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apoloadonisandnarcissus · 1 month ago

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"Priestess of Isis", "Enchantress" and "Sylph": Occult References in Ellen Hutter’s character in “Nosferatu” (2024)

In another post I analyzed Ellen Hutter’s character in the 2024 adaptation of “Nosferatu” through literary lenses of the Gothic female genre. Now, I want to dwell on her occult and mystical symbolism, and how this translates in her connection with Count Orlok, the undead demon of the story, who’s bound to her. But how and why? And what exactly is she in this story?

“In heathen times you might have been a great priestess of Isis.”

Von Franz tells this to Ellen in their last scene together, because he recognizes her spiritual power and ability to communicate with the spiritual world. Her “hysterical fits” and “epilepsies” also mirror the trance-like states of Pagan priestesses. She inhabits the “borderland”, a peripheral area, a portal between the two worlds: the physical (matter) and the spiritual.

“The pupil is expanded. It does not contract naturally to the light. […] A second sight. She’s no longer here. […] She communes now with another realm.”

“Somnambulists afflicted with these perversions [hysterics and lunatics] oft possess a gift: a sight into the borderland. […] I believe she has always been highly conductive to cosmic forces, uniquely so.”

Von Franz says demons usually obsess over “those whose lower animal functions dominate”, because they like them and seek them out. He elaborates: hysterics and lunatics. However, he says this before he actually gets to know Ellen, and he quickly realizes that’s not the case here. Because Ellen is the one who awoke Orlok from his centuries old sleep. Which is confirmed by three characters in the narrative: Orlok, Ellen herself and Von Franz.

O’er centuries, a loathsome beast I lay within the darkest pit… ‘til you did wake me, enchantress, and stirred me from my grave. You are my affliction.

Which leads me to the next topic:

Why Isis, of all deities?

Isis and Osiris

Isis is one of the major Egyptian deities. She’s more commonly known for her role as “Mother Goddess” of Horus, the Sun god. Isis had mighty magical powers, greater than that of all other gods, she governed the natural world, healing and wield power over Fate itself.

“Destiny!” Ellen cries out to Anna, while looking at the sea. “Providence!” Herr Knock screams throughout the narrative. “You run in vain! You cannot out-run your destiny!” Von Franz laughs in religious fervor as Thomas tries to save Ellen.

Isis is also connected with the themes of death, sex and rebirth in Egyptian cosmology, due to the myth of Isis and Osiris; which are also the core themes of Robert Eggers’ adaptation of “Dracula/Nosferatu”, so it’s not coincidental.

The “Osiris Myth” is one of the major surviving pieces of Egyptian mythology. It’s a ancient tale, with its early versions dating back to the 5th Dynasty (c. 24th century B.C.). It has known several adaptations throughout Egyptian history. The most complete version is in “The Moralia” by the 1st-century scholar Plutarch of Chaeronea, a collection of essays about Greco-Roman culture; that became very popular during the Renaissance era (14-16th centuries) and the Enlightenment period (18th century) in Europe.

Isis and Osiris were brothers, and according to Ancient Egyptian religion, they were in love with one another before they were born, and enjoyed each other in the dark before they came into the world. They eventually married.

Osiris had two facets as a God: in life, he was the God of fertility, agriculture, and vegetation, being considered a “Shepherd God”; in death, he was the God of the Underworld, the judge and Lord of Dead, the afterlife and resurrection. The pharaohs of Ancient Egypt were associated with Osiris in death, because as he rose from the dead, so would they unite with him and gain eternal life through imitative magic. Which appears to be the whole deal between Orlok and Herr Knock in “Nosferatu”, as Knock seeks to gain immortality like Orlok, by serving him.

On Earth, Osiris was believed to take on the form of a bull (the sacred bull Apis). What I find interesting here is that in both the 2016 script and the 2023 script of “Nosferatu”, Orlok’s physicality is actually compared to a bull:

Osiris became king of Egypt, and taught the people how to farm and live peacefully in their villages; he had a reputation for being a powerful and wise king, loved and respected by the Egyptian people. We don’t know exactly how Eggers’ Orlok was in life, other than him being a Romanian or Hungarian nobleman and a Solomonar sorcerer who sought to achieve immortality. But if we go by Vlad III (Drakule or Dracula, the infamous “Vlad the Impaler”) biography, he’s actually considered a Romanian national hero because he defended the Romanian people from foreigner invaders (Germanics and Turks, mostly). Just throwing this out there, because it’s unsure if this is intentional or not.

Osiris and Isis had a brother, Seth (or Typhon in Plutarch essays), the God of deserts, storms, disorder and violence, who murdered Osiris to take his throne. He tricked Osiris into climbing into a wooden chest/coffin, shut the lid, sealed it shut, and threw it down the Nile River, knowing Osiris would never be able to survive. In some versions, it’s said Seth cut Osiris body into pieces and scattered them throughout Egypt. Interestingly enough, there’s a similar legend associated with Vlad the Impaler, who died in battle against the Ottomans, and, according to Leonardo Botta, the Milanese ambassador in Buda(pest), Vlad’s enemies cut his corpse into pieces, too. and his remains were never found.

Isis is the epitome of the mourning widow in this myth, as she mourns Osiris’ death deeply. Here enters the symbolism of the lilacs in "Nosferatu", the symbolic flowers of Ellen and Orlok: in the Victorian era, they were associated with widows because they represented a memento of a deceased lover.

Can this also be a nod to “Bram Stoker’s Dracula” (1992) by Francis Ford Coppola? Where Dracula himself is the grieving widower because Elisabeta commits suicide? In the 1992 adaptation, Mina also speaks of “flowers of such frailty and beauty as to be found nowhere else”. What flowers is Mina talking about? It’s unclear, but Lilacs are native flowers to the Balkans, after all.

Isis sought for Osiris’ mangled body and with help of tree other Gods (Nepthys, Thoth and Anubis), they sew Osiris’ body back together, and then wrapped it head to toe in strips of linen, creating a mummy. Interestingly enough, Orlok’s corpse appears almost mummified at the end of the story.

In the Osiris myth, Isis uses powerful magic (incantations and magic spells) to bring her dead lover back to life; similar to Ellen who resurrects Orlok with her summoning prayer. In one version, this happened on a night of the full moon; in “Nosferatu” (2024) we also have a full moon connected to Ellen and Orlok, in the prologue, when he reveals his rotten corpse to her:

According to Ancient Egyptian funerary texts, it’s Isis sorrow, sexual desire and anger that empower her magic to be able to bring Osiris back to life. When Ellen prays for a companion of “any celestial sphere” in the prologue, she’s crying (sorrow), she’s upset because her father recoils from her now that’s she’s no longer a child (anger) and she’s in her teenage years/puberty (sexual desire). Like Isis with Osiris, it’s the combination of these emotions that power her magic to unconsciously resurrect Orlok.

However, Osiris can’t remain among the living, because he has to return to the Underworld and become King of the Afterlife. But before he goes, Osiris and Isis conceive Horus, the God of the sun and the sky, who will restore peace and order to the universe. In “Nosferatu” (2024), Von Franz says that “with Jove’s holy light” before dawn, redemption will come to the people of Wisburg and the curse of Nosferatu will be vanquished. “Jove” is Jupiter, the “King of the skies”, who’s connected with the Egyptian Horus. Horus and Ra are often merged together in Ancient Egyptian religion, making Isis and Osiris the metaphorical parents of the Sun.

In “Nosferatu” (2024), as Orlok and Ellen complete their covenant, consummate their wedding and he drinks from her, the sun is also the metaphorical result of their union. As dawn breaks, the sunlight vanquishes them both from the physical world, as they both die in the material realm.

After being buried by Isis, Osiris goes into the Underworld to rule over it. And from then on, Isis herself is also associated with funeral rites, as she would guide the souls of the dead, helping them entering the afterlife. Through her magic, Isis helped resurrecting the souls of the dead, as she did with Osiris, acting as a mother to the deceased, providing protection and nourishment.

At the end of "Nosferatu" (2024) we see Ellen fulfilling her role as “priestess of Isis” (or as Isis herself?), as the Goddess of healing, who ends the blood plague in Wisburg, but also guides her dead lover Orlok/Osiris with her into the Underworld... where he'll rule as king? Unclear.

Since we are discussing the Egyptian Gods, I have to mention Greta the Cat, Ellen’s domestic cat. Her name is an obvious homage to Greta Schröder, the actress who played Ellen Hutter in the original 1922 “Nosferatu”. Indeed, cats are predators to rats, however, the Egyptian Goddess Bastet is considered to be Isis’ daughter. She's the "cat goddess" for cats were considered sacred in Ancient Egypt. Bastet was associated with sun gods like Horus and Ra. Bastet was the goddess of pregnancy, childbirh, and protection against contagious diseases and evil spirits.

Enchantress

Orlok calls Ellen “enchantress”, but what does this mean? “Enchantress” is not only a female archetype, but has root in historical realities. Enchantresses were practitioners of feminine magic: oracles, healers, herbalists, midwives and shamanic shapeshifters. They were what’s commonly known as “witches”. These female magicians studied and practiced their art in goddess temples, mystery schools, alchemy schools and hedge schools.

The alchemists of the Middle-ages studied these dynastic lineages of “wise women”, and they had several names: enchantresses, chantresses, encantrices, or incantrix. Many physicians who founded "medicine" and "science" studied these wise women, mainly healers and their use of medicinal plants and herbs.

Ellen’s character appears to fit that of a “incantrix”. Women who used words, incantations, songs, spells and prayers to shape reality. It’s the priestess of an old religion (as Von Franz also calls her); gifted with magic power and authority to command the elements or the body by the power of their word.

Heptagrams

Orlok seal (or sigil) meaning has already been widely discussed by others (symbols of Ancient Dacian religion, mainly the figure of Zalmoxis), but what I want to mention here is the heptagram itself, the seven-pointed star. Heptagrams have several occult meanings, including warding off evil which, for obvious reasons, doesn’t fit Orlok’s character. It has meaning in Alchemy, too, as representative of the seven planets and seven substances.

The heptagram, however, is used by Aleister Crowley in his occult system Thelema (from Ancient Egyptian text) to represent a goddess/archetype: Babalon, which is also connected with Isis, Nuit, Lilith, Kali, among other goddesses and deities. At its core, it’s a goddess of female empowerment and liberation, of divine feminine. According to this occult belief, Babalon has several manifestations (sort of incarnation) and is a spiritual gateway to wisdom and enlightenment through chaos and female sexuality.

In “Nosferatu” (2024), when Ellen and Thomas are returning home, there’s a man in the streets rambling bits from the “Book of Revelations” (Apocalipse) from the Bible: “And I saw a beast rising out of the sea, owith ten horns and seven heads, with ten diadems on its horns and blasphemous names on its heads.” (Revelations, 13:1).

Indeed this passage is about Orlok arrival and how he’ll spread plague among the town. However, we have a character in the “Book of Revelations” which is connected to all of this: the Whore of Babylon, the “Mother of Prostitutes and All Abominations of the Earth”, and she rides this Beast, which is the same as Crowley’s Babalon. What Crowley did was a positive reinterpretation of this biblical figure, symbolizing liberated female sexuality by embracing the powers of the Divine Harlot.

Also known as the “Scarlet Woman” and “Great Mother”, this complex and mysterious figure was established in 1904 in “The Book of Law”, however her roots are far older, and can be found in the Enochian tradition, a magical system by John Dee and Edward Kelly, dated from the late 16th century. In the 2016 script of “Nosferatu”, Orlok spoke Enochian, so it’s clear Robert Eggers is very much aware of all of this.

Initiatrix, Creator and Destroyer, Babalon is the “Great Mother” because she represents matter, Mother Earth. Like Isis, she’s the Archetypical Mother, the Womb, the Great Sea and the Divine Blood itself. According to Crowley, the “whore/harlot” facet is about enjoying sex without the burden of reproduction; and the “mother of abominations” connects with destruction like natural catastrophes, plagues, etc. She’s the ruler of the cosmological sphere and both good and evil (as evil as elemental forces can be or are considered as).

