#portuguese mythology

[birdsofrhiannon]

The Enchanted Moura by Bruno Albuquerque

[life-imitates-art-far-more]

Veloso Salgado (1864-1945) "Amor and Psyche" (1891) Located in the Museu Nacional de Arte Contemporânea do Chiado, Lisbon, Portugal

[akkar2]

Carlos Barahona Possollo (b. 1967), Portuguese artist: “Pelops and Poseidon”, 2012, Oil and Gold Leaf on Wood, 120 x 120 cm, Private Collection

Source: ultrawolvesunderthefullmoon.blog

[kathybluecaller]

when it’s 5am and the romance branch indo-european language family does it’s thing

[babyrdie]

Paris and Vanity

[This is an extensive text of my opinion about the character of Paris. These are just opinions, not some super deep analysis! ALSO: I think it's interesting to mention that I use English editions because the post is in English, but I didn't read these editions in full, just the excerpts I wanted. I read editions in another language. So I'm not saying that I recommend any of these editions!!]

I find it interesting how the characteristic of Paris being vain makes perfect sense with his myths, regardless of the version (in this case, the Greek myths. I haven't read his Roman ones yet). Characters in Greek mythology tend to change their essence a lot depending on the version (I think one of the most obvious example is Menelaus), but Paris in his constant vanity always made sense to me.

The best-known version of the birth myth of Paris is the one in which Hecuba dreams that she will give birth to the one who will destroy Troy and, because of this, Paris is left to die on Mount Ida. But he is saved by Agelaus and grows up as a shepherd, unaware that he has Trojan royal blood.

Growing up as a shepherd, Paris did not have the status or wealth of royal lineage as his sibilings did. He was strong, but it's not like he had such grandiose adventures that would be enough to give him glory and fame. But there was something he undeniably had: beauty. Among Priam's children, Paris stands out for being very beautiful and, even when he thought he was a plebeian, this was already notable in him. At a time when he didn't have the power, the fame or the wealth, Paris had the beauty. I'm not surprised he became attached to his vanity. That was something of his, and it never stopped being his even when he wasn't a prince.

[3.12.5][...]The first son born to her was Hector; and when a second babe was about to be born Hecuba dreamed she had brought forth a firebrand, and that the fire spread over the whole city and burned it.227 When Priam learned of the dream from Hecuba, he sent for his son Aesacus, for he was an interpreter of dreams, having been taught by his mother's father Merops. He declared that the child was begotten to be the ruin of his country and advised that the babe should be exposed. When the babe was born Priam gave it to a servant to take and expose on Ida; now the servant was named Agelaus. Exposed by him, the infant was nursed for five days by a bear; and, when he found it safe, he took it up, carried it away, brought it up as his own son on his farm, and named him Paris. When he grew to be a young man, Paris excelled many in beauty and strength, and was afterwards surnamed Alexander, because he repelled robbers and defended the flocks.228 And not long afterwards he discovered his parents.

(The Library. Translation by James George Frazer)

Then once he was called to be a jury in the dispute between Athena, Hera and Aphrodite to decide which of the goddesses was the most beautiful. Each of them, in an attempt to gain his favor, offered him a different reward if she was chosen. He chooses Aphrodite and, as a reward, Paris has the most beautiful woman in the world: Helen of Sparta, already married to Menelaus.

[E.3.2] For one of these reasons Strife threw an apple as a prize of beauty to be contended for by Hera, Athena, and Aphrodite; and Zeus commanded Hermes to lead them to Alexander on Ida in order to be judged by him. And they promised to give Alexander gifts. Hera said that if she were preferred to all women, she would give him the kingdom over all men; and Athena promised victory in war, and Aphrodite the hand of Helen. And he decided in favour of Aphrodite51; and sailed away to Sparta with ships built by Phereclus.52

(The Library. Translation by James George Frazer)

I often joke about how Paris's choice is really dumb to me because I would never choose the most beautiful woman over Athena and Hera's other much more interesting gifts, but I actually think it makes sense. A woman so beautiful that she's desired by everyone, that she is known for it, that she elevates her husband's status just by being with her? I think Paris chose Helen over the other options because she had a different status, much more than choosing her because he was out of simple lust. There are different wealth and achievements out there, but he couldn't specifically have the most beautiful woman in the world if he didn't choose her now as she was already married. And since he's already so aware of his beauty, I wouldn't be shocked if Paris felt entitled to the most beautiful woman because he's so handsome. And then discovering that she has the divine blood of Zeus? Helen represented even higher status.

