diana’s name has been added as it has a better sound. It would be related to Diana’s name to the word “Dianus” with the Indo-European root of “dia” or “dey” for day. This idea is somewhat flimsy and not usually, widely accepted as being accurate. It seems to be what happens when you’re stretching and trying to connect everything back as all originating from one deity.
The last proposed etymology comes from Cicero, Ovid and Macrobius, where they explain that the Latin form of Janus for “to go” refers to Janus as the god of beginnings and transitions. That one feels a little more on the money with how many people view and interpret Janus’ name.
Parentage and Family
As a primordial deity, Janus isn’t given any parentage. If any are mentioned, it is:
Caelus (The primal god of the Sky) & Terra (The Earth)
The gods Camese, Ops and Saturn are given as Janus’ siblings.
Camese – Depending on the version of the myth (Greek in this case,) they become Janus’ sister and wife.
Jana – A Moon Goddess
Juturna – Goddess of Wells & Springs
Venilia – Goddess of the Winds & Seas
Canens – A nymph and personification of song.
Fontus – Son of Janus and Juturna
In a Greek version of the myths, where Janus is mortal and marries his sister Camese, they have the following children: Aithex, Olistene, Tiberinus
Primordial Gate Keeper
You could say that Janus is the Ultimate Gate Keeper, even possibly the Custodian of the Universe and probably the only one we should have. This connection makes Janus a Liminal Deity, guarding boundaries and passages.
Janus guarded the gates of Heaven. Doorways, Gates, any passageways, Janus presides over these as well. As a Doorway is the literal transitioning, moving from one area to another. Nothing changed, transitioned, moves, or altered it’s/their states without Janus’ presence and influence. Even the abstract ideas of going from war to peace and back, from birth to death and rebirth, to journeys, exchanges, barbarism and civilization, the start of and any ending of conflicts, their resolutions. Janus presided over all transitions.
Key – Janus is often shown holding a key that symbolized his protection over doors, gates and thresholds of many kinds. Both physical and spatial boundaries. The key symbolized that a traveler would be able to find a safe place or harbor to trade their goods in peace.
Staff – This symbolized Janus’ guiding travelers on their paths.
Order Out Of Chaos
If, in the beginning, everything is a primordial ooze and chaos, Janus is the being who brings order from it all, as everything transitions from one state to another. Modern science will have fancy technical terms and jargon for everything and how everything forms and comes into being. For the ancient Romans, this is all explained as Janus being responsible for the formation of the elements and harmony from Chaos and getting the whole shebang going.
Janus’ functions denote that he is a liminal deity who watches the borders. As rivers are frequently natural borders and boundaries, Janus presided over these along with the bridges that cross over them. Four of Janus’ altars and temples were built along rivers.
Janus is a god of dualities, representing numerous abstract and literal concepts for beginnings and endings. The very transitioning from one state to another. Janus was present at the very beginning and start of the universe before any of the gods existed.
With Janus being depicted as having two faces. One face facing towards the future and the other towards the past, Janus is said to have held the gift of prophecy. Omens and portents were very much so the domain of Janus as he could see all.
A Solar Deity & Divine Twins?
This idea comes from Macrobius who in turns cites Nigidius Figulus and Cicero. The idea is that Janus and Jana (a variation of Diana) are a pair of deities worshiped together as Apollo & Diana; the sun and the moon.
Adding to this is one A. Audin who connects the solar motif back to the Sumerian cultures. They mention two solar pillars that are located on the eastern side of temples and denote the direction of the rising and setting sun and the solstices. These two solstices would connect to the idea of the Divine Twins often seen in mythology, particularly the myth where one twin is mortal and the other is immortal.
Morning Time – The start of the day or morning is thought to be Janus’ time, when men awoke and began their daily routines and activities. Janus is called Matutine Pater, meaning “Morning Father by Horace. It is thought this association with this time of the day is what links Janus with being a solar deity.
Winter Solstice – In keeping with the solar connection, under the Roman calendar, the Winter Solstice was held to be on December 25th, a remarkably familiar date that carries over to Christianity for when Christmas is celebrated. Where solar deities are revered, the Winter Solstice is often when these deities are said to be reborn and their power grows again.
Month – January
It is generally accepted that the month of January is named for Janus (Ianuarius) and why, with the Gregorian calendar, it is the first month and beginning of the calendar year. Under the ancient Roman calendar, their year began with March as the first month, incidentally when Rome would begin its war and campaign season.
For further, in-depth history, we can credit Numa Pompilius, the second of seven kings who ruled Rome before it became a Republic. In the 6th century B.C.E., Numa added the months of Inauarius and Februarius to ten month “Romulus” religious calendar. Under this new calendar, Inauarius would become the first month starting in 200 B.C.E. of the Roman Republican Calendar. Inauarius, pronounced as Januarius means the “Month of Janus.”
One interesting thing to note, when looking at the translations of old Roman Farmer’s Almanacs, the goddess Juno is who presided over the month of January initially, not Janus.
Since we’re on the subject of time and dates… as a god of beginnings, the very concept of time even starts with Janus. In one of the few temples dedicated to Janus there is a statue of him where the position of the hands signifies the number 355 for the number of days in a lunar year. Later, this number becomes 365 to symbolize Janus’ mastery over time.
New Year’s Day
Another calendar date that carries over from the Romans to modern day in much of Western culture, January 1st marks the start of the New Year. For the omens, the beginning of anything was an omen and would set the tone for the rest to follow. It was customary to greet people with well wishes. People would exchange gifts of dates, figs and honey. Gifts of money or coins called strenae were also exchanged.
Additionally, cakes made of spelled and salt were offered up to Janus on his altars. These offerings or libums were known as ianual. There is likely a corresponding connection to another offering of summanal on the Summer solstice for the god Summanus. However, these offerings would be made with flour, honey, and milk, making them sweeter.
This is another festival held on January 9th for Janus. A ram would be sacrificed at this time.
This is a bit of an oddball festival for me. It was held on October 1st, during the month that Rome’s War Season is ending, and soldiers are returning home.
It’s a purification rite that commemorates Marcus Horatius making atonement for the murder of his sister. The representative for Marcus has their head covered as they pass beneath an archway. The ritual seems to be used as a purification rite for soldiers returning from war to cleanse them from the taint of war as they return to civilized society.
This rite has also been connected to a pairing of Janus and Juno through the epitaphs of Janus Curiatus and Juno Sororia. Janus in his role as a god of transitions and Juno in her role as a protectress of young soldiers.
Several early Roman coins depict Janus on them. With one face being clean shaven while the other is bearded.
This connects Janus as the founder of financial commerce and trade systems as humans transitioned from an age of barbarism to civilization. Roman myth holds that Janus was the first to mint the first coins.
There is a rite or custom where a bride would oil the posts to the door of her new home with wolf fat when she arrived. While this rite does not specifically mention Janus, it is a rite of passage connected to the ianua.
King Of Latium
As old as Janus is, predating the Roman Pantheon, it is very likely that he was a real person at one time.
In a story told by Macrobius, Janus had been exiled from Thessaly and sailed to a place known as Latium with his wife Camise and their children. They settled in a place along the Tiber river that would be named after his son Tiberinus.
Where Janus and his family settled, they built a city called Janiculum. After his wife died, Janus ruled in Latium for many years. After his death, Janus became deified.
Janus’ rule in Latium is part of the Golden Age in Roman mythology that saw a lot of wealth and agriculture come to the region. This era would be what caused Janus to be associated with trade, streams, springs and a sky god.
Variations: Hyginus in his retellings, Camese is male and Janus succeeded him as ruler of the kingdom.
Greek authors place Camese as Janus’ sister and spouse and that they have a son by the name of Aithex and a daughter by the name of Olistene.
Janus & Saturn
In Ovid’s Fasti, the god Saturn welcomes Janus as a guest and eventually shares his kingdom with them in return for teaching the art of agriculture.
Another slight variation to this, is the custom of Roman to depict their gods as having been mortal and ruling the city of Latium during a Golden Age of Peace. Janus as the ruler of his own Kingdom, welcomed Saturn in after he had been expelled from the heavens by Jupiter.
Janus & Romulus
In this myth, Romulus, as in one of the legendary founders of Rome; with the help of his men, kidnapped the Sabine women. In response, the Sabine men retaliated, trying to get their daughters back. Luck was with the Sabine men as a daughter of the city guard betrayed her fellow Romans and let the Sabine men slip within the city.
When the Sabine men tried to make their way up the Capitoline Hill, Janus is credited with causing a hot spring to erupt, causing a mixture of boiling water and volcanic ash that forced the Sabine men to turn back.
It’s from this myth, that the Romans and Sabines would later form a new community and the gates being open during war and closed during peace to keep in would come from.
Janus & Canens
A story found in Ovid’s Metamorphosis; Janus is the father of Canens with the nymph Venilia. Canens was the personification of song and married to Picus. When Picus spurred the love of Circe, she turned him into a woodpecker.Canens searched for six days for her husband before throwing herself into the Tiber river where she sang one final song before dying.
Janus & Carna
Also known by the name of Crane.
Carna was a nymph of the sacred grove in Helernus. Whenever Carna found herself being pursued by the unwanted advances of a young man, she would call out to the young man only to slip away to hide in various crags and other places. Janus saw her hiding and of course, what ancient Roman wouldn’t, Janus rapes Carna.
By way of apology, Janus gives Carna a whitethorn branch so that she may guard all thresholds and doorways, making her a goddess of hinges and then becomes known by the name of Cardea. As a goddess, Cardea would be responsible for protecting and purifying thresholds and doorposts. Incidentally, she also protects newborn infants from stirges. That… is really interesting given the connection between Vampires and not being able to cross thresholds.
That, however, is a post for another day…
I think it is also possible, given how old this myth is, that Janus and Carna had consensual sex and not rape. It would explain giving the hawthorne as a gift between two lovers and Janus elevating Carna from a nymph to a goddess with close to the same powers and abilities as he does with guardianship over thresholds.
Janus & Juturna
A minor myth is that Janus and Juturna, a goddess of wells give birth to Fontus, the god of wells and springs. Comment has been made that Fontus or Fons is another name for Janus. This myth is more likely used to explain why two festivals, Juturna on January 11th and Agonium of Janus on January 9th were so close together. Plus, further explaining why there is an alter for Fontus or Fons near the Janiculum and the connection to spring and beginnings.
Janus & Vesta
Janus presides over the beginnings and guards the doors and entries. Janus would be invoked first in rites and Vesta would be invoked last. It has brought some curious observations. The presence of Vesta shows that there was importance for the hearth, its life-giving fire and thus the home. A community couldn’t survive or thrive without the safety of the household. To be able to exit the untamed and unknown wilds to the safety of the community and civilization.
As has been the case with many deities, Janus was made a martyr and then later the Saint Januarius by the Roman Catholic Church.
Janus was also made a martyr by the Roman Catholic Church and later became known Saint Januarius.
During the Medieval or Middle Ages, the Italian city of Genoa used the symbol of Janus or Ianua. Many other European communes also used the symbol of Ianua.
For those interested in tracing an Indo-European religion and pantheon of gods that links the European deities with those of Vedic origins. There’s been a lot of study into it. As a god of beginnings and transitions, a primordial deity, Janus has been connected to the Vedic Vâyu. Most notably in the works of G. Dumézil. There certainly was a cross-pollination of ideas and religion when you see how much further east Greek culture was at one point and trade routes.
Portunus – Syno-Deity
Portunus is a similar deity to Janus. The difference is that Portunus presided over harbors and gateways in regard to traveling, commerce, trade and shipping. Like Janus, the key and staff are also one of Portunus’ symbols. Portunus’s festival day was held on August 17th.
Janus the Sailor – Because of how similar Janus and Portunus are, there is a hypothesis put forward that Janus may have originated as a god of winds and sailing, brought to the communities by the Tiber river. The connection has more to do with when Saturn sailed to ancient Latium and was welcomed by Janus.
Aditi – Hindu Goddess
The Vedic goddess of Infinity, Aditi is depicted as having two faces. She is seen as the feminine form of Brahma. Like Janus, Aditi is invoked at the beginning of ceremonies and she concludes them as well.
Ani – Etruscan God
In the little-known Etruscan mythology, Ani is the god of the sky and sometimes shown as having two faces. This has led some to conclude a possible connection between Ani and Janus.
Belinus – Chaldean God
Also called Baal-Ianus, a William Betham has made arguments that Janus’ cult would originate from the Middle East with the Chaldean culture.
Brahma – Hindu God
The imagery of double or four-faced deities in Hinduism is common. Brahma is the god who created the universe.
Culśanś – Etruscan God
In the little-known Etruscan mythology, Culśanś has been identified as being the counterpart to the Roman Janus. This connection seems more likely given Culśanś’ role as a god and protector of doorways and his depiction of having two faces.
Heimdallr – Nordic God
As guardian of the Bifrost bridge, the functions that Heimdallr has for standing in a place between time and space have been noted to be similar to Janus.
Isimud – Sumerian God
Also known as Usimu in Babylonian. A deity featuring two faces appears several times in Babylonian art. Isimud is the messenger of Enki.
Greek Connection – Which brings us to another point. However much the ancient Greeks and Romans tried to claim that Janus had no Middle Eastern connection, and that Janus is solely a Roman deity, there are some much later writers who would equate Hermes with Janus, especially so during the Hellenistic era of Greek culture.
Svetovid – Slavic God
Depicted as having four heads or faces, Svetovid is the Slavic god of war, fertility, and abundance.
Janus In Astronomy
On December 15th of 1966, the astronomer Audouin Dollfus discovered and identified, orbiting around Saturn, a moon that would later be called Janus. This moon is also known as Saturn X. It would take a little over a decade before it was recognized that Janus was one of two satellites or moons occupying close to the same orbit. The other is called Epimetheus. These names would become official in 1983. Janus also has two craters on it named for the characters of Castor and Pollux in mythology.
Other Names: All-Heal, Birdlime, Devil’s Fuge, Donnerbesen, Druid’s Herb, Golden Bough, Herbe de la Croix, Holy Wood, Lignum Sanctae Crucis, Misseltoe, Mistillteinn, Mystyldyne, Thunderbesem, Witches’ Broom, Wood of the Cross,
Deity: Apollo, Balder, Cerridwen, Freya, Frigga, Odin, Taranis, Thor, Venus
Sphere of Influence: Defense, Dreams, Exorcism, Fertility, Health, Hunting, Invisibility, Locks, Love, and Protection
Symbols: Friendship, Peace
Victorian Language of Flowers: “I surmount difficulties, I send you a thousand kisses.”
What Is It?
Mistletoe is the common name for plant that is parasitic (hemiparasite) in that it grows by attaching itself to the branches of a tree or shrub, taking water and nutrients from the host plant. The mistletoe species, Viscum album is the one referred to in folklore is that is native to Great Britain and most of Europe. It is characterized by having a smooth-edged, oval shaped evergreen leaves set in pairs along the stem and white berries that are known to be poisonous.
There are a variety of other species of mistletoe plants found in other countries of Europe such as Spain and Portugal and on other continents. American Mistletoe is also known as False Mistletoe as the homeopathic remedies and uses are different from the European Mistletoe. Over time, the term mistletoe has come to include other species of parasitic plants. Even plants get parasites…
Despite mistletoe’s parasitic nature, it does have an ecological benefit with being a keystone species in that it provides food for a variety of animals that feed on it as well as providing nesting material for various birds.
There used to be all sorts of folkloric beliefs about how mistletoe would come to grow on various shrubs and trees. By the sixteenth, botanists had it figured out that seeds were passed by the digestive tracts of birds who fed on mistletoe or by the birds rubbing their bills on trees to get rid of the sticky seeds. An early reference to this is in 1532, an Herbal book by Turner.
What’s In A Name
One etymology for mistletoe that seems fairly accurate are the Anglo-Saxon words for “mistel” meaning “dung” and “tan” meaning “twig.” Making the meaning of mistletoe as “dung-on-a-twig.” Which makes sense, people observed that mistletoe grew wherever birds roosted and thus did their business.
The Latin word “viscusas” and the Greek word “ixias” both refer to the white coloration of mistletoe berries and being thought of to resemble sperm. The same words “visand ischu” mean “strength” In the Greek and Roman mindsets, sperm was connected to strength and vitality and thus to fertility for life springing seemingly out of nowhere. Mistletoe berries harvested from Oak trees were believed to have regenerative powers.
Mistletoe is a plant strongly associated with Christmas, Yule and other Winter Celebrations where it is used in decorations for its evergreen leaves that symbolize the promised return of spring.
Hanging Mistletoe – Anyone standing beneath the mistletoe can expect to be kissed. This probably originates in Druidic beliefs where mistletoe is strongly connected with fertility as the white berries of the mistletoe resembled semen. Now, proper etiquette says that when someone is kissed beneath the mistletoe, a berry needs to be removed until all have been plucked, at which point, there are no more kisses.
One tradition holds that if any unmarried woman went unkissed after the hanging of the mistletoe, they would not be able to marry for a year.
British farmers would feed a bough of mistletoe to their livestock on January 1st, believing it would ward off any bad luck for the coming year. Alternatively, a farmer feeding mistletoe to the first cow calving in the New Year was what brought good luck.
In some regions of Britain, mistletoe would be burned on the twelfth night after Christmas to ensure any boys or girls who didn’t get kissed could still marry.
Celtic Druidic Mythology & Traditions
In the Celtic language, the name for mistletoe translates to “All-Heal” as they believed this plant to have healing powers that could cure a number of ailments and held the soul of the host tree. By Mistletoe was held the chief of the Druid’s sacred seven herbs. The other sacred plants were: vervain, henbane, primrose, pulsatilla, clover and wolf’s bane.
The tradition of kissing under the mistletoe is attributed to the Druids who held the plant as being sacred. It held a magical virtue and served as a remedy to protect against evil. Mistletoe found growing on Oaks were especially sacred. Ovid’s writings mention how Druids would dance around oak trees with mistletoe growing on them. If mistletoe were to fall to the ground without being cut, it was considered an ill omen.
In Between – Seen as a tree that was not a tree. One of the things making mistletoe sacred was its seeming ability to spring forth out of nowhere. It represented the “in between” or a gateway to other worlds and spirit.