Crowley is a man who was born and raised in the Victorian era where sexuality was to be silenced and repressed, which provides context to his occultist beliefs and his “sex magick” theories. Victorian physicians and scientists were obsessed with classification of sexual perversions, too. “Hysteria” being one example among many. Which is the historical context for Eggers adaptation of “Nosferatu”/“Dracula”, so these references are quite fitting.

According to the Thelema, Babalon is the “Sacred Whore”, and her primary symbol is the Chalice or Graal (symbolic womb). She’s a consort to the Beast, who has seven heads, which is symbolically represented in her heptagram sigil. Crowley described her: “She rides astride the Beast; in her left hand she holds the reins, representing the passion which unites them. In her right she holds aloft the cup, the Holy Grail aflame with love and death. In this cup are mingled the elements of the sacrament of the Aeon”.

To Crowley these were not actual beings but titles/archetypes (sort of speak) in his Sex Magick beliefs: the “Scarlet Woman” is the High Priestess, and the “Beast” is the Hierophant. This fits Ellen (the priestess) and Orlok (warlock, black sorcerer) in “Nosferatu” (2024). The “Scarlet Woman” is a gateway to both the moon and the sun, and we see both associated with Ellen.

Orlok is described as a “beast” several times in the film, including by himself and by Von Franz, who also mentions Ellen’s “dark bond with beast”, and how she gave her love to the beast: "and lo the maiden fair did offer up her love unto the beast, in close embrace until the first cock crow, her willing sacrifice thus broke the curse and freed them from the plague of Nosferatu."

Orlok says Ellen’s passion is bound to him, like Babalon’s passion is united with the Beast. Babalon as “mother of abominations” also fits with how Ellen unleashed Orlok and his blood plague onto the world, bringing destruction and apocalypse.

Your passion is bound to me. […] I cannot be sated without you. […] Remember how once we were? A moment. Remember?

Thelemic followers of the Beast have been trying to call into being an older, more primeval, female force that is lacking in the Modern Age. Interestingly enough, this was the reason why Orlok became interested in Ellen in the 2016 script (which was later changed, because in the 2023 version it’s Ellen who summons Orlok): “I have sought a creature from the depths. A Eve that remembers her Eden. You are such one.” Both Crowley but more notoriously Jack Parsons have tried a bunch of incantations to conjure Babalon into being.

Oddly enough, the conjuring ritual we see Herr Knock performing at the beginning of “Nosferatu” (2024) is very similar to one of the incantations of Babalon performed by Jack Parsons: Air dagger, blood and channeling of windstorms and the Air element, over a heptagram. He also compares Ellen to a sylph; a nymph of the air element from alchemy and hermetic literature. We are told by Von Franz this is Solomonari sorcery, but is it really?

In Ophidian Thelema, Babalon is the Goddess of magick (“Heka”), of the Liberation of the Spirit (ecstasy), of the Liminal Point, of the Underworld, of Vengeance and of the Principles of Life. Their priestesses use the female body (vulva and womb) to channel their power during their magic rituals. This is similar to Ellen’s “hysterical fits” when she’s communicating with Orlok in the spiritual world, especially since “hysteria” was considered a disease caused by “wandering womb”. In the film, we also see Ellen's womb being talked about between Von Franz and Dr. Sievers during her examination, when they say her menstruation is liberal and she has too much blood in her.

The “liberation of spirit” is in the form of a Serpent, which manifests in the flesh. This notion was present in the “Book of Law”, where its said there’s the dove, and there’s the serpent, and a choice must be made. While the dove represents religion, the serpent represents the spirit. In one scene, Ellen says Orlok is like a serpent in her body; and he replies it’s not him, but her own nature, a nature she denies. Babalon says “my vocation is the serpent.”

The priestesses of Babalon are also in control of their “trances” when they access the spiritual world. In “Nosferatu” (2024) there’s a interesting scene between Ellen and Thomas (the infamous sex scene), when Ellen “comes back” from her transe when he says he’ll call for Dr. Sievers. Does this indicate Ellen is actually in control of her trance-like states?

Babalon is the guardian of the Seven Principles of the Underworld, a place of darkness and transformation. Orlok tells Ellen in the prologue “you are not for the living. You are not for human kind.” Babalon is also the goddess of the liminal point, who can access other realms. As Goddess of vengeance, Babalon punishes when life is out of balance, and exerts violence and corruption upon those who are in the wrong. Ellen unleashes Orlok onto the world, and we can interpret him bringing plague into Wisburg as Ellen’s reckoning against a society that ostracizes her and will never accept her.

All rites and initiations of the Underworld Goddesses include rites of sex and death. Which is what we see with Ellen at the end of “Nosferatu” (2024). By Thelemic occult tradition, she, the manifestation of Babalon, has sex with the Beast (Orlok), “representing the passion which unites them” and her womb (Holy Grail; cup) is “aflame with love and death” (sexual climax, orgasm, with an un-dead vampire).

I will work the work of wickedness; I will kill my heart; I will be loud and adulterous; I will be covered with jewels and rich garments; I will be shameless before all men; I will, for token thereof, will freely prostitute my body to the lusts of each and every living creature that shall desire it; I claim the Mystery of Mysteries, BABALON the Great, and the Number 156, and the robe of the Woman of Whoredomes and the Cup of Abomination. “The Great Beast: The Life of Aleister Crowley”, John Symonds, 2016

Orlok being the Beast and Ellen the manifestation of Babalon explains why she’s promise to him in the narrative, and was never meant to marry Thomas: in Thelemic tradition, the Beast is the consort of Babalon, after all. Orlok's interest in Ellen isn't predatory for its own sake; he sees her as his rightful and fated spiritual consort, which fits the "bride of Dracula" theme of the Bram Stoker original story.

This probably also mirrors the 1992 adaptation by Francis Ford Coppola, where Van Helsing calls Lucy the “Devil’s concubine”: "Hear me out, young man. Lucy is not a random victim attacked by mere accident. Do you understand? No. She is a willing recruit, a breathless follower, a wanton follower. I dare say, a devoted disciple. She is the devil's concubine! Do you understand me? Yet, we may still save her precious soul." In this adaptation, Lucy is full Crowley and Parsons “Scarlett Woman”, with red garments and red hair.

Orlok also gives Ellen three nights to accept him/her nature and complete their covenant. Some are mistakenly associating this with Jesus Christ. These “three days” are possibly connected with another Goddess associated with Babalon: Inanna (or Ishtar), the ancient Mesopotamian Goddess of love, war, fertility, sensuality and divine law. The most famous myth about this deity is her descent into the Underworld, where she spends three days and three nights dead, until she re-ascends (rebirth).

Ellen also goes through the “Myth of Inanna” in “Nosferatu” (2024), which is the theme of the heroine descending into the “Underworld”, to suffer, to be stripped bare, to die, and to be reborn in the aftermath. This is the primal Shamanic crisis. Ellen also goes through three days and nights of suffering and death (witnessing her friends and the townsfolk of Wisburg dying by the blood plague) until she joins Orlok and is reborn.

Ellen and Orlok are involved in sex magick, at the end, clearly. But with what purpose? Sex magick to Crowley has several purposes and strong creative power, conjuring, invocation, etc. He believed deliberate acts of sexual transgression were a radical form of super-human power that promised to explode the narrow boundaries of Western Christian society and open the way for a whole new era of human history. Which is probably what’s happening here? A symbolic ending to the sexually repressed Victorian era as Western societies moved toward a more open-minded and accepting view of sexuality? Or it’s Ellen reborn as a Goddess of the Underworld (return to spiritual state), after going through a initiation rite of sex and death, as she breaks free from her human form? Or both?

Or it can be a nod to Crowley idea of sex magick to unleash supreme creative power to generate a godlike child? This can mirror the Osiris and Isis myth, of Horus (the Sun) as their metaphorical child, like it is for Ellen and Orlok here, as the end result of their union.

Alchemy

Alchemy, at its core, is the transmutation of base materials (lead, etc.) into noble materials (gold), and the pursuit of immortality (“philosopher’s stone”). Occultists reinterpreted this as a spiritual quest of self-transformation, purification and regeneration of the human soul. Hence physical death being seen as a gateway to another life (rebirth); which is the symbolism of the final scene of “Nosferatu” (2024).

Both Ellen and Orlok evolve from a diseased and corruptive state (physical world) into regenerative and perfect state (spiritual world), after being purified by fire (the Sun). Their old selves are empty shells, as their spirits ascend. This also finds parallel in the myth of Isis and Osiris, as they both went from “daemons” to Gods in the Plutarch essay.

And this also finds parallel in the 1992 adaptation when Vlad/Dracula ascends to the Heavens and is reunited with Elisabeta’s soul. Is this intentional? Are we dealing with reincarnation themes in Eggers' adaptation, as well? According to occultists both Babalon and the Beast have had many manifestations (reincarnations) in the physical world throughout the centuries, after all.

Orlok asking Ellen to remember their shared past, is also an interesting nod to Vlad and Mina in the Coppola's adaptation (their OST is called "Love Remembered"): "I have crossed oceans of time to find you." and “I have sought a creature from the depths. A Eve that remembers her Eden. You are such one.” in the 2016 "Nosferatu" script. Which didn't change all that much in 2023, except we don't have an actual explanation for Orlok interest in Ellen, other than her waking him from his centuries old sleep (resurrection).

#nosferatu 2024 #robert eggers #ellen hutter #count orlok #lily rose depp #bill skargard #von franz #dr sievers #ellen x orlok #orlok x ellen

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chthonic-sorcery · 6 months ago

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PSA for new Pagans❗️🚩🚩🚩

(Overlooked pagan holidays)

Paganism isn't a singular religion,

it is an umbrella term for thousands of different pre-christian polytheistic faiths that span Antiquity. Heathenry (Norse polytheism) Mesopotamian, Phonecian, Hellenic Polytheism, Kemeticism/Netjerism, Slavic Polytheism, Celtic, Roman, Basque, etc. It goes on and on. Sometimes, these religions are even combined or synchronized, like Greco-Egyptian polytheism.

So, no, not all pagans celebrate Yule, or Beltane, or whatever.

Yule itself seems to be more of a Wiccan (new age) revival than a continued tradition.

There are quite literally thousands of holidays and traditions celebrated that no one talks about because people, especially newer converts, seem to believe paganism is its own singular religion.

So, here are some of my favorite holidays I celebrate that aren't usually talked about:

The Anthesteria:

A 3 day drunken celebration in honor of Dionysus and the Dead. Houses would be decorated with spring flowers, ghosts swept from the home; feasting and drinking no matter your status, and offerings given to the Dead and the Furies so that may not harm you, as they were said to roam the earth at this time.

Tar/pitch was also spread onto doorframes and black hellebore was hung to protect the home.

It was held each year from the 11th to the 13th of the month of Anthesterion, around the time of the first full moon of the year.

The Haloea:

The closest Greek equivalent of "Yule" celebrating the winter solstice and which honored Demeter, the goddess of agriculture, crops, fertility, and harvest.

During the festival, people would celebrate by preparing a rich meal with dough cakes in the shape of genitalia, telling lusty jokes and swearing with vulgarity, singing, drinking, and dancing.

The festival took place in Athens and ended in Eleusis during the month of Poseideon, which is December.

The Dionysia:

where plays originated! Comedy, tragedy, and drama.

The Festival of Dionysus, otherwise known as the “Greater Dionysia” took place in the spring (around our March) when playwrights would compete to entertain Athenian citizens,

complete with parades of giant phalluses and sacrifices of bulls!

The Feat of Sekhmet:

an annual festival at the beginning of the year, which began around August for the Egyptians following Wep Ronpet, or the New Year.

The festival was a time of drunkeness with red beer and wine, where Egyptians would dance, play music.