Even in The Odyssey, Proteus makes it seem like the main reason Menelaus is destined to go to Elysium is that he's Helen's husband and consequently this makes him Zeus's son-in-law. Of all the things he could say to Menelaus, the one he chooses to use to assure him that he will have Elysium is his marriage. Helen, as a wife, actually elevated Menelaus' status in a way beyond just marrying her putting him into the lineage of Sparta (which was already a big deal). She elevated him to the point of guaranteeing a good afterlife for him, at least in the Homeric tradition — this, of course, is not a fixed tradition in the myths because almost nothing is; Helen is not always married to Menelaus in Elysium, Pausanias even offers a version in which she is married to Achilles.

So I spoke, and he in turn spoke up and made answer: “That was Odysseus son of Laertes, who makes his home in Ithaka, whom I saw on an island, weeping big tears in the palace of the nymph Kalypso, and she detains him by constraint, and he cannot make his way to his country, for he has not any ships by him, nor any companions who can convey him back across the sea's wide ridges. But for you, Menelaos, O fostered of Zeus, it is not the gods' will that you shall die and go to your end in horse-pasturing Argos, but the immortals will convoy you to the Elysian Field, and the limits of the earth, where fair-haired Rhadamanthys is, and where there is made the easiest life for mortals, for there is no snow, nor much winter there, nor is there ever rain, but always the stream of the Ocean sends up breezes of the West Wind blowing briskly for the refreshment of mortals. This, because Helen is yours and you are son-in-law therefore to Zeus.”

(The Odyssey. IV, 554-571. Translation by Richmond Lattimore)

In The Iliad, unlike what usually happens, Paris has his consort status tied to Helen instead of her having her consort status tied to him. He who is "fair-hatred Helen's consort". It's she who gives status to Paris, and not the other way around.

Hesiod, for example, generally puts the active role in the masculine character. It's the husband who takes a wife, it's the man who takes a woman in his bed. But he doesn't seem to do this with Helen. In the fragments we have from the "Catalogue of Women", where Hesiod describes a lot of female characters from Greek mythology, it's the male suitors who want to be something for Helen. It's Helen who has the choice of choosing who she will take — when, in the myth of the Oath of Tyndareus, Helen chooses Menelaus, he is the one being given the honor of being her husband.

FRAGMENT 6838 - SUITORS OF HELEN (translation by Evelyn-White, H G.)

Berlin Papyri, No. 9739:

(ll. 31-33) to horse-taming Castor and prize-winning Polydeuces, desiring to be the husband of rich-haired Helen, though he had never seen her beauty, but because he heard the report of others.

(ll. 34-42) And from Phylace two men of exceeding worth sought her to wife, Podarces son of Iphiclus, Phylacus' son, and Actor's noble son, overbearing Protesilaus. Both of them kept sending messages to Lacedaemon, to the house of wise Tyndareus, Oebalus' son, and they offered many bridal-gifts, for great was the girl's renown, brazen . . . golden ((lacuna)) . . . (desiring) to be the husband of rich-haired Helen.

Berlin Papyri, No. 10560:

(ll. 52-54) . . . sought her to wife. And after golden-haired Menelaus he offered the greatest gifts of all the suitors, and very much he desired in his heart to be the husband of Argive Helen with the rich hair.

(ll. 63-66) But from Euboea Elephenor, leader of men, the son of Chalcodon, prince of the bold Abantes, sought her to wife. And he offered very many gifts, and greatly he desired in his heart to be the husband of rich-haired Helen.

Having talked about how Helen for me was more a choice of status than of desire, let's return to another aspect of Paris's vanity. Agamemnon contemptuously mentions how pompous Paris was on his visit to Sparta. 

"[...]Then there came to Lacedaemon from the Phrygians the man who, Argive legend says, judged the goddesses' dispute; in robes of gorgeous hue, ablaze with gold, in true barbaric pomp; and he, finding Menelaus gone from home, carried Helen off, in mutual desire, to his steading on Ida.[...]"

Iphigenia in Aulis. Translation by E. P. Coleridge.

