#punic goddess

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About Tanit

I recently posted about how people should be looking more into other gods outside of the Greco-Roman pantheons. If you follow me for quite some times, you will also have noted I posted a bunch of loose translation from the French Dictionary of literary myths (which is truly a great reference). Well, I wanted to share with you today a loose translation – well, more of an info-mining at this point – of an article about a goddess that people often ignore the existence of, despite being located right next to Ancient Greece and Rome, and being involved in the history of the Roman Empire. And this goddess is Tanit.

Written by Ildiko Lorinszky, the article is organized in two – at first it takes a look and analysis at the mythological Tanit, at who and what she likely was, how her cult was organized all that. The second part, since it is a Dictionary of LITERARY myths, takes a look at the most prominent and famous depiction of Tanit in French literature – that is to say Flaubert’s famous Salammbô. (If you recalled, a long time ago I posted about how a journalist theorized in an article how Flaubert’s Salammbô was basically an “epic fantasy” novel a la Moorcock or Tolkien long before “fantasy” was even a genre)

Part 1: Tanit in mythology and archeology

Tanit was the patron-goddess of the city of Carthage. Considered to be one of the avatars o the Phoenician goddess Astarte, Tanit’s title, as found on several Punic engravings, was “The Face of Baal” – a qualification very close to how Astarte was called in Sidon and Ugarit “The Name of Baal”. These titles seem to indicate that these two goddesses acted as mediators or intermediaries between humanity and Baal.

Tanit is as such associated with Baal, the vegetation god, but sometimes she is his wife, other times she is simply his paredra (companion/female counterpart). She seems to be the female power accompanying the personification of masculinity that is Baal, and as such their relationship can evoke the one between Isis and Osiris: the youthful sap of the lunar goddess regularly regenerates the power of the god. This “nursing” or “nourishing” function of Tanit seems to have been highlighted by the title she received during the Roman era: the Ops, or the Nutrix, the “Nurse of Saturn”. Goddess of the strengthened earth, Tanit is deeply tied to agrarian rituals: her hierogamy with Baal reproduces in heaven the birth of seeds on earth. Within the sanctuaries of Tanit, men and women devoted to the goddess practiced a sacred prostitution in order to favorize the fecundity of nature. The women tied to the temple were called “nubile girls”, while the men working there were called “dogs” to highlight how completely enslaved they were to the goddess. We know that the prostitutes of both sexes brought important incomes to the temple/

The etymology of Tanit (whose name can also be called Tannit or Tinnit) is obscure. The most probable hypothesis is that the Phoenico-Punic theonym “Tnt” is tied to the verb “tny”, which was used in the Bible to mean “lamenting”, “wailing”, “crying”. According to this interpretation, the “tannît” is originally a “crier”, a “wailer”, and the full name of Tanit means “She who cries before Baal”. As such, the Carthaginian goddess might come from a same tradition as the “Venus lugens”.

According to some mythographers, Tanit (or Astarte) was the supreme goddess of Carthage, and might have been identical to the figures of Dido and Elissa. As in, Dido was in truth the celestial goddess, considered as the founder of the city and its first queen. According to this hypothesis, the suicide of Dido on a pyre was a pure invention of Virgil, who took this motif from various celebrations hosted at Carthage. During these feasts-days, images and depictions of the goddess were burned The word Anna would simply mean “clement”, “mild”, “merciful” – the famous Anna, sister of Dido, is thought to have been another Punic goddess, whose cult was brought from Carthage to Rome, and who there was confused with the roman Anna Perenna, a goddess similar to Venus. Varro claimed that it was not Dido that burned on the pyre, but Anna, and according to this angle, Anna appears as a double of Dido – and like her, she would be another manifestation of the goddess Tanit. Anna’s very name reminds of the name “Nanaia”/”Aine”, which was a title given to Mylitta, yet another manifestation of Tanit.

The sign known as the “sign” or “symbol of Tanit” seems to be a simplified depiction of the goddess with her arms open: it is a triangle (reduced to a trapezoid as the top of the triangle is cut) with an horizontal line at its top, an a disc above the horizontal line. This symbol appears throughout the Punic world on monuments, steles, ceramics and clay figurines.

Part 2: The literary Tanit of Flaubert

Gustave Flaubert’s novel Salammbô is probably where the goddess reappears with the most splendor in literature. While her essence is shown being omnipresent throughout the Punic world, Tanit, as the soul of the city, truly dwells within the town’s sanctuary, which keeps her sacred cloak. The veil of the goddess, desired by many, stolen then regained throughout the plot, plays a key role within the structure of this very enigmatic text, which presents itself as a “veiled narrative”.

