Fertility Goddess Quotes

Frey was the god of spring and summer! read the caption. He was the god of wealth, abundance, and fertility. His twin sister, Freya, the goddess of love, was very pretty! She had cats!

Yet rather than calling the earliest religions, which embraced such an open acceptance of all human sexuality, 'fertility cults,' we might consider the religions of today as strange in that they seem to associate shame and even sin with the very process of conceiving new human life. Perhaps centuries from now scholars and historians will be classifying them as 'sterility cults.

History knew the truth. History was the most inhuman product of humanity. It scooped up the whole of human will and, like the goddess Kali in Calcutta, dripped blood from its mouth as it bit and crunched.

Finn says, “No, ma’am,” as he enters the shop, where he gets poked directly in the chest by the fertility goddess. I move a step backward so he can get away because the last thing I need is for Finn to suddenly decide to become fertile.

From her thighs, she gives you life And how you treat she who gives you life Shows how much you value the life given to you by the Creator. And from seed to dust There is ONE soul above all others -- That you must always show patience, respect, and trust And this woman is your mother. And when your soul departs your body And your deeds are weighed against the feather There is only one soul who can save yours And this woman is your mother. And when the heart of the universe Asks her hair and mind, Whether you were gentle and kind to her Her heart will be forced to remain silent And her hair will speak freely as a separate entity, Very much like the seaweed in the sea -- It will reveal all that it has heard and seen. This woman whose heart has seen yours, First before anybody else in the world, And whose womb had opened the door For your eyes to experience light and more -- Is your very own MOTHER. So, no matter whether your mother has been cruel, Manipulative, abusive, mentally sick, or simply childish How you treat her is the ultimate test. If she misguides you, forgive her and show her the right way With simple wisdom, gentleness, and kindness. And always remember, That the queen in the Creator's kingdom, Who sits on the throne of all existence, Is exactly the same as in yours. And her name is, THE DIVINE MOTHER.

Strange as it may seem, the association of eggs and bunnies at Easter time are actually connected and, to discover more, we must once again turn our attention to the Saxon fertility Goddess, Eostre.

According to Chinese and ancient Ayurvedic medicine, at age 60, women end their householder life and begin to develop their souls. Our fertility stops being about having children and starts being about what we create for ourselves that benefits us and the people around us.

People often think of the Goddess as a fertility deity only. Not at all—she’s the muse. She’s the inspirer of poetry. She’s the inspirer of the spirit. So, she has three functions: one, to give us life; two, to be the one who receives us in death; and three, to inspire our spiritual, poetic realization.

The scale of her belly and breasts was not unlike early fertility goddesses found in Greece around 6000 BC, except they did not wear polka-dot aprons. Did they suffer from hypochondria? Hysteria? Were they bold? Lame? Too full of the milk of human kindness?

Accordingly, the fertility goddess is both mother and virgin, the hetaera who belongs to no man but is ready to give herself to any man.

Inanna is the Sumerian goddess of love, fertility, and war.

The image of the Serpent, because of its association with life, rejuvenation, fertility, and regeneration, was a symbol of immortality. The coiled Serpent with its tail in its mouth was a circle of infinitude indicating omnipotence and omniscience. The Serpent, depicted in several successive rings, represented cyclical evolution and reincarnation. In ancient philosophy or mythological systems, creation and wisdom were closely bound together, and the Serpent was a potent symbol of both. It is in this capacity that the Serpent appears in the Babylonian and Sumerian mythologies, which contain elements akin to the Genesis story. The Serpent has the power to bestow immortality but also has the power to cheat humankind. In many of the ancient Near Eastern stories—for instance, the Gilgamesh Epic and myth of Adapa—the Serpent holds out the promise of immortality but then cheats man at the last minute.

Matt pointed at Fen, "Fen's a descendant of Loki, trickster and troublemaker. Laurie is, too." Laurie smiled at Baldwin. Then Matt gestured at the twins. "They're Frey and Freya. She was a goddess of love and beauty, he was weather and fertility. And I'm, uh, a descendant of Thor. I'll ... umm ... fight the Midgard Serpent." "Thor smash," Reyna interjected. "That's the Hulk, not Thor," Matt started to explain. "Whatever," Reyna muttered.

Fertility is only one among the Goddess's many functions. It is inaccurate to call Paleolithic and Neolithic images 'fertility goddesses,' as is still done in archeological literature. Earth fertility became a prominent concern only in the food producing era; hence it is not a primary function of the Goddess and has nothing to do with sexuality. The goddesses were mainly life creators, not Venuses or beauties, and most definitely not wives of male gods.

the goddess knew that her daughter had been taken, and tore her hair into utter disorder, and repeatedly struck her breasts with the palms of both hands. With her daughter’s location a mystery still, she reproaches the whole earth as ungrateful, unworthy her gift of grain crops, and Sicily more than the others, where she has discovered the proof of her loss; and so it was here that her fierce hand shattered the earth-turning plows, here that the farmers and cattle perished alike, and here that she bade the plowed fields default on their trust by blighting the seeds in their keeping. Sicilian fertility, which had been everywhere famous, was given the lie when the crops died as they sprouted, now ruined by too much heat, and now by too heavy a rainfall; stars and winds harmed them, and the greedy birds devoured the seed as it was sown; the harvest of wheat was defeated by thorns and darnels and unappeasable grasses.

They could lock the sheep in pens, castrate rams and selectively breed ewes, yet they could not ensure that the ewes conceived and gave birth to healthy lambs, nor could they prevent the eruption of deadly epidemics. How then to safeguard the fecundity of the flocks? A leading theory about the origin of the gods argues that gods gained importance because they offered a solution to this problem. Gods such as the fertility goddess, the sky god and the god of medicine took centre stage when plants and animals lost their ability to speak, and the gods’ main role was to mediate between humans and the mute plants and animals. Much of ancient mythology is in fact a legal contract in which humans promise everlasting devotion to the gods in exchange for mastery over plants and animals – the first chapters of the book of Genesis are a prime example. For thousands of years after the Agricultural Revolution, religious liturgy consisted mainly of humans sacrificing lambs, wine and cakes to divine powers, who in exchange promised abundant harvests and fecund flocks.

Well done. Amon is indeed represented as a man with a ram’s head, and his promiscuity and curved horns are related to our modern sexual slang “horny”.’ ‘No shit!’ ‘No shit,’ Langdon said. ‘And do you know who Amon’s counterpart was? The Egyptian goddess of fertility?

There is no doubt that the prehistoric veneration of Mother Earth survived intact up to the time of the worship of Demeter and Persephone in Greece, Ops Consiua in Rome, Nerthus in Germanic lands, Zemyna or Zemes in the Baltic area, Mother Moist Earth in Slavic lands, and elsewhere. Her power was too ancient and deep to be altogether destroyed by succeeding patriarchal religions, including Christianity. She was therefore absorbed, and became known in western Europe as various saints: Radegund, Macrine, Walpurga, Milburga, among others. In many other lands, especially eastern Europe, she fused with the Mother of God, Marija. The Black Madonna is this same Earth Mother, whose blackness represents the color of earth's fertility. The yearly renewal of her fecundity is her fundamental miracle. Ancient mysteries, enacted through prehistoric and historic millennia- in caves, cemeteries, temples, and in the open fields- were for the purpose of expressing gratitude to the source of all life and nourishment, and to ritually participate in the secret of the earth's abundance.