Harvesting – Pliny the Elder in his Natural History, circa 77 C.E. notes how the Druids revered the mistletoe. Pliny goes on to explain how white-clad Druids would use a golden sickle when harvesting mistletoe; taking great care to make sure that none hit the ground, believing that the plant would lose its potency and sacred powers. The sacrifice of two white bulls would follow. Pliny’s accounts are the most well-known documentation of Druid beliefs regarding the sacredness of mistletoe. Either the Midsummer or the Winter Solstice were the times to harvest and collect mistletoe. Better when done so on the sixth day after a waning moon.
Oak King & Holly King – This is a particularly old folkloric belief. With the Oak King and Holly King being personifications for the cycle of the year. Mistletoe berries found on an Oak tree were thought to be representative of the Oak King’s semen. So when the Oak King’s power waned and gave way to the Holly King, the harvesting of mistletoe and it’s berries off of Oak trees was symbolic of emasculating the Oak King. Hence, why two bulls would be sacrificed, to compensate the Oak King.
The white berries of mistletoe would be made into fertility potions as they were thought to be regenerative as on the Winter Solstice, the Oak King would be reborn, gaining power again as the new year progressed.
Fire & Lightning – It was thought that mistletoe would grow on an Oak tree that had been struck by lightning. For this, mistletoe was believed to be able to stop fires.
French farmers would burn mistletoe in their fields in order to have a successful harvest with the coming year.
Maidens would place a sprig of mistletoe beneath their pillows so they could dream of their future husband.
Herbe de la Croix – In Brittany, there is a legend how the cross that Jesus is to have been hung on was made from the wood of mistletoe. After Christ’s death, mistletoe is said to have been cursed or degraded to become a parasitic plant. Now days, thanks to 16th century Botanists discoveries, it’s better understood how the seeds of mistletoe or spread.
Immortality – Asclepius, the son of Apollo and god of medicine was greatly renowned for his healing skills to the degree that he could even bring people back from the dead. This knowledge of healing came about after Glaucus, the son of King Minos of Crete had fallen into a jar of honey and drowned. Asclepius had been called onto the scene and while there, saw a snake slithering towards Glaucus’ body. Asclepius killed the snake and then saw another snake come in and place an herb on the body of the first snake, bringing it back to life. After witnessing this, Asclepius proceeded to take the same herb and place it on Glaucus’ body and bring him back to life.
This herb is said to have been mistletoe. Now armed with this knowledge, Asclepius brought Glaucus back to life. Later, he would bring Thesues’ son, Hippolytus after the king’s son had been thrown from his chariot.
This angered Hades enough that he complained to Zeus that humans would become immortal and that there wouldn’t be anyone entering the Underworld. To prevent people from becoming immortal, Zeus agreed to kill Asclepius, doing so with a lightning bolt. Later, Zeus placed Asclepius’ image up into the heavens to become the constellation of Ophiuchus in honor and memory.
Golden Bough or Mistletoe is the plant Aeneas uses to enter the Underworld to Hades’ realm.
Saturnalia – Many traditions regarding mistletoe and the Christmas traditions are believed to trace their origins to this ancient Roman festival once held on December 17th of the old Julian calendar.
The Death Of Balder
This is one of the bigger, more well-known Norse stories. Balder’s mother Frigg, the goddess of Love had received a prophesy concerning Balder’s death, who was the most beloved of all the gods. Wishing to try and avoid this fate, Frigg got an oath from all living things that they wouldn’t harm her son. In her haste to do so, Frigg overlooked the mistletoe, believing it to be too small and inconsequential.
Leave it to Loki to learn of this oversight and to test the validity of the prophesy. Depending on the source, Loki either makes an arrow or a spear out of mistletoe and hands it off to the blind god Hod, instructing him to aim it at Balder. This act doesn’t seem so unusual when taken into account that many of the other gods were taking aim at Balder to test his invulnerability.
Hod then, unknowingly of Loki’s true intent, fires the mistletoe weapon at Balder and impales the god who soon dies. Frigg is grief stricken and Hermod rides off on Sleipnir down to the Underworld to plead for Balder’s release from Hel, how everyone loves him. The Underworld goddess replies that if this is so, then every being in the living world will weep for the slain god. If everyone does weep, then Hel will release her hold on Balder and allow him to return.
Hermod returns with the news and every creature on the earth cries for Balder. All, that is except for an old giantess by the name of Tokk (or Þökk, meaning “Thanks,”) she was most certainly and likely Loki in disguise.
With this failure to have everyone weep, Balder remained in Hel’s domain.
Some variations to this legend have mistletoe becoming the symbol of peace and friendship to make-up for it’s part in Balder’s death.
In the version of the story with a happy ending, Balder is restored to life, and Frigga is so grateful that she reverses the reputation of the offending plant–making it a symbol of love and promising to bestow a kiss upon anyone who passes under it.
The white berries of mistletoe are to have formed from Frigg’s tears when she mourned Balder’s death. Shakespeare makes an allusion to the story of Balder’s death by referring to mistletoe as “baleful.”
Peace & Love
Due to the above story, the Norse held the belief that hanging the mistletoe would be a symbol of peace, indicating that any past hurts and anger would be forgiven. Enemies would cease fighting each other for the day.
Under the incoming Christian religion as it spread throughout Europe, the symbolism of the mistletoe would be converted to have Christian meanings as older pagan beliefs and traditions would get adapted and changed.
For example, in the Norse story with the death of Balder, mistletoe would keep its meanings as a symbol of life and fertility.
Wearing sprigs of mistletoe is believed to help conceive, attract love and for protection.
During Medieval times or Antiquity, branches of mistletoe would be hung to ward off evil spirits. Mistletoe would be hung over the house and stable doors to protect from witches and keep them from entering.
Mistletoe could also be worn in amulets, bracelets, and rings for its magical qualities of protecting from evil, witches, poisoning and even werewolves!
Yes, there are medical uses for mistletoe. However, the white berries are poisonous as they do cause epileptic type seizures and convulsions. Keep the white berries away from small children and pets who might decide to try and eat them.
Do make sure to consult an accredited medical source as some information has changed.
Homeopathic Remedies – Due to the nature of the poisonous berries, it causes many cultures such as the ancient Celts to use mistletoe berries in remedies for treating convulsions, delirium, hysteria, neuralgia and heart conditions. Some Native American tribes used a tea wash for bathing the head to treat headaches and infusions for lowering blood pressure and treating lung problems.
Warning – Do make sure to consult an accredited medical source as some medical experts disagree about the applications of homeopathic remedies and information is likely to change with better data and research.
Mistletoe is seen as an all-purpose plant and has been attributed a wide variety of magical uses and even a number of herbal and homeopathic remedies. A lot of it ending up very contradictory and suspect as to which to see as accurate. Further, you want to make sure you have the right mistletoe species.
Etymology: Greek – dios “bright”
Alternate Spellings & Other Names: Ζευς, Kronion
Epithets: Zeus has some 150 epitaphs that he is known by. I expect to miss a few, if not several. Here are some of his many names and epitaphs.
Zeus-Amphitryon (Zeus in the form of Amphitryon when he seduced Alcmene), Zeus Areius (“War-Like” or “The Atoning One”), Abrettenus or Abretanus (Zeus’ surname in Mysia), Achad (Syrian name), Adad (Syrian name), Zeus Adados, Adultus (Invoked as a name of Zeus in marriage), Zeus Agamemnon, Zeus Amphiaraus, Apemius (Averter of Ills), Apomyius (Dispeller of Flies), Acraeus (name in Smyrna ), Acrettenus (name in Mysia), Zeus Areius, Brontios (“Thunderer”), “Ceneus” – An epithet of Zeus after the temple on Cape Canaeum of Euboea. “Kosmetas” (Orderer), “Soter” (Savior), “Polieus” (Overseer of the City) and “Eleutherios” (guarantor of political freedoms), “The Lord of Justice,” “Father of Gods and Men,” “Nephelegereta” (Cloud-Gatherer), Zeus Helioupolites (“Heliopolite” or “Heliopolitan Zeus”), Zeus Olympios, Zeus Panhellenios (“Zeus of all the Hellenes”), Zeus Xenios (“Zeus of Hospitality, Strangers & Foriegners”), Zeus Herkios (“God of Courtyards”), Zeus Herkeios (Guardian of the House), Zeus Hikesios (“God of those seeking sanctuary”), Zeus Larisaeus, Philoxenon or Hospites, Zeus Horkios and Zeus Pistios (“Keeper of Oaths’), Zeus Hypsistos (“Supreme God”), Zeus Agoraeus (“Presider over Businesses”), Zeus Aegiduchos or Aegiochos (“Bearer of the Aegis”), Zeus Nikephoros (“Zeus holding Nike”), Zeus Tallaios (“Solar Zeus”), Zeus Ktesios (“Protector of Property”), Zeus Labrandos, Zeus Trephonius (“the nurturing”), Zeus Naos and Bouleus, Zeus Georgos (“Earth Worker” or “Farmer”), Kasios (“Zeus of Mount Kasios”), Ithomatas, Astrapios (“Lightninger”), Diktaios, Bottiaeus, Zeus Velchanos (“Boy-Zeus”), Kouros (Boy Zeus and early Cretan fertility god), Zeus Lykaios (Wolf Zeus), Zeus Katachthonios (Zeus of the Underworld), Eubouleus, Zeus Meilichios (“Zeus the Easily-Entreated”or Zeus as a snake), Zeus Maimaktes (the bloody aspect of Zeus Meilichios), Zeus Chthonios (“earth”), Zeus Plousios (“wealth-brining”) and Zan (Zeus’ name in Crete).
Zeus, mighty Zeus. King and “All-Father” of the Gods in Greek mythology. He is the mighty thunderer who rules from his abode on Mount Olympus. As King of the Gods, Zeus’ decrees dispense law, order, and justice throughout the mortal and divine realms. If you believe the myths, Zeus is also highly respected(?) in having fathered many of the gods and demigods alike. Exactly how he fathers them all is another matter, of which, his wife Hera is often not too pleased.
Universal Problems Require Universal Solutions
While researching the mythology for Zeus, it can get very problematic. There are at least three different major mythos for Zeus. Two Arcadian versions of his legend and the Hellenistic Zeus that so many are familiar with. Other versions are Zeus found at the Dodona oracle.
As more Greek writers and even modern retellers try to create an all-encompassing myth for all of Greece, it can often get contradictory as to which versions of the myths are correct. Hesiod’s Theogony is a big contributor to the version of the myths that most are familiar with.
Further, for all that the Greeks saw Zeus as the head of their Pantheon, he can often lose a lot of emphasis and power as too often, as the myths try to show his importance, Zeus just ends up having a cameo appearance or mention in the stories. The king who sits up on high passing out judgements.
Add in too, the numerous affairs that Zeus is to have had. Depending on the era of myths, this is Greek influence spreading and trying more to have Zeus as the progenitor for many deities and demigod heroes. If people are creating the gods in their image to reflect them, what does it say for a culture where a god gets to have his way with every female he desires and lusts after? The euphemism of ravish is used a lot for many of Zeus’ “romantic” pursuits. How much is Zeus a victim of his own reputation or not, can be hard to say.
Animal: Bull, Dove, Cuckoo, Golden Eagle, Lion, Quail, Rooster, Swan, Wolf, Woodpecker
Patron of: Kings, People, Fate
Plant: Oak, Olive Tree
Sphere of Influence: Law, Order, Justice, Weather, Rain, Sky
Symbols: Aegis, Cornucopia, Courage, Lightning, Scepter, Sky, Strength, Thunderbolt
Early Greek Depictions
In art, Zeus is often shown as a middle-aged looking male with a long beard and hair and youthful, athletic figure, sporting a toga as he wields his lightning bolts. Sometimes Zeus is shown wielding a hammer. In Greek statuary, Zeus can be shown either standing or sitting with a lightning bolt or scepter in his hand. Zeus is sometimes shown wearing a crown of oak leaves. As King of the gods, Zeus is often seen as being very regal and imposing in this role.
Cult & Worship
Being the head god of the Greek pantheon, Zeus had several temples and festivals held in his honor. Zeus has what’s known as Panhellenic cults, centers of worship that are found spread throughout all of Greece.
Olympia – This is the biggest and major center of worship for Zeus. Located at Thessaly, Thessalia, the Olympic Games would be held here. An alter made of ash dedicated to Zeus is found here. Centuries of animal sacrifice remains can be found here. Such sacrifices were a white animal.
Olympic Games – These games were held every four years in honor of Zeus.
Nemean Games – Similar to the Olympic Games, only held every two years.
Theogamia – Or Gamelia, a festival celebrating Zeus and Hera’s marriage in Athens.
The Divine Youth – The island of Crete was unanimously recognized by the Greeks as being the birthplace of Zeus. Crete of course, was the center of the Minoan culture and civilization at one point. In Crete, the “Boy-Zeus” or Zeus Velchanos is a strong part of a Great Mother and Divine Child or Son and Consort mythos and religion. Zeus Velchanos would also be known as Kouros or Megas Kouros, “the Great Youth.”
On the island of Crete, Zeus is shown in art as a young, long-haired boy rather than the mature adult many statues depict. Ivory statues of the “Divine Boy” have been found near the Labyrinth of Knossos.
There’s even coinage that will show Zeus as a young boy sitting in a tree with a rooster or cockerel. Other coinage will show an eagle and a goddess in a sacred marriage. Inscriptions found at Gortyn and Lyttos show that a Velchania festival was still widely celebrated even during Hellenistic times.
There are several caves at Knossos, Ida and Palaikstro where Zeus was worshiped at. During the Hellenistic era, there was a small sanctuary dedicated to Zeus Velchanos at the Hagia Triada in the ruins of the Minoan palace. Looking at the stories of Minos and Epimenides, there is suggestion that these caves used as incubatory divination by kings and priests. Plato’s dialogue for Laws uses the pilgrimage route of these caves for its setting.
There was a secret rite held at the Cretan paideia. Zeus was said to preside over this military training and athletics. The participants were known as Kouretes, a group of armed dancers.
There is also a death or end-of-year fertility spirit where Zeus as Velchanos’ death is revered. The stories related to this myth are found in several mountain site where a fire would be lit annually at Zeus’ birth cave. Bees are also somehow connected to this observance.
There’s speculation, some holding that Zeus may have been a Cretan King that became deified after his death.
Lykaia – Under the name Zeus Lykaios or Wolf Zeus, Zeus is connected to the festival of Lykaia near Mount Lykaion in Arcadia.
The festival of Lykaia had a secret festival held on Mount Lykaion (Wolf Mountain) in Arcadia and it’s tallest peak. The myths that surround this ritual are believed to relate the story of Lycaon’s feast he held for the gods and involved having served up one of his sons Nyctimus as one of the main courses. Another version of this story given by an Eratosthenes, holds that Lycaon had served up his grandson Arcas at this feast. In either eventuality, an enraged Zeus turns Lycaon into a wolf and proceeds to kill by means of lightning; Lycaon’s other sons before restoring the dead child back to life.
Mmm…. Cannibalism. Not.
The festival of Lykaia were held annually at the beginning of May. It was a primitive ritual festival and rite of passage for young males known as epheboi among the Greeks into adulthood. With the ritual held at night, evidence taken by some with the name of Lycaon’s son Nyctimus, a lot of rumors about cannibalism and werewolf transformations circulated widely among the Greeks as to just what was going on up there. Even Plato wrote about one clan who would gather every nine years and sacrifice to Zeus Lykaios where a piece of human flesh would be mixed in among the pieces of animal.
The belief held that whoever ate the human flesh would turn into a wolf and they could only return to human form after nine-years if they hadn’t eaten human flesh. The famous Olympic boxing champion, Damarchus is said to have turned into a wolf during the ritual sacrifice held for Zeus Lykaios. Games were also a big part of the Lykaios festival held every year after the secret ritual held at night.
It has been put forth, that the epitaphs of Lykaios and Lykeios likely originate in a Proto-Greek word *λύκη, meaning “light.” It’s a word still seen in other Greek words for “twilight” and “year.” This connection is seen in the tragedy writer Achaeus referring to Zeus Lykaios as being “starry eyed.”
This Arcadian Zeus connects strongly to Zeus being the son of Aether. It more easily makes a connection of Lykosoura being the “first city that the sun beheld” as described by Pausanias. The other connection is the alter to Zeus on the summit of Mount Lykaion standing between two columns with eagles that faced the sun-rise.” This all connects Zeus as a god of light.
Eleusinian Mysteries & Orphic Mysteries – Zeus gets around, a lot. Not much is known about the Eleusinian Mysteries and there is plenty known about the Orphic Mysteries given the amount of literature and hymns that have been found and translated.
Both the Eleusinian Mysteries and Orphic Mysteries concern themselves with the death & rebirth of a deity. A role often given to Hades and Dionysus in order to connect them to the mysteries of Demeter and Persephone. As Zeus Katachthonios or Eubouleus (a youthful version of the Lord of the Underworld), Zeus finds himself venerated in many local customs that honor the Underworld Lord and the symbolic rebirth at Spring.
It varies greatly as the local customs varied from one Greek city to another. The Athenians and Siclians honored a chthonic Zeus as Zeus Meilichios (“kindly” or “honeyed”). More epitaphs of Zeus claiming a chthonic role are Zeus Chthonios (“earth”), Zeus Katachthonios (“under-the-earth”) and Zeus Plousios (“wealth-brining”). These versions of Zeus would be depicted as snakes or in a more humanoid form. Sacrifices to the chthonic form of Zeus would be offerings of black animals in sunken pits. Some places, such the Lebadaea shrine in Boeotia, a local hero, Trophonius was revered and then attached as an epitaph to Zeus as Zeus Trephonius (“the nurturing”). Another hero, Amphiaraus was honored as Zeus Amphiaraus near Thebes and the Spartans honored a shrine to Zeus Agamemnon.
It all makes for an interesting connection. Hades as the God of Death, Dionysus as the God of Life and Zeus tying them both together to represent the birth, death and resurrection of a deity.
Aetnaea – A local festival near Mount Aetna. A statue of Zeus is found here where he is worshiped as Zeus Aetnaeus.
Really getting around as the All-Father and God of Everything.
Temples And Sacred Sites
Cave of Zeus – Found on the slopes of Mount Ida on the island of Crete, the Cave of Zeus is a sacred place dating to antiquity. Sometimes the location of this Cave is given as the Psychro Cave on Crete or the Cave of Zeus is found on the Aegean island of Naxos.