Considering that this happens in Iphigenia in Aulis, the same play in which Iphigenia even says "and it is right, mother, that Hellenes should rule barbarians, but not barbarians Hellenes, those being slaves, while these are free", this could just be a stereotypical and xenophobic portrayal of the Trojans. Or Agamemnon could be exaggerating, after all he has more than enough reasons to want to throttle Paris. But, in this specific case, I think that's really how it is. Having spent years as a shepherd and then suddenly returning to being a prince, Paris would certainly show off his wealth much more than the other Trojan princes and princesses. This is because others were used to wealth and status, they had it since birth. Paris, however? This was all very new to him, and he was going to overdo it to the fullest.

As to how Helen was taken, sources seem to disagree. Homer seems to be going the way she was kidnapped and didn't want to go, judging by Helen's behavior towards the war, Paris and Aphrodite. Some versions place the Helen who was in Troy as not even being the real Helen (such as the play Helen, by Euripides). Some versions seem to reaffirm that she went because she wanted to, like Iphigenia in Aulis. Others are too ambiguous to know who to trust, as is the case with The Trojan Women. Etc etc.

Here I will be taking an excerpt from The Trojan Women. Helen tries to defend herself to Hecuba and Menelaus because Menelaus is convinced to punish Helen, while Hecuba is convinced to try to get her punished, as she sees her as one of the reasons for her misfortune. With each explanation that Helen gives for being innocent, Hecuba finds a way to counter it in a way that would be convincing enough for Menelaus to take seriously.

Faced with Helen's argument that she was taken by force with the help of Aphrodite, who gave her as a prize to Paris, Hecuba says:

"[…]You won’t persuade people with sense. You say Cypris —that’s a laugh—came to Menelaus’ house with my son. As if she could not have stayed peacefully in heaven and brought you and Paris, Sparta, Amyclai and all, to Troy? My son was preternaturally handsome and your mind, on catching a glimpse of him, was turned into Cypris. All that mortals lust for becomes Aphrodite to them. Even the goddess’ name has come to suggest immodest desire. When you saw him in his exotic foreign attire shining with gold, you went mad with lust. You had little luxury in Argos where you lived, but once rid of Sparta you hoped to overwhelm the city of the Phrygians flowing with gold with your sense of style. The palace of Menelaus was too puny for your extravagance to run rampant […]"

(The Trojan Women. Translation by Cecelia Luschnig)

Paris' expensive clothes are mentioned again, this time by Hecuba (considering that Agamemnon's previous speech is from a play by Euripides and that this play is also by Euripides, this similarity makes sense). And also, once again his beauty is reinforced. Right after Hecuba gives reasons why Hera and Athena's beauty dispute is an absurd idea (the reasons: Hera is married to Zeus, Athena is a virgin goddess), she gives explanations why it doesn't make sense for Aphrodite to help kidnap Helen. One of the reasons is that Aphrodite could simply make her appear in Troy, the other is that Paris was immensely beautiful, well dressed and something new in Helen's boring life and that's why he was seductive.

I got the impression that, although Euripides leaves it open-ended as to what happened, he was trying very hard to frame Helen as being guilty as well. However, regardless of whether she was kidnapped as she says or not as Menelaus and Hecuba think, the point is that Paris here is once again characterized as a portrait of opulence and beauty. More than that, here his characteristic as "exotic interest that seduces a married woman out of her life" is made even more evident than in Iphigenia in Aulis. Paris being the typical character archetype of a person from a foreign land, with immense beauty, seductive personality and exotic air is something common for his character. It's not like only Euripides imagined him like that.

In The Iliad, other characters constantly highlight Paris' vanity as a flaw. Hector mainly, but not only. For example, Diomedes uses this as immediate offense after being hit by an arrow from Paris. And throughout the Iliad, we see how Paris has a chance to give up Helen and end the war, but doesn't. He was too proud to give up what Helen meant in the first diplomatic contact between Achaeans and Trojans years ago, and after ten years he is even more immutable in his opinion.

It's been ten years, why give up now? Menelaus surpasses Paris in status, being a king while he is a prince, and in power, being stronger than him and having almost defeated him if not for Aphrodite's intervention. Menelaus may not be the favorite of a specific god, as is the case with Hector with Apollo or Odysseus with Athena, but he also receives divine help. The only "thing" Paris now has that Menelaus doesn't is Helen, and he won't give it up.