The goal was to imitate the drunkenness that had once stopped the goddess Sekhmet from destroying humanity.

According to Egyptian mythology, Sekhmet became so bloodthirsty from humanity betraying her father Ra, that she nearly destroyed all humans on Earth. The other deities asked Ra to stop her, and he eventually pacified her by making her believe the wine or beer was blood and she drank herself to sleep, turning into either Hathor or Bastet.

the Aphrodisia:

The festival of Aphrodite! The festival occurred during the month of Hekatombaion, which modern scholars recognize as starting from the third week in July to the third week of August.

the first ritual of the festival would be to purify the temple with the blood from a dove, the sacred bird of Aphrodite. Afterwards, worshipers would carry sacred images of the goddess, as well as Peitho, in a procession to be washed.

During the festival it was not permitted to make bloody sacrifices, since the altar could not be polluted with the blood of the sacrifice victims, which were usually white male goats.

This of course excludes the blood of the sacred dove, made at the beginning of the ritual to purify the altar. In addition to live male goats, worshipers would offer fire, flowers, and incense.

This was even celebrated in Thebes, Egypt, where Aphrodite had a large cult following.

Wep Ronpet:

Wep Ronpet is the Kemetic New Year.

It falls usually somewhere btwn late July and mid-August. The date for Wep Ronpet varies each year, as it is marked by the rising of Sopdet, modernly known as Sirius. Wep Ronpet is in fact one day long.

However, there are 5 days of excitement leading up to Wep Ronpet that we typically call the Epagomenal Days, or the Intercalary Days.

The Epag. days came about from a myth where Nut got pregnant with 5 kids. Ra got upset about this and forbade her from giving birth on any day of the year. Thoth, being the tricky guy that he is played a game of Senet with the moon, and upon winning this game of Senet, he received a small portion of the moon which he used to create an extra 5 days which she can use to birth her five children.

Traditionally, these days are said to be a little weird because they are ‘outside of the norm’. Usually great care was taken not to take too many risks.

So, each day is dedicated to the god that was born on that particular day. The order that it goes in is:

Osiris

Heru-wer (Horus the Elder)

Set

Aset

Nebhet (Nephthys)

Normally, celebrations of Wep Ronpet include prayers to Sekhmet against the 7 arrow or plagues of the year: libations and offerings to the Netjeru, song, dance, feast.

Ritual bathing for purification is sometimes done afterwards.

Personally, I like to perform execration, banishing all the illness, negativity and harm from the previous and coming year.

#ancient history #hellenic pagan #paganism #paganblr #psa #polytheism #Greco egyptian polytheism #ancient greece #pagan community #dionysus #aphrodite #sekhmet #new year #hellenic polytheism #hellenic deities #hellenic polythiest #helpol

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grey-sorcery · 6 months ago

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[Title]: Taglocks: How to Target a Person or Place

Related to Taglocks

Threshold Theory Binding Basics Introduction to Gnosis Energy Work Fundamentals Anchors Energetic Constructs Spell Logs Path of Least Resistance Blood Magic Spellcasting Basics

Introduction

A taglock stands as a fundamental element of spellcasting, bridging the material world with the energies, places, and people practitioners seek to influence. A taglock is, at its core, a tangible object that establishes a direct link to a specific target. This object serves as a conduit through which energy can be directed, manipulated, or harnessed in various spellwork and ritualistic practices.

The term "taglock" itself is derived from the concept of 'tagging' or marking something with a specific identifier, and 'lock,' which implies securing or anchoring a connection. Thus, a taglock effectively anchors the essence or energy of a person, place, or thing to the practitioner’s ritualistic focus. This tangible item could be something inherently connected to the target, such as a personal belonging or a biological sample, thereby ensuring that the magical workings are precise and targeted.

History

The use of objects to establish a connection with a person, place, or entity is a practice that can be traced back to ancient civilizations. The principles underlying taglocks are fundamentally tied to the broader concepts of sympathetic magic and animism, both of which have been integral to human spirituality and ritualistic practices for millennia.

Ancient Civilizations

Mesopotamia and Egypt: In ancient Mesopotamian and Egyptian cultures, magic was an integral part of daily life and religious practice. Objects such as amulets, talismans, and personal artifacts were often used to protect, heal, or curse individuals. These items were believed to carry the essence or influence of the person or deity they were associated with. For instance, in ancient Egypt, hair, nails, or pieces of clothing were sometimes used in magical rituals to exert influence over an individual, embodying the early concept of taglocks.

Greece and Rome: The Greco-Roman world also embraced the use of personal items in magic. The Greek Magical Papyri, a collection of ancient magical texts, includes numerous spells that call for the use of personal objects such as hair, nails, and garments. These items were believed to create a sympathetic link to the target, enabling the practitioner to influence them from a distance. This practice reflects the underlying principle of sympathetic magic, where "like affects like," a foundational concept for the use of taglocks.

Medieval and Renaissance Europe

Folk Magic and Witchcraft: In medieval Europe, the use of personal items in folk magic and witchcraft was widespread. Cunning folk, wise women, and witches often employed objects belonging to their clients or targets in their spells and rituals. These objects served as conduits for magical influence, much like modern taglocks. For example, poppets (dolls representing individuals) were frequently stuffed with hair, nails, or clothing scraps from the person they were intended to influence.

Grimoires and Magical Texts: The grimoires and magical texts of the Renaissance period also provide evidence of the use of personal items in magic. The "Key of Solomon," a well-known grimoire, includes instructions for using personal items in rituals to bind or influence others. The "Malleus Maleficarum," a notorious witch-hunting manual, documents the belief in and fear of witches using such items to cast spells.

Indigenous and Non-Western Cultures

African Diasporic Traditions: In various traditional religions and spiritual practices, the use of personal items for magical purposes is common. For example, in Vodou and Hoodoo, personal items such as hair, clothing, and personal effects are used in rituals and spellwork to create a link to the target. These items, often referred to as "personal concerns," function similarly to taglocks by establishing a direct connection between the practitioner and the individual they wish to influence.

Asian Traditions: In Asian cultures, particularly in traditional Chinese and Japanese practices, the use of personal items in magic and healing is also prevalent. In Chinese folk religion and Taoist magic, personal items are used in rituals to heal or protect individuals. Similarly, in Shinto practices in Japan, personal items can be used in purification and protective rituals.

Modern Revival and Adaptation

Contemporary Witchcraft: The modern revival of witchcraft, particularly since the mid-20th century, has seen a resurgence in the use of taglocks. Contemporary practitioners draw on historical and cross-cultural practices, adapting the use of personal items to fit modern magical frameworks. Books on witchcraft and magic frequently discuss the use of taglocks, emphasizing their importance in creating a tangible link to the target.

Neo-Pagan & Occultist Movements: Neo-Pagan movements, such as various forms of Wicca, have incorporated the concept of taglocks into their practices. These movements often emphasize the importance of personal connection and the use of physical objects to ground and direct magical energy. While these practices have evolved, they continue to reflect the ancient principles of sympathetic magic and the use of personal items to establish a magical connection.

How do Taglocks Work?

Energetic Connection and Sympathetic Magic

In the practice of traditional witchcraft, the efficacy of a taglock lies in its ability to establish a connection between the anchored spell and the target. This connection is primarily rooted in the principles of sympathetic magic, a foundational concept that posits that objects can influence one another through their inherent similarities or direct associations; as well as energetic entanglement, the process through which identical energetic compounds can interact without direct spatial contact.

Sympathetic magic operates on the premise that a taglock, due to its intimate connection with the target, acts as a proxy or representative. The energy directed towards the taglock is believed to transfer seamlessly to the target, facilitating the intended transformation or influence. This is often articulated through the maxim "like effects like," underscoring the principle that items connected by similarity or direct contact can impact each other even when physically separated.

The energetic link established through a taglock is akin to an invisible thread that connects the practitioner’s will to the target. This thread is not a physical entity but an energetic conduit through which influence flows. The strength and clarity of this connection depend on the nature of the taglock and the amount of genetic material it carries. For instance, a strand of hair or a piece of clothing with trace amounts of skin cells creates a more potent connection than a mere photograph or written name. This is due to the energetic compounds that are unique to each person’s genetic sequence and their higher probability to be energetically entangled. While a sympathetic connection works well in most situations, having an energetic connection is significantly more reliable.

Incorporating Taglocks into Spellwork

Anchoring is a necessary step in the utilization of taglocks, involving the establishment of a lasting connection between the taglock and the target within a spell. This process entails affixing the taglock firmly to the desired magical outcome, thereby ensuring that the energy directed through the taglock manifests effectively in the target’s life. Anchoring is not merely about physical attachment but the energetic binding of the taglock to the spell's energetic design.

To anchor a taglock, the practitioner must first select a taglock that has a strong and clear connection to the target. The effectiveness of anchoring is directly proportional to the relevance and potency of the chosen taglock. The next step involves ritually preparing the taglock. This can include cleansing the taglock to remove any extraneous energies, thereby ensuring that it is a pure conduit for the spell’s purpose. Common methods of cleansing include using elements like water, fire, or salt, each method tailored to the nature of the taglock and the spell.

Once cleansed, the practitioner imbues the taglock with the desired energy through a ritual. This may involve chanting, the use of symbols, or the invocation of natural forces to charge the taglock. The ritual acts as a ceremonial binding, infusing the taglock with the energy necessary to enact the spell’s purpose. During this process, the practitioner focuses intensely on the connection between the taglock and the target, reinforcing the energetic link.

Finally, the taglock is integrated into the spell structure. This can be achieved by pulling an energetic conduit from the taglock and into the spell’s anchor. This way, a solid circuit can be established. The key is to position the taglock in a manner that aligns with the natural flow of energy, ensuring that the spell’s influence is directed towards the target with minimal resistance. Just placing a taglock into a jar with other elements has a chance of establishing its own energetic connection, however it is not very likely.

Unbinding Taglocks

Energetic Dismantling

The most effective method of unbinding a taglock is energetic dismantling, which requires the careful and deliberate dismantling of the energetic connections that have been established during its use. Energetic dismantling is a method that involves consciously deconstructing the energic structures and pathways that link the taglock to its target. This process ensures that the influences exerted through the taglock are effectively neutralized, preventing any residual effects from lingering.

The practitioner utilizes their energetic awareness in order to visually and mentally map out the energetic connections emanating from the taglock. This step is crucial, as it allows for a clear understanding of how the energy has been structured and directed. Once these connections are identified, the practitioner then introduces energetic compounds that are of the opposite frequencies of the energetic connections. This will cause the energetic connections to cancel out and become inert.

After all the connections have been severed, the practitioner proceeds to cleanse the taglock to remove any residual energy. This can be done using elements such as water, salt, or incense, depending on the nature of the taglock and the preferences of the practitioner. The cleansing process ensures that the taglock is fully neutralized, rendering it inert and free from any remaining influence.

Anchor Destruction

Anchor destruction is a more direct and often physical approach to unbinding taglocks. This method involves the literal destruction of the taglock itself, effectively dismantling the anchor that connects it to the target. Anchor destruction is particularly effective when the taglock is a physical object that can be easily manipulated or disposed of.

The first step in anchor destruction is to identify the nature of the taglock and choose an appropriate method of destruction. For physical objects, this could involve burning, breaking, or burying the taglock. Each method carries its own symbolic significance and energetic impact. For instance, burning a taglock in a fire ritual symbolizes purification and transformation, reducing the object to ashes and dispersing its energy into the air. Breaking the taglock into pieces represents a forceful severing of the connection, while burying it in the earth signifies grounding and neutralization.

During the destruction, the practitioner may recite incantations or prayers to reinforce the unbinding process, so long as they do not cause the practitioner to break their state of gnosis. This could serve to solidify the practitioner's will and direct the energy towards severing the connection. As before, cleansing is also recommended afterwards.