Among other attendees is Priapus, a minor fertility god with an enormous erection. Ovid can’t tell us much about the gods’ banquet. It’s not allowed, he says. They spent the whole night drinking. 24 This is another reason I love Ovid: bored by poets bleating on about divine banquets? Just tell the audience that you’re not allowed to say much, but everyone drank a lot, and move on.

Similar stories are told about the other great goddesses—Inana, Ishtar and Isis—who search for the dead god and bring new life to the soil. The victory of Anat, however, must be perpetuated year after year in ritual celebration. Later—we are not sure how, since our sources are incomplete—Baal is brought back to life and restored to Anat. This apotheosis of wholeness and harmony, symbolized by the union of the sexes, was celebrated by means of ritual sex in ancient Canaan. By imitating the gods in this way, men and women would share their struggle against sterility and ensure the creativity and fertility of the world. The death of a god, the quest of the goddess and the triumphant return to the divine sphere were constant religious themes in many cultures and would recur in the very different religion of the One God worshipped by Jews, Christians and Muslims.

Not only the gods, but the goddesses, too, are libido-symbols, when regarded from the point of view of their dynamism. The libido expresses itself in images of sun, light, fire, sex, fertility, and growth. In this way the goddesses, as we have seen, come to possess phallic symbols, even though the latter are essentially masculine. One of the main reasons for this is that, just as the female lies hidden in the male (pl. XXIX), so the male lies hidden in the female.28 The feminine quality of the tree that represents the goddess (cf. pl. XXXI) is contaminated with phallic symbolism, as is evident from the genealogical tree that grows out of Adam’s body. In my Psychology and Alchemy I have reproduced, from a manuscript in Florence, a picture of Adam showing the membrum υirile as a tree.29 Thus the tree has a bisexual character, as is also suggested by the fact that in Latin the names of trees have masculine endings and the feminine gender.30

But Lilith was not there to trick Eve. As Goddess of sex, fertility, women’s cycles, the moon, and blood mysteries, Lilith initiates naïve Eve into her own shakti—the liquid red power to heal her body, awaken her intuition, and create life itself. Lilith knows that our bleeding days unleash our physical, emotional, energetic, and spiritual powers. We see and feel things more purely and potently. Lilith defines PMS as the blessed time you become a powerful, magical Sorceress. Lilith is the Wild Woman within every woman who would rather become notorious than be refrained from bathing in the sea, howling at the moon, dancing in the forest, and making love to life itself. She wants Eve and every woman to know her worth and own her power, no matter how hard they try to keep you from it. She wants you to be the authority in your life without having to seek permission from anyone or anything outside of yourself to be or do what your heart calls you to.

For if a pregnant woman has dominion over life, why should she not also have dominion over not-life? This is a concept understood by other cultures. The Hindu goddess Kali is both Mother of the Whole Universe and Devourer of All Things. She is life and death. In Sumeria, Inanna is the goddess of sex and fertility, but she also turns into Ereshkigal, goddess of the underworld. On a very elemental level, if women are, by biology, commanded to host, shelter, nurture, and protect life, why should they not be empowered to end life, too?

It's not the Virgin Mary," Emily said, "though it is a virgin mother. It's actually Bona Dea, the Roman goddess of fertility, healing, virginity — and of women in general. Her foot on the snake indicates her power over the phallus. She, in turn, was modeled after Isis holding Horus with the serpent of wisdom at her feet. Later Augustus allowed this antique goddess to be identified with the cult of his mother Maia, who was said to have lain with a serpent in the temple to be impregnated with the son of Apollo — and bore Augustus Caesar." She explained that the image of Bona Dea was found on many early Republican coins.

You know, Silas shouldn’t have something so indecent like this lying about,” Ann said. “One of the children might see it.” She brightened. “I know! We should put some clothes on it! That would make it all right, don’t you think?” “Oh, by all means. Do clothe the woman,” Louisa said, laughter bubbling up from the back of her throat. Ann flitted around the room looking for something appropriate. “Ah, this’ll be fine,” she said, her back to Louisa. She fooled with the thing a bit, then turned and held it up for Louisa’s approval. It took Louisa a second to recognize what Ann had chosen to clothe the poor beleaguered fertility goddess in, but as soon as she did, she burst into laughter. Silas’s drawers. Ann had clothed the carving in Silas’s dirty drawers. After that, Louisa couldn’t stop laughing. Ann had tied the legs around the carving’s neck so that the back side of the unlaced drawers covered her front. It was truly a site to behold. And when Ann looked at her in all innocence, obviously unaware that the lady’s clothing was as indecent as the lady herself, Louisa laughed so hard her sides hurt. “Louisa, are you alright?” Ann asked as she went to her friend’s side. “I swear, you’re behaving strange today. Really strange.” Louisa couldn’t even speak. All she could do was laugh and point at the carving. “This?” Ann asked as she held the carving up. “What’s wrong? Don’t you like her fine woolen dress?” Louisa erupted in more peals of laughter. Unfortunately, it was just at that moment, when Louisa was laughing herself to death and Ann was waving the carving about in the air, that Silas chose to make his untimely entrance. “What are you females going in here?” his raspy male voice roared from the doorway, making them both jump. Ann dropped the carving at once, watching as it rolled across the wooden floor, losing its exotic gown in the process. Louisa managed to rein in her laughter, though a few chuckles still bubbled out of her. “We wasn’t doin’ nothin’, truly,” Ann began to babble. “Louisa said . . . I mean . . . we thought . . .” “It’s all right, Ann.” Louisa faced Silas, laughter still in her eyes. But when she saw his livid expression and reddened face, she sobered at once. “I’m sure Silas knows better than to blame you.” “We was just tryin’ to help.” Bending to pick up the carving, Ann held it out to Silas. “Honestly, Mr. Dumm—” Silas made a choking sound as he saw what Ann held in her hands. “Get out.” Snatching the carving from her, he tossed it across the room. “I said get out of here! Now!

When you were the god of spring, helping the Earth come alive every year came with the god description. Her mother, Demeter, may have handled some of the harvests and the soil's fertility, but making the world bloom fell to Persephone. Every spring equinox she'd wander into the orchards and the meadows and put her personal touch on all that came alive. She made the yellow grass turn green with envy. She coaxed every poppy and asphodel bud to awaken from their slumber and shower the landscape in color. She made sure the olive groves flourished, and the figs ripened with honey-like nectar so that the smell of them baking wafted up to Mount Olympus.

In the Palacolithic period, for example, when agriculture was developing, the cult the Mother Goddess expressed a sense that the fertility which was transforming human life was actually sacred.Artists carved those statues depicting her as a naked pregnant woman which archaeologists have found all over Europe, the Middle East and India.The Great Mother remained imaginatively important for centuries.Like the old Sky God, she was absorbed into later pantheons and took her place alongside the older deities.She was usually of powerful of the gods, certainly more powerful than the Sky God, who remained a rather shadowy figure.She was called Inana in ancient Sumeria, Ishtar in Babylon, Anat in Canaan, Isis in Egypt and Aphrodite in Greece, and remarkably similar stories were devised in all these cultures to express her role in the spiritual lives of the people.These myths were not intended to be taken literally but were metaphorical attempts to describe a reality that was too complex and elusive to express in any other way.These dramatic and evocative stories of gods and goddesses helped people to articulate their sense of powerful but forces that surrounded them.