So Paris's vanity being something consistent is something that makes so much sense! Paris grew up as a plebeian with the distinguishing characteristic of being very handsome will be very aware of this. Consequently, he sees in beauty something that he has more than other people. Being so different, he is entitled to have more. When the goddesses offer him 3 reward options, the status Helen offers is seductive to him. Beginning to rise in status with Aphrodite's favor and his return to Trojan royalty, Paris is fascinated by wealth and status, so he acts like a peacock. As a prince, he is still concerned about always maintaining his beauty, as this is the only characteristic that has been with him his entire life and the one he trusted most. When Troy is threatened by his actions, Paris refuses to give in because he is too proud to give up what Helen means.

[k-i-l-l-e-r-b-e-e-6-9]

Cradle Of Filth - The Ghost In The Fog

[jasminewalkerauthor]

Deep dives into folklore: Portuguese folklore

Portuguese folklore, a mesmerizing mosaic of myths and legends, serves as a profound testament to the cultural heritage of the nation. Woven over centuries, this intricate tapestry reflects the dynamic interplay of historical influences, blending the legacies of Phoenicians, Romans, Moors, Celts, and Christians. Rooted in a diverse historical landscape, Portuguese folklore encapsulates the essence of the country's identity, encapsulating the collective imagination of its people. As we embark on a deep dive into this mystical realm, we unveil the stories, characters, and cultural significance that have endured through the ages, illuminating the captivating spirit of Portugal's folklore.

Portuguese folklore has deep roots in the country's history, blending influences from various civilizations that have shaped the region over millennia. Phoenician, Roman, Moorish, and Celtic influences, among others, have contributed to the diverse range of myths and legends that make up Portugal's folklore.

One of the earliest influences on Portuguese folklore is the Roman presence in Lusitania. The Romans introduced their own deities and myths, blending with the existing indigenous beliefs. As Christianity took root in the region, a symbiotic relationship developed between pagan and Christian elements, resulting in a unique blend of folklore that reflects Portugal's cultural identity.

The Lusitanian Mythical Heritage:

Before Roman rule, the Lusitanians, an ancient Celtic people, had their own pantheon of deities and mythical beings. The god Bandua, associated with war and protection, and the goddess Ataegina, linked to fertility, are examples of Lusitanian figures that persisted in local folklore.

The Moura Encantada:

The Moura Encantada, or the Enchanted Moorish Maiden, is a prominent figure in Portuguese folklore. These mythical beings are often beautiful women with magical powers, dwelling in hidden places or trapped in enchantments. Stories of love, loss, and magical intervention surround the Moura Encantada, emphasizing themes of fate and destiny.

The Lobo Ibérico (Iberian Wolf):

Wolves hold a significant place in Portuguese folklore, symbolizing both danger and wisdom. The Lobo Ibérico is a recurring motif, representing the untamed wilderness and the struggle for survival. Folk tales often feature wolves as shape-shifters or mystical guardians, embodying the complex relationship between humans and nature.

The Barco da Roda (Wheelbarrow Boat):

Coastal regions of Portugal have tales of the Barco da Roda, a phantom boat that appears during storms. Believed to be a harbinger of doom, this spectral vessel is associated with the souls of the deceased. The folklore surrounding the Barco da Roda reflects the maritime culture and the inherent connection between the Portuguese people and the sea.

Portuguese folklore serves as a mirror reflecting the collective consciousness of the nation. It embodies the struggles, triumphs, and enduring spirit of the Portuguese people. The fusion of pagan and Christian elements in folklore illustrates the adaptive nature of Portugal's cultural identity.

Festivals and celebrations often incorporate folklore, with traditional dances, music, and costumes bringing mythical characters to life. The Feast of São João, celebrated across Portugal, features rituals and customs that trace their roots to ancient solstice celebrations, merging pre-Christian traditions with Christian elements.

In conclusion, Portuguese folklore is a captivating journey through the cultural tapestry of a nation. Its origins in diverse historical influences, the presence of mythical figures like the Moura Encantada and the Lobo Ibérico, and its cultural significance in festivals and celebrations all contribute to the richness of Portugal's folklore. Through the ages, these stories have been passed down, evolving and adapting while preserving the essence of Portugal's enchanting heritage.

Taglist (reply or reblog to be added): @axl-ul @crow-flower @thoughts-fromthevoid @alderwoodbooks @harleyacoincidence @tuberosumtater @sonic-spade @theonlygardenia @holymzogynybatman @nulliel-tres @w0rkah0licz @sylvanthorn @tigertaurus22 @profiterole-reads @mathias-musings @1899adgg1997tbmd @grimmparanormalinvestigations

[littlegaydruid]

Okay so in this post I made a few months ago on druidry resources, I mention Alexei Kondratiev’s Lorekeeper Course as a good place for getting started on learning celtic reconstuctionism.