Cord Cutting (Not candle divination)

Cord cutting is a technique used to sever the energetic cords or ties that bind the taglock to its target. These cords represent the strings of fate, or channels through which energy flows, maintaining the connection established by the taglock. Cord cutting is a powerful method for releasing these ties, allowing both the practitioner and the target to move forward unencumbered.

To perform a cord-cutting ritual, the practitioner begins by grounding and centering themselves, creating a stable foundation for the work ahead. The taglock is then placed before the practitioner, and a clear intention to sever the energetic cords is set. This intention is crucial, as it directs the focus and power of the ritual.

A common tool for cord cutting is a ritual knife or athame, though other tools such as scissors or even one’s hands can be used depending on the practitioner’s preference. The practitioner then uses their awareness to feel for the energetic cords extending from the taglock and uses the tool to cut through these cords. Each cut is made with deliberate precision.

During the process, the practitioner may also employ visualization techniques to enhance the effectiveness of the ritual. This could involve imagining the cords dissolving into light, evaporating like mist, or being absorbed back into the earth. These visualizations help to solidify the disconnection on both an energetic and psychological level so long as one is aware that visualization in and of itself is not a spell nor energy work.

After the cords have been cut, the practitioner performs a cleansing ritual to purify the space and themselves. This ensures that any residual energy from the cords is fully cleared away, preventing any unintended consequences or lingering attachments. The taglock, now devoid of its energetic ties, can be safely disposed of or repurposed as desired.

Cord cutting not only releases the target from the influence of the taglock but also frees the practitioner from the energetic investment in the spell. This liberation allows for a fresh start, unburdened by the previous connections, and opens the way for new magical endeavors.

Taglock Alternatives

Taglock alternatives are useful in situations where obtaining a physical item linked to the target is impractical or impossible, such as when working at a distance or in covert operations. Methods like visualizations, sigils, memories, elemental representations, and astrological correspondences may still establish a sympathetic link to the target. However, these alternatives often lack the direct energetic connection that taglocks provide, making them less efficient. The inherent uncertainty and reduced potency of these methods can lead to weaker or less reliable spell outcomes, requiring greater effort and near flawless spell design from the practitioner to achieve the desired effects.

Sigils and Symbols: Creating a unique symbol or sigil that represents the target can be a powerful tool. This symbol can be charged with energy and intent to direct the spell's effect.

Visualization Techniques: Instead of using a physical object, practitioners can employ detailed mental images of the target. This involves deeply focusing on the target’s attributes and characteristics during the spellcasting process.

Memories of an individual or location: Using specific memories that encapsulate the essence or identity of the target can serve as a focal point. Repeatedly recalling or chanting the target’s name or a descriptive phrase can help direct the spell.

Elemental Representations: Associating the target with a particular element (earth, air, fire, water) and using that element in the spell can establish a connection. For example, water could be used to represent a person with a flowing, adaptable nature.

Astrological Correspondences: Using the astrological sign, planetary influence, or birth chart of the target can provide a non-physical link. Aligning the spell with specific astrological times or planetary hours that correspond to the target can enhance the connection.

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#taglock #traditional witchcraft #secular witchcraft #eclectic witchcraft #energy work #beginner witch #baby witch #witchcraft resources #witchcraft guide #informational post #Gspell

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what-even-is-thiss · 1 year ago

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Depending on what pantheon/mythology you’re looking at if you claim your goal is to kill a god there will be varying degrees of probability and possibility for you.

The things we’re worshipping is kind of the earth and animals and people themselves of course they die (various forms of animism and ancestor worship)

Dying is kind of a promotion in this religion if you’re important enough (some types of Buddhism, Catholicism from certain points of view)

Technically possible to kill a god and it has happened before but you probably won’t be the one to do it (Egyptian, Norse, Aztec, some other polytheistic religions)

Lol and also lmao gods don’t die. You can stab them though. (Greco-Roman mythology)

God(s) became mortal on purpose you’re not special L + Ratio this was part of the plan the whole time (Christianity, some avatar stories in Hinduism)

What are you gonna do? Stab the entire universe? You’re picking a fight with reality itself. Idiot. (Most monotheistic religions)

#roman said a thing #religion mention

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givemearmstopraywith · 11 months ago

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i just watched someone saying "christianity is and always will be the cultural appropriation of religions" and they mentioned the resurrection, which surprises me a little. do you know what they could be referring to? they also called it a very common trope and i'm no theologian, don't know that much about other religions or mythology, so maybe you could help?

resurrection narratives are absolutely not unique to christianity. there are resurrection narratives in the religion of ancient egypt (osiris), greece (adonis, zagreus, dionysus, and attus), and sumer (dumuzid and inanna). all of these predate christianity by centuries. to consider resurrection myths appropriation is, however, rather ignorant: the mythologies of the ancient near east are absolutely woven together, to the point where they are almost indistinguishable from each other, especially in the early history of the hebrews. the roman empire was heavily influenced by hellenic culture, religion, and philosophy. consider dionysus, the god of wine: plutarch stated that the stories of osiris and dionysus were identical and that the secret rituals asociated with them were obviously paralleled: the second century AD saw the emergence of greco-egyptian pantheons where the god serapis was synonymous with osiris, hades, and dionysus. this is also similar to the interrelationship between inanna, ishtar, asherah, astarte, and multiple other near eastern female deities (and she likely played an influence in the development of lilith as well). how much did the cult of dionysus influence later rites of the wine and the eucharist in early christianity, especially given that within fifty years of christ's death most christians were greeks? romulus and remus were said to have been born to a virgin, and so was the founder of zoroastrianism, zoroaster, a religion that influenced platonic philosophy and all abrahamic faiths.

christianity is more guilty of appropriation that most other faith practices of appropriation because of the crudeness and hatefulness with which it borrowed judaism and then turned on the jews. but attempting to divide western and near eastern religious traditions into pure (original) and impure (appropriated) is next to impossible. otherwise we can start trying to particularize everything as either pure or impure and discard what we deem as "impure" or unoriginal because we think it is valueless, hackneyed, or unethical. religion does not work like that. christianity does require critical consumption and practice because it has both appropriated judaism and because the way in which it exerted itself as a dominant religion over other faith practices. and the appropriation of judaism must be especially viewed as troubling, because judaism cannot be compared, historically, to religions like those of ancient egypt and greece because until the state of israel it was never a dominant or state religion, and the fact that it survived some odd thousand years without being recognized as a state religion is part of why it's particularly interesting. of course, that has changed now, but this ask isn't about israel/palestine and i won't dwell on it this issue much except to reaffirm that christianity appropriating an oppressed minority religion that emerged out of colonial contexts is very different than christianity utilizing aspects of ancient greek religion or zoroastrianism, and also different from jesus being included in islam, for instance.

interestingly, quetzalcoatl, from the ancient aztec religion, was the patron of priests and a symbol of resurrection. this gestures to the hidden sacred, eliade's hierophany: the hidden holiness, the sacrality and beingness of something beyond ourselves, that underlies all existence, with its own explicit truths that emerge consistently in faith practices that, unlike those of the near east, never interacted. maybe we all carried the same stories out of the cradle of civilization; maybe there is a perpetual and accessible truth that transcends boundaries. i don't know. but everything is borrowed. everything is copy. humanity is not capable of true originality: and isn't that beautiful? everything is taken in communion. everyone is interconnected. everyone wants to believe something, and we seem to be universally compelled by the same truths, motifs, meanings, and stories.

#replies

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whencyclopedia · 4 months ago

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Old Testament

Old Testament is the Christian name for the books of the Jewish scriptures that constitute the first half of the Christian Bible. "Old" in this sense was a means to distinguish Judaism from Christianity at the creation of the New Testament beginning in the 2nd century CE Jewish believers do not consider their scriptures old, as in no longer valid; they remain at the center of Jewish life and practice.

Etymology

"Testament" became the English translation for a shared religious and cultural concept in the ancient world, that of "covenant." A covenant was a legal contract upheld and sworn to by oaths and rituals. We have examples between overlords and constituents. The Egyptian pharaoh Ramesses II (r. 1279-1213 BCE) and the Hittite king, Hattusili III, signed such a covenant in 1259 BCE. Both called upon their distinct gods to validate the agreement, an early example of a peace treaty after the Battle of Kadesh.

The Hebrew for covenant, beriyth, meant a promise or a pledge but may also have derived from a root word that meant "cutting." Covenants were "sealed," legally attested, by passing cut pieces of the flesh of sacrifices between the parties. It may also have been derived from ancient Akkadian, for "between," an agreement between people.

In the Greek translation of the Hebrew scriptures, beriyth became diatheke, a Greco-Roman concept of jurisprudence, "agreement," "will," that described "a last will and testament." The King James version used the English "testament" for the biblical books, understanding God's covenants as eternal. We still refer to someone's "last will and testament," directions for the disbursement of their property and assets, as legally binding.

All ancient religions had contracts between their gods and humans. The contract detailed the relationship between society and the divine. Covenants had two essential elements: 1) the god's promise to help the community to prosper in return for worship, which meant the sacrifices, and 2) law codes that detailed behavior and gender roles. Law codes were manifest in forms of governing, originally through kings, and were validated by the fact that they were given by the gods. There was no distinction between divine and civic laws. Elected Roman magistrates carried the power of imperium, the religious authority and duty to carry out the dictates of the divine.

#History #OldTestament #Christianity #Bible

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nyxshadowhawk · 1 month ago

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Hellenic Paganism FAQs

I see a lot of the same questions asked on r/Hellenism and other pagan spaces online, so here's my answers to them:

Is [god] mad at me for [thing]?

No.

Versions of this question are asked almost every day, about all kinds of situations, and the answer is always no. Your gods are not mad at you. Contrary to popular belief, gods do not anger easily. I think there are two main reasons why people assume this: The first is that the Greek gods are often perceived as being quick-tempered, petty, and vindictive in mythology, but this isn't an accurate or fair perception (see below). The other is that a majority of new converts are ex-Christians, and in many sects of Christianity, God is constantly breathing down your neck to catch you in a sin. If you grew up in that kind of culture, it can be very difficult to break out of that mindset.

In truth, Greek gods are kind and very forgiving, and it's nearly impossible to offend them by accident. You'd have to actively try to piss them off, and even then, you're more likely to get an "I'm very disappointed in you" than a show of divine wrath. Even in mythology, the things that anger them tend to be big things like kinslaying (murdering your family), desecration (intentional — as in not accidental — destruction of temples and holy objects), crimes against their worshippers, and disruption of the natural order. You can't do any of that by accident. Gods also aren't constantly looking over your shoulder for reasons to punish you. Believe me, they've got better things to do, and they don't have any reason to alienate their own worshippers over petty shit.

Can I worship multiple gods?

Yes! This is a polytheistic religion. Worshipping multiple gods is kind of the point. Gods do not get jealous of each other or possessive of their worshippers. Even if you have a patron deity, it is not going to prevent you from branching out to other gods. There's technically no limit to the number of gods you can worship; you're only limited by the amount of time and resources you have to devote to each one. Historically, people often had a handful of gods associated with their city, their profession, their local natural features, etc. that they worshipped regularly. They would cycle through the other ones as-needed or on their respective sacred days.

You also don't have to worry about putting different gods on separate altars, asking permission before working with a new god, or whether the gods you're working with will like each other or not. They expect to be worshipped alongside each other.

Can I mix Hellenism with Christianity or another religion?

Yes! Mixing religions is called "syncretism," and it's normal. It's how religion is supposed to work. All pagan religions are intercompatible to some extent; Ancient Greeks interpreted everyone else's gods as versions of their own with different names. (This is called interpretatio graeca.) There's lots of weird Greco-Egyptian hybrid gods, like Hermes Trismegistus (Hermes + Thoth), Hermanubis, Harpocrates, Isis-Aphrodite, Osiris-Dionysus, Zeus Ammon, and Serapis (Zeus + Hades + Dionysus + Apis + Osiris). There's lots of other examples of syncretism within and around Greece, and the Romans made syncretism their whole thing. Again, gods will not get mad if you choose to syncretize. But it is a good idea to be mindful of cultural appropriation when approaching syncretism.