She is also the power behind spiritual awakening, the inner force that unleashes spiritual power within the human body in the form of kundalini. And she is a guardian: beautiful, queenly, and fierce. Paintings of Durga show her with flowing hair, a red sari, bangles, necklaces, a crown—and eight arms bristling with weapons. Durga carries a spear, a mace, a discus, a bow, and a sword—as well as a conch (representing creative sound), a lotus (symbolizing fertility), and a rosary (symbolizing prayer). In one version of her origin, she appears as a divine female warrior, brought into manifestation by the male gods to save them from the buffalo demon, Mahisha. The assembled gods, furious and powerless over a demon who couldn’t be conquered, sent forth their anger as a mass of light and power. Their combined strength coalesced into the form of a radiantly beautiful woman who filled every direction with her light. Her face was formed by Shiva; her hair came from Yama, the god of death; her arms were given by Vishnu. Shiva gave her his trident, Vishnu his discus, Vayu—the wind god—offered his bow and arrow. The mountain god, Himalaya, gave her the lion for her mount. Durga set forth to battle the demon for the sake of the world, armed and protected by all the powers of the divine masculine.1 As a world protector, Durga’s fierceness arises out of her uniquely potent compassion. She is the deity to call on when you’re

April. It teaches us everything. The coldest and nastiest days of the year can happen in April. It won’t matter. It’s April. The English word for the month comes from the Roman Aprilis, the Latin aperire: to open, to uncover, to make accessible, or to remove whatever stops something from being accessible. It maybe also partly comes from the name of Aphrodite, Greek goddess of love, whose happy fickleness with various gods mirrors the month’s own showery-sunny fickleness. Month of sacrifice and month of playfulness. Month of restoration, of fertility-festivity. Month when the earth and the buds are already open, the creatures asleep for the winter have woken and are already breeding, the birds have already built their nests, birds that this time last year didn’t exist, busy bringing to life the birds that’ll replace them this time next year. Spring-cuckoo month, grass-month. In Gaelic its name means the month that fools mistake for May. April Fool’s Day also probably marks what was the old end of the new year celebrations. Winter has Epiphany. Spring’s gifts are different. Month of dead deities coming back to life. In the French revolutionary calendar, along with the last days of March, it becomes Germinal, the month of return to the source, to the seed, to the germ of things, which is maybe why Zola gave the novel he wrote about hopeless hope this revolutionary title. April the anarchic, the final month, of spring the great connective.

Few things once seemed to me more frigid and far-fetched than those interpretations […] of the Song of Songs, which identify the Bridegroom with Christ and the bride with the Church. Indeed, as we read the frank erotic poetry of the latter and contrast it with the edifying headlines in our Bibles, it is easy to be moved to a smile, even a cynically knowing smile, as if the pious interpreters were feigning an absurd innocence. […] First, the language of nearly all great mystics, not even in a common tradition, some of them Pagan, some Islamic, most Christian, confronts us with evidence that the image of marriage, of sexual union, is not only profoundly natural but almost inevitable as a means of expressing the desired union between God and man. The very word ‘union’ has already entailed some such idea. Secondly, the god as bridegroom, his ‘holy marriage’ with the goddess, is a recurrent theme and a recurrent ritual in many forms of Paganism […] And if, as I believe, Christ, in transcending and thus abrogating, also fulfils, both Paganism and Judaism, then we may expect that He fulfils this side of it too. This, as well as all else, is to be ‘summed up’ in Him. Thirdly, the idea appears, in a slightly different form, within Judaism. For the mystics God is the Bridegroom of the individual soul. For the Pagans, the god is the bridegroom of the mother-goddess, the earth, but his union with her also makes fertile the whole tribe and its livestock, so that in a sense he is their bridegroom too. The Judaic conception is in some ways closer to the Pagan than to that of the mystics, for in it the Bride of God is the whole nation, Israel. This is worked out in one of the most moving and graphic chapters of the whole Old Testament (Ezek. 16). Finally, this is transferred in the Apocalypse from the old Israel to the new, and the Bride becomes the Church, ‘the whole blessed company of faithful people’. It is this which has, like the unworthy bride in Ezekiel, been rescued, washed, clothed, and married by God—a marriage like King Cophetua’s.

Even as the feminine principle was venerated for its fertile, life-giving properties, there are also many examples of Goddesses who embodied the entire life process: birth, life, death, and regeneration. This is important because it can be tempting to romanticise the Goddess as a sort of angelic Fairy Godmother or abundant Good Mother. The feminine principle is more complex and more powerful than that. There are many stories from mythology that tell of the different faces of the Goddess. One such myth tells of the ancient Sumerian goddess who “outweighed, overshadowed, and outlasted them all . . .Inanna, Queen of Heaven.”[xxvi] This story originated in ancient Mesopotamia, five or six thousand years ago. In the myth, Inanna, who rules as queen over the upper world (birth and life), decides to visit Ereshkigal, queen of the Underworld (death and transformation). As Inanna descends into her sister’s realm, she is stripped of all the symbols of her upper world sovereignty, so that she comes before Ereshkigal naked and bowed low. Her enforced stay in the Underworld and the return after three days predates the Christian story by thousands of years. It is one of the first stories of ritual descent from the realm of life to the realm of death and the return to life after a time of incubation in the Underworld. This is also the theme of most ancient initiation rituals like the Orphic mysteries, the Eleusinian mysteries, and of much of the Egyptian sacred teachings. At the time when the story of Inanna’s journey first appeared, the increasingly male dominated Sumerian culture was separating from earlier matrilineal forms. Before the descent myth, another story tells how Inanna, in order to rule, had to take power from the God, Enki, assuming his symbols of sovereignty as her own. Ereshkigal, queen of the Underworld, represents the archaic feminine, the dark mysteries of the older religion which had been sent underground. The descent story can, therefore, be understood as Inanna balancing her heroic victories in the upper (masculine) world by reconnecting with the rhythms and cycles of the under (feminine) world. Based on clinical experience, one analyst called this a “pattern of a woman’s passage from cultural adaptation to an encounter with her essential nature”.

In Classical mythology, righteous wrath was the province of old women. Three very specific old women, in fact: the Furies (or the Erinyes, in Greek). Fragments of myth featuring the Furies are found in the earliest records of ancient Greek culture. These sisters were much more ancient than any of the Olympian deities, indicating the persistence of an older, female-dominated tradition which endured here and there even when later, more patriarchal, mythologies set in. The role of the Furies was to preside over complaints brought to them by humans about behavior that was thought to be intolerable: from lesser misdemeanors such as the insolence of the young to the aged, of children to parents, of hosts to guests — to crimes that were very much worse. It was their role to punish such crimes by relentlessly hounding their perpetrators. The Greek poet Hesiod names the three sisters as Alecto — “unceasing in anger,” the punisher of moral crimes; Megaera — “jealous one,” the punisher of infidelity, oath-breaking, and theft; and Tisiphone — “avenger of murder.” They were, he said, the daughters of Gaea (the goddess who personified the Earth), who conceived them from the blood of her spouse, Uranus, after he had been castrated by his son, Cronos. They lived in the Underworld, and like other chthonic deities, like seeds that lie buried beneath the Earth, they were also identified with its fertility. The wrath of the Furies manifested itself in a number of ways: a tormenting madness would be inflicted on the perpetrator of a patricide or matricide; murderers usually suffered a dire disease, and nations which harbored such criminals could be stricken with famine and plague. The Furies could only be placated with ritual purification, and the completion of a task specifically assigned by them for atonement. It’s important to understand that although the Furies were feared, they were also respected and perceived to be necessary: they represented justice, and were seen to be defenders of moral and legal order. The Furies were portrayed as the foul-smelling, decidedly haggish possessors of bat-like wings, with black snakes adorning their hair, arms, and waists, and blood dripping from their eyes. And they carried brass-studded scourges in their hands. In my menopausal years, I certainly had days when I could have gone with that look. I’m happy to admit that the existence of seriously not-to-be-messed-with elder women like the Furies in our oldest European mythology gives me great pleasure. And it’s difficult not to see them as the perfect menopausal role models, because sudden upwellings of (mostly righteous) anger are a feature of many women’s experience of menopause