It is the cave that the infant Zeus was hidden in from his father, the titan Cronos. Some variations of Zeus’ origins will place this as his birthing place. A band of mythical warriors known as the Kouretes would dance wildly and loudly as a means to drown out the infant’s cries to keep Cronus from discovering his son.
Archeology discoveries of the cave have found a number of votive offerings in this place.
Dodona Oracle – The site of Zeus’ most famous and oldest oracle, found at Dodona in Epirus, Northwestern Greece. It was known as a land of Oak trees and likely why the tree is associated with Zeus. At this site, Zeus was known as Zeus Naos and Zeus Bouleus. Zeus’ priests were known as Selloi and barefoot. They would lay on the ground and observe the rustling of leaves and branches for their divinations. It is thought that their name contributed to the Hellenes. Later, female priests replaced the male priests and were called Peleiades or Doves. Here, Zeus’ consort is reputed to be Dione, not Hera. Dione is a titaness who may have predated the Hellenic era and likely the original goddess worshipped. Her name is a female form of Zeus’ own name.
Siwa Oracle – The oracle of Ammon near the Siwa Oasis in the western Egyptian desert. Herodotus writes of a Zeus Ammon whould be be consulted at this oracle. This version of Zeus favored the Spartans and a temple dedicated to him was already built during the Peloponnesian War. After Alexander’s trek to this oracle, this figure became the Libyan Sibyl.
Temple of Zeus – This is the most famous of Zeus’ temples in Olympia. It features a gold and ivory statue of Zeus seated on a throne. This statue was sculpted by Phidias and was regarded as one of the “Seven Wonders of the Ancient World.”
Mount Aenos – Located on the island of Cephalonia, Zeus was worshiped as either Zeus Aeneius or Zeus Aenesius.
Mount Olympus – This is the tallest mountain peak in Greece, Thessaly, Thessalia to be more precise. It is place from which Zeus and all of the gods are to have resided at, looking down on their domains below.
Shrines – There are several smaller shrines where it’s not always clear if it was dedicated to Zeus or to a local hero that had become defied. Some shrines were Lebadaea in Boeotia that might have belonged to Trophonius or Zeus Trephonius. Just outside of Thebes was Oropus was the shrine dedicated to Amphiaraus or Zeus Amphiaraus. There was a shrine to Zeus Agamemnon revered by the Spartans. At Tralles, there was a shrine dedicated to Zeus Larisaeus.
What’s In A Name?
Proto-Types – It has been put forward that Zeus’ name likely derives from a Proto-Indo-European god of the sky known as Dyeus phter or “Sky Father.” With this name, he is linked to the Rigveda Dyaus or Dyaus Pita. While there is a lot of speculation and hypothesizes about the Proto-Indian-European people, what their language was, culture and myths, Zeus is one whose name clearly comes from the Indo-European language that etymologists have tried to reconstruct. Another root word is “dyeu-“meaning to “to shine” or “bright.” The word is noted to have a similar meaning to the Latin word dies for “day.”
The Proto-Indo-Europeans aren’t really well known as they’re largely a hypothetical group as scholars try to track and guess which directions early humans migrated as they spread over Europe, the Middle East and Asia, which ideas and words stayed the same, ect.
With Mycenaean Greek as seen in the Linear B script, we have the words di-we and di-wo that very similar to the word dyeus.
In Plato’s Cratylus he gives the folk meaning for Zeus’ name as “cause of life always to all things.” It’s based on a pun with Zeus and Dia with Greek words for life and the phrase “because of.” As a result, persisting with this connection as correct isn’t supported with modern scholars.
Parentage and Family
Ouranos (the Sky) and Gaia (the Earth)
Depending on the source, Zeus can have a few different origins.
Cronus and Rhea – The often recognized version of Zeus’ parentage, especially when referencing Hesiod’s Theogony as the source.
Father – Aether (Arcadian origin)
Father – Coelus (Arcadian origin)
Father – Saturnus (Cretan origin)
Hera – Also his sister, who becomes Queen of the Gods.
Dione – In the Iliad, at the Oracle of Dodona, Dione is his consort.
Metis – In some myths, Zeus is married to this Titaness before swallowing her.
This list is more the willing consorts and lovers, not those who were raped, no matter what euphemisms are used.
He is the sixth child born of Cronus and Rhea.
Chiron – a half-brother by way of Cronus and the nymph Philyra.
A lot. Suffice to say, there are a lot of children that Zeus has fathered. As time went on and the Greek myths get rewritten and added to, there are even more children added to the roster of Zeus’ progeny. Either the god is really busy, or everyone wants to claim divinity and Zeus as their daddy!
With Aega, Zeus is the father of Aegipan or Goat-Pan. Not Pan, a different Pan.
With Alcmene, Zeus is the father of the famous Greek demi-god and hero Heracles.
With Callisto, Zeus fathers Arcas.
With Danae, Zeus is the father of Perseus.
With Dione, at the Oracle of Dodona, in the Iliad, Zeus fathers Aphrodite.
With Electra, Zeus fathers Iasion.
With Europa, Zeus fathers Minos, Rhadamanthys and Sarpedon.
With Eurynome, Zeus fathers the Charites or Graces.
With Io, Zeus is the father of Epaphos.
With Leda, Zeus fathered two sets of twins: Castor and Polydeuces and Clytemnestra and Helen of Troy.
With Leto, Zeus fathers the twin gods Apollo and Artemis.
With Maia, Zeus is said to be the father of Hermes.
With Metis, Zeus is the father of Athena.
With Mnemosyne (Memory), Zeus fathers nine daughters, the Muses over a period of nine nights.
With Semele, Zeus fathers Dionysus in some versions of the myths.
With Themis, goddess of Justice, Zeus fathers the three Horae, goddesses of the seasons and the three Moirai or Fates.
Aeacus, Agdistis, Angelos, Dardanus, Enyo, Ersa, the Litae, Pandia,
In addition, Zeus is also said to be the father of the Magnesian and Macedonian people.
Zeus is counted among the twelve major deities who resided on Mount Olympus, the highest mountain peak in Greece and all of Europe. For the Greeks, this was the perfect location for where the gods would preside at while keeping watch on humankind down below them. Add in that as King and Ruler of the other Olympians, this is really the ideal place as Zeus can look down upon the earth and see what’s going on.
As there are several deities within Greek mythology, just who numbers among the Olympians varies. It’s generally agreed that the twelve major Olympians are: Zeus, Hera, Poseidon, Demeter, Athena, Apollo, Artemis, Ares, Aphrodite, Hephaestus, Hermes, and then either Hestia or Dionysus.
King Of The Gods
Zeus is the ruler of the Olympian gods, ruling over all of the gods and mortals alike from Mount Olympus. As King, Zeus was the patron of Kings before later Grecian history, Kings were no longer followed. Zeus dispensed with wisdom, authority, divine decres over the lot of mortals.
Mortal Fates – Before the Moirai were born, Zeus governed the fates of men. He had two urns, one filled with ill fortune and the other filled with luck. Zeus would arbitrarily dole out man’s lot by way of fortunes and misfortunes according to his whim.
Prophecies – As an all-knowing deity who saw and knew everything he ruled over, the powers of prophecies were once Zeus’ domain before passing them on to his son Apollo.
Sky & Weather God
Zeus’ main domain is the Sky and with it, the weather and rain. Especially the thunderbolts and lightning that are his primary weapons. One of his epitaphs is Nephelegereta or “Cloud-Gatherer.” Closely connected to this epitaph as one of his symbols is the scepter, thought to be influenced with imagery from the Ancient Near East.
It was believed and still believed, even if in fun, that Zeus would strike those he sought to punish with lightning. Zeus would especially punish those who lied or broke their oaths.
Zeus would also send thunderstorms at enemies as seen in Homer’s epic, The Iliad.
On occasion, Zeus is equated with the Hellenic sun deity, Helios who is said to be Zeus’ eye. In Hesiod’ss Theogony, the sun is outright stated to be Zeus’ eye.
The Cretan version of Zeus Tallaios, the local cult equated their local deity Talos with Helios.
The Zeus that originates from Arcadia and Dodona was a nature god as seen in his connection to the oak tree and doves as a symbol of fertility. Even the Cretan Zeus connects him as a nature deity with the cornucopia, milk and honey symbols.
By the time that the Homeric poems, the nature aspect of Zeus seem to have been discarded and he is viewed more as a political and national deity that guards over Kings and the protector of law, tradition and religion.
Etymology: “Bull Calf of the Sun,” “Calf of the Sun” or “Solar Calf”
Also known as: Bel (“Lord,” Akkadian), Bel-Marduk, Murdoch
Other Spellings: 𒀭𒀫𒌓 (Cuniform), dAMAR.UTU, Amar utu k (Sumerian), Μαρδοχαῖος, Mardochaios (Greek), מְרֹדַךְ, Mərōdaḵ (Masoretic Hebrew), Merōḏaḵ (Tiberian), Marōdak (Septuagint), Merodach (Biblical Hebrew), Martuk
In Mesopotamian mythology, Marduk is a fertility and storm deity of Babylon. He is known for defeating the dragon goddess Tiamat and becoming the Leader of the Babylonian pantheon.
Marduk came to prominence as the patron deity of the city of Babylon during the rule of Hammruabi, the sixth king of the First Babylonian dynasty of the Amorites in the 18th century B.C.E. when Babylon became the political center of the Euphrates valley. Marduk’s full acceptance as the head of the Babylonian pantheon would be completed by the last half of the second millennium B.C.E.
Animal: Dogs, Horse, Mušḫuššu (Snake-Dragon)
Element: Air, Water
Sphere of Influence: Fertility, Judgement, Storms, Vegetation
Symbols: Hoe, Spade
In what surviving art and texts we have, Marduk is shown as being human dressed in royal robes decorated with stars. Marduk is often accompanied by his snake-dragon that he got from the god Tishpak.
When shown riding in his war chariot, Marduk carries his other emblems of a scepter, arrows, bow, spear, net and lightning bolt.
What’s In A Name?
To start, there is some controversy over the translation of Marduk’s name. There is the Sumerian dAMAR.UD that translates as: “calf of the sun/sun-god.” Then comes the suggestion that this spelling should call for the translation of: “calf of the storm,” “the son of the storm, and “maker of storms.” The latter translation is often rejected due to a lack of evidence with Marduk’s role as a storm god. Accepting this interpretation of the name nixes any connection to Marduk as a solar deity.
The Akkadian spelling for Marduk’s name is AMAR.UTU that translates to mean MERI.DUG. The name is translated to mean “Solar Calf.” In the Hebrew Torah, his name is spelled as Merodach and the Greek spelling of his name is given as Mardochaios.
Marduk’s name is thought to derive from the phrase: amar-Utu meaning: “Bull Calf of the Sun God Utu.” This naming convention could easily be an indicator of early genealogy. Or, it’s an indicator of cultural ties to the city of Sippar, whose main deity was Utu, a Sun God. The city of Sippar dates to the third millennium B.C.E.
The Encyclopedia of Religion comments that the name Marduk was likely pronounced as Marutuk.
Esagila – “Temple whose top is raised” or “Proud/Honored Temple.” While Marduk would come to claim prominence throughout most of Mesopotamia, his primary temple is Esagila, located in Babylon. This is the famous ziggurat that’s described by Herodotus.
Etemenanki – “Temple that is the foundation of Heavens and Earth” A ziggurat with Marduk’s shrine located at the top. This may be the temple that inspired the “Tower of Babel.”
Cult of Marduk – As the patron god of Babylon, this city was the main location for Marduk’s worship. The rise and popularity of this religion venerating Marduk is tied closely with the rise of Babylon as a strong political power and capital of the Mesopotamian empire. To the degree that many other deities were subsumed and seen as aspects and epitaphs of Marduk. Outside of Babylon, Marduk was worshipped in Borsippa, Nippur, and Sippar.
In the Assyrian period of Babylonian history, Aššur becomes the head of the pantheon and Marduk takes on a symbolic role of Babylon’s resistance to Assyrian rule. The cult of Aššur would compete with the cult of Marduk. In the Assyrian version of the Enūma Eliš, it is Aššur who becomes the head of the pantheon, not Marduk.
The Marduk Prophecy also shows the conflicts of this change of power as Marduk’s statue is continually “taken captive” until finally the resulting destruction of Babylon and Esagila with the different shifts of power in the region.
This is a very important aspect of the ancient world beliefs and Mesopotamia is no different. Within the temple of Esagila there was a golden statue of Marduk. This statue wasn’t just dedicated to Marduk, the ancient Mesopotamians believed that statue to actually be the god himself. Seen in the Marduk Prophecy, if the statue of the god wasn’t present, then he wasn’t in his temple or there to protect his city-state and all sorts of calamities and problems would happen.
Originating during the rule of the Kassites, a new king wishing to see his rule as legitimate, needed to “take the hands of Marduk,” symbolizing the king’s submission and accepting the will and guidance of the god.
In 485 B.C.E., the Persian king Xerxes attacked the city of Babylon and there is no mention of Marduk’s statue. The same goes when Alexander the Great conquers Babylon in 331 B.C.E., there’s no mention of the statue. This lack of evidence and records leads many scholars to believe and agree that Marduk’s statue disappearance from history means that it has, in all likelihood been destroyed.
Without a statue, the Babylonian religion and worship of Marduk declined.
This was the ancient New Year’s festival that the Sumerians and Mesopotamian cultures celebrated. This festival occurred sometime during March and April, marking the planting of barley. This festival was presided over by Nabu and Marduk to such a degree, that a text known as the Akitu Chronicle documents a time when the festival couldn’t be observed as Marduk (his physical statue, thus him) wasn’t present in the city of Babylon. Without the statue to carry through the city out to a small house outside the city walls, the people thought that disaster would soon befall them if the patron god wasn’t there to stop the forces of chaos.
Every year at the Akitu House located outside the city, the Enuma Elish would be recited for the New Year’s festival. There was also involved a ritual slapping of the king. Gotta’ stay humble, I guess.
Parentage and Family
Anu – Grandfather and the original head of the Mesopotamian pantheon before other deities arrive on the scene.
Ea – The previous head and leader of the gods before stepping down. Known as Enki in Sumerian. Ea was the creator god, associated with the fresh, life-giving waters.
Damkina – A Fertility and Mother goddess originally known as Ninhursag.
Sarpanitu – Also spelled Zarpanitu. She is a Mother and Fertility Goddess
Nanaya – She is sometimes given as Marduk’s wife in the myths.
Nabu – Son and god of literature, scribes and wisdom. Nabu was originally Marduk’s first minister before being identified as his son.
Birth Of A Legend
For as old and ancient as the Mesopotamian mythologies are, it makes sense that we might not know that much about them. To a point.
Marduk goes from obscurity with almost nobody knowing anything about him in the third millennium B.C.E. to the head of the Mesopotamian pantheon in Babylon in the first millennium B.C.E.
By the time the Enuma Elish is written, Marduk’s original nature has already been altered and obscured. As now, he’s a deity linked to the attributes of judgment, magic, vegetation, and water. He is now identified as the son of Ea and Damkina.
As the politics of Babylon and the whole of the Euphrates Valley ramped up, Marduk’s attributes and aspects begin to alter as he would be placed as the head of the Mesopotamian pantheon, especially for his patron city-state of Babylon.
Once Babylon becomes the capital of Mesopotamia, Marduk who was currently just a patron deity of the city now ascends to become the head of the Mesopotamian pantheon and a supreme deity, ruling or presiding over everything else. Explaining this power shift of head honcho, head god and the transfer of power from Ea to Marduk, the Enûma Elish gets written, showing a peaceful abdication of power as Ea steps down and concedes rulership to his son.
There are a couple little snags later on, such as the revival of the god Enlil’s worship to Marduk, reflecting a real-world, historical rise of the cult of Enlil during Kassite control in Babylon between 1570 B.C.E. to 1157 B.C.E. The worship of Marduk and thus, his triumph over Enlil returns at the end of this era of Kassite control.
The other snag to Marduk’s popularity and his being the supreme deity comes during 1000 B.C.E. when the deity Aššur up north in Assyria gains popularity and worship. Down in the southern parts of the region, Marduk is still the head deity. The history of these events is reflected in the Marduk Prophecy.
This ancient epic creation poem was written in the 18th century B.C.E. when the city of Babylon becomes the political capital of Mesopotamia. It’s largely written to show Marduk’s birth, many of his heroic deeds and how Ea (Enki) steps down to allow Marduk, in a relatively peaceful transfer of power to become the king and head of the pantheon.
The Enuma Elish begins at the start of time when the universe is nothing more than chaos with freshwater represented by Apsu and saltwater represented by Tiamat, a dragoness. The male and female principles, not unlike the concept seen in the Japanese Yin & Yang. The joining of these two primordial deities would see the creation of all the other gods, known as the Anunnaki.
While Tiamat loved all her children, Apsu, on the other hand, didn’t care for them, saying they were too noisy, keeping him up all night and unable to get any work done during the day. Apsu’s response to this problem was to kill his children.
A horrified Tiamat told her eldest son, Enki of what Apsu planned. Enki decided that the best plan for dealing with this was to put Apsu into a deep sleep and then kill him. From Apsu’s corpse, Enki then creates his home, the earth and the marshy region of Eridu.
This further horrifies Tiamat who wasn’t expecting for Enki to just up and kill Apsu. As a result, she decided to wage war on her own children. The mighty Tiamat raises up an army of chaos and sets Kingu (Quingu) as the general of this army and her new consort.
This has Enki and the other gods worried about what to do. That is, until Marduk steps forward, saying he will lead everyone in this war. Marduk has one condition, that is that he be named as the new king of the pantheon. Enki agrees and Marduk leads the Anunnaki to battle.
Marduk prepares his weapons consisting of bow and arrows, a mace, lightning as he is a storm god, flames and a net. Gathering up the four winds, Marduk encircles and nets the mighty Tiamat to prevent her from escaping him. New winds are created by Marduk such as whirlwinds and tornadoes. As he is a storm god, Marduk brings down a fierce flood of rain. It’s a battle between a storm god and a primordial goddess of chaos and the sea, it’s epic as Marduk rides in his storm-chariot pulled by four horses who have poison in their mouths. Spellcasting and an herbal antidote as Marduk faces off against one of the mightiest dragons known in mythology.