Why do gods do such bad things in the myths? / How should I interpret the myths?

The majority of modern Hellenists don't take myths literally. We definitely don't treat them like the Bible. It's important to remember that Greek myths are at least two thousand years old! Nothing ages well after that long. Ancient Greeks had a very different value set from people today. So, for example, Zeus has disturbing SA myths because he's portrayed as an Ancient Greek king, and that's how Ancient Greek kings were expected to behave. Anyone who worships Zeus can tell you that Zeus, the entity, is not like that at all! He's very gentle and fatherly. What's actually important in those ancient myths is that Zeus is supposed to be the ultimate embodiment of power, and in those days, that was one way of showing how powerful and virile Zeus is. It's important to read between the lines and see what myths are actually trying to say, instead of taking them at face value. It takes time to learn how to interpret myths, but they can teach us a lot about the gods in this symbolic, indirect way if we know how to look at them.

Exactly how Ancient Greeks interpreted myths is a whole other discussion that I don't have space for here. The short version is that they didn't treat them like we treat the Bible or modern media. Myths are not literal or allegorical, it's a secret third thing. Myth straight-up didn't play the same role in society that our stories do today. So, until you learn more about that, I recommend taking the myths with a grain of salt. Enjoy them as stories, learn whatever you can from them, but please don't base your opinions about who the gods are as entities purely on myths. See below for other kinds of sources!

Do I need to pray every day?

Nope. Don't drive yourself crazy thinking you have to maintain a regular practice forever. That's asking a lot of yourself. Life gets in the way, and you don’t always have the time, energy, or emotional bandwidth to practice. (I tried to do regular rituals in August. I lasted about five days out of what was supposed to be a week-long series of rituals.) It’s important to remember that, in Ancient Greece, religious activity was just built into people’s routines. That’s no longer the case — we have to go out of our way to do even the most basic devotional activities, and that makes practicing much harder than it’s supposed to be. The gods understand that we’re human, and they understand the limitations of the way our lives are structured. Regular practice is, frankly, unrealistic.

Do I need to wait for a god to reach out to me before I worship/work with them?

Nope. This is a common misconception based on the way modern paganism is often presented. It's perfectly okay to seek the gods out based on what you need from them, and you don't need permission to begin working with a new one. (Gods want your worship the way corporations want your money. They're not going to turn you away.) It's possible that a god might "reach out" to you, but you can't control whether that happens or not, and you don't need to wait around for that to happen.

Do I need a patron deity? / How do I tell who my patron deity is?

You do not need a patron deity. Historically, your patron deity was the god that rules your profession. (So, the patron of doctors was Apollo, of merchants was Hermes, of agricultural workers was Demeter, of artisans was Athena, of politicians was Zeus, etc.) Nowadays, a patron deity is a god that takes a personal interest in you and your spiritual development, and whom you have a special connection to. I'm lucky enough to have one, but not everyone does, and you don't need a patron in order to practice or to have close relationships with gods. If you do have one, you don't need to only worship that one god.

If you have a patron deity, you will know. Chances are, it will not be subtle about getting your attention. I knew my patron deity because I became inexplicably obsessed with him more than once, and when I started doing research into him, everything about him resonated. Please do not ask if random symbols you're seeing are signs, or which god a tarot spread is pointing to. Part of what makes a sign a sign is that you think of the god when you see it! If you want gods to reach out through signs, I recommend familiarizing yourself with their iconography (symbols and attributes). Tarot doesn't have a one-to-one relationship with any group of gods, so it's unlikely that tarot will point you towards any specific god, unless you're already really familiar with the gods and your cards.

How do I talk to gods?

That's what divination is for. There's lots of divination methods: tarot and oracle cards, dice, pendulums, scrying, etc. Personally, I'm partial to automatic writing, which is writing a question, and then writing whatever comes to mind as the answer. I get answers in full sentences. (No, I don't know for sure that I'm talking to gods and not just to myself, but I recognize the gods' "voices," and I experience very intense waves of emotion and insight when I speak to them.) If you're a more visual person, scrying is also a great tool to receive messages from gods in the form of images. Simply meditating is also a good way to interact with gods, and something you should probably practice anyway.

Divination takes time to master. If you're not getting clear answers right away, take some time to familiarize yourself with your tool. Try using it to ask about your life, not just to talk to gods. Don't take it too seriously. Some methods are more reliable than others, and you may be better suited to some than others. I advise against yes/no divination, because it tends to be too vague and can be easily influenced by what you want to hear.

And please, for the love of Zeus, do not use candle flames! I know candle divination is the trendy thing on TikTok right now, but it's almost completely ineffective, because candle flames are easily affected by external factors: the length of the wick, the quality of the wax, the humidity of the air, drafts, you breathing on it wrong, etc. And any answers you might get from a candle flame will be vague, anyway! 90% of the time, it's not a message from a god, it's just the way fire works. Please don't read into it.

What can I give as offerings?

Standard offerings for all gods include bread, meat, milk, honey, cakes, olive oil, barley meal, flowers, fruit, wine, and incense. Some gods have more specific offerings consistent with their domains or personalities (like, for example, offering sun water or bay leaves to Apollo). You can also offer creative works like songs, poems, dances, art, etc., and devotional activities. Gods will appreciate almost anything you do for them.

As for how to dispose of offerings, I usually just eat them if its food. I don't give food offerings often, because I'm uncomfortable with "wasting" food, so I'm not really the right person to ask about that.

Which historical texts should I read?

We usually recommend that you start with the Homeric epics (The Iliad and Odyssey) and Hesiod's Theogony and Works and Days. But mythology is not the only resource we have to learn about the gods! There's the Homeric and Orphic Hymns, poems dedicated to the gods that you can recite for them at their altars. There's texts on theology like De Natura Deorum by Cicero, On the Gods and the World by Sallustius, and On Images by Porphyry. There's also Description of Greece by Pausanias, a travel guide (of a sort) that describes the everyday religious life of ordinary Ancient Greeks. Reading Plato is a tall order for some, but I recommend familiarizing yourself with his ideas at least a little bit. Most of these are available on theoi.com or perseus.tufts.edu, and the Internet Classics Archive.

If you're interested in magic, definitely take a look at the Greek Magical Papyri (PGM) as well.

Can I be a Hellenist and a witch?

Yes, but keep in mind, paganism and witchcraft are not interchangeable. You do not have to practice witchcraft to be a pagan, and vice-versa. Modern witchcraft is (long story short) an outgrowth of the popularity of Wicca, a neopagan religion founded in 1951. It doesn't bear much resemblance to ancient pagan religions, and most of the modern witchcraft content that you see on the internet isn't directly relevant to Hellenism (even if it concerns Greek gods). Witchcraft did exist in Ancient Greek religion, but it's different from the modern stuff. You can definitely combine modern witchcraft or Wicca with Hellenism, but I recommend studying them separately. Treat it like any other kind of syncretism.

Okay, that's all for now! Let me know if there's anything I missed or should add.

#hallenic paganism #hellenism #hellenic polytheism #hellenic pagan #paganism #greek paganism #paganblr #neopagan #pagan community #witchblr #faqs

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juniorig0327 · 5 months ago

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Random 2:30 Thought

So I'm just up thinking and honestly I'm thinking about HOO and like, what if the conflict between the Greek and Roman camps was bigger than what it was.

Like, thinking about a way to integrate the Ottomans and Franks (I wanted to put Byzantine but they didn't have a religion pre Christianity and I'm sure not sure how that would be integrated, maybe in a way similar to Egyptian magicians??)

Because the Greeks have a long history outside of Romans and basically struggled for true independence for a very long time.

Could possibly develop an issue that goes deeper than the Athena Parthenos, grudges of the ancestors still being carried by modern demigods, just because they were told to hate these people.

Have the Seven be a mixture of all of these (could get a magnus chase crossover with the Franks since their religion was essentially of Norse origin I think lol.)

We have characters learning to overcome their prejudice and going through conflicts. Having one character (probably Percy) being the one to truly bring everyone together. The Uniter of [insert some cool title here] and bringing everyone together.

Them trying not to fall apart in the inevitable Tartarus fall and them pulling themselves back together on their way to the house of hades and the doors of death and becoming found family.

(I still think Percy should've killed Gaea imo and he was written off too quickly as not an option, especially when he was talking about killing Gaea w his bare hands or something like that so.) And finally at the end the camps (or whatever they'd consider themselves to be) finally uniting with the "death?" of Percy and his honorable sacrifice, the beginning of a new future, ambassadors being set up, facilities being built. All of the camps would unite maybe under an alliance, one more step to the actual safety of demigods (now that they're being claimed).

I dunno it sounds sort of cool since Greece and their history is really crazy, so bringing it all together against one of the strongest primordial beings, fixing what's broken, bringing hope for new generation of demigods is just wow.

As I'm writing this, I honestly could do something for the Byzantine Empire as far as including them, I'd just make them more like the Egyptian Magicians compared to demigods.

As for how they'd meet for the first time, that's a little complicated, especially because having five leaders or people from five separate camps seems a little too much.

Maybe the quest would go as normal but like at the beginning it's just Jason, Percy, Hazel, and Annabeth (maybe not "officially" being apart of the Seven but instead just being there for the Mark of Athena? I just feel like Hazel would only really work as apart of the Greco-Roman pantheon just because of her backstory directly relating to Gaea like it does so I wouldn't be able to revamp her character and drop her in another pantheon) traveling to pick up the rest of Seven.

Anyways I've been writing this for twenty minutes so I think I'll stop lol.

#pjo hoo toa #juniorig #percy jackson #trials of apollo #greek gods pjo #heroes of olympus #pjo #percy jackon and the olympians #zeus pjo #new writter #writer ideas #camp half blood #camp jupiter

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rosario-aurelius · 10 months ago

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Lamb of God: Horus, Christ, and the Labarum

The development of the Sun-god archetype in Early Christianity was shaped by the preceding language and symbolism of Egyptian and Greco-Roman religions. When Constantine first beheld the vision of the labarum, the prevailing patterns of syncretism had already provided a shape and direction for the form that the early Christian Sun-god would take. It was represented by the Greek symbol of Chi-Rho.…

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violetmoondaughter · 1 year ago

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Knot of Isis

This ancient egyptian symbol is called Tjet or Knot of Isis and it's a sign usually connected with the power of the goddess Isis/Aset. Isis is one of the main deity of the egyptian pantheon, sister/wife of Osiris, goddess of magic and wisdom, goddess of kingship and protectress of the kingdom. She was seen as a universal mother goddess connected with beauty, love and fertility. In the Book of the Dead the tjet sign was addressed with the words "Blood of Isis" symbolizing the lifegiver power of blood, especially connected with the menstrual blood where the power of the goddess lies.

This sign resembles the ankh, except that the transverse arms are folded downwards, and resembles a knot of cloth and may have originally been a bandage used to absorb menstrual blood. Others suggest it represents the female reproductive organs and represents Isis in her role as the universal mother. Knots were commonly used in ancient egyptian religion as magical amulets and spell crafting. Large knot in a mantle were worn by Egyptian women from the Late Period onward and we tend to see the Knot of Isis tied into clothing during the Greco-Roman period.

The tyet can be compared with the Minoan sacral knot, a symbol of a knot with a projecting loop found in Knossos, Crete and with the Knot of Inanna.

The tjet was usually placed in tombs and was made with red semi-precious stone like jaspers. The blood of Isis was often combined with the djed-pillar especially in the decoration of temple ,walls, beds and sarcophagi. The djed is a pillar-like symbol associated with the god Osiris and it is commonly understood to represent his spine. When combined the two symbols alluded, via Isis and Osiris, to the unity of opposing world forces and with that to the unconquerable nature of life.