The town and its lands are filled with the soul of the “Carthaginian Venus”. The countryside, for example, is filled with an erotic subtext, sometimes seducing, sometimes frightening – reflecting the ambiguity of the goddess. The landscape is all curves, softness, roundness, evoking the shapes of a female body – and the architecture of both the city-buildings and countryside-buildings are described in carnal ways. Within Salammbô, Flaubert describes a world where the spirit and the flesh are intertwined – the female world of Carthage is oppressed by an aura mixing lust with mysticism; and through the erotic nature creeps both a frightening sacred and an attractive morbidity. For death and destruction is coming upon Carthage.

The contradictory nature of the goddess appears as early as the very first scene of the novel, when the gardens of Hamilcar are described. The novel opens on a life-filled landscape: the gardens of the palace are a true Land of Eden, with an abundant vegetation filled with fertility symbols. The plants that are listed are not mere exotic ornaments: they all bear symbolic and mythological connotations. The fig-tree, symbol of abundance and fecundity ; the sycamore, “living body of Hathor”, the tree of the Egyptian moon-goddess ; the grenade, symbol of fertility due to its multiple seeds ; the pine tree, linked to Attis the lover of Cybele ; the cypress, Artemis’ tree ; the lily, which whose perfume was said to be an aphrodisiac ; the vine-grapes and the rose… All those plants are linked to the moon, that the Carthaginian religion associated with Tanit. Most of these symbols, however, have a macabre touch reflecting the dark side of the goddess. The cypress, the “tree of life”, is also a funeral tree linked to the underworld ; the coral is said to be the same red as blood, and was supposedly born from the blood-drops of Medusa ; the lily symbolizes temptation and the unavoidable attraction of the world of the dead ; the fig-tree just like the grenade have a negative side tied to sterility… The flora of this passage, mixing benevolent and malevolent attributes, already depict a world of coexisting and yet opposed principles: fertility cannot exist without sterility, and death is always followed by a renewal. The garden’s description introduces in the text the very cycles of nature, while also bringing up the first signs of the ambivalence that dominates the story.

The same union of opposites is found within the mysterious persona of Tanit. The prayer of Salammbô (which was designed to evoke Lucius’ lamentations to Isis within Apuleius’ Metamorphosis) first describes a benevolent goddess of the moon, who fecundates the world : “How you turn, slowly, supported by the impalpable ether! It polishes itself around you, and it is the movement of your agitation that distributes the winds and the fecund dews. It is as you grow and decrease that the eyes of the cats and the spots of the panthers lengthen or shrink. The wives scream your name in the pains of labor! You inflate the sea-shells! You make the wines boil! […] And all seeds, o goddess, ferment within the dark depths of your humidity.” As a goddess presiding to the process of fermentation, Tanit is also tied to the principle of death – because it is her that makes corpses rot.

The Carthaginian Venus appears sometimes as an hermaphrodite divinity, but with a prevalence and dominance of her feminine aspect. Other times, she appears as just one of two distinct divinity, the female manifestation in couple with a male principle. Tanit synthetizes within her the main aspects of all the great moon-goddesses: Hathor, Ishtar, Isis, Astarte, Anaitis... All are supposed to have an omnipotence when it comes to the vegetal life. Mistress of the elements, Tanit can be linked to the Mother-Earth : for the character of Salammbô, the cloak of the goddess will appear as the veil of nature. The daughter of Hamilcar is linked in a quite mysterious way to Tanit – for she is both a frightened follower of the goddess, and the deity’s incarnation. Described as “pale” and “light” as the moon, she is said to be influenced by the celestial body: in the third chapter, it is explained that Salammbô weakened every time the moon waned, and that while she was languishing during the day, she strengthened herself by nightfall – with an additional mention that she almost died during an eclipse. Flaubert ties together his heroine’s traits with the very name “Salammbô”, which is a reminiscence of the funeral love of Astarte: “Astarte cries for Adonis, an immense grief weighs upon her. She searches. Salmmbô has a vague and mournful love”. According to Michelet’s explanations, “Salambo”, the “love name” of Astarte, is meant to evoke a “mad, dismal and furious flute, which was played during burials”.