After Marduk finally slays Tiamat with an arrow to her stomach, he then goes after Tiamat’s son, Kingu who oversaw the army and wears the Tablets of Destiny over his chest. Marduk makes short work of Kingu in single combat, claiming the tablets and establishing himself as the new head of the pantheon.
This is a lot of power that Marduk has now accumulated and he sets about to create the universe. But didn’t that already exist? He’s at least making a new one as Marduk takes the two halves of Tiamat’s corpse to create the heavens and the earth, completing the work started by Enki. From Tiamat’s eyes, the Tigris and Euphrates rivers flow.
With Kingu’s blood, Marduk mixes it with the earth to create the first humans. The creation of humans would allow the gods the leisure time and the time to focus on higher purposes, taking care of human needs as humanity basically did the grunt work. All humans would need to do is respect and give heed to the will of the gods living in Eridu with Marduk ruling overall as a benevolent god.
That doesn’t sound like it will end well and I’m sure there’s another story concerning that.
Side Note: Depending on the version of the creation myth, it is solely Marduk involved in all of it and there’s no mention of Enki.
Further, knowing that this is a revision of the original myths, I’m curious about what the originals may have been.
Eridu – The First City
Yes, there really is a historical site for an ancient city of this name. Eridu is the oldest city built by the Mesopotamians around 5400 B.C.E. Depending on who you ask, it may be the oldest city in the world. In the Babylonian texts, namely Enuma Elish, it is a holy city where all the other gods lived a life of leisure.
This city was originally the city-state for the god Enki who is later known as Ea by the Akkadians. For modern times, it was first excavated by John George Taylor in 1855. Later, archeological discoveries found that the city was ultimately abandoned around 600 B.C.E. due to a change in climate as the water became more salinized from all the constant irrigation.
As seen later, in the Marduk Prophecy, with the Enuma Elish, the story here likely reflects on the transition from Eridu to Babylon as it became the political and religious center of the Euphrates valley and a cultural shift as the newer city becomes more prominent over the older city of Eridu.
Revisionist History – Scholars have noted that the city of Eridu is founded in the 5th millennium B.C.E. and that Marduk ascends to head of the Mesopotamian pantheon in the 2nd millennium B.C.E. That is a lot of time to have passed. It clearly marks that someone decided to rewrite the myths to favor Marduk when his popularity and the importance of Babylon as a political center become prominent.
Marduk is a god of fertility and vegetation and thus, agriculture. The triangular spade or hoe that Marduk is shown with in some art represents his role and power over fertility and vegetation.
The roles and aspects of Marduk being a Spring, Storm and Solar god also blend in with this function. However, making these connections relies on accepting certain etymological interpretations for Marduk’s name.
As a patron god, Marduk, not just King of the gods, also presided over the city of Babylon. The importance of a patron deity is shown in the Marduk Prophecy where Babylon has fallen to chaos and disarray when Marduk’s statue and thus the god himself leaves and order is later restored when King Nebuchadnezzar returns Marduk’s statue to the city.
Not the Original Patron – This was a fun little fact to come across. Before Marduk became the patron god of Babylon, that honor belonged to Inanna, goddess of sexuality and warfare. She would still be a prominent and important goddess throughout the Mesopotamian culture.
Marduk’s role as Patron, also places him prominently as a protector deity. Aside from the Akitu Chronicles and the Marduk Prophecy, there are two other texts: “The Ludlul-Bel-Nimeqi” and “The Wrath of Erra” that highlight just how vital having one’s patron deity present was, not just for the city, but for the individual as well.
The Ludlul-Bel-Nimeqi – Also called the “Let me praise the Lord of Wisdom” or “The Poem of the Righteous Sufferer,” it is often classified as “Wisdom Literature.” This text is a long treatise some four tablets long with 120 lines each. that details the amount of suffering that Tabu-utu-bel, a city official of Nippur goes through because Marduk isn’t close enough to help as he is too far away for any meaningful help. Biblical scholars have compared this text with the Book of Job for the themes of suffering when one’s God seems absent.
The Wrath of Erra – This is another text, in which the war god, Erra (Irra or Nergal) grows bored and decides the only way to cure his boredom is to attack Babylon. The other gods try to persuade Erra that this is a bad idea and don’t do it. Undaunted, Erra heads off to Babylon anyways. Once there, Erra convinces Marduk that his clothes are shabby and perhaps he should go about getting some new threads. Marduk says he’s much too busy to take of this matter and Erra convinces Marduk that he’ll watch over the city. Off Marduk goes and Erra takes advantage of the opportunity to proceed with destroying the city and killing civilians. Depending on the source translated from, either the other gods stop Erra’s path of destruction or he’s halted when Marduk finally returns with his fancy new duds. Regardless, the story ends with giving praise to Erra, the god of war for sparing a part of the city so people could rebuild.
The idea of having a protector and patron god of one’s city was very strong among the Babylonians. This was their whole city and personal identity that in 485 B.C.E. the Persian king Xerxes had Marduk’s statue destroyed when he sacked the city. Eventually, with the sands of time, Babylon is deserted and left to ruin and people have forgotten about worshiping Marduk.
King Of The Gods
As head of the Mesopotamian pantheon, Marduk takes on a lot of aspects. In some cases, this is taking over the role of other gods who had previously been the head of the pantheon. Such aspects that Marduk comes to preside over are justice, compassion, mercy, healing, regeneration, magic.
A “snake-dragon, mušḫuššu is Marduk’s sacred animal that he got from the god Tishpak. The mušḫuššu is depicted on the city walls of Babylon.
If you ask me this is a lot of titles and epitaphs to be known by. We get this list from two different sources, “The Seven Tablets of Creation” that Leonard W. King studied in 1902 to reconstruct from fragments a list of names. Then there is the “King’s List” that Franz Bohl studied in 1936. Finally, we get to 1958, when Richard Litke compared and noticed similarities with Marduk’s name between the two lists of An (Anum, a deity list) and Enuma Elish.
These names demonstrate the level of prominence that Marduk held within the Babylonian pantheon. These fifty names of Marduk are found and documented in the Enûma Elish and the Anum.
Why 50? – The number 50 was originally associated with the god Enlil, the former head of the pantheon. So this is just part of showing the transfer of power from Enlil to Marduk.
Asalluhi – As Marduk came to prominence, he took over the role and identity of Asalluhi, the son of Ea and god of incantations and magic. With both Asalluhi and Marduk becoming equated as the same entity, Asalluhi’s name survives as one of Marduk’s many names and epitaphs. Some commentary has noted that equating or syncretizing Marduk and Asalluhi together is a means to create a stronger tie to the god Ea and the city of Eridu as Ea was not part of the original pantheon.
Bel – Meaning “Lord,” this is the name that Marduk would eventually be known by, making him a god of order and destiny.
He is normally referred to as Bel “Lord”, also bel rabim “great lord”, bêl bêlim “lord of lords”, ab-kal ilâni bêl terêti “leader of the gods”, aklu bêl terieti “the wise, lord of oracles”, muballit mîte “reviver of the dead”, etc.
The Marduk Prophecy
This is an interesting text, not so much as it’s telling prophecies, but more about being a history around the movement of Marduk’s cult as they follow Marduk’s statue from Babylon. This text was found at the House of the Exorcist in Assur and dates from 713 to 612 B.C.E. It appears to be similar to another set of texts, the Shulgi prophecy.
It begins with Marduk’s statue getting stolen by Mursilis I of Hatti in 1531 B.C.E. The god Marduk is described as visiting the land of Assyria. Then, when a Tukulti-Ninurta I overthrows Kashtiliash IV in 1225 B.C.E., Marduk’s statue is taken Assur and then Elam as Kudur-nahhunte sacks the city in 1160 B.C.E.
Each time, Marduk is described as willingly heading off to visit these places. Which makes sense when you remember that this far back, a statue of a deity… hence an idol was the actual deity in question, not just a representation.
The way Marduk’s travels are told, they are allegories of the history involved. The first couple of journeys that Marduk takes are fairly favorable. When it comes to the city-state of Elam, that’s a whole other matter as the other gods following after Marduk, likely shows the changing climate of the region as they abandon Babylon due to famine and pestilence.
There’s also a familiar theme as Marduk prophecies that he will return again to Babylon with a new king will rise to power bringing about redemption and salvation to the city, taking it back from the Elamites and restoring the Ekursagila temple. Where the Marduk Prophecy is concerned, King Nabu-kudurri-uṣur (Nebuchadnezzar), who reigned from 1125 to 1103 B.C.E. is accepted as being the king who returns Marduk’s statue to Babylon and is victorious over the Elamites.
The main importance of the Marduk Prophecy text is to highlight the necessity of the patron deity staying in Babylon. Each time that the Marduk statue (Marduk himself) is abducted, chaos falls on the city of Babylon while the places where the statue resides, prosper.
Like some epic game of football where the opposing team comes and steals the home team’s mascot to weaken their morale.
No! Say it isn’t so!
Remember the previously mentioned King Nebuchadnezzar? It’s been noted that the dates of when the Marduk Prophecy (1 millennium B.C.E.) and even the Enuma Elish both date to around the time of Nebuchadnezzar’s rule and reign between 1125-1103 B.C.E. It makes him look good for restoring order (his defeat of the Elamites and bringing Marduk’s statue back) that he’s the prophesied king come to do Marduk’s will.
Jupiter – Roman
With Marduk’s position and role as the head of the Mesopotamian pantheon, the Romans equated him with Jupiter, the head of their pantheon.
Zeus – Greek
With Marduk’s position and role as the head of the Mesopotamian pantheon, the Greeks equated him with Zeus, the head of their pantheon.
Bel – Babylonian
Yes, Bel is previously mentioned earlier as one of Marduk’s fifty names.
He is mentioned as being a separate deity here as in the 1 millennium B.C.E., by the time we get to this era of history, as a title, Bel is the name that other deities Enlil and Dumuzid, not just Marduk have been known by.
Taken separately, Bel holds all the titles and aspects that Enlil did. To the point that Bel eventually becomes a god of order and destiny. Even Greek historians mentioned Bel in their writings. As a separate deity, Bel was the god of order and destiny. Both Marduk and Bel’s cults were similar, so it’s not hard to see how Bel becomes absorbed and an epitaph for Marduk.
Bel and the Dragon – This is a Jewish story and apocryphal addition to the Book of Daniel in which the Babylonians offer a substantial amount of food and wine every day to an idol of Bel. This vast quantity of food seemingly, miraculously disappears each night. This is enough to convince the Persian king Cyrus the Great that the idol is alive, and he tells Daniel this.
Daniel being a wise man and rather smart knows this isn’t the case. Afterall Daniel says it’s clay on the inside and bronze outside. It likely has never eaten anything. To prove this, Daniel discreetly covers the floor of the temple with ash.
Both Daniel and Cyrus leave for the night. When they return in the morning, Daniel is able to point out the footprints left behind, thus proving that it is the seventy priests of Bel who are eating the food, not the idol.
Some scholars point out that the name Bel is derived from the Semitic word “Baal” that has the same meaning of “Lord.” There are several places within the Bible where Bel is mentioned, this more than likely referencing Marduk. The Hebrew version of Marduk’s name, Merodach is found in many places in the Bible as a surname for non-Israeli kings.
Continuing this trend for Biblical Connections, Marduk and a couple other Mesopotamian and Canaanite deities are made mention of in the Torah or Old Testament.
Thanks to Cyrus the Great of Persia, when he captured Babylon, he reversed the policies of the previous ruler by calling for the rebuilding of temples and reinstating religions that had been destroyed or banned before.
Where the Bible (Torah) is concerned, Cyrus allowed the Jews to return to Jerusalem and rebuild their temple to Yahweh. Cyrus records inspiration for this as coming from Marduk. The bible will say that it is Yahweh who inspired Cyrus.
The “Cyrus Cylinder” found in 1879 at Babylon records the following: “Marduk, the great Lord, established as his fate for me a magnanimous heart of one who loves Babylon, and I daily attended to his worship… I returned the images of the gods, who had resided there [in Babylon], to their places; and I let them dwell in eternal abodes. I gathered all their inhabitants and returned to them their dwellings… at the command of Marduk.”
In the Book of Ezra 5:13 this event is recorded: “In the first year of Cyrus king of Babylon, King Cyrus issued a decree to rebuild this house of God.”
The Book of Isaiah is where Yahweh is given credit for inspiring Cyrus.
“I will raise up Cyrus in my righteousness:
I will make all his ways straight.
He will rebuild my city
and set my exiles free” (Isaiah 45:13)
The connections don’t end there, Biblical scholars see a similar theme with Marduk’s slaying Tiamat with the Canaanite story of Baal slaying Tannin and notably Yahweh’s defeating the giant sea monster Leviathan in Psalm 74: 13-14 or a future time in Isaiah 27:1.
The previously mentioned Etemenanki temple is thought to be the inspiration for the Tower of Babel. Babylon’s destruction is prophesied in the book of Jeremiah (50:2).
Who do you accept? It’s a matter of two different religions, cultures and perspectives. Of course, it’s easy, after the fact, to say there was divine intervention and that it is all prophesied.
According to Zecharia Sitchin, the claim is made that the great battle between Tiamat and Marduk is symbolic for the creation of our solar system’s asteroid belt. Sitchin writes that this asteroid belt was once a planet that the Sumerians called Tiamat. Due to an impact, the planet was destroyed, creating the “Great Band” or asteroid belt. The planetary impact responsible is that of the planet Nibiru, associated with the god Marduk.
Babylonian Astronomy, Astrology & Zodiac
I will call bunk on Sitchin’s ideas.
When you look at the word Nibiru in the Akkadian language, it refers to a crossing or transition points like with rivers. In Babylonian astronomy, Nibiru came to refer to the Equinox, notably, the Autumn Equinox. In their star lore, the term nibiru can refer to any crossing. Tracking the movement of the stars and planets in the heavens as they appear from Earth. The star or planet associated with Marduk is the one we know modernly as Jupiter.
For the Babylonians, the Autumn Equinox occurred in the month of Tisritum, roughly coinciding with between September and October. If we’re following the Greek Zodiac, then the constellation of Libra is prominent. A further fun fact, depending on the time of the year and the location of the planet Mercury, it could sometimes be called Nibiru.
Some of it is confusing. Mainly it’s understanding how to read and interpret what the Babylonians meant when tracking the night sky.
It should come as no surprise, that as old as the Mesopotamian cultures and religions are, that they would have mapped out the night sky to mark the turning of the seasons, creating a calendar. Many of these early constellations and zodiacs were adopted by the later Greeks who incorporated the constellations into their own mythology.
In Babylonian beliefs, it is Marduk who creates the astrological calendar and mapped out the different signs of the Zodiac. Marduk would be identified with the planet Jupiter, who of course is later equated with the Greek Zeus and renamed for the Roman deity Jupiter as all three are heads of their respective pantheons.
Cetus – Greek Mythology & Constellation
While many are familiar with the constellation’s connection to the Grecian story of Andromeda and Perseus in its role as the giant sea monster sent by Poseidon to destroy the coast of Aethiopia.
The constellation of Cetus has been identified with Tiamat, the dragon goddess of Chaos. Marking Tiamat’s story one of many that the Greeks likely inherited from the Mesopotamians and retold for their legends.
Etymology: “Jealously” or “Passion”
Also known as: Adaon, Aedín, Aideen, Echraidhe (“Horse Rider”), Éadaoin (modern Irish), Edain, Etaoin, Éadaoin
Epithets: Bé Find (“Fair Woman”), Shining-One
Etain is a figure from Irish mythology, her story involves a lot of unwanted transformations from a jealous Fuamnach and different suitors trying to win her. Etain is noted for her extreme beauty among the fae or sidhe. She is best known as the heroine found in the “Tochmarc Étaíne” or “The Wooing of Etain.”
Animal: Butterfly, Dragonfly, Fly, Horse, Swan, Worm
Sphere of Influence: Beauty, Healing, Irish Sovereignty, Music, Rebirth, Transformation, Transmigration of Souls
Parentage and Family
The lineage for Etain can get confusing. When seeing that Etain and the name’s many variant spellings could be the names of other characters, then it could be a matter of which Etain are we talking about?
Ailill – In the Tochmarc Étaine, Ailil, king of Ulaid is Etain’s father.
Etar – In the Togail Bruidne Dá Derga (“The Destruction of Da Derga’s Hostel), Etar is Etain’s father.
Eochaid Feidlech – In the Tochmarc Étaine, Eochaid is the High King, he is Etain’s mortal husband whom she marries after being reincarnated. In the Dindsenchas poem, Rath Eas, Eochaid’s last name is given as Airem.
Midir – In the Wooing of Etain, this is Etain’s husband when she was in Tir na Nog.
Ailill Angubae – By some accounts of Etain’s story, she was really in love with Ailill, Eochaid’s brother. Not to be confused with the Ailill, King of Ulaid, who is her father.
Dian Ceacht – Etain’s daughter when she is married to Oghma.
Étaín Óg – Etain the Younger, she is Etain’s daughter when married to Eochaid Feidlech. Etain Og will go on to marry Cormac, the King of Ulster and have a daughter by the name of Mess Buachalla. Mess Buachalla will go on to marry High King Eterscel and be the mother of Conaire Mor.
Oghma – The Irish god of Writing, in some version, he is Etain’s husband.
Tochmarc Étaíne – The Wooing Of Etain
This is one of the oldest stories found in Irish mythology. There is another story that mentions Etain, the “Togail Bruidne Dá Derga” or “The Destruction of Da Derga’s Hostel.”
For now, we’re going to cover: “The Wooing of Etain.” It begins not with Etain, but with Midir and his first wife, Fuamnach. They were happily married and raised among their own children, Oengus or Aengus Óg (a Love god, some sources try to say he’s a sun god too) as a foster son.
For a little further context and background, Oengus is the son of Dagda, Midir’s brother. So really, Midir and Fuamnach are raising their nephew.
Like all children, Oengus grew up and moved out on his own. Midir decided one day that he would go visit his nephew. While visiting, an incident happened, involving some holly and Midir was blinded in one eye.
Even though Oengus heal’s Midir’s eye, Midir still seeks compensation for the injury that occured while visiting as a guest. As Oengus is the God of Love, he gets his Uncle the most beautiful woman in all of Ireland and Fairy, Etain. On seeing her, Midir is instantly in love and he takes her home with him.