Land and Sea The brilliant colors are the first thing that strike a visitor to the Greek Isles. From the stunning azure waters and blindingly white houses to the deep green-black of cypresses and the sky-blue domes of a thousand churches, saturated hues dominate the landscape. A strong, constant sun brings out all of nature’s colors with great intensity. Basking in sunshine, the Greek Isles enjoy a year-round temperate climate. Lemons grow to the size of grapefruits and grapes hang in heavy clusters from the vines of arbors that shade tables outside the tavernas. The silver leaves of olive trees shiver in the least sea breezes. The Greek Isles boast some of the most spectacular and diverse geography on Earth. From natural hot springs to arcs of soft-sand beaches and secret valleys, the scenery is characterized by dramatic beauty. Volcanic formations send craggy cliffsides plummeting to the sea, cause lone rock formations to emerge from blue waters, and carve beaches of black pebbles. In the Valley of the Butterflies on Rhodes, thousands of radiant winged creatures blanket the sky in summer. Crete’s Samaria Gorge is the longest in Europe, a magnificent natural wonder rife with local flora and fauna. Corfu bursts with lush greenery and wildflowers, nurtured by heavy rainfall and a sultry sun. The mountain ranges, gorges, and riverbeds on Andros recall the mainland more than the islands. Both golden beaches and rocky countrysides make Mykonos distinctive. Around Mount Olympus, in central Cyprus, timeless villages emerge from the morning mist of craggy peaks and scrub vegetation. On Evia and Ikaria, natural hot springs draw those seeking the therapeutic power of healing waters. Caves abound in the Greek Isles; there are some three thousand on Crete alone. The Minoans gathered to worship their gods in the shallow caves that pepper the remotest hilltops and mountain ranges. A cave near the town of Amnissos, a shrine to Eileithyia, goddess of childbirth, once revealed a treasure trove of small idols dedicated to her. Some caves were later transformed into monasteries. On the islands of Halki and Cyprus, wall paintings on the interiors of such natural monasteries survive from the Middle Ages. Above ground, trees and other flora abound on the islands in a stunning variety. ON Crete, a veritable forest of palm trees shades the beaches at Vai and Preveli, while the high, desolate plateaus of the interior gleam in the sunlight. Forest meets sea on the island of Poros, and on Thasos, many species of pine coexist. Cedars, cypress, oak, and chestnut trees blanket the mountainous interiors of Crete, Cyprus, and other large islands. Rhodes overflows with wildflowers during the summer months. Even a single island can be home to disparate natural wonders. Amorgos’ steep, rocky coastline gives way to tranquil bays. The scenery of Crete--the largest of the Greek Isles--ranges from majestic mountains and barren plateaus to expansive coves, fertile valleys, and wooded thickets.

The rite of marriage derives from the part played by the king in the old fertility ritual. The union of the Earth Goddess with the god-king becomes the prototype of marriage, and only with the institution of this symbolic ritual did the act of sexual union, endlessly repeated for millions of years, begin to be understood consciously.

Vishnu is the god who sustains and maintains what Brahma creates and what Shiva seeks to destroy. He is also pure consciousness. His name means “pervader.” Vishnu pervades and enlivens all things. For devotees of Vishnu, Vishnu’s blue color indicates that he is as pervasive and intangible as the sky, while his consort Laxmi’s red sari represents earth’s all-containing fertility. He is the protector; she is the provider:

this interpretation of certain Mesopotamian cultic functionaries has been vigorously criticized as a scholarly construct, overly reliant on nineteenth-century assumptions about "fertility cult" in the ancient Near East. While the vast textual evidence from cuneiform tablets reveals a bewilderingly large variety of female cultic personnel, some of whom are regularly mentioned alongside prostitutes or in contexts that hint of sexuality, they offer no clear-cut example of a "cultic prostitute," and it is likely that this conceptual category simply does not correspond to the more nuanced and complex roles of Mesopotamian women in relation to their goddesses.20

After four hundred years in the land of Canaan, the giant descendants of the Nephilim, the Seed of the Serpent, had spread out upon that land. The Jordan River ran north and south, splitting the country in half. The Anakim dominated the Cisjordan, which included the desert hills and valleys east of the Jordan River. The Rephaim controlled the Transjordan, which included the fertile hills and valleys west of that same river. They were both called by the generic term Amorite, and they worshipped the pantheon of Canaanite gods led by Ba’al the most high, Ashtart, goddess of sex and war, Molech of the underworld, and other patron deities of the region.   The land of Canaan was filled with abomination. The iniquity of the Amorites was complete.

Barbie is a space-age fertility symbol: a narrow-hipped mother goddess for the epoch of cesarean sections. She is both relentlessly of her time and timeless. To such overripe totems as the Venus of Willendorf, the Venus of Lespugue, and the Venus of Dolni, we must add the Venus of Hawthorne, California.

The archangels were well acquainted with the Mother Earth Goddess and her protective parasites. Her evil was ancient. Before the Flood, she had resided in the land now called Arabia. It had been a vast fertile continent in antediluvian days. But Gaia sucked the soul out of the environment and turned it into a lifeless desert. She had the ability to manifest herself between heaven and earth, unseen by mortal eyes from a distance behind a veil of illusion. The area around her was like being in a world between worlds. It was there, but not there. Before the Flood, Enoch and his band of giant killers had encountered her within a Shaitan, a supernatural sandstorm. After the Flood, the great King Gilgamesh and his companion Enkidu had cut down the great tree with their mighty axes. But Gaia’s seed always finds new earth and she had planted herself in these foothills of the sacred mountain of Baal-Hermon. Protected in the shadow of the assembly of gods, by the cult of Pan and the idol worship of the tribe of Dan nearby, Gaia flourished.

Judging from the frequent occurrence of these female figurines, not matched anywhere by images of male gods, the worship of the goddess must have been extremely popular in all segments of Hebrew society. One of the reasons for her popularity may have been the belief that she promoted fertility in women and facilitated childbirth.

I am a monster, but I was not born this way. In fact I was born twice, once from my mother’s womb twenty-one years ago, and once again from the womb of Koko Head Crater. To my people, the crater is the gigantic vagina of Kapo, the Hawaiian goddess of fertility and dark powers.