As a character embodying Tanit, Salammbô is associated with the two animals that were sacred to the goddess: the holy fishes, and the python snake, also called “the house-spirit”. Upon the “day of the vengeance”, when Mâtho, the scape-goat, is charged with all the crimes of the mercenaries, she appears under the identity of Dercéto, the “fish-woman”. The very detailed costumes of Salammbô contain motifs borrowed to other goddesses that are avatars of Tanit. By using other goddesses, Flaubert widens the range of shapes the lunar goddess can appear with, while also bringing several mythical tales, whose scattered fragments infiltrate themselves within the novel. When she welcomes her father, Salammbô wears around her neck “two small quadrangular plates of gold depicting a woman between two lions ; and her costume reproduced fully the outfit of the goddess”. The goddess depicted here is Cybele, the passionate lover of Attis, the young Phrygian shepherd. This love story that ends in mutilations bears several analogies with the fatal love between Salammbô and the Lybian leader. And the motif of the mutilation is one of the key-images of the novel.

A fish-woman, like Dercéto, Salmmbô is also a dove-woman, reminding of Semiramis ; but more so, she is a snake-woman, linked mysteriously to the python. Before uniting herself with Mâtho (who is identified to Moloch), Salammbô unites herself with the snake that incarnates the lunar goddess in her hermaphroditic shape. It is the python that initiates Salammbô to the mysteries, revealing to Hamilcar’s daughter the unbreakable bond between eroticism and holiness. In the first drafts of the novel, Salammbô was a priestess of Tanit, but in the final story, Flaubert chose to have her father denying her access to the priesthood. So, she rather becomes a priestess under Mathô’s tent: using the zaïmph, she practices a sacred prostitution. The union of Hamilcar’s daughter and of the leader of the mercenaries reproduces the hierogamy of Tanit and Moloch.

Salammbô, confused with Tanit, is also victim of the jealous Rabbet. Obsessed with discovering the face of the goddess hidden under the veil, she joins the ranks of all those female characters who curiosity leads to the transgression of a divine rule (Eve, Pandora, Psyche, Semele). And, in a way, the story of Mathô and Salammbô reproduces this same story: the desire to see, the desire for knowledge, always leads to an ineluctable death.

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I find this statue so creepy by accident due to the baby's head being missing

Dea Nutrix. (400-300 BC). Representation of the Mother Goddess. Related to an agrarian worship, incarnated by Astarte and Tanit in the Punic world.

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When the Greeks sacked Troy, Aeneas retreated to Mount Ida, carrying his father Anchises on his shoulders and carrying his son Ascanius. His wife Creusa died in flight. He reigned for a time in Ida, then undertook a long voyage across the Mediterranean.

This Trojan hero went through several adventures in which different deities participated including his mother, Venus (Afrodita) . After his father's death in Sicily, a storm blew him astray and washed him onto the shores of Carthage.

Aeneas tells Dido the misfortunes of the Trojan city. Oil on canvas by Pierre-Narcisse Guérin (1815) Louvre, Paris.

With the intervention of the goddess Venus, queen Dido of Carthage fell in love with Aeneas and wanted them to marry, uniting their lineages. But Jupiter opposed it and sent Mercury to warn him that he must continue his journey and fulfill his destiny.

Dido, outraged at being abandoned , cast a curse declaring that her people and the people descended from Aeneas would be enemies. After this, she stabbing herself with a sword on a pyre.

Death of Dido. Oil on canvas by Guercino (1631)

Back in Sicily, Aeneas celebrated great funeral games in memory of his father, who appeared to him to tell him that he must go to Cumae and descend into the underworld. In Cumae, Aeneas succeeded in having the Sibyl open the gates of Hades for him.

There he met the shadow of Dido, but he also saw his father, who in the Elysian Fields revealed to him the glorious destiny of the people he was to found in Italy.

Aeneas and the Cumaean Sibyl. Oil on canvas by François Perrier (1646)

He reached the mouth of the Tiber and finally entered a city called Pallantium on the Palatine Hill. There, after going through several epic situations, he married Lavinia, only daughter of Latinus, king of the Latins, and founded the city of Lavinium, named after his wife.

Aeneas disappeared in the middle of a storm and was taken to Olympus and crowned by his mother Venus. His eldest son Lullius, from whom the Julii descend, founded Alba Longa the hometown of Romulus and Remus.