The tjet represents the female generative power of the goddess in which the magical source of isis lies and thus represents an ancient and very powerful symbol of protection and power.

#knot of isis #witchcraft #witchblr #witches of tumblr #tjet #Aset #isis goddess #blood of isis #mother goddess #kemetic paganism #egyptian gods #divine feminine #sacred symbols #esoteric #occultism #ancient symbols

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khensaptah · 1 year ago

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Mystic Egyptian Polytheism Resource List

Because I wanted to do a little more digging into the philosophy elements explored in Mahmoud's book, I took the time tonight to pull together the recommended reading he listed toward the end of each chapter. The notes included are his own.

MEP discusses Pharaonic Egypt and Hellenistic Egypt, and thus some of these sources are relevant to Hellenic polytheists (hence me intruding in those tags)!

Note: extremely long text post under this read more.

What Are The Gods And The Myths?

ψ Jeremy Naydler’s Temple of the Cosmos: The Ancient Egyptian Experience of the Sacred is my top text recommendation for further exploration of this topic. It dives deep into how the ancients envisioned the gods and proposes how the various Egyptian cosmologies can be reconciled. ψ Jan Assmann’s Egyptian Solar Religion in the New Kingdom: Re, Amun and the Crisis of Polytheism focuses on New Kingdom theology by analyzing and comparing religious literature. Assmann fleshes out a kind of “monistic polytheism,” as well as a robust culture of personal piety that is reflected most prominently in the religious literature of this period. He shows how New Kingdom religious thought was an antecedent to concepts in Hermeticism and Neoplatonism. ψ Moustafa Gadalla’s Egyptian Divinities: The All Who Are The One provides a modern Egyptian analysis of the gods, including reviews of the most significant deities. Although Gadalla is not an academic, his insights and contributions as a native Egyptian Muslim with sympathies towards the ancient religion are valuable.

How to Think like an Egyptian

ψ Jan Assmann’s The Mind of Egypt: History and Meaning in the Time of the Pharaohs is my top text recommendation for further exploration of this topic. It illuminates Egyptian theology by exploring their ideals, values, mentalities, belief systems, and aspirations from the Old Kingdom period to the Ptolemaic period. ψ Garth Fowden’s The Egyptian Hermes: A Historical Approach to the Late Pagan Mind identifies the Egyptian character of religion and wisdom in late antiquity and provides a cultural and historical context to the Hermetica, a collection of Greco-Egyptian religious texts. ψ Christian Bull’s The Tradition of Hermes Trismegistus: The Egyptian Priestly Figure as a Teacher of Hellenized Wisdom provides a rich assessment of the Egyptian religious landscape at the end of widespread polytheism in Egypt and how it came to interact with and be codified in Greek schools of thought and their writings.

How To Think Like A Neoplatonist

Radek Chlup’s Proclus: An Introduction is my top text recommendation for further exploration of this topic. It addresses the Neoplatonic system of Proclus but gives an excellent overview of Neoplatonism generally. It contains many valuable graphics and charts that help illustrate the main ideas within Neoplatonism. ψ John Opsopaus’ The Secret Texts of Hellenic Polytheism: A Practical Guide to the Restored Pagan Religion of George Gemistos Plethon succinctly addresses several concepts in Neoplatonism from the point of view of Gemistos Plethon, a crypto-polytheist who lived during the final years of the Byzantine Empire. It provides insight into the practical application of Neoplatonism to ritual and religion. ψ Algis Uzdavinys’ Philosophy as a Rite of Rebirth: From Ancient Egypt to Neoplatonism draws connections between theological concepts and practices in Ancient Egypt to those represented in the writings and practices of the Neoplatonists.

What Is “Theurgy,” And How Do You Make A Prayer “Theurgical?”

ψ Jeffrey Kupperman’s Living Theurgy: A Course in Iamblichus’ Philosophy, Theology and Theurgy is my top text recommendation for further exploration of this topic. It is a practical guide on theurgy, complete with straightforward explanations of theurgical concepts and contemplative exercises for practice. ψ Gregory Shaw’s Theurgy and the Soul: The Neoplatonism of Iamblichus demonstrates how Iamblichus used religious ritual as the primary tool of the soul’s ascent towards God. He lays out how Iamblichus proposed using rites to achieve henosis. ψ Algis Uzdavinys’ Philosophy and Theurgy in Late Antiquity explores the various ways theurgy operated in the prime of its widespread usage. He focuses mainly on temple rites and how theurgy helped translate them into personal piety rituals.

What Is “Demiurgy,” And How Do I Do Devotional, “Demiurgical” Acts?

ψ Shannon Grimes’ Becoming Gold: Zosimos of Panopolis and the Alchemical Arts in Roman Egypt is my top text recommendation for further exploration of this topic. It constitutes an in-depth look at Zosimos—an Egyptian Hermetic priest, scribe, metallurgist, and alchemist. It explores alchemy (ancient chemistry and metallurgy) as material rites of the soul’s ascent. She shows how Zosimos believed that partaking in these practical arts produced divine realities and spiritual advancements. ψ Alison M. Robert’s Hathor’s Alchemy: The Ancient Egyptian Roots of the Hermetic Art delves deep temple inscriptions and corresponding religious literature from the Pharaonic period and demonstrates them as premises for alchemy. These texts “alchemize” the “body” of the temple, offering a model for the “alchemizing” of the self. ψ A.J. Arberry’s translation of Farid al-Din Attar’s Muslim Saints and Mystics: Episodes from the Tadhkirat al-Auliya contains a chapter on the Egyptian Sufi saint Dhul-Nun al-Misri (sometimes rendered as Dho‘l-Nun al-Mesri). He is regarded as an alchemist, thaumaturge, and master of Egyptian hieroglyphics. It contains apocryphal stories of his ascetic and mystic life as a way of “living demiurgically.” It is an insightful glimpse into how the Ancient Egyptian arts continued into new religious paradigms long after polytheism was no longer widespread in Egypt.

Further Reading

Contemporary Works Assmann, Jan. 1995. Egyptian Solar Religion in the New Kingdom: Re, Amun and the Crisis of Polytheism. Translated by Anthony Alcock. Kegan Paul International. Assmann, Jan. 2003. The Mind of Egypt: History and Meaning in the Time of the Pharaohs. Harvard University Press. Bull, Christian H. 2019. The Tradition of Hermes Trismegistus: The Egyptian Priestly Figure as a Teacher of Hellenized Wisdom. Brill. Chlup, Radek. 2012. Proclus: An Introduction. Cambridge University Press. Escolano-Poveda, Marina. 2008. The Egyptian Priests of the Graeco-Roman Period. Brill. Fowden, Garth. 1986. The Egyptian Hermes: A Historical Approach to the Late Pagan Mind. Cambridge University Press. Freke, Tim, and Peter Gandy. 2008. The Hermetica: The Lost Wisdom of the Pharaohs. Jeremy P. Tarcher/Penguin. Gadalla, Moustafa. 2001. Egyptian Divinities: The All Who Are The One. Tehuti Research Foundation. Grimes, Shannon. 2019. Becoming Gold: Zosimos of Panopolis and the Alchemical Arts in Roman Egypt. Princeton University Press. Jackson, Howard. 2017. “A New Proposal for the Origin of the Hermetic God Poimandres.” Aries: Journal for the Study of Western Esotericism 17 (2): 193-212. Kupperman, Jeffrey. 2014. Living Theurgy: A Course in Iamblichus’ Philosophy, Theology and Theurgy. Avalonia. Mierzwicki, Tony. 2011. Graeco-Egyptian Magick: Everyday Empowerment. Llewellyn Publications. Naydler, Jeremy. 1996. Temple of the Cosmos: The Ancient Egyptian Experience of the Sacred. Inner Traditions. Opsopaus, J. 2006. The Secret Texts of Hellenic Polytheism: A Practical Guide to the Restored Pagan Religion of George Gemistos Plethon. New York: Llewellyn Publications. Roberts, Alison M. 2019. Hathor’s Alchemy: The Ancient Egyptian Roots of the Hermetic Art. Northgate Publishers. Shaw, Gregory. 1995. Theurgy and the Soul: The Neoplatonism of Iamblichus. 2nd ed. Angelico Press. Snape, Steven. 2014. The Complete Cities of Ancient Egypt. Thames & Hudson. Uzdavinys, Algis. 1995. Philosophy and Theurgy in Late Antiquity. Wheaton, IL: Quest Books. Uzdavinys, Algis. 2008. Philosophy as a Rite of Rebirth: From Ancient Egypt to Neoplatonism. Lindisfarne Books. Wilkinson, Richard H. 2000. The Complete Temples of Ancient Egypt. Thames & Hudson.

Ancient Sources in Translation Attar, Farid al-Din. 1966. Muslim Saints and Mystics: Episodes from the Tadhkirat alAuliya. Translated by A.J. Arberry. London: Routledge & Kegan Paul. Betz, Hans Dieter. 1992. The Greek Magical Papyri in Translation, Including the Demotic Spells. Chicago: University of Chicago Press. Copenhaver, Brian P. 1995. Hermetica: The Greek Corpus Hermeticum and the Latin Asclepius in a New English Translation, with Notes and Introduction. Cambridge: Cambridge University Press. Guthrie, Kenneth. 1988. The Pythagorean Sourcebook and Library: An Anthology of Ancient Writings which Relate to Pythagoras and Pythagorean Philosophy. Grand Rapids, MI: Phanes Press. Iamblichus. 1988. The Theology of Arithmetic. Translated by Robin Waterfield. Grand Rapids, MI: Phanes Press. Iamblichus. 2003. Iamblichus: On the Mysteries. Translated by Clarke, E., Dillon, J. M., & Hershbell, J. P. Atlanta: Society of Biblical Literature. Iamblichus. 2008. The Life of Pythagoras (Abridged). Translated by Thomas Taylor. Whitefish, MT: Kessinger Publishing. Lichtheim, Miriam. 1973-1980. Ancient Egyptian Literature. Volumes I-III. Berkeley: University of California Press. Litwa, M. David. 2018. Hermetica II. Cambridge: Cambridge University Press. Majercik, Ruth. 1989. The Chaldean Oracles: Text, Translation, and Commentary. Leiden: Brill. Plato. 1997. Plato: Complete Works. Edited by John M. Cooper and D. S. Hutchinson. Indianapolis: Hackett Publishing. Plotinus. 1984-1988. The Enneads. Volumes 1-7. Translated by A.H. Armstrong. Cambridge, Massachusetts: Harvard University Press. Van der Horst, Pieter Willem. 1984. The Fragments of Chaeremon, Egyptian Priest and Stoic Philosopher. Leiden: E.J. Brill.

#mystic egyptian polytheism #resource list #philosophy #neoplatonism #egyptian polytheism #hellenic polytheism #hermeticism

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childofthenightuwu · 3 months ago

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The Otherworld, Different Dimensions, and Otherkinity.

The under/otherworld has been attested to in various different cultures in many different ways, most of which stemmed from the Ancient Egyptian and Ancient Mesopotamian religions through not only the blood of the people but the culture as well. This can be seen in indo-european, Greco-Roman, Indigenous North and South American, as well as various Asian cultures. Each one had their own path traveling from Africa to their home continents.

The idea of the underworld being both underneath the earth, closer to the fire core and beneath the primordial ocean, but also in a somewhat different reality than ours where time goes much quicker and things which happen in that world can affect this world is present in many of the cultures I mentioned above.

One of the best examples of this double world effect comes from pagan Irish legends of the fae realm. One would stumble upon a faerie circle and be transported to the otherworld to join in their partying. To them, it would feel as though it had only been hours, but when they escaped, it had been years.

The fae realm is depicted as under the burial mounds and beneath the earth's crust, specifically when dealing with dead humans or animals who became faeries (in the sense of spirits). The god of the dead, depicted as Dis Pater by Caesar in his accounts of the Gauls, was also associated with the faeries. He was said to be the king of the other/underworld and dwell in the dark part of the forest as well as the primordial sea where one would go when death took them. He is often seen as the Horned god in more modern depictions.