L'AMUSE-BOUCHE Chocolate Parmesan Tapioca with a Pan-Seared Scallop L'ENTREE Salad with Chèvre Chaud, Honey, and Mint Dressing OU Roasted Butternut Squash and Cacao Soup OU Oysters with a Mignonette Sauce LE PLAT PRINCIPAL Armagnac-and-Chocolate-Infused Daube de Bœuf à la Gascogne OU Sweet Potato Curry with Mussels OU Chocolate Pasta with a Gorgonzola Cheese Sauce LA SALADE ET LE FROMAGE Moules à la Plancha with Chorizo served over a bed of Arugula Selection of the Château's Cheeses LE DESSERT Mousse au Chocolat spiced with Pimento Chili Peppers and Chocolate Flakes, garnished with Mint I spun around on one heel, excited to get prepping. Unbeknownst to me, the rest of the kitchen staff had arrived, their jaws agape as they stared at the menu. As usual, Phillipa was the first to speak up. "That menu looks wicked incredible." "I don't know about adding hot peppers to the mousse au chocolat," said Jane, and the granny brigade nodded in agreement. I was so sick of her know-it-all attitude. I knew a thing or two and I was going to stand by my decision. "The combination has Aztec roots. To honor the fertility goddess they drank xocolāt, a chocolate concoction spiced with chili pepper and vanilla. It's delicious and unexpected." Jane rolled her eyes. "You're the chef." "I am," I said, wanting to challenge her. "And this is the menu.

as his divine protector the goddess Inanna, symbol of love, sensuality, fertility, and war.

Before the coming of Christianity, the Norse had worshipped a pantheon of gods, headed by Thor, the powerful deity who ruled the sky and controlled thunder, wind, rain, and the harvest. Other important deities were Freya, the powerful goddess of fertility, and Odin, the god of war.

Consistency between Dionysos-type godforms is also demonstrated in five minor attributes, which fluctuate in degree depending upon the particular norms, standards, and values of a given culture. These attributes are: 1. Unsurpassed viciousness toward those who would harm the followers of the god. When this aspect of Dionysian godforms is aroused, they are what has been termed “Hunters of Men.” 2. These Deities are lawgivers who, very often, figure in literal or symbolic acts of human sacrifice, whether this sacrifice occurs because of the breaking of laws, as part of worship, or for the granting of special favors to a community at large. Paradoxically, these same godforms ultimately do away with all requirements for human sacrifice. 3. Such archetypes are portals between upper, lower, and middle worlds: Bridges between the realms of life and death, they are gatekeepers, or the companions of gatekeepers, and masters of altered states of being. 4. Godforms of this type are often portrayed as adherents or defenders of the divine feminine, and can often be found in the company of female worshippers, goddesses, or their own mates, without whom they are incomplete, and upon whom they rely in order to fulfill their multiple roles of Divine Child, Bridegroom, Father, Savior, and Reborn One. Sensuality, too, is a Dionysian trademark: This is usually a paradoxical sensuality, at once childlike and ravaging, remarkably androgynous yet undeniably masculine in its expression. 5. Bewitching is an acceptable description of Dionysos-syncretistic Deities; many are unsurpassed in the powers of discrimination, response, wisdom, healing, fertility, prophecy, and magic in general. When Dionysos was invoked or worshipped by the ancient Greeks for his command of the powers listed above, he was considered agathos daemon, or “the good demon”: Demons, to the pagan Hellenes, were not necessarily wholly evil forces of the kind espoused by the Christian faith. They were seen as demigods capable of bringing either wealth and happiness or pain and suffering to mankind, of appearing in any sort of theriomorphic form — including no form at all — and of interceding between the supreme godhead and mankind.

It was in Shinar that Nimrod and his wife, Semiramis, developed Mystery Babylon, the false religion which has infected the Earth ever since. “After Nimrod’s death, Semiramis was impregnated by one of her priests, but she claimed that she had been divinely seeded by Nimrod himself. The child who was born, Tammuz, was worshiped as Nimrod reincarnated. Nimrod was the original false god who came to be known as the sun god Baal. His wife came to be known as the goddess of fertility and sexuality, Ashtoreth. Tammuz came to be associated with the cycle of death and rebirth. The three of them are represented by various names in every pagan culture on earth.

It is important to note in this respect that Venus, or in her Greek form, Aphrodite, is not a fertility goddess at all, such as are Ceres and Persephone; she is the goddess of love. Now in the Greek concept of life, Love embraced much more than the relationship between the sexes, it included the comradeship of fighting men and the relationship of teacher and pupil. The Greek hetaira, or woman whose profession is love, was something very different to our modern prostitute...In the temples of Aphrodite the art of love was sedulously cultivated, and the priestesses were trained from childhood in its skill. But this art was not simply that of provoking passion, but of adequately satisfying it on all levels of consciousness; not simply by the gratification of the physical sensations of the body, but by the subtle etheric exchange of magnetism and intellectual and spiritual polarisation. This lifted the cult of Aphrodite out of the sphere of simple sensuality, and explains why the priestesses of the cult commanded respect and were by no means looked upon as common prostitutes, although they received all comers. They were engaged in ministering to certain of the subtler needs of the human soul by means of their skilled arts. We have brought to a higher pitch of development than was ever known to the Greeks the art of stimulating desire with film and revue and syncopation, but we have no knowledge of the far more important art of meeting the needs of the human soul for etheric and mental interchange of magnetism, and it is for this reason that our sex life, both physiologically and socially, is so unstable and unsatisfactory. We cannot understand sex aright unless we realise that it is one aspect of what the esotericist calls polarity, and that this is a principle that runs through the whole of creation, and is, in fact, the basis of manifestation.

A perfection of the goddess Astarte, for no man could look at her provocative form without seeing in her the sublime representation of fertility. She was a girl whose purpose was to be loved, to be taken away and made fertile so that she could reproduce her grandeur and bless the earth. As ancient civilizations such as Urbaal's were destroyed, their clay images buried under ruins for eons, so were the gods and goddesses who protected and insured their growth. No longer did the sacred prostitute, the human woman who embodied the goddess, dance in the temple to excite the communication of body and soul. The temple of the goddess of love, no longer vital, went underground. Who was "the sacred prostitute"? And what happened to the developing consciousness of humankind when people no longer venerated the goddess of love, passion and sex?

This Venus is also an abstraction. It is clearly a human body, but a heavily distorted one, with features that are well beyond realism. The breasts are colossal, and the head is tiny. She has a huge waist, and engorged labia. These enhanced sexual characteristics are also seen in some of the other Palaeolithic Venus figurines, which has led to speculation that these were fertility charms, or even goddesses of fertility. Some people have suggested that they might be pornography. While there is no shortage of art by men depicting sexualised women, we cannot know the motivation of the Venus sculptor. The similarities between the few Venus figurines that remain do suggest a sexual dimension to their existence, and imagining that they are fertility amulets is no more or less speculative than considering that they are the fantasy of a Palaeolithic artist. We’re not sure why the heads are often small: it might be to do with perspective, that you can’t actually see your own head, so relatively from one’s own vision it is small, and looking down, breasts may look disproportionally larger; though that doesn’t account for the fact that the artist could’ve seen the heads and bodies of other people. Maybe it was an artistic choice. If in one million years’ time, you discovered a Francis Bacon portrait or the Bayeux tapestry isolated out of any context, you might have questions about what was on the minds of those artists. We will never know what the Palaeolithic sculptors were thinking. What we do know is that their minds were not different to our own.

Should I also be glad of our unwanted guest?" "Unwanted?" Her eyes widened as her voice rose. "She's the goddess of love, fertility, beauty, and desire. Who could be more perfect for a wedding? Although..." She tapped her lush lips, considering. "She does have a bad side, but you can't blame her. Who wouldn't have issues if you'd been born from the sea foam created from Uranus's blood after his youngest son, Cronus, castrated him and threw his genitals into the sea?" The woman in pink choked on her food. The man with the goatee barked a laugh. Jay crossed his legs, although his family jewels weren't under threat. "She also had many adulterous affairs," Zara continued to her now rapt audience of singles. "Most notable with Ares. So maybe cutting off her head is a good thing." She lifted a forkful of biryani. "Did you know her name gave us the word aphrodisiac? Or that her Latin name, Venus, gave us the word venereal for venereal dis----" Jay cut her off with a raised hand. "Not something I really wanted to think about over a meal.