It should come as no surprise, that once the two are home, that Midir’s wife, Fuamnach is angry, jealous even. How dare her husband bring home another woman, even if said woman is either a mistress or second bride and this is allowable, it’s the jealously and anger of a far more beautiful woman getting her husband’s attention.
Rather than take out her ire on Midir for this insult, Fuamnach takes it out on Etain. Fuamnach is a powerful sorceress in her own right. An enraged, Fuamnach conspired to cast a series of dark spells on Etain. The first one turns Etain into a pool of water. Another spell turns Etain into a worm or snake. Then finally into either a butterfly or dragonfly.
Changed to this new form, Etain’s wings hold the power that water that dropped from her wings would cure disease and the humming of her wings was soothing to those who heard it. Even in this strange new form,
Depending on the story told, Midir either does or doesn’t recognizes Etain. Regardless of which way the story goes, Midir spends all of his time with his butterfly companion and eschews the company of other women.
This only further enrages Fuamnach who sees that the two lovers are still together. This time, she conjured up a great gale of wind that drove Etain out of Midir’s house and to be lost at sea.
Etain is lost for seven years being buffeted about by the sea winds before at long last finding her way back to shore where she lands on Óengus’ clothing. Óengus does recognize that the butterfly is Etain. As he and Midir are currently feuding with each other, Instead of returning Etain, Óengus makes a small portable butterfly house that he carries around with him.
Eventually Fuamnach learns that Etain is with Óengus and she sends another wind that once more blows Etain out to sea to be lost for another seven years.
That is a long time to be lost at sea, not just once, but twice. Exhausted by her ordeal, Etain finds herself coming to rest on the roof of a house where people were gathered, enjoying a feast.
Drawn by the warmth from within, Etain flew closer to the sounds of merriment. However, in her state of exhaustion, she flew into goblet of wine and was promptly drunk up by Etar, the wife of a wealthy Ulster chieftain.
This is how Etar becomes pregnant with a reborn or reincarnated Etain. The catch being, that as with all reincarnations, a person doesn’t remember who they had been in a previous life. So, a newly reborn Etain grows up as the daughter of a wealthy chieftain.
The Tochmarc Étaine notes that some one thousand and twelve years have passed since Etain’s first birth back in Tir Na Nog, Fairy Land. Just as she had been before, Etain was once again the most lovely and beautiful woman in all of Ireland. The gifts of love, generosity and kindness were all held to be hers.
One day, Etain is out with her handmaidens at a well when they spot a man on horseback coming their way. This man is Eochaid, the king of Ireland. As soon as Eochaid lays eyes on Etain, he is immediately taken with her and asks Etain to be his Queen.
Naturally Etain is flattered and this is an opportunity. Love or not. Power or not. Etain agrees to marry Eochaid and a wedding follows soon after.
Complicating matters, Eochaid’s brother, Ailill Angubae has also in love with Etain and he pins away for her. As he is dying, Ailill confesses his love to Etain. To save him, Etain agrees to sleep with Ailill.
Enter Midir back into the story, who casts a spell on Ailill so that he falls asleep and misses his tryst with Etain. When Etain does go to meet up with Ailill, she does find a man who looks like Ailill, but it’s not, it’s Midir in disguise. Thrice Etain tries to meet up with Ailill and keeps meeting up with the imposter, Midir who finally reveals himself to her on the last time.
Midir tells Etain of her previous life in Fairy as his wife, trying to get Etain to return with him. For Etain, this is a problem, she’s been reborn as a mortal and is married to Eochaid. She won’t leave her current husband unless Eochaid allows her to.
The good thing that comes out of this encounter is that Ailill is no longer pinning away and dying for lack of love over Etain.
A goal and mission in mind, Midir sets out to meet Eochaid. Coming as himself, Midir offers to play a boardgame called fidchell. As other versions of this story say that it’s chess that the two play.
For the first game, Midir makes an offer of fifty horses as the stakes. Eochaid accepts and wins with Midir graciously offered prize. Midir now challenges Eochaid to another game, with higher stakes and wins again.
At some point in the game playing, Eochaid’s foster-father warns him that Midir is a being of great power and to be careful. As Midir is letting Eochaid win, the two keep on playing and with each win, Eochaid has Midir perform another task, ranging from clearing forests, reclaiming land from bogs, building causeways over said bogs.
These series of tasks are said to fit with the idea of the Tuatha De Danann that Midir belongs to as earth deities. Eventually, Midir grows tired of letting Eochaid win and challenges him to a last game of fidchell with the stakes to be named by the winner. This time, Midir wins and he claims an embrace and kiss from Etain.
This is more than what Eochaid is willing to allow. Eochaid agrees to Midir’s claim, that in a month’s time he can come claim Etain. As these stories go, Eochaid didn’t have any intention of letting Etain return to her former husband. Etain was his. On the day that Eochaid was to honor the agreement, he had all of his warriors waiting at his castle. These warriors formed circles around the castle with the intent to keep Midir from reclaiming his wife.
As if he were air or invisible, Midir passed through all the encircling warriors without slaying a one or shedding blood. Soon, Midir comes to the room where Eochaid and Etain await within. Midir proclaims that he is there for that which is his.
Seeing that he can’t renege on the deal after all and must agree, Eochaid says that Midir may have a kiss from Etain’s lips. Eochaid reluctantly allows Etain to go to Midir and the two kiss, transforming into a pair of swans and they fly out, away from the castle and back towards their fairy home of Tir na Nog.
Not wanting to lose Etain, Eochaid and his men set off for the fairy mound of Bri Leith where Midir is said to dwell. The men begin digging and Midir appears before Eochaid, telling him that his wife will be returned to him the next day.
On the morrow, Eochaid returns and there are fifty women, all appearing as Etain. An old hag tells Eochaid to pick out his wife. Eochaid does so and Midir later reveals that Etain had been pregnant when he took her. That the woman he took was in fact their daughter. Eochaid is horrified by the fact that he’s slept with his daughter who is no pregnant. This baby, who is also a girl is laid out in the woods to be exposed. Before death can claim the infant, a herdsman finds the baby and raises her to become the mother of the High King Conaire Mor.
Variations – There are a few different versions to Etain’s story. Some that focus solely on just Etain and what happened to her exclusively. Other versions will explain the whole set up of what led up Midir marrying Etain and thus, better explain why Fuamnach is jealous and maybe not so much jealous, but angry.
Version 1 – This story focuses on Etain being the second wife to Midir with Fuamnach being jealous. Here, Fuamnach enlists the aid of her friends to turn Etain into a pool of water. This causes Midir to becomes worried and he goes searching for his missing wife. To stay one step ahead of him, Fuamnach then turns Etain into a worm and then a fly.
As a fly, Etain flies down Fuamnach’s throat, causing her to become pregnant. Etain is reborn, this time, she’s mortal and doesn’t remember her previous life. Once she grows up, Etain marries the king Eochaid. Only it’s not Eochaid that Etain loves, it’s his brother Ailill, as if that wouldn’t cause more than a few problems.
To make it more complicated, Etain eventually meets Midir again and suddenly remembers who she had been. Just like before Midir wins Etain in a game of chess with Eodaid.
I rather find this version extremely problematic as it’s suggesting Etain wouldn’t know her own father? Assuming Midir still remained married to Fuamnach. Further, if Midir and Fuamnach are fairies and Etain is reborn as their daughter, shouldn’t she be a fairy too? Not mortal? Not to mention the extreme ewww with Midir now wanting someone who’s his daughter.
Just no. No.
It’s this version of the story with Fuamnach becoming Etain’s mother and seeing that Etain’s name means jealously; it makes me think that there may be an allegory or symbolism for the stages of jealousy or passion that Fuamnach is working through with her husband Midir.
Other Versions: There’s numerous versions to Etain’s story, some have her remembering her life in fairy when she meets Midir. Others have her not remembering her life at all and agreeing to leave with Midir if her mortal husband agrees as she thinks this is something that won’t happen.
A lot of these other versions for Etain’s story often simplify their retellings in that they often leave out how Midir and Etain meet, just that they do, the who episode of Alill pinning away for Etain is left off and the final episode where Eochaid tries to get Etain back and unknowingly, is given his daughter.
A couple episodes from the Tochmarc Etaine are repeated in this poem. Eochaid Airenn’s winning Etain back from Midir is in the Rath Esa poem. Midir’s abduction of Etain is referenced in the Rath Cruachan.
Togail Bruidne Dá Derga – The Destruction of Da Derga’s Hostel
In the main story for the Wooing of Etain, the Tochmarc Etaine, she is described as being very beautiful. However, no description is given anywhere of her. That changes in the Togail Bruidne Dá Derga where Etain encounters King Echu in Bri Leith.
In this text, she is described in a lot of lengthy detail from the comb she’s using to her clothing in lot of green, silver and golds. Her hair is described as being a red gold, skin white as snow, rosy cheeks, unnaturally blue eyes and curved body like the waves of sea foam. The narrator goes to great lengths to try describing what Etain looks like as the fairest of them all, there is a final quote that goes: “Lovely anyone until Étain. Beautiful anyone until Étain.” That such beauty could only mean that Etain was clearly of the sidhe.
Grecian Comparison – Hellen of Troy
The first story of Etain, the Wooing of Etain says that she’s very beautiful, comparable even to Helen of Troy. Where whole cities of Greece go to war with each other her. Etain has a jealous first wife takes out their wrath on her, a former spouse waiting for over a thousand years to reclaim her, and when she’s reborn, her mortal husband trying to keep her from the fairy husband to take her back.
The entire story for Etain reflects an older time when these older stories were likely passed on orally before getting written. So Etain’s story has had plenty of time to be altered and change and the role of the Goddess or Queen who gets to choose is altered and she is no longer in control of her destiny and is just a prize to be won.
An important note brought up about this story, while it doesn’t feature Etain in the first part of it, is to bear in mind that this story is an allegory for Ireland’s history. Etain’s role in the narrative becomes clearer when seeing her as the Goddess of the Land who gets to choose her consort to ensure the prosperity of the land.
A similar motif for this Celtic belief that the Goddess gets to choose her consort is seen in Arthurian Legend for the story of Guinevere, Lancelot and King Arthur with the whole love triangle happening there. Granted that story is a much later addition to Arthurian Legend, it’s an inserted story to narrative to explain the Goddess or Woman’s right to choose whom she loves and marries.
All the figures featured in the story likely represent different clans and geographical localities. Seeing Etain as a Sovereign Goddess of the Land, who she chooses to couple with are whom she deemed as the best ruling clans for the welfare of Ireland.
Lack Of Agency – At a knee-jerk first glance response, I don’t like the story of the Wooing of Etain. Why is Etain punished by Fuamnach for marrying Midir? For that matter, why does Midir get to be the one rewarded for cheating on his wife and marrying a younger woman, loose her and then get her back after waiting patiently for Etain to be reborn?
That here, we have Etain a woman who is just passed around as a prize to be won with barely any say in the matter of what happens to her. If the focus is given soley to Midir as the hero, of course, the entire story makes sense for his journey of loss and recovering his love and wife. Then poor Eochaid who gets to pick his wife and loses her to Midir, who takes back the woman who is rightfully his.
Without the Historical Allegory angle, the entire story feels maddening. No wonder there are later rewritings of the story that want give an image of two lovers who loose and find each other again. To give more agency to Etain’s actions and the series of unfortunate circumstances that befall her.
Etain is forced to a series of unwanted transformations by a jealous lover, ranging from worm to butterfly, to swan and even a pool of water. Including the worm and then changing to a fly, sounds like the larval state of an insect, either as a nymph, meaning the larval form of a dragonfly or caterpillar to a butterfly.
Looking at these stories symbolically, Etain’s transformations from a worm to a fly, only to be swallowed later by a woman and reborn as a child can all be seen as the different stages of life.
Soul or Spirit – In a lot of Celtic folklore, flies or butterflies are often seen as being the souls of the deceased, even if it’s just a metaphor. It makes sense if Etain’s changing to a worm, than a fly or butterfly is merely a symbolic way of describing the spirit’s transformation and more easily explaining the transition from one life to another. Or maybe Fuamnach actually killed Etain, tossing her body into a pool of water?
Celtic Numerology – More of a minor note, the number seven is used for the number of years that Etain is lost at sea a mystical number. In this case, it is a number meaning a spiritual awakening.
That’s undeniable with all the transformations that Etain undergoes once she falls afoul of Fuamnach’s magic, going from a pool of water, to a worm, to a fly or butterfly, swallowed and reborn as a mortal woman.
What’s In A Name
Given the nature of Etain’s story and the meaning of her name: “Jealousy” or “Passion.” I think it sheds an important light to the significance of Etain’s story and the proper framework to look at it in.
Bé Find – Meaning “Fair Woman,” this is a name that Midir gives to Etain in Tochmarc Etaine. It comes from a poem found within the larger saga called: “A Bé Find In Ragha Lium” is likely from a much older, unrelated source and was just stuck in the saga at a later time.
Eadaoin – As Eadaoin, she is noted as being a sidhe and one of the Tuatha De Dannan who is associated with poetry and inspiration. With this spelling, Etain is noted as having a different husband, either Midir or Oghma depending on the source used. This could just merely mean Etain or Eadaoin was a common enough name that there is more than one person in the Irish Mythological Cycles who has this name. As they’re all sidhe, that makes it even more difficult to keep them all straight.
Echraide – Meaning “Horse Rider,” this is a name that has been attached to Etain and is meant to link her with horse deities such as the Welsh Rhiannon and the Gaulish Epona.
Shining-One – An epitaph of “Shining-One” or claiming that’s what Etain’s name means, tend to come from more modern sources that want to connect her to be a Sun Goddess or a fairy. As far as a strong, scholarly bent goes, it doesn’t really work.
Some sources, often the more modern Pagan paths will place Etain as a goddess. Depending on the lineage you follow, if Oghma for example, she is a goddess of poetry and inspiration. Yet another source will list her as a Love or War goddess?
Some of the sources that link Etain to different deific roles seem tentative.
Horse Goddess – One of Etain’s epitaphs is Echraide, meaning “Horse Rider,” which would mean she’s a Horse Goddess, much like the Welsh Rhiannon and the Gaulish Epona.
Sun Goddess – T. F. O’Rahilly is who identified Etain as a Sun Goddess. Several New Age and modern Pagan groups have adopted her as such. When Oengus is identified as a Sun God, this connection makes sense if Etain is seen as his daughter.
Goddess of the Land – This I would readily accept given the nature of Etain’s story as an allegory for Ireland’s history and a Goddess marrying whom she wants that will bring prosperity to the land.
Love Goddess – This really works best for more modern interpretations of Etain’s story; especially when keeping in mind her story as an allegory and for those seeking to reclaim her role as a deity with her own agency who chooses her lovers. Plus, the connection seems to come more strongly with Midir’s fostering of Aengus Óg who is a Love God.
Sovereign Goddess – This is an important aspect of Etain, especially if you want her story to make sense as a deity who choose her consort for the prosperity and welfare of the land.
Triple Goddess – In New Age and Wiccan practices, Etain is often seen as a Triple Goddess
Other Aspects – Furthering this, due to the forced transformations, some will claim Etain as a Goddess of Transformation and Rebirth, a Moon Goddess.
Well yes, most versions of Etain’s story acknowledge her as a fairy, specially one of the Sidhe and certainly of the Tuatha de Danann. An imagery not at all unlike the Tolkien Elves in his Middle Earth series.
The account that has some men coming across an extremely beautiful woman beside a spring see them agreeing that such beauty was only possible of the sidhe.
That seems to be the sentiment of some authors, scholars and modern Pagans.
Wiccan, New Age & Modern Paganism
I think it’s important to note, that myths and stories do change with time. Much of the story that so many know with Etain has been colored through the lens of Christianity and with some regards, a patriarchy, resulting in a story about a woman who appears to have little agency and control over her own fate and destiny.
In the pursuit of adjusting Etain back to her perceived mythological roots and giving her significance and relevance, to better be the actor in her own story, some modern Pagan traditions will claim that Etain’s name means “Shining One” and place her as a Triple Goddess who represents the Sun, Water and Horses.
Understanding Etain’s story will certainly make it easier to interpret her as needed. I think sticking to what’s known and concrete from her legends is the most useful.
Also known as: Maaui-Tikitiki (Maori/New Zealand)
Alternate Spellings: Māui
Epithets: Maui-Tikitiki “Maui the Top-Knot,” Maui-Tikitiki-a-Taranga “Maui the Top-Knot of Taranga,” Maui-Potiki “Maui the Last Born”
In Polynesian mythology, Maui is either a trickster demigod or god and in some stories, a mere mortal man. Most of his stories and exploits are best known from the Hawaiian and Maori legends though many other Polynesian cultures such as Mangarevan, Tahitian and Tongan have their own stories regarding this trickster hero. Among the Samoans, Maui is known as Ti’iTi’i. Many of the stories involving Maui make note of him being the youngest son, thus while small, he was extremely strong for his size.
Maui is sometimes described as being ugly, quick to respond as well as quick-witted covered in tattoos. Lucky for humans, for all that Maui is known for having some vicious practical jokes, he works to help people and not the Gods.
Parentage and Family
In the Hawaiian Kumulipo, Maui is the son of Akalana and Hina-a-ke-ahi (or just Hina, a goddess).
In another Hawaiian legend, Maui’s father is given as Ru.
In the Mangarevan myths, Maui is the son of Ataraga (Father) and Uaega (Mother).
In the Maori myths, Maui is the son of Makeatutara (Father) and Taranga (Mother).
Tangaroa – This Maori god of the sea is sometimes mentioned as being Maui’s father with his mother being a mortal woman.
Akalana and Hina had four sons: Maui-Mua, Maui-Waena (or Maui-Hope), Maui-Ki’iki’i and Maui-a-Kalana.
In the Mangarevan myths, Ataraga has eight sons all named Maui: Maui-mua, Maui-muri, Maui-toere-mataroa, Tumei-hauhia, Maui-tikitiki-toga, Maui-matavaru, Maui-taha, Maui-roto. It is Maui matavaru or eight-eyed who is the culture hero.
In the Maori myths, Maui has four brothers: Maui-Taha, Maui-Roto, Maui-Pae and Maui-Waho.
Hinakealohaila – She is the wife to Maui-a-Kalana in Hawaiian legends.
Nanamaoa – The son of Maui-a-Kalana and Hinakealohaila in Hawaiian legends.