However. The site has been messed up (again) for quite a while, so you cant access any of the materials right now. This has happened several times, and after the last time I ended up downloading all the pages so I could still read them.

And then because Im a little freak sometimes I formatted all of them into pdf and epub formats.

So if anyone wants access to those, here they are on internet archive.

Update:

I forgot to add, while I was searching to see if anyone had posted the course anywhere else, I did happen to find that someone translated the entire thing to Portuguese.

And someone also put that version on scribd as a pdf. So uh, thats pretty neat.

[briixta]

Trasgo. Yes yes, I do have a gnome obsession, but let me tell about the stories of these little fellows in Portuguese lore. They go by many names and tales. "Trasgos, duendes, gnomos, fradinho da mão furada, etc" my grandparents just called them "little men". They're little tricksters moving around your things, making noises around the house at night, and the like. You can make them little offerings and if they like you, they'll watch over you and your home. Some say they're just the souls of unbaptized children, which appears to be common theme around many of these mythical folks.

[birdsofrhiannon]

[sparrowmoth]

@villainsnest

themes commonly found in international friendships

- ‘u dont have (insert food/music/restaurant here) over there??’ - ‘wait what time is it. shouldnt u be asleep’ - alternatively: timezoned/clockblocked again - ‘do u need a hug. have a virtual hug’ - weird slang terms - ‘i will fight everyone thats mean to u. i will fight them rn’ - vague embarrassment regarding ur accent - ‘dont maKE ME COME OVER THERE’ - ‘oh yeah i have a friend who lives in (insert country here) and apparently’ - no real hugs :(( - suffering - fahrenheit vs celsius - the measuring of things in feet fucks one of u up, probably

[am-i-tho]

another highlight is that I laughed out loud when odysseus compared circe not having ever used another loom other than the good one she owned to being "like having aquiles to do your house chores!"

[thedemonofcat]

I am interested in a comprehensive list of all the different names Jaskier is given in various translations. It would be fascinating to explore the meanings behind each name and any symbolism they might carry. I plan to group together languages that use the same name for him.

Jaskier: His name resonates universally, transcending languages and cultures. In Polish, French, Portuguese, Romanian, Bulgarian, Russian, and Spanish, Jaskier translates to Buttercup. These small yellow flowers symbolize joy and happiness, evoking images of carefree days and childlike wonder. They also represent youth and innocence, which aligns with theories about Jaskier's non-human origins. Another significant symbolism of buttercups is their friendship connection, fitting perfectly with Jaskier's close bond with Geralt. Historically, buttercups were used in folk medicine, symbolizing healing and protection, despite their toxicity and the need for careful handling.

Dandelion: Known from the English, Hungarian, Italian, Japanese, Belarusian, and Turkish translations. Perhaps the most familiar name, Dandelion, typically appears in two forms: small white, fluffy flowers that can be blown away by the wind and bright yellow blooms. Dandelions symbolize resilience, thriving in challenging conditions and growing almost anywhere, symbolizing perseverance, strength, and the ability to overcome obstacles. Historically used in medicine, dandelions are associated with healing and survival. They also symbolize a connection to nature and freedom, perfectly reflecting the bard’s character. Some Native American tribes view the dandelion as a sun symbol, representing warmth, growth, and the sustaining force of life. This connection to nature and resilience mirrors Jaskier’s character, who, despite facing many challenges, remains resilient and deeply connected to the natural world.

Marigold: Used in Czech and Serbian translations, this name is perhaps the most unusual since there is already a character named Marigold in the series. Nonetheless, marigolds symbolize brightness and positivity. With their vibrant yellow and orange hues, marigolds represent warmth, cheerfulness, and the light of life. This fits well with a bard’s role, as marigolds also symbolize creativity. In Mexican culture, marigolds are central to Día de los Muertos (Day of the Dead) celebrations, symbolizing the connection between the living and the dead. In Indian culture, marigolds are used in religious rituals and weddings, symbolizing love, devotion, and the divine. They are often offered to gods and goddesses as a sign of reverence and respect.