In 1908 a French archaeologist declared that a Great Goddess concerned with death and fertility had been worshipped by all the Neolithic peoples of Europe and the Near East, and that her cult had been focused above all on images of her eyes and breasts. This enabled him to use any figure or symbol on a Neolithic site which could be interpreted as representing an eye or a breast as proof of that cult.

The Germans who remained Pagan – the Franks, Angles, Saxons and Jutes – worshipped Wotan (or Wodin) as their chief god, together with other deities such as Thor (god of thunder), Tiwaz (god of war), Freya (goddess of fertility), and Saeter (a water-god). We derive the names of most our days from these Germanic gods: Tuesday (Tiwaz’s day), Wednesday (Wodin’s day), Thursday (Thor’s day), Friday (Freya’s day), Saturday (Saeter’s day).

leading theory about the origin of the gods argues that gods gained importance because they offered a solution to this problem. Gods such as the fertility goddess, the sky god and the god of medicine took centre stage when plants and animals lost their ability to speak, and the gods’ main role was to mediate between humans and the mute plants and animals. Much of ancient mythology is in fact a legal contract in which humans promise everlasting devotion to the gods in exchange for mastery over plants and animals – the first chapters of the book of Genesis are a prime example. For thousands of years after the Agricultural Revolution, religious liturgy consisted mainly of humans sacrificing lambs, wine and cakes to divine powers, who in exchange promised abundant harvests and fecund flocks.

That deliverance entailed not just leaving behind the land of Egypt, but leaving behind the ways of Egypt. Each of the ten plagues was more than just a dramatic sign to Pharaoh that he must release the Hebrews. Each was a symbolic defeat of an Egyptian deity. Osiris, whose bloodstream was believed to be the Nile, bleeds out before his worshipers when Yahweh turns the Nile to blood. In reverence to Heqet, the frog-goddess of birth, Egyptians regarded frogs as sacred and not to be killed. Yahweh slays them by the thousands. Egyptian gods governing fertility, crops, livestock, and health are all shown to be impotent before the mighty outstretched arm of Israel’s God. In the ninth plague of darkness, Yahweh demonstrates his rule over the sun god Ra, whom Pharaoh was believed to embody. And in the final plague, the death of the firstborn, God shows himself supreme over the entire Egyptian pantheon by demonstrating his power over life and death.

As goddess of life, Inanna was also goddess of life, fertility and sexuality. That is, she had charge over whether or not those qualities existed in a given society… Therefore, neither love nor procreation can take place where Inanna is not worshipped.

Two goddesses, Salacia and Venilia, were joined to Neptune in this festival; unfortunately, nothing much is known of either goddess. Salacia was most often connected with salum (salt) and the sea, while Venilia was thought of as a nymph or identified as Venus.130 Fresh water is, of course, indispensable for crops. Venus and the sacrifice of bulls, the premier animal to embody fertility, have an agricultural context. Even Salacia points in that direction, for if we follow Varro,131 we see the etymology of her name based in salax (eager for sexual intercourse). As long as we think of Neptune solely as the god of the (salt) sea, a problem remains. The Romans were a land-based people who came to seafaring late,132 and it could be that Neptune was originally a god of (fresh) water sources.

The triad of Matres/Matronae, who generated and guaranteed well-being, abundance, and fertility, eventually changed into “Three Maries.”31 These Celtic pagan goddesses, made visible when Romanized folk remembered their local ancestral deities in dedicatory inscriptions, continued to exist in a new religious context, that of Christianity.

observed and interpreted since ancient Babylon. In Babylon, the Virgo constellation was personified in the goddess Shala, the goddess of harvest and fertility, aspects of life which were of utmost importance to the Babylonians.

It seems that to our ancestors, fate was closely associated with birth (specifically, being assigned at birth). Consequently, deities visiting children at birth were seen as merging fate with fertility. We see this tendency with the Rozhanitsas, as well as the Disir. On the other hand, death (Mora / Mara in many IE languages) was likely also associated with fate, and it was the flip side of fertility. This cycle also applied to the seasons, with the hag being destroyed each year to give rise to a younger Goddess. The renewal or destruction of an old “hag” obviously lends itself to a seasonal interpretation.

The Mordvinic material on this Goddess speaks for itself and requires very little analysis that hasn’t been done already. Ange Patyai completes and reinforces this chapter’s topics perfectly. The Slavic Mokosh / Paraskevi can be inferred to be a close relative of the Mordvin Ange Patyai, and perhaps more distantly to Frau Holle and the Cailleach. She was a Goddess of fertility, birth, and of the guardian spirits assigned at birth (which could share many qualities with her). She had a major winter festival in November or December, but was probably celebrated prominently during the warm half of the year as well - thus casting doubt on any simplistic generalizations about her seasonal nature.

Reyna who hates me. Reyna who challenges me. Reyna who has the guts of a Viking and the body of a fertility goddess and the attitude of a feral cat.

Festus (p. 60) connected Bona Dea Fauna with the Greek Damia, a fertility goddess. At Tarentum there was a festival in honor of Damia, the Dameia. The Romans captured Tarentum in 272 BCE; hence, the temple of Bona Dea connected with Damia would have been constructed and consecrated after this annexation.

Although fire was the goddess’ element, which symbolized home and nourishment and guaranteed human survival, the steady, dependable, and efficient donkey involved in the milling of wheat represented fertile potency, a potency very much in the symbolic purview of the deity.

Meenakshi, then as now, is the city’s great fertility goddess, and the focus of her cult lies in her union with Sundareshvara. Every night in the temple the images of Meenakshi and Sundareshvara are brought together in the latter’s bedchamber. The last act of the priests before they close the doors is to remove Meenakshi’s nose-jewel, lest the rubbing of it irritate her husband when they make love – an act, so the priests will tell you, that ensures the preservation and regeneration of the universe.

Whoever had painted this had talent, capturing the somber expressions of Ione, Rhahar, and then Rhain, the God of Common Men and Endings often depicted in Atlantia. The red hair of Aios, the Goddess of Love, Fertility, and Beauty, was as vibrant as fire, not having faded in the years since the ceiling was painted. Penellaphe, the Goddess of Wisdom, Loyalty, and Duty, appeared peaceful and serene, while Bele, the Goddess of the Hunt, looked as I imagined she would if awake: like she was about to whack someone across the head with her bow. Even the different shades of skin, from the rich-brown-hued Theon, the God of Accord and War, and his twin, Lailah, the Goddess of Peace and Vengeance, to the deeper, cooler black skin of Saion, the God of Sky and Soil, were rendered with exquisite detail.

The womb is where babies are created, and grown, and from where they are birthed. It is the home of our creativity, the wellspring of our vital feminine energies. The womb is the matrix from which our life force rises and to which it returns. It is the hub of our energetic and physical bodies. The womb is also where we experience death. Our moon blood, our menstruation, is a sign that an ovum (...) has died without being fertilized by the sperm (...); it passes out of our bodies with the now unneeded uterine lining that the womb created for the possibility of growing a baby. Without fertilization, this living-nourishing matrix dies and leaves our bodies in our monthly flow (which by the way is one of the most concentrated forms of śakti in our bodies).