This is the name of Maui’s great, big fish-hook. In the Hawaiian legends, it is baited with the wing of an Alae, the sacred or pet bird of Hina. This fish-hook was created from the jawbone of an ancestor of Maui’s, usually given as being his grandmother.
Maui’s Fish-Hook can be seen in the night-sky in the same constellation recognized by Western Culture as Scorpio.
While yes, there is an island called Maui in Hawaii, it is not named for the trickster Maui. Legend holds that the island is named for the son of Hawai’iloa, a great navigator who discovered the Hawaiian Islands. Each of the islands of Kaua’i, O’ahu, and Maui are named after one of Hawai’iloa’s sons.
These were a group of heroic trickster demigods in Hawaiian legends. All kupua are shape-shifters who took the forms of either humans or various elements in nature, often an animal. Many kupua are rather malevolent and vindictive. Maui appears to be one of the more beneficial and gentler kupua in comparison.
Pulling Up The Islands
There are many variations to the story of Maui using his fish-hook to pull up all eight of the Hawaiian Islands.
Version 1 – Maui had gone out fishing one day with his brother. In typical sibling rivalry, the brother wouldn’t share any of his bait with Maui. Ever the resourceful one, Maui punched his own nose and used his own blood as bait to fish. He succeeded in bringing in hauls so large, that they would become the Hawaiian Islands. Not just Hawaii, but all the Polynesian Islands were pulled up in this way.
Version 2 – Maui had gone out fishing with his brothers. While out there, Maui caught his hook on the ocean floor. Maui then told his brothers he had caught a large fish and to start paddling as hard and as fast as they can. The brothers never noticed the island rising up behind them out of the ocean. Maui of course, proceeds to do this several more times, pulling up all the Hawaiian Islands.
Version 3 – This is perhaps the more interesting version of the stories. Maui planted his fish-hook at Hamakua with the intent to pull up Pimoe, the god of fish. Maui warned his brothers not to look back as they paddled their boats or this venture would fail. Hina, shape-shifted into a bailing-gourd and Maui, not realizing it was his mother, took hold of the gourd and put it in front of his seat. Now suddenly, there appeared before them, an extremely beautiful woman and all of Maui’s brothers looked back out of curiosity. Having looked back, Hina in her disguise disappeared and the line breaks, causing all of the islands that Maui was trying to unite into one giant island falls apart and he is unable to catch Pimoe.
The Theft Of Fire
Version 1 – In order to steal fire for the people of the islands, Maui transformed himself into the guise of a hawk so he could get closer the Earth-Mother. To this day, the hawk’s feathers are brown in memory of Maui being burned by the flames when he brought the gift of fire.
Version 2 – In this story, Maui and his brother would go out fishing every day. Every morning they would always see a bunch of Kiawe trees smoking and flames coming up out of them. Hovering above all this were some vultures, also known as mud hens or ‘alae.
Maui and his brothers constantly tried to sneak up on the vultures, thinking they were responsible for the fire. However, just before getting close enough, there would be a noise that scared them all off.
Maui came up with the idea of creating a dummy that looked like him and placed in the canoe. Now Maui had his brothers take the dummy with them as they would go one direction and Maui would come from the other as they tried to sneak up on the vultures.
Maui snuck up on the bird and grabbed it by the neck, forcing it to tell him the secrets of fire. The vulture, an ‘alae told Maui to take and rub two maia peels together. When nothing happened, Maui nearly choked the bird to death, telling it to tell the truth. Finally the bird said to rub to Ti leaf stalks together. Nothing happened this time and Maui once more choked the bird who said to rub two dry kiawe sticks together.
This time, Maui had success with creating fire. He took the flaming stick and pressed it against the ‘alae’s forehead, making their head red and bald to remind it and other ‘alae’s thereafter of their selfish act.
Slowing Down The Sun
Version 1 – In this story, Maui’s mother, Hina complained about how the sun moved too quickly through the sky, that she barely had time to get her kapa, bark cloth dry. Hina wasn’t the only one, many people hurried to get their work such as planting, cooking or making clothing done in the few hours of daylight. There just wasn’t time with how fast the Sun moved.
Deciding to help his mother and the other people, Maui hid behind a big rock at the highest peak on the island known as Haleakala, the “House Of The Sun.” When the Sun passed by overhead, Maui quickly threw a rope, made from his sister’s hair with his magic hook tied to the end and lassoed the Sun’s rays with it. Some legends have Maui using a net to trap the Sun. The Sun demanded to be let go and Maui would only do so if the Sun would promise to move slower through the day so people could get their work done. Some versions of the story have Maui beating the Sun with his jawbone until it agreed to move slower. Added to this, Maui took one look at the sky and decided it hung too low. With a shove and heave, Maui pushed the sky up higher.
Version 2 – In this telling of the story, Hina sends Maui to a big wiliwili tree where he finds his old, blind grandmother laying out bananas. Ever mischievous, Maui starts stealing bananas from his grandmother, one by one until she catches him in the act. Maui tells his Grandmother about his mother’s complaints and sending him out to the tree. After hearing the story, Grandmother decides to help him with making a rope. Maui then sits by the tree, waiting until the Sun passes by overhead and he lassos it, forcing it to agree to slow it’s progress across the sky.
Version 3 – Very similar to the story in Version 2, Maui decides to slow down the sun after a man by the name of Moemoe taunts him and says it can’t be done. Just to prove him wrong, Maui sets off to slow down the sun much like he did earlier with finding his grandmother and getting her help. After Maui slows down the sun, he chases after Moemoe and beats him soundly.
Lifting The Sky
While a similar story of Maui lifting the sky is told in his quest to slow down the sun, there is another expanded version of this story.
After a while, as Maui was looking around, he could see that the sky was far too low to the ground and that people were unable to stand up straight. Being Maui, if he didn’t like a thing, he went about changing it. As it just so happened to be, the sky was sinking or lowering and would have made living on the earth impossible for humans.
Maui proceeded to travel to the town of Lahaina, to enlist his father into helping him lift the sky. There, Maui laid himself on the ground and then bracing himself, pushed the sky upwards with all of his considerable strength.
At the signal, Maui’s father, Ru also began pushing with all his might, aiding his son in getting the sky up high enough so people could stand upright. So there you have it, another of Maui’s deeds done.
Variations – In other retellings of this story, Maui lifts up the sky when he comes across a girl complaining how the sky was too low and that she couldn’t do her chores. Like any guy seeking to impress a girl, Maui decided to push up the sky for her.
Yet another variation is that Maui was busy making an earth oven when his poker got stuck up in the sky. To get his poker unstuck and to keep it from getting stuck again, Maui simply pushed the sky up higher. Again, this was all part of impressing a girl.
Defeating The Long Eel
Still one more legend of Maui’s to cover in Hawaiian mythology!
After Maui finished pulling up all of the islands with his Fish-Hook, he decided to start exploring them to find out what all was there. Traveling to each of the islands, Maui discovered that they were all inhabitable. There were houses, but no one living in them, no one in the whole of all the islands.
Taking ideas from the layout and build of the houses, Maui returned home and built a new house for himself in the style of what he had seen on the islands. Finished, Maui then sought out Hinakealohaila (or just Hina, not to be confused with his mother) to marry.
Time passed and Hina went down to a nearby river bank to get some water. While down there, Hina ran into the Long Eel Tuna, who just so happened to decide that striking Hina and covering her in slime was somehow a good idea.
Hina ran back home, but didn’t tell Maui of what transpired. Or at least, not yet.
The next day, Hina went back down to the riverbank and the same thing happened. The Long Eel Tuna hitting and covering her with slime again. This time, when she returned home, Hina told Maui about what happened.
Angry, Maui headed down to the river. Once down there, Maui laid out a number of traps designed to lure the Long Eel Tuna out of hiding. When the Eel Tuna emerged, Mauil used his stone axe to kill them. It seems that the Long Eel Tuna had been causing many people in the village problems. Thanks now to Maui, everyone would be safe.
In this mythology cycle, the Maui known as Maui the Eight-Eyed is the hero, born from his mother’s navel and raised by his grandfather, Te Rupe. This Maui has a magic staff called Atua-Tane and a hatchet called Iraiapatapata. Like the Hawaiian and Maori legends, Maui still pulls up the islands from the sea and ties up the sun with locks of hair to slow it down or hold in place.
The legend of Maui among the Maori is a long epic.
The Birth Of Maui
Maui was born the son of Taranga and Makeatutara. Considered a miraculous birth, Makeatutara had taken her premature baby and threw it into the ocean wrapped in locks of hair from her topknot. Hence, Maui is known as Maui-Tikitiki-A-Taranga. Fortunately for the infant Maui, ocean spirits found him and wrapping him in seaweed, took him to Tama-Nui-Te-Ra (or Rangi), a divine ancestor who raised the child.
It is Maori tradition, that any baby prematurely born is buried with special incantations and ceremonies least the spirit of the unborn child become a malicious spirit as they had never known any joy or happiness in life. Given what happens later in the stories with Maui, this may be why they bury the baby with rites and ceremonies instead of tossing them into the ocean. It would certainly explain all the mean spirited tricks and deeds that Maui performs.
Reuniting With His Family
Once Maui was a child and no longer a premature infant, he left the sea, going search of his mother and family. When Maui found his mother’s house, he discovered four other older brothers: Maui-Taha, Maui-Roto, Maui-Pae and Maui-Waho.
Understandably, the brothers were all leery of this new comer. Maui won them all over by performing many tricks such as transforming into a number of different birds. The brothers were greatly impressed and accepted Maui.
As for his mother, Maui introduced himself to Taranga when everyone was gathered for some dancing and celebrating. Maui sat down behind his brothers, when Taranga called for her children, she discovered a fifth unknown child among her sons. Maui soon proved he was Taranga’s son and he was accepted into the family.
At first, some of Maui’s brothers were jealous. They were put at easy by the eldest brother telling them how they should let Maui be counted among them, that in days of peace, they should be generous to others by helping to improve the welfare of others and that in times of war, that’s only when disputes should be settled with violence. The speech worked and Maui was finally welcomed home.
Maui Finding His Father
Though Maui stayed with his mother and his brothers, each morning, his mother Taranga would disappear. None of Maui’s older brothers seemed concerned about their mother’s disappearance each morning. This bothered Maui who wondered where Taranga would go each morning before they woke.
When nightfall came again, Taranga returned to her children, they all went to sleep as before on other nights in their house. This time, Maui stayed awake so that when everyone else had fallen asleep, he stole Taranga’s clothing and hid them. Then Maui went and hid himself in the crevice of a window above the doorway so that when morning came, he could see where it was that his mother went.
After what seemed like forever, morning finally came and Taranga awoke. Upon finding she was naked, Taranga began frantically looking for her clothes, finally she gave up and began pulling off pieces of siding from the house to cover herself. Covered, she now ran outside.
Watching from his hiding spot, Maui watched as his mother reach down to some tufts of grass, revealing a hole that she disappeared into and pulling close behind her. Curious, Maui came out of his hiding spot and ran to the spot where the grass had been pulled up. Sure enough, he found the opening to a cave descending deep into the earth, to the Underworld in fact.
Covering the hole again, Maui returned to the house and woke up his brothers. He asked them about where it is that their father and mother went during the day. The older brothers answered that they didn’t know. They taunted Maui saying he shouldn’t worry or bother and that Rangi, the god of the sky was their father.
Little Maui responded how he had been brought up differently from his brothers, having been tossed to the sea. That he had never been nursed by their mother and how he longed to find where it was that she and father went to during the day.
Surprised by the response, Maui’s brothers encouraged to try and find their parents. Maui said that he would go and demonstrated to them his ability to turn into a bird. It was only with the kereru or wood pigeon shape that his brothers were impressed. The ability to shapeshift was something that only a skilled magician with a lot magic could perform and Maui delighted in his being the youngest brother, able to do something the others couldn’t.
Bidding farewell to his brothers, Maui took off in pigeon form to seek after his parents. Long Maui flew off into the forest and down to the cave his mother had disappeared into. Eventually, Maui came to a place where he saw many people gathered in a grove of trees. Among these people, Maui spotted his mother seated by whom he could only assume to be his father.
Still in bird form, Maui descended to a lower branch where he could pick off some berries growing. These berries, Maui dropped down to his father on the head with. Some of the other people at the gathering asked if the bird had dropped the berry and Maui’s father, Makeatutara insisted the berry had only fallen by chance.
Once more, Maui plucked more berries and threw them down hard at both of his parents. As Maui’s parents cried out, the other people gathered there, looked up to the tree and seeing only a pigeon sitting there cooing, began to throw stones at the bird. All the stones missed and it was when Maui’s father threw a stone at the bird that he hit the pigeon, but only because Maui allowed it.
The pigeon fell to the ground and when the others ran up to it, it turned into a man. The others were taken aback for the eyes of the young man who now stood before them were red and fierce looking. Talking amongst themselves, the others discussed if the man standing before them was a god like Rangi and Papa-Tu-A-Nuku. Finally Taranga spoke up and said the man looked like someone knew and repeated the story of Maui’s premature birth everyone to hear.
Taranga then asked the man, Maui who he was and where he came from. When she asked Maui, if he was her child Maui-Tikitiki-O-Taranga, he answered yes and Taranga welcomed him where she seemed to prophesy that he would visit his ancestor, Hine-Nui-Te-Po and conquer death.
Now a man, Maui’s father Makeatutara took him down to the river to be baptized in order to cleanse and purify his son. As luck would have it, Makeatutara made a mistake during the ceremony with incantations, having skipped over parts and forgotten them. This mistake was an ill omen that would eventually lead to the death of Maui. The gods would be sure to punish this forgetfulness with Maui’s eventual death.
In the meantime, however, Maui returned to his brothers to tell them he had found their parents and how to find them too.
Maui Getting Bloodthirsty
After returning to his brothers, Maui ended up slaying and carrying away his first victim, the daughter of Maru-Te-Whare-Aitu. Not long after, Maui proceeded to destroy the crops of Maru-Te-Whare-Aitu, causing them to all wither.
Maui Gaining His Jaw-Bone Weapon
His first war raid done, Maui once more visited his parents. While with them, he noticed how the other people would be carrying away some food as if it were being taken to someone.
When he asked for who, they informed Maui it was for an ancestress, Muri-Ranga-Whenua, an old chief. Maui responded with saying that he would take the food to her.
In typical trickster fashion, Maui didn’t take any of the food to Muri-Ranga-Whenua. Instead he set them to the side, hiding them away. Eventually Muri-Ranga-Whenua wondered why her food wasn’t coming and suspecting that something was up, she wandered down the path, sniffing.
Finally smelling something coming, Muri-Ranga-Whenua’s stomach began to enlarge as she got ready to devour Maui as soon as he came close enough. Maui went up wind of the old chief so she couldn’t find him. Turning westward, Muri-Ranga-Whenua finally smelled someone close to her, realizing it was a human.
Muri-Ranga-Whenua’s stomach shrunk back to normal size and she greeted Maui as one of her descendants. Her next question was why Maui wasn’t bring her food. Maui answered that he was seeking for Muri-Ranga-Whenua’s jaw-bone to use as a weapon. The old chief consented and gave Maui the bone.
Holding Back The Sun
Similar to the story found in the Hawaiian cycle, Maui for his next quest, takes the jaw-bone of an ancestor, Muri-Ranga-Whenua to use as a weapon. He uses this jaw-bone to ensnare the Sun so it will be forced to move slower throughout the day, thus making the days longer. With the aid of his brothers, Maui lassoes the Sun and beats them soundly until the Sun agrees to move slower.
Variation – Sometimes a net is mentioned as what Maui used to catch the Sun before Maui and his brother beat the Sun senseless with his magic jawbone to the point it could limp slowly now across the sky.
Gone Fishing – Part 1
Somewhere along the line, Maui got married and had a number of wives and children to boot. When Maui and his brothers returned from the feat of Holding back and slowing down the sun, he heard the complaints of his family and how they had no fish to eat.
Maui assured his wives and children not to fret, he would soon take care of this trivial matter and they would soon enough have food to eat. He then took his jaw-bone and fashioned it into a fish-hook.
When Maui’s brother headed out to go fishing, Maui jumped in the canoe. His brothers yelled for Maui to get out of the boat, claiming that his constant use of magic would cause problems. Eventually Maui got out of the canoe seeing as his brothers refused to take him.
Determined, Maui just waited until it was night when he went back to the beach and his brothers’ canoe. This time he hid in the bottom, under some boards. When his brothers came at dawn, they headed out to sea, none the wiser that Maui was hidden on board.
Once they were well at sea, Maui came out of his hiding spot. Seeing him, his brothers commented that they had better return to shore. Using his magic, Maui stretched out the distance from the shore to the boat that when his brothers looked for land, it was out of view.
Maui told his brothers that they should let him come with, at the very least he could be able to bail water out of the canoe for them. The brothers consented and they paddled on towards their fishing spot. Maui wasn’t content and told his brothers to paddle out further before dropping anchor, which spot would be far out of view of land.
Far out on the open ocean, the brothers now began to fish and soon, easily they had their canoe filled with fish in no time.
Pulling Up The Islands – Part 2
Continuing from Gone Fishing, this story is similar to the previously mentioned Hawaiian story of Pulling Up The Islands. Now that the brothers had filled the canoe, they wanted to return, but not Maui who now wanted a turn at fishing.
The North Island – Maui’s brothers wanted to know where he got a fishing-hook from, to which he told them never mind. When he asked to borrow of their bait, his brothers refused. With no other recourse, Maui made a fist and struck his own nose, using his own blood for bait.
With that and using incantations, Maui managed to snag the porch of a carved house on the sea bed floor and pulled up not just the house with his superhuman strength, but an entire island. Witht his much land pulled up, the canoe became grounded.
With the newly pulled up land and the haul of fish that had been caught, Maui went to go make an offering of thanks to the gods. He instructed his brothers to wait until her returned before eating or cutting up any of the fish, that everyone would get a fair share.
While Maui went to get a priest to bless, consecrate and purify the land, his brothers went ahead and started to cut up the fish that were also pulled up. These fish began to writhe in agony and in their throes, the mountains, cliffs and valleys of the island were formed. It’s been said if the brothers had waited for Maui to make his offerings, the island would have all been level plains and forest, making it easy for people to traverse it. The Maori call this land Te Ika-a-Maaui, the Fish of Maui or Hahau-Whenua, it is the North Island of New Zealand.