Various portals to the under/otherworld exist on the European continent with rich cultural mythology surrounding them. Most of these are caverns leading out to the ocean or into the darkness.

This underworld is where the fae realm resides and all fae creatures, including more contemporary faeries, house spirits, Demons, genii, satyrs, kelpie etc. live.

In the ancient Egyptian belief the Sekhem was the shadow of a person in a spiritual sense. The double living the same life with the same Ka though in darkness rather than the light of the sun. Now where would one live in darkness? Under the earth where the light does not penetrate.

I believe that the Sekhem is the underworld version of the animal or their double in that separate realm.

This had me thinking though, if one is otherkin could their Sekhem possibly be that form? As a dragon the idea of the fae realm feels very close to home and many believe dragons originate from there.

Giant flying lizards are definitely possible looking at dinosaurs but perhaps dragons are similar animals just in a different realm where things work differently. That would mean that each dragon living in a human form would be living half in the underworld, their soul home, and the middle world or this world.

If you compare hominids in the mid world to the smaller and different looking hominids in the underworld, being brownies and the like, you can begin to make comparisons between the two worlds. It is a difference of dimension rather than one of species.

These dimensions do overlap though. At certain times of the year when the veil between worlds is thinnest the dead travel to the underworld and depending on what you believe live out their second life. In my personal belief system when one dies in the mid world they're reborn in a different dimension, either being the underworld, the upper world (or astral plane), or perhaps a different dimension entirely. The world tree map of dimensions in religions such as the pagan norse and celtic show various dimensions on each branch.

Multiple exist on the middle plane, the underworld plane and the upperworld plane. This makes sense with our current understanding of different dimensions in science as well as it has been proposed at least five separate dimensions exist, each slightly different to our own.

Perhaps in some way, death, travel, etc. Otherkin from different dimensions came to this one. For some this is an explanation of their past lives, for others like myself it is their soul travelling to another dimension and deciding to be reborn there for a few centuries.

Regardless, this interdimensional way of viewing otherkinity may explain Bilocation and Aura shifts.

When one shifts, it is them experiencing their past or true body and connecting to their home dimension. This can explain otherkin from different planets as well who possibly have their own world trees.

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alchemy-fic · 27 days ago

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Bibliography:

Alchemy and the Occult:

Western:

Alchemy Unveiled, Johannes Helmond (Translated into English and Edited by

Gerard Hanswille and Deborah Brumlich); (1963)

Practical Alchemy, A Guide To The Great Work; Brian Cotnoir (2006)

The Black Arts (50th Anniversary Edition); Richard Cavendish (1968)

Alchemy & Mysticism: The Hermetic Cabinet; Alexander Roob (2009)

The Forge and the Crucible: The Origins and Structures of Alchemy (2nd Edition); Mircea Eliade (1962, 1978)

History of Alchemy; M. M. Pattison (1902)

Alchemy (Revised Edition); E. J. Holmyard (1990)

Dictionary of Symbolism, Cultural Icons and the Meanings Behind Them; Hans Biedermann, Translated by James Hulbert (1994)

The Encyclopedia of Witches, Witchcraft, and Wicca; Rosemary Ellen Guiley (1989)

The Encyclopedia of Ghosts and Spirits; Rosemary Ellen Guiley (1992)

Levantine:

The Jewish Alchemists: A History and Source Book; Raphael Patai (1994)

Ancient Magic and Divination, A Microhistorical Study of the Neo-Assyrian Healer Kiṣir-Aššur; Troels Pank Arbøll (2017)

Fuck Your "Magic" Antisemitism: A Lesser Key To The Appropriation Of Jewish Magic & Mysticism; Ezra Rose (2022)

“His wind is released” - The Emergence of the Ghost Ritual of passage in Mesopotamia; Dina Katz, Leiden (2014)

Cursed Are You! The Phenomenology of Cursing in Cuneiform and Hebrew Texts; Anne Marie Kitz (2014)

Egyptian Magic; E.A. Wallis Budge (1901)

Mesopotamian Planetary Astronomy-Astrology (Cuneiform Monographs); David Brown (2000)

Astrology in Ancient Mesopotamia: The Science of Omens and the Knowledge of the Heavens; Michael Baigent (July 20, 2015)

Ancient Jewish Magic: A History; Gideon Bohak (2008)

PERFORMING DEATH: SOCIAL ANALYSES OF FUNERARY TRADITIONS IN THE ANCIENT NEAR EAST AND MEDITERRANEAN; Nicola Laneri, Ellen F. Morris, Glenn M. Schwartz, Robert Chapman, Massimo Cultraro, Meredith S. Chesson, Alessandro Naso, Adam T. Smith, Dina Katz, Seth Richardson, Susan Pollock, Ian Rutherford, John Pollini, John Robb, and James A. Brown (2007)

Mesopotamian Conceptions of Dreams and Dream Rituals; Sally A. L. Butler (1998)

Forerunners to Udug-Hul: Sumerian exorcistic incantations; Markham J. Geller (1985)

Šurpu. A Collection of Sumerian and Akkadian Incantations; Erica Reiner (1958)

Mesopotamian Protective Spirits: The Ritual Texts; F. A. M. Wiggermann (1992)

The Alchemist's Handbook- Manual for Practical Laboratory Alchemy; Frater Albertus (1960)

Licit Magic: The Life and Letters of al-Ṣāḥib b. ʿAbbād (d. 385/995); Maurice A. Pomerantz (09 Nov 2017)

Further Studies on Mesopotamian Witchcraft Beliefs and Literature; Tzvi Abusch (2002)

The Heavenly Writing: Divination, Horoscopy, and Astronomy in Mesopotamian Culture; Francesca Rochberg (2004)

Greco-Roman:

Magic, Witchcraft, and Ghosts in Greek and Roman Worlds: A Sourcebook; Daniel Ogden (2002)

Far East Asia:

I Ching; Fu Xi (~1000 BCE)

Myths, Legends, Religious Texts And Folktales

Levantine:

The Treasures of Darkness: A History of Mesopotamian Religion; Thorkild Jacobsen (1976)

Persian Myths; Jake Jackson (2022)

Myths of Babylon; Jake Jackson (2018)

The Epic Of Gilgamesh (2nd Edition); Anonymous, Andrew George (????, 2000)

The First Ghost Stories; Dr. Irving Finkel (2021)

On Jewish Folklore; Raphael Patai (1983)

Sumerian Mythology, a Deep Guide Into Sumerian History and Mesopotamian Empire and Myths; Joshua Brown (2021)

Sumerian Mythology, a Study of Spiritual and Literary Achievement in the Third Millennium B.C. (Revised Edition); Samuel Noah Kramer (1961)

Sumerian Liturgies; Anonymous, Stephen Langdon (1919)

Inanna, Lady of Largest Heart, Poems of the Sumerian High Priestess Enheduanna; Enheduanna, Betty De Shong Meador (1989)

Ninurta's Journey to Eridu; Daniel Reisman (1971)

A Sumerian Proverb Tablet in Geneva With Some Thoughts on Sumerian Proverb (2006)

Enki's Journey to Nippur: The Journeys of the Gods; Al-Fouadi, Abdul-Hadi A. (1969)

The Arthur of the Welsh: The Arthurian Legend in Medieval Welsh Literature by Rachel Bromwich (1991)

Encyclopedia of American Folklore; Linda S. Watts (2006)

Jewish Magic and Superstition: A Study in Folk Religion; Joshua Trachtenberg (1939)

Amulets and Talismans; E.A. Wallis Budge (The copy I have was published in 1992 but he died in 1934. Not sure when the original work was created.)

Ashkenazi Herbalism: Rediscovering the Herbal Traditions of Eastern European Jews; Deatra Cohen, Adam Siegel (2021)

Encyclopedia of Catholicism; Frank K. Flinn (2007)

As Through a Veil: Mystical Poetry in Islam; Annemarie Schimmel (1982)

You Will Have Other Goddesses in Addition to Me: Polytheism Among Ancient Israelite Women; Liora Finke (2022)

Gods That Travel: On The Ritual Aspects of Divine Journeys And Processions; Klaus Wagensonner (2014)

NINURTA AND ENKI; A new divine journey of the warrior god to Eridu; Klaus Wagensonner (2013)

Jewish Music in Its Historical Development; Abraham Zevi Idelsohn (1929)

The God Enki in Sumerian Royal Ideology and Mythology; Peeter Espak (2010)

The Encyclopedia of Jewish Myth, Magic & Mysticism: Second Edition; Geoffrey W. Dennis (2007)

Book of Jewish Knowledge: An Encyclopedia of Judaism and the Jewish People, Covering All Elements of Jewish Life from Biblical Times to the Present (03 May 1948); Nathan Ausubel

Encyclopedia of Judaism (Encyclopedia of World Religions); Sara E. Karesh & Mitchell M. Hurvitz (2006)

Aboriginal Australia:

Gadi Mirrabooka: Australian Aboriginal Tales from the Dreaming; Pauline E. McLeod, Francis Firebrace Jones, June E. Barker, Helen F. McKay (2001)

The Two Rainbow Serpents Travelling: Mura Track Narratives from the 'Corner Country'; Jeremy Beckett, Luise Hercus (2009)

Mixed or Other:

Egyptian Myths & Tales; Japanese Myths & Tales, Aztec Myths & Tales, Scottish Folk & Fairytales, Viking Folk & Fairytales, Chinese Myths & Tales, Greek Myths & Tales, African Myths & Tales, Native American Myths & Tales, Persian Myths & Tales, Celtic Myths & Tales, Irish Fairy Tales; Anonymous, Flame Tree Publishing

Tales of King Arthur & The Knights Of The Round Table (Le Morte D’Arthur); Thomas Malory

The Encyclopedia of Celtic Mythology and Folklore; Patricia Monaghan (2004)

Academic (Science including Psychology)

Stellar Alchemy: The Celestial Origin of Atoms, Michel Cassé, Stephen Lyle (2003)

Aboriginal Suicide Is Different: A Portrait of Life And Self Destruction; Colin Tatz (2005)

Fruit Domestication in the Near East; Shahal Abbo, Avi Gopher & Simcha Lev-Yadun (2015)

Astronomical Cuneiform Texts: Babylonian Ephemerides of the Seleucid Period for the Motion of the Sun, the Moon, and the Planets (Sources in the History of Mathematics and Physical Sciences, 5); Otto E. Neugebauer (1945)

Studies in the History of Science; E. A. Speiser; Otto E. Neugebauer; Hermann Ranke; Henry E. Sigerist; Richard H. Shryock; Evarts A. Graham; Edgar A. Singer; Hermann Weyl (Compiled In 2017)

Studies in Civilization; Alan J. B. Wace; Otto E. Neugebauer; William S. Ferguson (Compiled In 2016)

Astronomy and History: Selected Essays; Otto E. Neugebauer (Compiled In 1983)

The Encyclopedia of the Brain and Brain Disorders; Carol Turkington (2002)

The Encyclopedia of Poisons and Antidotes; Deborah R. Mitchell & Carol Turkington (2010)

The Encyclopedia of Suicide; Glen Evans, Norman L. Farberow, Ph.D. & Kennedy Associates (1988)

Academic (History)

Western:

Encyclopedia of Native American Tribes; Carl Waldman (2006)

Levantine:

Sounds from the Divine: Religious Musical Instruments in the Ancient Near East; Dahlia Shehata (2014)

Gender and Aging in Mesopotamia: The Gilgamesh Epic and Other Ancient Literature; Rivkah Harris (05/12/2003)

House Most High: The Temples of Ancient Mesopotamia; A. R. George (1993)

The Cultural Atlas of Mesopotamia and the Ancient Near East; Michael Roaf (1990)

The Meaning of Color in Ancient Mesopotamia; Shiyanthi Thavapalan (2020)