According to Livy, Lullius is the son of Aeneas and Lavinia, and seems to distinguish him from Ascanius son of Aeneas and Creusa. Silvius, son of Lullius, succeeded him on the throne of Alba Longa. Dionysius of Halicarnassus is the one who says that Silvius was the son of Aeneas and Lavinia, and therefore half-brother of Lulilus (Ascanius)

Years later, Numitor, maternal grandfather of Romulus and Remus and direct descendant of Silvius would be king of Alba Longa

Roman bas-relief, 2nd century: Aeneas lands in Latium leading his son Lullius (Ascanius); the sow identifies the place to found his city : Alba Longa

Over time, coming into contact with civilizations in the Eastern Mediterranean, the Romans realized that while everyone else had legends of heroes, epic wars, and several divinities interacting with humans at each event, they only had Mars in their founding story; twins thrown into a river, suckled by a wolf in a cave, adopted by a humble shepherd. And one of the twins ends up dying in a fight with the other.

Romulus and Remus, suckled by the wolf, found by Faustulus on banks of Tiber. Fresco by Giuseppe Cesari (1568-1640)

Augustus commissioned the great Roman poet Virgil to create a epic worthy of Rome, but without annulling its legendary founding history.

Through the Aeneid, Rome acquired a prestigious past; a mystical explanation of the three Punic Wars and the destruction of Carthage. Julia gens obtained a divine origin, giving even more legitimacy to the ruling dynasty. Furthermore, this epic exalts the Roman virtues that Augustus so wanted to restore and impose by law.

According to Roman historians, Augustus' sister Octavia faint from emotion upon hearing Virgil reading the Aeneid.

Virgil Reading the Aeneid to Augustus and Octavia. Neoclassical painting by Jean-Joseph Taillasson, 1787

In the story of the Trojan War as told by Homer, Aeneas appears as a secondary character, after heroes such as the Greek Achilles or the Trojan Hector. Meanwhile Virgil made him a protagonist in an epic that linked the fall of Troy and the founding of Rome.

The Siege of Troy. Oil on canvas by French School ( 17th century)

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Roman marble statuette (2nd cent. CE) of the Phrygian goddess Cybele, aka the Magna Mater ("Great Mother"). The goddess was imported to Rome from Pergamum during the Second Punic War, in the form of a black meteoric stone (βαίτυλος), at the behest of the Sibylline Books; she was given a festival in April (the Megalensia), but due to the "exoticness" of her cult, Romans were barred from taking part in the ecstatic procession of her eunuch priests. Here, the goddess is shown seated and attended by the lions that were said to draw her chariot. Now in the Los Angeles County Museum of Art. Photo credit: LACMA.

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The Spoils of War

**TRIGGER WARNING** Sensitive smut material present

NSFW - NSFM 18+++

Characters: Raymond de Merville as Mars - God of War x OC Rhea Silvia

Lyn's Writing Event 2024 - Day 13 - Week 2

May 13th: Week 2: Mars (god of war) 18+++  NMDI NSFW

****TRIGGER WARNING****  (this will be in two parts)

Characters: (AU) Raymond de Merville (as Mars – God of War) x OC Rhea Silvia depiction   

Fandom: Richard Armitage – Pilgrimage – Raymond de Merville

The character of Raymond de Merville was created by Jamie Hannigan (for film)

The character of Rhea Silvia is a depiction from myths and legends written by Virgil and referred from the Aeneid (Book 1) and other Greek mythology.

This is my interpretation of a Greek myth. Enjoy.

Location: Ancient Rome – The Punic Wars  

Word Count: 2.7k

Warnings: graphic violence, rape, Greek undertones, shewolf, shame, abuse, dominant male, religious factions, character death, virginity, forced impregnation (implied), rope play, forced fellatio,

            Mars rode into the city, he was battered and bruised but triumphant in his latest battle. He saw a woman sitting on the steps of the temple and dismounted, somewhat compelled. As he approached her, a statesmen came up to him,

“Mars, how is the battles?” Amulius asked. Mars looked at Amulius and then to the woman, “It is well. Now what business do you have with me?” he gritted his teeth.

Amulius blocked his advance, “If you are looking to pursue her, I had a deal to strike with you”. Mars stopped moving, and looked down at Amulius, “I’m listening” mars said, cooly.

Amulius put a hand on his shoulder and stepped away from the steps further from steps, “That is my sister, Rhea Silvia, and I have made her a vestal virgin. She comes highly regarded but I cannot have her heirs, so, well” he looked at Mars and then down at the ground.