The South Island – By Maori tradition, Maui’s canoe becomes the South Island. The Banks Peninsula is said to be where Maui place his foot to support himself as he pulled in his fish haul. The island is known as Te Waipounamu or Te Waka-A-Maui, the canoe of Maui.
The Secret Of Fire
The secret for the creation of fire had been lost and Maui decided to remedy that situation. Of course, if Maui didn’t have it in his head to pull the stunt of putting out all of the fires for the cooking houses in the village, there would still be fire. But no, Maui puts them all out and then calls out, saying he’s hungry and getting someone to come cook up some food for him and there’s no fire to be had, anywhere.
When Maui’s mother heard there was no fire, she implored the servants to seek out Mahu-Ika to see if she would send more fire. The servants refused, no matter how Maui’s mother and others insisted they go.
Finally, Maui spoke up and said that he would go and get more fire. In order to do so, he needed to know which way to go. His parents informed Maui which path he should go, that he should let Mahu-Ika know who he was and that he shouldn’t perform any of his tricks as too often, his tricks brought harm and injury to others.
Yes, they’re on to you Maui!
Of course, Maui assured his folks he was only interested in bringing fire, he wasn’t going to do anything else, he’d go and come back right away. Honest!
So off he goes, in search of Mahu-Ika, the goddess of fire and his ancestor. When Maui found Mahu-Ika, he was filled with wonder and awe, all he could do was stare before he finally spoke up asking her where the fire was, he had come to get some.
Mahu-Ika got up and asked who Maui was. At first, Maui wouldn’t tell Mahu-Ika was, making her do a quessing game of which country he was from and which direction he had come. Finally, when Mahu-Ika asked Maui if he had come on the wind, he said yes and she recognized him as one of her descendants.
Mahu-Ika proceeded to pull out a fingernail from which fire flowed out. This she gave to Maui who was amazed by the feat. Maui took the fingernail away with him and when he was out of sight, he promptly put the fire out.
Maui returned to Mahu-Ika saying that the fire she had given him had gone out and to give him another. Once more, Mahu-Ika pulled one of her fingernails out, producing fire to give to Maui once more.
Maui managed to keep this antic up of coming back to Mahu-Ika saying the fire had gone out until he had gotten her to pull out all of the nails from her hands and feet save for the nail of her big toe. Nine times and Mahu-Ika finally catches on that Maui might be playing tricks on her.
Angry, Mahu-Ika pulled the last nail out and slamming it on the ground, she told Maui that he now had all the fire as everything around them began to catch fire. Maui made a mad dash to escape with the fire quickly gaining. Maui changed himself into an eagle (or hawk) to be fast enough to escape.
Even as an eagle, his flight wasn’t enough and the fire was about to consume Maui; he called on his ancestors Tawhiri-Ma-Tea and Whatitiri-Matakatak to send rain. The ancestors answered and soon there was a heavy rain. Mahu-Ika was nearly killed in the resulting downpour before she could hide. Maui however, in his eagle form was scorched, resulting in black-tipped wings. Mahu-Ika saved some of her fire by placing it in the wood of trees.
When Maui returned from this latest stunt, his parents tried to warn him about trying to trick his ancestors and that he deserved what he got. They concluded the speech that things would end badly and likely in his death if he didn’t stop his behavior. Maui taunted his parents, saying what did he care, he planned to continue. With that, Maui went off to seek out his next round of mischief.
Variation – A little simpler, Maui gained the secrets of fire by stealing a hen from heaven as fire was believed to be guarded by a celestial chicken.
Turning Irawaru Into A Dog
Shortly after his theft of fire, Maui went out fishing with his brother in law, Irawaru who had married Maui’s younger sister Hinauri, Maui as per his luck, had only caught one fish while Irawaru was catching plenty of fish. Fuming his poor luck, Maui lost his cool when Irawaru’s line got tangled with his. The classic two fishermen tugging on their respective lines, each in the opposite direction.
The two began arguing about how it was their fish on the line and to let go. Finally Irawaru relented and let go of his line enough that Maui was able to pull up on his end. Once the line was pulled up, Maui saw that the fish caught was indeed on Irawaru’s line and that it was his line entangled with the other.
Mad, Maui said they should return to shore and the two began paddling. Once back to shore, Maui had Irawaru lift up the canoe to his back as part of pulling it in. No sooner had Irawaru gotten the canoe up onto this back than Maui jumped on it, forcing the whole weight down on his brother-in-law, nearly killing him.
Nearly dead, Maui continued to trample Irawaru’s body, twisting and forming him through the use of magic into a dog. Maui completed the job by force feeding Irawaru some dung.
That done, Maui went back to the village, acting like nothing had happened. It’s then, that Maui’s little sister Hinauri on seeing him, ran up to asked where her husband Irawaru was. Maui responded with that he had left Irawaru back with the canoe. Well how come the two of them didn’t return together? Oh, well that’s because Irawaru wanted Hinauri’s help with bringing back the fish. So you had better hurry and if you don’t see him, just call out “Mo-i, mo-i, mo-i.”
Hinauri hurried down to the beach looking for her husband. Not seeing him, she called Irawaru’s name and when there was no response, then she called as Maui had told her to with the “Mo-i, mo-i, mo-i.”
Irawaru, now in his dog form, recognized his wife and barked back. He followed her all the way back to the village wagging his tail. Seeing what had happened to her husband, Hinauri became very distraught with grief to the point that she threw herself into the sea.
As to Maui, that antic seems rather petty to have done, but no different from say the Greek gods taking it out on mortals. Maui was now at a point that he found it best to leave the village and once more return to the Underworld where his parents lived.
Variation – Sometimes the story of Maui turning Irawaru into a dog is told that they were on their way to another village not far away. As they were headed on the return trip home, Maui had asked Irawaru to carry some food for them. Irawaru said there was no need to, they had just eaten a meal and it was only a short ways home.
This angered Maui and he used his magic to make the journey home take longer than it should have. As they continued to walk on the seemingly endless road, both Maui and Irawaru grew tired and hungry.
As they sat down, Maui pulled the food he had brought for himself after all and proceeded to eat right in front of Irawaru.
If it had been me, I would have left it at that.
Not Maui, after finishing his meal and not offering anything to Irawaru, Maui asked his brother-in-law to clean and dress his hair. Irawaru supposed that was harmless enough and did the job for Maui. When he had finished, Maui offered to clean and dress Irawaru’s hair for him. Thinking nothing of it, Irawaru allowed Maui to do so. Maui put Irawaru into an enchanted sleep and with further magic, changed Irawaru into a dog.
Either way, in Maori legends, Irawaru is the progenitor of all dogs.
The Death Of Maui
Version 1 – In this version of Maui’s death, people got tired of all his antics and decided to kill him. As a result, Maui’s blood is what creates rainbows and is responsible for the color of shrimp.
But that’s not a very exiting end for a hero and trouble maker.
Version 2: The Quest for Immortality! – This one is more exciting and noteworthy.
Following the events of a botched baptismal ceremony, Maui takes it on himself to go win immortality for humankind. Maui’s father, Makeatutara tries to dissuade him of the notion, that he will fail and that someone will kill him.
Of course, since Maui’s last antics involved turning Irawaru into a dog, he’s looking to leave the village anyways. He’s certainly gotten more than enough people upset with him, Maui heads off for the Underworld where his parents are at.
After staying with his folks for some time, Maui’s father, Makeatutara makes mention of how they have heard of Maui’s deeds up in the living world, but being down here in the Underworld, he’s sure to be defeated at some point. Makeatutara is also remembering the botched baptismal ceremony, knowing that Maui will come to a bad end.
Maui scoffs at this notion of someone defeating him, who after all would do that? Makeatutara says it would be Maui’s ancestor, Hine-Nui-Te-Po, the goddess of the Night. Undaunted, Maui boasts of his many previous deeds with pulling up the islands and slowing down the sun, saying that it won’t be possible to beat him.
Makeatutara relents and tells Maui to go find his ancestress who lives far on the horizon. After asking what she looks like, Makeatutara told Maui his ancestor, Hine-Nui-Te-Po looks human but with greenstones for eyes and sea kelp hair, barracuda mouth and that the red flashing of light came from her.
Unfazed, Maui set off towards the west with companions towards the home of Hine-Nui-Te-Po. In some versions of the stories, these companions of Maui are birds such as the tomtit, robin, warbler and fantail. In other versions, these companions are Maui’s brothers.
Eventually, Maui finds Hine-Nui-Te-Po asleep with her legs spread apart. Maui and his companions were quick to note rows of sharp obsidian and greenstones between Hine’s legs.
Maui now informed the others of his master plan, telling his companions not to laugh and to save it for after. Maui planned to enter Hine-Nui-Te-Po’s vagina, in a reverse birth process and to exit out her mouth. This, according to Maui was to gain him immortality.
Maui’s companions tried to dissuade him, saying he would be killed. Maui was again undaunted, insisting if his friends did laugh, waking Hini-Nui-Te-Po, then yes, he would die, but if he successfully passed through her, he would live and that she would be the one to die.
This of course is where the companions just shut up and let Maui do his thing as he readied himself, tying a rope that held his battle club around his waist and thrusting off his clothes. Ready, Maui began to climb in, very much the image of reverse birth as his companions did their best not to laugh.
As it happens with these type of stories, the one task you’re not supposed to do, happens and one of the companions couldn’t hold it in anymore and began laughing. One version of the story says it’s the fantail who begins laughing and wakes Hine-Nui-Te-Po who opens her eyes and quickly closes her legs tight, cutting Maui in half.
Instead of immortality, Maui becomes the first person to die, bringing death to the world. Hine-Nui-Te-Po maintained her post as the Goddess of the Underworld the portal to which all humans must pass through on death.
Variation – When Maui set off to gain immortality for humankind, he did so by changing into a worm in order to enter the vagina of Hine-Nui-Te-Po and leaving through her mouth. This stunt didn’t work out so well as Hine-Nui-Te-Po crushed Maui in her sleep with the obsidian teeth in her vagina.
Maui And Rohe
We’re not quite done with Maui! In a few stories, Maui is married to the goddess Rohe whom he ends up mistreating in some rather cruel and unusual means.
What happens, is that Maui wished to trade faces with Rohe as she is very beautiful and he on the other hand is rather ugly.
Rohe refused to trade faces and when she was asleep, Maui used an incantation to make the trade and switch for faces. When Rohe woke up and realized what happened, she left the living world and departed for the Underworld, becoming the Goddess of Death.
Good one Maui.
In Samoan mythology, the character of Ti’iti’i is very similar to that of Maui. Many of the stories are similar to those of Maui from other Polynesian cultures. One striking similiarity is the story of Ti’iti’i’s theft of fire from the earthquake god, Mafui’e. In this story, Ti’iti’i breaks off one of Mafui’e’s arms, forcing them to reveal the secret of fire and how to rub sticks together for friction to create it.
For the Samoans, the loss of Mafui’e’s arm means that he is unable to create even bigger earthquakes.
Among the Tahitians, Maui was a prophet or priest who later becomes deified.
He had once been at a sacred place known as a marae busy with some task or other. When the sun began to set before he was finished, Maui grabbed hold of the sun’s rays and halted the movement of the sun so he could complete his task.
Maui became known as Ao-ao-ma-ra’i-a after he discovered fire and passed on his knowledge to others to create it by the use of friction with wood. Before this, people would eat their food raw.
As a final bit of lore, Maui is the one responsible for earthquakes.
Among the Tongans, the Maui stories tell how he pulled up the Tongan islands from the depths of the ocean, starting first with Lofanga, then the other Ha’apai islands and finishing up with Vava’u. That task finished, Maui lived on the island of Tonga. The village of Houma located on the main island of Tongatapu is noted for being the place where Maui’s fish-hook got caught.
In these stories, Maui has two sons: Maui-Atalanga, the eldest and Maui-Kisikisi, the younger. In other sources, there are listed three Maui brothers: Maui-Motu’a (old Maui), Maui-Atalanga and Maui-Kisikisi (dragonfly Maui). It is Maui-Atlanga who discovered the secret of fire and taught others how to cook with it. Maui-Motu, like Atlas from Greek mythos, holds the earth up on his shoulders. Whenever Maui-Motu starts to nod off, he causes earthquakes and people will stomp the ground in order to wake him up. The god, Hikule’o who rules the underworld of Pulotu is Maui-Motu’s youngest son.
Maui-Kisikis is known for being a trickster. He gained the name of Maui-Fusi-Fonua or Maui Land Puller after Maui-Kisikisi begged for a magic fish-hook from an old fisherman by the name of Tongafusifonua. The old man would only allow the fish-hook to be taken on the condition that Maui be able to find it in his collection of hooks. Tongafusifonua’s wife, Tavatava told Maui the secret of how to find the hook and Maui was able to succeed at picking it out from all the other hooks. With this hook, Maui-Kisikisi was able to pull up the coral islands from the bottom of the sea as these volcanic islands were believed to have fallen from the heavens.
Movie Time – Moana!
So of course, the movie came out in 2016, featuring the famous Maui of Polynesian mythology. Since I was curious, I of course wanted to know how much of the mythology and stories that the movie gets right.
It is of course, a new story and the Maui seen in the movie pulls and combines many of the aspects of him found primarily in Hawaiian and Maori legends. Much of which is confirmed during the song: “You’re Welcome” and a quick montage of all of Maui’s deeds that he’s done that have earned him a new tattoo to commemorate the event.
The character of Te Fiti in her darker aspect as Te Ka was originally referred to as Te Po, based on the Maori goddess Hine-Nui-Te-Po, the goddess of night, death and the underworld. Others have noted a strong similarity between Te Ka and the Hawaiian volcano goddess Pele.
Interestingly, while the movie was being developed and written, it incorporates the history of Polynesian people as voyagers who just abruptly ceased and then a thousand years later, start sailing again. Why? No one knows. However, the story of Moana certainly provides an interesting what if story to it.
Alternate Spellings: 黄帝, Huang Di, Huangdi
Also known as: Gongsun, Kung-sun, Xuanyuan, Xuan Yuan, Hsuan-yuan, Huang Ti, Hwang Ti, Yellow Emperor, Yellow Thearch, the Yellow God, the Yellow Lord
Etymology: the Yellow Emperor, The character 黄 Huang, means “yellow” and is a homophony for the character, 皇 Huang, meaning, “august”, “creator” and “radiant”, Di “emperor”
Huang-Di, the Yellow Emperor ruled during a golden age of Chinese history and mythology. He is the first of five legendary Chinese emperors. Tradition has Huang-Di beginning his rule during 2697 B.C.E. and ending 2597. An alternate date is 2698-2598 B.C.E. These dates were first calculated by Jesuit missionaries studying the Chinese chronicles. They have been accepted by later scholars looking to try and establish a universal calendar.
There are a number of different legends surrounding Huang-Di that tell of his greatness as a benevolent ruler and establishing Chinese civilization. Huang-Di is to have ruled in a Golden Era of history before written Chinese history was established so many of his stories were passed down orally first. Just as Britain has its King Arthur, China has Huang-Di, the greatest ruler of all time that everyone looks up to and reveres.
What’s In A Name?
This gets a little tricky. Depending on the Chinese character used and its pronunciation; depends on what the word is translated to mean.
The character for Di, is used to refer to the highest deity from the Shang dynasty. During the Warring States period, the term Di came to be associated with the gods of the five sacred mountains and colors. After this era, about 221 B.C.E. the term Di came to refer to earthly emperors.
The character for Huang can be translated a couple different ways. Either Yellow or August. Scholars and historians seeking to emphasize the more religious meaning to the name Huaung-Di will translate the name to mean “Yellow Thearch” or “August Thearch.”
Some scholars such as Sima Qian in his “Records of the Grand Historian” compiled in 1st century B.C.E. have given Huang-Di’s name as Xuanyuan. The 3rd century scholar Huangfu Mi have said that this is to be the very same hill that Huang-Di lived and takes his name from. Liang Yusheng, from the Qing dynasty has argued that the hill is named after the Huang-Di. In Chinese astronomy, Xuanyan is the name for the star Alpha Leonis or Regulus.
The name Xuanyuan is also references Huang-Di’s birthplace. Huang-Di’s surname was Gongsun or Ji.
The name Youxiong is thought to be either a place name or clan name. Several Western scholars and translators have given their ideas on what Youxiong translate to. The British sinologist, Herbert Allen Giles says the name is from Huang-Di’s principal heritage. William Nienhauser, in translating the “Records of the Grand Historian” has put forth that Huang-Di is the head of the Youxiong clan who lived near Xinzheng in Henan. The French historian, Rémi Mathieu translates the name Youxiong to mean “possessor of bears” and linking Huang-Di in mythology to bears. Rémi isn’t the only one to make a connection to bears. Ye Shuxian also makes a connection with Huang-Di to the bear legends found throughout northeast Asia and the Dangun legend.
As a culture hero, Huang-Di is seen as a wise and benevolent ruler who introduced government and laws. He is also seen as having taught people several different skills and to have invented several things such as clothing, building permanent structures such as palaces and houses, music, the wheel, armor & weapons, carts, ships, writing, digging wells, agriculture, taming and domesticating animals, astronomy, calendars, mathematics, cuju (a sport similar to football), the compass and currency.
At some time during Huang-Di’s rule, he reputed to have visited the Eastern sea where he met Bai Ze, a supernatural talking beast that taught him the knowledge of all supernatural creatures. Bai Ze explained to Huang-Di there were 11,522 (or 1,522) different types of supernatural beings.
San-Huang – The Three Sovereigns
Also, known as the Three Emperors, they are a group of god-kings and demigod emperors who are believed to have lived some 4,500 years ago. Huang-Di is counted as being part of this group and the leader of their number to have once ruled over China. Other’s counted among this number are Fu Xi, Nuwa and Shennong.
This is another mythological and historical group of rulers important to Chinese culture. These five emperors were virtuous rulers of outstanding moral character. Taihao, the Yan Emperor, the Yellow Emperor (Huang-Di), Shaohao and Zhuanxu are considered among the Five Emperors in this group.
But that makes four with the Three Sovereigns! The math is off! There are a number of variations as to who is counted among these numbers and it all depends on which text and source is used. It will even flip-flop too as to where Huang-Di is placed as either one of the Three Sovereigns or Five Emperors.