The Loss of Male Sexual Desire in Ancient Mesopotamia; Gioele Zisa (2021)

Materials and Manufacture in Ancient Mesopotamia: The evidence of Archaeology and Art. Metals and metalwork, glazed materials and glass; P. R. S. Moorey (3/1/1985)

Collections; Bendt Alster, Takayoshi Oshima (2006)

Political Agency of Royal Women; Paula Sabloff (2019)

Studies in Sumerian Civilization: Selected Writings Of Miguel Civil; Miguel Civil, edited by Lluís Felu (2017)

A study on the natural heritage and its importance in the Sumerian civilization in southern Iraq; Al-Hussein Nabeel Al-Karkhi, Isam Hussain T. Al-Karkhi (2021)

A Sumerian Riddle Collection; Bendt Alster (1976)

SUMERIAN “CHILD”; Vitali Bartash (2018)

The civilizing of Ea-Enkidu an unusual tablet of the Babylonian Gilgamesh Epic; Andrew R George (2007)

Celibacy in the Ancient World: Its Ideal and Practice in Pre-Hellenistic Israel, Mesopotamia, and Greece; Dale Launderville OSB (07/01/2010)

House and Household Economies in 3rd Millennium B.C.E. Syro-Mesopotamia; Federico Buccellati ,Tobias Helms & Alexander Tamm (2014)

The Harps That Once… Sumerian Poetry In Translation; Thorkild Jacobsen (1987)

The Divine Origin Of The Craft Of The Herbalist; Sir E. A. Wallis Budge (1928)

Disease in Babylonia; Edited by Irving Finkel and Markham (Mark) Geller (2007)

Royal Statuary of Early Dynastic Mesopotamia; Gianni Marchesi and Nicolo Marchetti (2011)

Myths of Enki, The Crafty God; Samuel Noah Kramer, John Maier (1989)

Household and State in Upper Mesopotamia; Patricia Wattenmaker (July 17, 1998)

Assyrian Rulers of the Early First Millennium; Albert Kirk Grayson (1987)

Gudea's Temple Building: The Representation of an Early Mesopotamian Ruler in Text and Image (Cuneiform Monographs); Claudia E. Suter (January 1, 2000)

Reading Sumerian Poetry (Athlone Publications in Egyptology & Ancient Near Eastern Studies); Jeremy Black (2001)

Handbook to Life in Ancient Mesopotamia; Stephen Bertman (2002)

Weavers, Scribes, and Kings: A New History of the Ancient Near East; Amanda H. Podany (2022)

History Begins at Sumer: Thirty-Nine Firsts in Recorded History; Samuel Noah Kramer (1981)

A History of the Animal World in the Ancient Near East; Edited by Billie Jean Collins (2002)

The Sumerians: Their History, Culture, and Character; Samuel Noah Kramer (1963)

The Ancient Near East in Transregional Perspective: Material Culture and Exchange Between Mesopotamia, the Levant and Lower Egypt from 5800 to 5200 ... Sudan and the Levant; Katharina Streit (11/10/2020)

Colonialism and Christianity in Mandate Palestine; Laura Robson (September 1, 2011)

Poetic Astronomy in the Ancient Near East The Reflexes of Celestial Science in Ancient Mesopotamian, Ugaritic, and Israelite Narrative; Jeffrey L. Cooley (2013)

Hasidism, Haskalah, Zionism: Chapters in Literary Politics (Jewish Culture and Contexts); Hannan Hever (October 17, 2023)

Mourning in the Ancient Near East and the Hebrew Bible; Xuan Huong Thi Pham (1999)

Medieval Hebrew Poetry in Muslim Egypt; Joachim J.M.S. Yeshaya (2011)

The Land that I Will Show You: Essays on the History and Archaeology of the Ancient Near East in Honor of J. Maxwell Miller; J. Andrew Dearman & M. Patrick Graham (January 9, 2002)

Jerusalem in Ancient History and Tradition; Thomas L. Thompson (2003)

Prisons in Ancient Mesopotamia, Confinement and Control until the First Fall of Babylon; Dr. J. Nicholas Reid (2022)

Prophets Male and Female: Gender and Prophecy in the Hebrew Bible, the Eastern Mediterranean, and the Ancient Near East; Jonathan Stökl & Corrine L. Carvalho (2013)

The Calm before the Storm- Selected writings of Itamar Singer on the late Bronze Age in Anatolia and the Levant; Itamar Singer (2012)

"Holiness" and "purity" in Mesopotamia; E. Jan Wilson (1994)

The Material Culture of the Northern Sea Peoples in Israel; Ephraim Stern (2013)

Family and Household Religion in Ancient Israel and the Levant; Rainer Albertz and Rüdiger Schmitt (2012)

Scribal Education in Ancient Israel: The Old Hebrew Epigraphic Evidence; Christopher A. Rollston (11/2006)

Neanderthals in the Levant- Behavioural Organization and the Beginnings of Human Modernity; Donald O. Henry (10/2003)

Suddenly, the Sight of War- Violence and Nationalism in Hebrew Poetry in the 1940s; Hannan Hever (2016)

Gender and Law in the Hebrew Bible and the Ancient Near East; Victor H. Matthews, Victor H. Matthews, Bernard M. Levinson, Tikva Frymer-Kensky (1998)

The concept of fate in ancient Mesopotamia of the 1st millennium: Toward an understanding of 'simtu'; Jack N. Lawson (1992)

The Myth of the Jewish Race; Raphael Patai, Jennifer Patai Wing (01/01/1975)

The Dream of the Poem: Hebrew Poetry from Muslim and Christian Spain, 950-1492; Peter Cole (01/22/2007)

Encyclopedia of Jewish Folklore and Traditions; Raphael Patai (2013)

Hebrew Myths; Robert Graves and Raphael Patai (2005)

Vast as the Sea - Hebrew Poetry and the Human Condition; Samuel Hildebrandt (12/05/2023)

Sex & Eroticism in Mesopotamian Literature; Gwendolyn Leick (1994)

Far East Asian:

Encyclopedia of Ancient Asian Civilizations; Charles Higham (2004)

Aboriginal Australia:

Aboriginal Peoples: Fact and Fiction; Pierre Lepage, Maryse Alcindor, Jan Jordon (2009)

Visions from the Past: The Archaeology of Australian Aboriginal Art; M.J. Morwood, Douglas Hobbs, D.R. Hobbs (2002)

Mixed or Other:

Early Civilizations of the Old World: The Formative Histories of Egypt, The Levant, Mesopotamia, India and China; Charles Keith Maisels (May 20, 2001)

20,000 Years of Fashion: The History of Costume and Personal Adornment; Francois Boucher (1967)

Black Morocco: A History of Slavery, Race, and Islam; Chouki El Hamel (2012)

The Birth of Science: Ancient Times to 1699; Ray Spangenburg & Diane Kit Moser (2004)

The Architecture of Castles: A Visual Guide; Reginald Allen Brown (1984)

Encyclopedia of War Crimes and Genocide; Leslie Alan Horvitz and Christopher Catherwood (2006)

Linguistic

Cuneiform; Irving Finkel, Jonathan Taylor (2015)

An Introduction to the Grammar of Sumerian; Gábor Zólyomi (2017)

Learn to Read Ancient Sumerian: An Introduction for Complete Beginners; Joshua Aaron Bowen, Megan Lewis (2020) Learn to Read Ancient Sumerian: An Introduction for Complete Beginners, Volume 2; Joshua Aaron Bowen, Megan Lewis (2023)

The Sur₉-Priest, the Instrument giš Al-gar-sur₉, and the Forms and Uses of a Rare Sign; Niek C. (1997/1998)

Sumerian Grammar (Handbook of Oriental Studies. Section One, the Near [And] Mi) (English and Sumerian Edition); Dietz Otto Edzard (2003)

A Late Old Babylonian Proto-Kagal / Nigga Text and the Nature of the Acrographic Lexical Series; Niek VELDHUIS -Groningen (1998)

Learning To Pray In A Dead Language, Education And Invocation in Ancient Sumerian; Joshua Bowen (2020)

Aboriginal Sign Languages of The Americas and Australia: Volume 1; North America Classic Comparative Perspectives; Garrick Mallery (auth.), D. Jean Umiker-Sebeok, Thomas A. Sebeok (eds.) (1978)

The Literature of Ancient Sumer; Jeremy Black, Graham Cunningham, Eleanor Robson, Gabor Zolyomi (2004)

Sumerian Lexicon: A Dictionary Guide to the Ancient Sumerian Language; John Alan Halloran (2006)

A Sumerian Chrestomathy; Konrad Volk (1911)

Online Articles, Dictionaries And Other Resources:

https://nationalclothing.org/middle-east/305-traditional-clothing-of-mesopotamia-what-did-it-look-like.html

https://www.getty.edu/news/meet-the-mesopotamian-demons/

https://factsanddetails.com/world/cat56/sub363/

https://ehistory.osu.edu/articles/marriage-ancient-mesopotamia-and-babylonia

https://etcsl.orinst.ox.ac.uk/section5/tr561.htm

http://psd.museum.upenn.edu/nepsd-frame.html

https://www.britannica.com/place/Africa/Trade

https://www.worldhistory.org/article/2185/festivals-in-ancient-mesopotamia/

https://www.nytimes.com/2017/07/25/well/family/cutting-out-the-bris.html

http://oracc.museum.upenn.edu/amgg/listofdeities/nannasuen/

https://phys.org/news/2023-08-idea-imprisonment-prisoners-earliest-texts.html

http://www.mathematicsmagazine.com/Articles/TheSumerianMathematicalSystem.php

https://docs.google.com/document/d/1ooHEYR30oNCdI4Xxop9qBjKQGnqTPwLHQzT8cvv5oxA/edit Sumerian Grammar Made Easy! (2022 Edition)

Historians, linguists, etc:

https://sumerianlanguage.tumblr.com/ aka http://www.jamesbarrettmorison.com/sumerian.html

https://sumerianshakespeare.com/

https://www.youtube.com/c/DigitalHammurabi aka https://www.digitalhammurabi.com/

https://twitter.com/digi_hammurabi and https://twitter.com/DJHammurabi1

Podcasts and online-exclusive documentaries, video essays, etc

8. The Sumerians - Fall of the First Cities (2020)

13. The Assyrians - Empire of Iron (2021)

The Complete and Concise History of the Sumerians and Early Bronze Age Mesopotamia (7000-2000 BC) (2021)

The Royal Death Pits of Ur (2022)

Gilgamesh and the Flood (2021)

The Birth of Civilisation - Rise of Uruk (6500 BC to 3200 BC) (2021)

The Earliest Creation Myths - Mythillogical (2022)

Enuma Elish | The Babylonian Epic of Creation | Complete Audiobook | With Commentary (2020)

Eridu Genesis | The Sumerian Epic of Creation (2021)

Irving Finkel | The Ark Before Noah: A Great Adventure (2016)

Cracking Ancient Codes: Cuneiform Writing - with Irving Finkel (2019)

Ancient Demons with Irving Finkel I Curator's Corner S3 Ep7 #CuratorsCorner (2018)

How to perform necromancy with Irving Finkel (2017)

Mesopotamian ghostbusting with Irving Finkel I Curator's Corner + #CuratorsCorner (2018)

Video Games

Sonic The Hedgehog Encyclospeedia; Ian Flynn (2021)

Direct Inspiration

The Golden Compass (1995), The Subtle Knife (1997); The Amber Spyglass (2000); Philip Pullman

The Last Unicorn; Peter S. Beagle (1968)

The 13 and ½ Lives Of Captain Bluebear: A Novel; Walter Moers (1999)

Allerleirauh; Jacob and Wilhelm Grimm (1812)

The Epic of Beowulf; Anonymous (c. 700–1000 AD)

The Writing In The Stone; Irving Finkel (October 10, 2017)

#bibliography #development #routinely updated

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