Today, we give thanks to the cycle of rebirth For the grains, corn, and fruit that we pluck from the earth To those who carry with them the seed of new life That we reap during harvest with the basket and scythe We give thanks for the blessings upon fertile ground That keeps us fed and hale all the year-’round Everything that is and all that has been Carried forth by faithful servants within A blessing unto nature and the goddess of three Ever sacred is your will that is worked through me.

Reyna who has the guts of a Viking and the body of a fertility goddess and the attitude of a feral cat.

The Vanir are widely viewed as deities of fertility and beings who are more strongly connected to the natural world. Njorð is a deity with sway over the harbour, Freyr over crops and weather, and Freya may represent a principle of propagation or reproduction. As Simek describes it the Vanir are gods associated with good weather, sunshine, rain, helpful winds, successful harvest, and favourable seas, all purviews that pertain to fertility and would be appealing to followers who relied on these things to survive.

The main theme of Goddess symbolism is the mystery of birth and death and the renewal of life, not only human but all life on earth and indeed in the whole cosmos. Symbols and images cluster around the parthenogenetic (self-generating) Goddess and her basic functions as Giver of Life, Wielder of Death, and, not less importantly, as Regeneratrix, and around the Earth Mother, the Fertility Goddess young and old, rising and dying with plant life. She was the single source of all life who took her energy from the springs and wells, from the sun, moon and moist earth. This symbolic system represents cyclical, not linear, mythical time. In art this is manifested by the signs of dynamic motion: whirling and twisting spirals, winding and coiling snakes, circles, crescents, horns, sprouting seeds and shoots.

I’m just glad you planned to have your honeymoon away from the castle,” he replied as he smirked knowingly. “Gods know when you two go at it, the entire power grid and magical field around the castle is high voltage.” “You can feel it?” I gasped. “What did you expect, Flower? You’re a Goddess of Faery; your mother is a fertility Goddess. When you two fuck, even the flowers feel it. Last night, they bloomed. You know, the ones that only open once a year were awakened by the power you two gave off.

Could it not be that Moses and/or the Levites just came to it on their own?! Scholars have a tendency to take any parallel between ancient Israel's culture and assume that Israel took it from the others. Why? I see no good reason at all. Did Moses get this religion from the Midianites? All right then, where did the Midianites get it? Did Moses get if from Akhenaten? All right then, where did Akhenaten get it? If Ahkenaten thought of it on his own, why could an Israelite not have done it on his (or her) own as well? Is it a far-out thought that sometimes more than one person thinks of an idea--without influencing each other, without knowing each other? And we have another crucial consideration. The difference between Israel's monotheism and whatever preceded it is more than arithmetic. It is not just one god versus many. Biblical religion involves a different conception of what this one God is. In pagan religion, the gods and goddesses were identified with forces in nature: the sun, the sky, the sea, death, fertility, the storm wind. Even in Akhenaten's religion, whether it was fully monotheistic or not, Aten was identified closely with the sun. In Israelite religion, no force in nature can tell you more about God than any other.

Vishnu maintains the worlds and upholds the dharma, or universal law, but he is also the deity of statecraft, rulership, and politics. That means he is a master of expediency. One of his gifts is the discernment to know when a righteous end justifies unusual means. His Shakti consort is Lakshmi, goddess of abundance, fertility, and wealth. She is the power of attraction that holds life together. Powered by Lakshmi’s Shakti, Vishnu represents both the love that upholds the worlds and the social mores that resonate with divine law. He is a deity of the enlightened public sphere, embodying classical virtues like detachment, generosity, and forbearance as well as the powers of governance, royal authority, and strategy.

Some distance away on that same mobile metal canvas, a second Venus’s meaty thighs gape, and beneath two doughy breasts whose nipples erupt whiskered rays as busily as volcanoes, a monumental slit presents itself, framed by painstakingly multitudinous strokes of pubic hair. The artist has even attempted to render some labial and clitoral detail. Beneath this fertility goddess the same or another hand has jocularly written: RED RIVER VALLEY. (Another name for this place of desire, no matter that it would be topographically inverted, is Cold Mountain.)

I am,” Quirk spoke awkwardly, “reformed. I have stepped away from practicing the magical arts, and now simply study the phenomena in other creature.” Balur hefted his hammer up onto his shoulder. “You are saying that you can be doing magic, but that you choosing not to be doing it?” To describe his tone as dubious would be like describing Cois-hermaphroditic goddess of love, fertility, and loose morality in general-as being a little bit forward with the ladies.

Certainly, we can no longer look upon the canon of Western art - Greco-Roman as revived, extended, and graced by the Renaissance - as -the- tradition in art, or even any longer as distinctly and uniquely -ours-. That canon is in fact only one tradition among many, and indeed in its strict adherence to representational form is rather the exception in the whole gallery of -human- art. Such an extension of the resources of the past, for the modern artist, implies a different and more comprehensive understanding of the term "human" itself: a Sumerian figure of a fertility goddess is as "human" to us as a Greek Aphrodite. When the sensibility of an age can accommodate the alien "inhuman" forms of primitive art side by side with the classic "human" figures of Greece or the Renaissance, it should be obvious that the attitude toward man that we call classical humanism - which is the intellectual expression of the spirit that informs the classical canon of Western art - has also gone by the boards.

When you plunge into your human prey, whether with teeth or cock, you worship your goddess. She doesn’t want your silly celibacy, your barren self-restraint. She is fertility. She is blood. She didn’t build this world with hands and hammer, but birthed it bloody and heaving for her children to rule.

the Hittite solar goddess is notably different in that it was a female (Macqueen 2003, 111). The importance of the Sun-goddess, who was also associated with fertility, continued throughout Hittite history and beyond as she evolved into the goddess known as Cybele during the Greco-Roman period

The biblical Hebrew narrative refers to the northern kingdom as the 'House of Joseph' and more specifically, 'Ephraim'. [Ephraim is often seen as the tribe that embodied the entire Northern Kingdom and the royal house resided in that tribe's territory]; and what was very surprising to me is when I discovered the Aryan signature behind that story. The House of The Sacred Bull was after all the signature of the Hebrew worship and this non-Abrahamic Aryan tradition is portrayed vividly in the biblical Aryan narrative as follows: Ephraim's name is derived from the word 'pr/phr' which means 'bull/house' and he was the one who got blessed and whose seed became a multitude of nations resembling thereby the function of Hathor (the feminine Bull), the goddess of fertility; this certainly cannot be a coincidence. Joseph's other son on the other hand is called according to the Bible, 'Manasseh'. It is as if the name itself was shouting to be given audience and attention since the Hindu goddess of the seven-headed snakes is called 'Manasa'. That's not all yet - the most interesting part of this observation of mine is when I realized that 'Manasa' was cursed using a hapax legomenon word (i.e., a word that occurs only once within a text) which is שכל (sh-k-l), or simply the 'Sickle' tool with which the head of 'Manasa' is to be chopped off in other narratives as I have explained before. As a conclusion, it is indeed remarkable to observe how The Sacred Bull is vividly used in the iconography that marks the Hebrews (i.e., Aryans) while the 'Naga' was modifiable depending on the context in which the Hebrews were located.