Parentage and Family
Huang-Di’ parents are given as Shaodian as his father and Fu Pao as his mother.
According to the “Discourses of the States”, Shaodian is sometimes mentioned as being Huang-Di’s step-father.
Huang-Di seems to have had several different wives:
Leizu – Of Xiling, she is the first wife, she is the most notable with any information as she is the first person to have domesticated silk worms for their silk. With Leizu, Huang-Di had two sons.
Fenglei – Second wife
Tongyu – Third wife
Momu – Fourth wife
Huang-Di is reputed to have had 25 sons. 14 of these sons all started clans of their own with their own surnames.
Shaohao – Also known as Xuanxiao, he would become the Emperor after Huang-Di’s death.
Changyi, who in turn is the father of Zhuanxu who would succeed his uncle, Shaohao as the next Emperor.
Ancestor Of The Chinese
A lot of emphasis and importance has been placed on Huang-Di as many Chinese dynasty rulers would trace the rights of their sovereignty to him. The Chinese Han claim being descendants of both Yandi (The Flame Emperor) and Huang-Di. Eventually, Huang-Di would be seen as the ancestor to all Chinese. A many Dynasty Emperors would all lay claim to Huang-Di’s legacy to prove their rightful claim to the throne.
It should be noted that the earlier mentions of Huang-Di, the Yellow Emperor is on a fourth century bronze inscription for the royal house of the Qi. This inscription claims Huang-Di as an ancestor to the Qi. The scholar, Lothar von Falkenhausen has suggested that Huang-Di is likely created as an ancestral figure in order to claim that all the ruling clans from the Zhou share a common ancestor.
Birth Of A Legend
Per myth and legend, Huang-Di is the result of a virgin birth. His mother, Fubao become pregnant with him while walking out in the countryside and was struck by lightning from the Big Dipper constellation. Fubao would give birth to her son after a period of twenty-four months on either Mount Shou or Mount Xuanyuan. It is for mount Xuanyan that Huang-Di would be named.
In Huangfu Mi’s account, Huang-Di is born at Shou Qiu or Longevity Hill near the outskirts of Qufu in Shandong by modern times. Huang-Di lived with his tribe near the Ji River, a mythological river and later migrated with his tribe to Zhuolu near modern Hebei. As a cultural hero, Huang-Di tames six different animals, the bear, the brown bear, the pi and xiu. The pi and xiu get combined to become a mythological animal known as the Pixiu. He also tames the chu and tiger. I’m not sure which creatures all of these are or the difference between a bear and brown bear is, but there we have it.
Other legends surrounding Huang-Di hold that he could speak shortly after his birth. That when he was fifteen years old, there was nothing that he didn’t know. Huang-Di would eventually hold the Xiong throne.
Trouble In Paradise
Huang-Di’s rule wasn’t completely problem free. One god decided to challenge Huang-Di’s sovereignty. This god was helped by the emperor’s son, Fei Lian, the Lord of the Wind. Fei Lian sent fog and heavy rain to try and drown the Imperial Armies. The emperor’s daughter, Ba (meaning drought) put an end to the rain and helped to defeat Fei Lian and his forces.
The Yellow Emperor And The Yan Emperor
Despite there being some 500 years between Huang-Di and Shennong rules, both of these emperors’ rules near the Yellow River. Shennong hailed from another are up around the Jiang River. Shennong having trouble with keeping order within his borders, begged the Yellow Emperor, Huang-Di for help against the “Nine Li” lead by Chi You and his some 81 brothers who all have horns and four eyes.
Battle of Zhuolu – Shennong was forced to flee Zhuolu before begging for help. Huang-Di used his tame animals against Chi You who darkened the sky by breathing out a thick fog. Huang-Di then invented the south-point chariot to lead his army out of the miasma of fog.
In order to defeat Chi You, Huang-Di calls on a drought demon, Nüba to get rid of Chi You’s storm.
This story sounds a lot like a variation of the previous story where Huang-Di calls for his daughter Ba to defeat Fe Lian.
Battle of Banquan – It is at this battle, that both Huang-Di and Shennong finally defeat Chi You and his forces and replace him as ruler.
Death & Immortality
Huang-Di ruled for many years and is thought to have died in 2598 B.C.E. Legend holds Huang-Di lived over a hundred years, by some accounts this was 110 years. Before he died, Huang-Di met a phoenix and qilin before he rose to the heavens to become an immortal or Xian. He is considered the very archetype of a human who merges their self with the self of the Universal God; how a person reaches enlightenment and immortality.
Another account of Huang-Di’s death is that a yellow dragon from Heaven flew down to take up Huang-Di up. Huang-Di knew that he could not deny destiny and went with the dragon. On their way to fly back to Heaven, they flew over Mount Qiao where Huang-Di asked to be able to say goodbye to his people. The people cried out, not wanting Huang-Di to leave them and they pulled on his clothing to try and keep. Surprisingly, Huang-Di slipped free of his clothing and got back on the dragon to fly up to the heavens. As to his clothing, they were buried in a mausoleum built at Mount Qiao.
Two tombs commemorating Huang-Di were built in Shaanxi within the Mausoleum of the Yellow Emperor. Other tombs were built in Henan, Hebei and Gansu.
Huang-Di is the founder of Taoism, one of the main philosophies and religions found in China.
As Huang-Di began to age, he began to allow his court officials to handle matters and make decisions. Huang-Di moved out into a simple hut in his courtyard. There, as he fasted, prayed and meditated, Huang-Di discovered Tao, or the way, a philosophy that would lead to the ideal state of being.
In some of the older accounts with Huang-Di, he is identified as a god of light and thunder. The name Huang and Guang, meaning “light,” making him a Thunder God. However, Lei Gong or Leishen is the name of another deity and he is seen as Huang-Di’s student.
The legend and origins for Haung-Di have been cast into doubt by many. The scholar Yang Kuan, a member of the Doubting Antiquity School has argued that Huang-Di is derived from the god, Shang-Di from the Shang dynasty. Yang says that the etymology of Shang-Di, Huang Shang-Di and Huang-Di all have a connection to the Chinese character of 黄 Huang, which means “yellow” and its homophony of, 皇 Huang, which means “august,” that to use the character for 皇 Huang, was considered taboo.
Other historians have disputed this claim like Mark Edward Lewis and Michael Puett. While Mark Edward Lewis agrees that the two characters are interchangeable, he has suggested that the character 黄 Huang is closer to the character wang phonetically. Lewis puts forth the idea that Huang might have referred to a “rainmaking shaman” and “rainmaking rituals.” He uses the Warring States and Han era myths for Huang-Di, in that these were ancient rainmaking rituals, as Huang-Di held power over the clouds and rains. Huang-Di’s rival, Chiyou or Yandi held power over fires and drought.
Lord Of The Underworld Or The Yellow Springs
Further disagreements with Yang Kuan’s idea of equating Haung-Di with Shang-Di is the Western scholar, Sarah Allen who has stated that the pre-Shang myths and history can be seen as changes to Shang’s mythology.
By this argument, Huang-Di was originally an unnamed Lord of the Underworld or Yellow Springs, the counterpart to Shang-Di in his role as the supreme deity of the sky. Continuing this theme, the Shang rulers claimed their ancestor as the “the ten suns, birds, east, life and the Lord on High. Shang-Di had defeated an earlier group of people who were associated with the Underworld, Dragons and the West.
After the Zhou dynasty overthrew the Shang dynasty in the eleventh century B.C.E., the Zhou rulers began to change out the myth, changing the Shang to the Xia dynasty. By the time of the Han, according to Sima Qian’s Shiji, Huang-Di as Lord of the Underworld had now become a historical ruler.
During the Warring States era of texts, the figure of Huan-Di appears intermittently. Sima Qian’s text, Shiji (Records of the Grand Historian) is the first work to gather all of the fragments and myths surrounding Huan-Di into a coherent form and narrative. The Shiji would become a very important and influential text for the Chinese and the start of their history.
In the Shiji, Sima Qian he says that the state of Qin began worshiping Huang-Di during the fifth century B.C.E. along with Yandi, the Flame Emperor. Alters had been established in Yong, the capital of Qin. By the time of King Zheng in 247 B.C.E., Huang-Di had become the most important of the four “thearchs” worshiped in Yong.
During the late Warring States and early Han eras, Huang-Di’s cult became very prominent as he is regarded as the founder of the arts, civilization, governing and a supreme god. There have been a number of texts such as the Huangdi Neijing, a classic medical text, and the Huangdi Sijing, a group of political treatises that Huang-Di is credited with having written.
While his influence has waned for a period, the early twentieth century saw Huang-Di become an important figure for the Han Chinese when trying to overthrow the Qing dynasty. For some, Huang-Di is still an important, nationalist symbol.
Huángdì Sìmiàn – Yellow Emperor with Four Faces
In the Shizi, Huang-Di is known as the Yellow Emperor with Four Faces. Other names that Huang-Di is known by are: Sìmiànshén, Four-Faced God or the Ubiquitous God. The name Sìmiànshén is also the name for Brahma in Chinese.
As Huángdì Sìmiàn, Huang-Di represented the center of the universe and his four faces allowed him to see in everything that happened around him and in the world. In this aspect, he communicated directly with the gods for prayer and sacrifice. When traveling, Huang-Di rode in an ivory chariot pulled by dragons and an elephant. He would be accompanied by a troop of tigers, wolves, snakes and flocks of phoenix.
Wufang Shangdi – Five Forms of the Highest Deity
In Chinese texts and common beliefs, the Wudi (“Five Deities”) or Wushen (“Five Gods”) are five main deities who are personifications or extensions of a main deity.
Zhōngyuèdàdì – Huang-Di, when he becomes an Immortal or Xian and deified, is one of the Wudi. As Zhōngyuèdàdì, the “Great Deity of the Central Peak”, he is the most important of the Wudi, representing the element of earth, the color yellow and the Yellow Dragon. He is the hub and center of all creation upon which the divine order found within physical reality makes way for possible immorality. Huang-Di is the god of the governing the material world, the creator of the Huaxia (Chinese) civilization, marriage, morality, language, lineage and the primal ancestor to all Chinese people. In addition, he is a Sun God and associated astrally with the planet Saturn, the star Regulus and the constellations Leo and Lynx. The constellation Lynx in Chinese star lore, represents the body of the Yellow Dragon.
Huángshén Běidǒu – the “Yellow God of the Northern Dipper”, connected to this constellation, Huang-Di becomes identified as Shangdi or Tiandi, the supreme God or “Highest Deity.”
Further, Huang-Di is the representation for the hub of creation, the divine center and the axis mundi for the divine order in physical reality which opens the way to immortality. He is the god who is the center of the cosmos that connects the San-Huang and the Wudi.
Huángdì Nèijing – The Yellow Emperor’s Inner Canon
Also, spelled as Huang Ti Nei Ching (The Yellow Emperor’s Classic of Medicine).
This medical text forms the foundation for traditional Chinese Medicine. it comprises of the theories of the legendary emperor Huang Di who lived around 2600 B.C.E. This tome preserved a lot of ancient medical knowledge and is compose of two volumes. The first one is a dialogue between Huang Di and his minister, Qibo. The second one has the descriptions of anatomy, medical physiology and acupuncture. The real author of this book is unknown.
Huangdi Sijing – Four Scriptures of the Yellow Emperor
In this text, it is explained how regulating the heart and one’s emotions, they will never allow oneself to get overly emotional and carried away. Huang-Di had accomplished doing this during his three years at the refuge at Mount Bowang in order to find himself. Doing this, creates an internal void where all the forces of creation gather, where the indeterminate they stay, the more powerful these forces of creation will be. In more simpler terms, this is self-mastery and self-control.
Other Books –
Other books attributed to Huang Di are: Huángdì Yinfújing (Yellow Emperor’s Book of the Hidden Symbol) and the Yellow Emperor’s Four Seasons Poem that is found contained in the Tung Shing fortune-telling almanac.
As a Sun God, Huang-Di as Zhōngyuèdàdì is associated astrally with the planet Saturn, the star Regulus and the constellations Leo and Lynx. The constellation Lynx in Chinese star lore, represents the body of the Yellow Dragon.
Going Back To Where It All Began!
As previously mentioned earlier, tradition has Huang-Di begin his rule during 2697 B.C.E. and ending in 2597. An alternate date is 2698-2598 B.C.E. These dates were first calculated by Jesuit missionaries studying the Chinese chronicles. They have been accepted by later scholars looking to try and establish a universal calendar.
It should be noted that the traditional Chinese calendar didn’t mark years consecutively. Some Han-dynasty astronomers have tried to determine when Huang-Di ruled. Under the reign of Emperor Zhao in 78 B.C.E. a court official, Zhang Shouwang calculated that some 6,000 years had passed since the time of Huang-Di rule. The court however rejected this claim and said that only 3,629 years had passed. Comparisons with the Western, Julian calendar place the court’s calculations to the late 38th century B.C.E. for Huang-Di. Nowadays, the 27th century B.C.E. is accepted by many.
Possible Reality Behind The Legends
Getting anything for reliable accuracy and the historical context of China before the 13th century B.C.E. is difficult. There is a lot of reliance on what archaeology can provide and prove. The earliest Chinese writing and records date to the Shang dynasty around 1200 B.C.E. This system of writing is the use of bones for oracles. Even any hard evidence for the Xia dynasty is hard to find, even with Chinese archaeologists trying to link this dynasty to the Bronze Age Erlitou sites.
Many Chinese historians view Huang-Di to have a stronger historical basis than other legendary figures like Fu Xi, Nuwa and the Yan Emperor. While many legendary figures and ancient sages have all been considered to be historical figures, it is not until the 1920’s that members of the Doubting Antiquity School in China began to question the accuracy of these legends and claims.
Warring States Era
These early figures of Chinese history, as Gu Jiegang from the Doubting Antiquity School, as stated are mythological in origin. They started off as gods and then became depicted as mortal during the Warring States era by intellectuals.
Yang Kuan, another member of the Doubting Antiquity School, has commented that it is only during the Warring States era that Huang-Di is mentioned as the first ruler of China. Yang goes on to argue that Huang-Di is really the supreme god, Shang-Di, the god of the Shang pantheon.
Even the French scholars Henri Maspero and Marcel Granet, in their “Danses et légendes de la Chine ancienne” (“Dances and legends of ancient China”) have commented that early Chinese legends have more to do with the period to when they were written than to when they are supposed to have happened.
From God To Man
Huang Di’s status as a god faded during the 2nd century C.E. with the rise and reverence of Laozi. Huang Di will still be regarded as an immortal and the master of the longevity techniques and a deity who would reveal new teachings in the form of books like the Huang Di Yinfujing in the 6th century C.E.
Nowadays, many scholars accept the view that Huang-Di and other figures like him started off as a god of religious importance and then become humanized, mortal during the Warring States and Han periods. Even though Huang Di’s status as a god faded during the
Chang Tsung-tung, a Taiwanese scholar has argued, that based on a vocabulary comparison between Bernhard Karlgren’s Grammata Serica and Julius Pokorny’s Indogermanisches etymologisches Wörterbuch, there is a connection with the Old Chinese and the Proto-Indo-European etymologies. That there is a strong influence of Indo-European languages on the Old Chinese language around 2400 B.C.E. Chang goes on to say that the Shang dynasty was founded by Indo-European conquerors and identifies Huang-Di as an Indo-European god. Chang says that the “yellow” in Huang-Di’s name should be interpreted as referring to blond hair. That as a nomad of the steppes, Huang-Di encouraged road construction and horse-drawn carriages to establish a central state.
This idea, to me, seems farfetched. Since it is one of the ideas I came across, I’ll include it here.
Thanks to the French scholar, Albert Terrien de Lacouperie, many Chinese historians got hooked on the idea Chinese civilization getting its start in 2300 B.C.E. by Babylonian immigrants and that Huang Di would have been a Mesopotamian tribal leader. This idea has been rejected by European sinologists, however the idea was advocated for again by two Japanese scholars Shirakawa Jiro and Kokubu Tanenori in 1900.
The ideas certainly seem to held on to by anti-Manchu intellectuals who are looking for the truth of China’s history and wanting to prove the superiority of the Han over the Manchu and the importance of Huang Di as the ancestor of all Chinese.
The Mausoleum Of The Yellow Emperor
Also called Xuanyuan Temple, this mausoleum is the most important of ancient mausoleums in China and praised as “the First Mausoleum in China.” The mausoleum is located at Mount Qiao, north of the Huangling County of Yan’an some 200 kilometers north of Xi’an, the capital of Shaanxi Province. According to historians, the mausoleum was first built on the western side of Qiao during the Han Dynasty (206 B.C.E. – 220 C.E.) It was later restored during the Tang Dynasty (618 – 907 C.E.) It had been damaged by floods and moved to Qiao’s eastern side by the Emperor Song Taizu of the Song Dynasty (960 – 1234 C.E.)
During the Qingming Festival that is held on April 5th, Chinese people from all over gather to hold a memorial ceremony to commemorate the Yellow Emperor, Huang-Di. Yan’an also earns the distinction of being considered the birthplace of Chinese civilization.
Etymology: Yang – “goat,” “sheep,” “sun” or “Aspen”, Jing – “essence” or “clean”
Here’s another entity that caught my interest. Once I sat down to try and find more on them, I found the information to be rather sparse.
Per the few sources I can find, Yang Jing is a Chinese Goat God who is often described as wearing a goatskin and a goat’s head like a hood. He may have been viewed as a fertility god possessing a great sexual potency.
The local villagers in the mountainous areas would offer up sacrifices to Yang Jing to gain his protection of themselves, their harvest and livestock from wild animals.
That would have been it, except I found a couple other tidbits of interest in connection to the name Yang Jing that very likely cast some doubt to the authenticity of a Chinese Goat God.
Horny Goat Weed
Also, known as Epimedium, I found the name Yang Jing in connection to this herb for an herbal tonic used for restoring a person’s overall energy and for men. An alternative to using Viagra!
Any herb used for restoring male sexual energy is referred to as a Yang Jing herb.
The name Yang is the sixth most popular surname found in Mainland China. There’s a number origins for the Yang clan in China. The first family this name are the descendants of Huang Di during the Xia Dynasty. More families and Emperors from the Zhou, Song, Sui, Ji and Tang dynasties have all claimed or changed names to the Yang surname. Often this seems an effort to lay claim to the dynasty aristocracies.