Ranonkel: From Dutch, though translated to Ranunculus, which are buttercups. I'd like to discuss the story from Greek mythology that relates to Ranunculus, as it aligns with Jaskier's character. Ranunculus was a handsome and talented young man known for his beautiful singing voice, captivating everyone who heard him. However, he was also vain and self-centred, revelling in the admiration he received. One day, while performing in a meadow, Ranunculus encountered a group of wood nymphs (dryads). Enchanted by his voice and appearance, the nymphs stopped to listen. Despite their admiration, Ranunculus ignored them, focusing solely on his performance and delighting in his own voice. Pan, the god associated with rustic wilderness and nymphs, observed Ranunculus's vanity. To teach him a lesson, Pan intervened. He transformed Ranunculus into a delicate, beautiful flower that would forever bloom in meadows and fields—the Ranunculus flower. This mythological tale is an intriguing parallel to Jaskier's character and could potentially inspire a fanfiction story in the future.

Valvatti from Finnish. Valvatti, which, from what I can tell, translates to Sow Thistle, can symbolize resilience but can also symbolize unseen beauty. Despite being considered a weed, sow thistle produces small, yellow flowers that symbolize hidden beauty or overlooked potential. This can remind you to look beyond outward appearances and appreciate hidden qualities.

Rittersporn German. Otherwise known as Larkspurs, they can symbolize openness and lightness with their vibrant colours. They can also be used as symbols for thickness and are connected to strong bonds of love. Some cultures believe that larkspurs offer protection against negative energies or bad luck. Placing them in a garden or a bouquet is thought to bring positivity and ward off evil spirits.

Vėdrynas is From Lithuanian. Breaking from the flowers, Vedryans translates to Lark, which can be seen as the bringers of dawn and the start of a new day. Larks are symbols of songs and music, which goes great with a Bard. Larks are agile birds that soar high in the sky, symbolizing freedom, independence, and the ability to rise above challenges or limitations.

Blyskáč is from Czech. It translates to "sparkler" or "firecracker" in English. Once again, breaking from the typical flower names, blyskac can symbolize celebration. The firecrackers' brightness and sparkle evoke joy, optimism, and positivity. They are often associated with bringing good luck and warding off evil spirits in various cultural traditions. Firecrackers and sparklers burn brightly but quickly fade away. They symbolize the fleeting nature of moments and encourage living in the present and appreciating life's transient beauty.

These are all the names I could find. If I missed any or made any translation errors, please feel free to let me know.

[k-i-l-l-e-r-b-e-e-6-9]

Cradle Of Filth - Lord Abortion

[bluberimufim]

As someone who's recently fallen into the portuguese mythological creatures research rabbit hole (it's complicated), it's so much easier to JUST MAKE SHIT UP

make ur mythological creatures based off of real cultures they said. IT'LL BE EASIER THEY SAID. IT'LL BE REALLL FUCKING EASY THEY SAID. EASY MY ASS

[the-gods-and-me]

aight, i think it's time i finally do one of these.

-------intro post-------

general intro!

- name's El, Elz or August!

- prns are she/her, mostly, but any pronouns'll do!

- late teens

- i'm a Hellenic Polytheist (obviously), and an ex-Christian.

- alongside English, i speak Portuguese natively, specifically Brazilian Portuguese, i understand Spanish and a bit of French, and am doing Greek on the owl app!

- i like EPIC The Musical, Formula One, music, Percy Jackson (the books, i didn't like the TV series), religious studies, books, chess, history and Blood of Zeus

- will yap about Greek mythology at any given opportunity.

- for y'all Percy Jackson fans, i'm a Cabin Six!

my religion & practise!

- i worship Lady Athena, Lord Apollo, Lord Dionysus, Lady Aphrodite and Lord Hermes mainly!

-> soul child of Hermes, Athena and Apollo. familial connections to Ares, Aphrodite and Dionysus.

-> interested in learning about hero worship, Poseidon, Zeus, Hera, lesser known gods & goddesses

- not a witch, but will cast the odd spell here or there.

interaction!

- DNI list: basic DNI, anti-pagan or anti-Theoi, TERFS, racists, etc. just don't be a total arsehole and you'll be fine!

- PLEASE INTERACT: Hellenic pagans, people who worship the deities i do OR the ones i want to learn more about!

-> asks are always open unless i say otherwise, DMs if you've interacted with me a few times!

my other blogs:

Athena shrine: @her-little-owl

Apollo shrine: @sunray-devotee

Aphrodite shrine: @her-little-dove

Hermes shrine: @hermes-winged-sandals

Dionysus shrine: @grapes-and-mania

————————————————–—

so that's everything you need to know about me, and may the Gods bless you! ⋆.ೃ࿔*:･