Magellan’s sudden identification of millions of land forms fomented a crisis in nomenclature. The International Astronomical Union responded with an all-female naming scheme that evoked a goddess or giantess from every heritage and era, along with heroines real or invented. Thus the Venusian highlands, the counterparts to Earth’s continents, took the names of love goddesses — Aphrodite Terra, Ishtar Terra, Lada Terra, with hundreds of their hills and dales christened for fertility goddesses and sea goddesses. Large craters commemorate notable women (including American astronomer Maria Mitchell, who photographed the 1882 transit of Venus from the Vassar College Observatory), while small craters bear common first names for girls. Venus’s scarps hail seven goddesses of the hearth, small hills the goddesses of the sea, ridges the goddesses of the sky, and so on across low plains named from myth and legend for the likes of Helen and Guinevere, down canyons called after Moon goddesses and huntresses.

Traditionally, Apollo and the nine goddesses known as the Muses make their home on the mountain in Greece called Parnassus. Believed to inspire creativity, they are Calliope (epic poetry), Clio (history), Euterpe (lyric poetry), Thalia (comedy and pastoral poetry), Melpomene (tragedy), Terpsichore (dance), Erato (love poetry), Polyhymnia (sacred poetry), and Urania (astronomy). Exclusively deities of performance, their blessing was solicited before any play or public recitation. (There were no Muses for sculptors, painters, and architects, regarded in Attic Greece as mere workmen, too lowly for divine patronage.) During the eighteenth century, students from the religious schools of the Latin Quarter, panting up this hill at the southern limit of Paris, may have looked back at the city spreading along the banks of the Seine and thought themselves masters of the known world. Through the haze of wine purchased from the locals, this unpromising landfill, formed from the rubble of urban expansion and fertilized by the corpses of the nameless dead, could have felt like their own Parnassus, an illusion they celebrated by reciting or improvising verse. Still then nameless, the hill first appeared on a map, the Lutetia Parisiorum vulgo of Johannes Janssonius, in 1657, which identified the track leading to its summit as the Chemin d’Enfer: the Road to Hell. The district looked doomed to remain a wasteland until, in 1667, Louis XIV chose to build an observatory there. (Charles II of England, envious, immediately commissioned his own for Greenwich.) Sometime during the next fifty years, it became officially Montparnasse, since in 1725 the city annexed it under that name. A road was laid along the ridge. Tunneling below the unstable topsoil, quarrymen mined the fine-grained limestone from which a greater Paris would be built, and where soon the Muses, though far from home, would again be heard.

All the great cat goddesses such as Isis, Bast, Diana and Hecate, with their eternal Moon link, combine woman with Cat. Emphasising this empathy, the mysterious feline has always been construed as woman and vice versa. Since time immemorial, women have been thought to possess an ability as mediums, with a talent for soothsaying and clairvoyance. Second sight, too, is deemed to be a natural female attribute. Cats, silently wise and 'knowing', with eyes reflecting the secrets of time itself, arc said to be 'old souls', and the attraction of woman to Cat could be seen to represent a look back to an ancient part of the human soul. And what woman deep within her Moon-centred self doesn't nurture a fascination with the past — the 'unknown'; ancient, forbidden secrets; and the mystical world of the occult? Perhaps, at some distant point in time, Cat and woman with their beguiling ways and inbuilt urge to procreate underwent a transmigration of souls, each now sharing the ' complex psyche of the other. Both are symbols of fertility; both project innate feminine traits of intuitive sensuality and nurture and cherish their young. The female cat, both domestic and in the wild, is known to be a caring, efficient mother and the old French proverb, Jamais chatte qui a des petits n'a de bans morceaux, (a cat with little ones has never a good mouthful) illustrates the devotion and selflessness of the maternal feline.

Black: fertility, protection against malevolent forces, healing of chronic illnesses • Blue: peace, tranquility, protection, healing of addictions, psychic and emotional pain • Brown: justice, legal issues, healing fatigue and wasting illnesses • Green: growth, prosperity, abundance, employment, physical healing, especially cancer • Purple: sex, power, lust, spiritual growth and ecstasy • Red: luck, love, good fortune, fertility, banishment of negative entities, protection, healing blood ailments and female reproductive disorders • Pink: love, romance, requests for healing children • White: creativity, forgiveness, new projects* • Yellow: romance, love, sex, growth, prosperity, good fortune, abundance (See also: Maximon.)

• Black: fertility, protection against malevolent forces, healing of chronic illnesses • Blue: peace, tranquility, protection, healing of addictions, psychic and emotional pain • Brown: justice, legal issues, healing fatigue and wasting illnesses • Green: growth, prosperity, abundance, employment, physical healing, especially cancer • Purple: sex, power, lust, spiritual growth and ecstasy • Red: luck, love, good fortune, fertility, banishment of negative entities, protection, healing blood ailments and female reproductive disorders • Pink: love, romance, requests for healing children • White: creativity, forgiveness, new projects* • Yellow: romance, love, sex, growth, prosperity, good fortune, abundance

The myths and imagery of the Goddess provide us with rich material with which to symbolically re-fertilize our lives. As Goddess, She is mirror to the feminine Self and addresses the hunger in every woman for connection with that Self. Seen as Mother, however, She can lead us down additional paths of meaning. Seeing Her as the Great Mother can help us put our personal mothers in perspective, expand our vision of 'maternal' behaviors, and broaden the concept of being nurtured to include input from many different kinds of women. It may also bring deep reassurance and self-understanding to women who are mothers or who wish to be and who seek to discover how to cope with and how to comprehend what it means to carry an archetype.

As Mother, the Goddess is the birther, caretaker and sustainer of all that She brings forth. She is the embodiment of maternal concern, protectiveness, nurturance, tenderness and love. She bestows her blessings, pours out Her nourishment, much as we expect Her human counterparts to do. But the Great Mother is not only benevolent and tender. She does not only pour forth the sustenance upon which the world depends. To see Her fully, to image this great a Mother, is also to see Her as depriver and destroyer. She is the gorgon who terrifies and petrifies the, earth who is fertilized by blood, the vulture who feeds on the dead. She gives birth to Her children but She also devours them. She is the Goddess of Life but also the Goddess of Death. The Great Mother is essentially bi-valent, embodying both a 'good' and a 'terrible' aspect. Even the most benevolent of Her images have a darker, more savage side or a destructive 'sister.' Yet this ambivalence is not a static either/or; it expresses one of the most profound and deeply held beliefs of the Old Religion—that life is essentially a process, 'becoming' instead of 'being,' and that this process follows a cyclical pattern that endlessly repeats itself. Just as autumn and winter inevitably follow summer and then give rise to a new spring, just as decaying fruit produces from its dying the medium that enables the hidden seeds within it to sprout, so it was a 'given' to the ancients that the Mother of All embodied this basic and implacable natural way. So the Goddess created life, sustained it, destroyed it, and took it back into Herself in death, only to recycle what She had killed back into new life once more.

Once, he showed me a picture of an ancient clay tablet, Babylonian or Sumerian, something like that, 4,000 years old. I expected it to be something holy, a poem to a fertility goddess, some ancient fable. But it was, Cyrus told me, just a lengthy complaint from a business transaction about receiving the wrong kind of copper. “The copper is substandard. I have been treated rudely. I have not accepted the copper, but I paid money for it.” I never forgot that. Cyrus was laughing of course, he thought it was hilarious. “Ancient one-star review!” he said.

The Dagda​​ The Morrigan Magic​​ Fertility Healing​​ Foretelling the Future Knowledge​​ Animal Husbandry Producing an abundance of food​ Association with fire Control of the weather & environs ​ Protection of her people