Mars nodded, “I see, so I can have her, but if she bears fruit I am to what? Kill my progeny?”

Amulius, “Yes, in a manner, but be not worried, she knows not of a man, she is pure. And –“

Mars cut him off, “That’s enough, I care not about such things. Send her to me tonight”. Mars walked off and away from Amulius and the distant Rhea Silvia, who looked towards him as he tread past. His armor glistened in the afternoon light and it clattered as he proceeded away.

Amulius stomped towards her, and pulled Rhea up from the steps, “You are to be a bride now, and that is final.” Rhea pulled her arm away, but Amulius was forceful, “Take your hand off me. I am a protected priestess”. Rhea tried to stand her ground.

Amulius glared at her, “I made you a vestal to keep you quiet, but now I have another use for you, but if you betray me and create heirs I will destroy you”. Rhea shuddered, “How am I to do that my.. (gulped) King?” Amulius amusedly looked at her, staring at her bosom that was covered in the gauzy fabric of the age, “I am sure you will please him, but you dare not enjoy it”.

Rhea eyes wide looked in a manner confused and terrified. Amulius led her away from the Vesta temple and down to some quarters where he ordered servants to strip her and bathe her. Rhea stood in the tub, tears running down her cheeks. Servants rubbed her down with cloths until her pale skin was reddened. Then they dressed her again in a bridal shift. 

Rhea was a beautiful woman, not like the goddesses they worshipped in what would become the city of Rome, but still quite taking, and her eyes were bright with promise, until today. Rhea trembled in her new gown, and waited until she was retrieved. A robe of dark blues was placed over her shoulders and clasped in the front. It was night now, and the chill of the area was setting in.

---

Torches were lit on the hall walls, and Amulius entered the room.

“It is time, the arrangements have been made, you are his wife now”. Amulius spoke. Rhea looked puzzled, “without a ceremony?” Amulius sneered, “This isn’t a public display, it is just affairs of state”. Rhea looked down and walked slowly towards him, “Please brother be merciful, he is a brut, surely you know that”. Amulius looked at Rhea in the eyes then, and unmistakably sighed greedily, “Oh, I’m counting on it”. Rhea’s eyes widened again, as Amulius let out a deep throaty sinister chuckle. Rhea gathered her robe tighter about her and followed him down the corridor.

A while later they were in the center of the palace, in a section she was unfamiliar with, even though she had spent many years exploring the palace as a child. She could smell the stench of unclean men and hear the ruckus of their chants. A revelry was going on in a room, and she looked up long enough to see them taking part in a drinking game of sorts. Pounding the table and shouting wildly, most men in various layers of battle garb, some nearly nude, she blushed discernibly.

Amulius knocked on a door in the corridor, and a gruff deep voice boomed on the other side. Rhea shivered, even though there was no breeze tonight. Amulius covered her face with the hood of the robe and waited for the door to open. Heavy foot falls came to the door, and when it lurched open a tall dark-haired man stood, somewhat undressed, from battle, an apple in his hand. Mars looked at Amulius amused, “Oh, right. Is this her then?” Mars looked to Rhea, whose eyes were careening past the shadow of her hood, he saw her soft lips, and he groaned into the apple as he took a bite, “Leave her with me” he said to Amulius. Amulius, smirked, “the papers are all in order, Mars”. Mars snatched a scroll from Amulius’ hand. Then looked him up and down again, scoffing, “For a King you do an awful lot of your own dirty work.”

Amulius, “This one I wanted to take care of personally. She is my niece after all”, he replied, bringing his arm around Rhea’s back and pushing her into Mars as he stood barring the doorway with his frame. Rhea’s eyes were fixed on his hulking chest, it breathed in and out as he chewed his apple, the crunching noise above her ears. She dare not look him in the eyes, she was far too nervous. Amulius retreated and went back to his own chambers for a night of blissful sleep.

            When Rhea knew he was out of earshot she fell to her knees in front of Mars, “Please, my, Archon, please take pity on me, and let me go back to my work a vestal, I promise I will bring no shame upon you.” Mars chuckled, still chewing his apple. He grabbed Rhea by the shoulder and drug her inside the room, closing the door and locking it. He dropped is hands from her shoulder and she dropped her hood. Her brown eyes stared up at him from the floor, and he tossed the apple core across the room and yanked her up to her feet. His eyes searched hers for something, innocence? Meaning? Love? Hate? Rhea did not know. Rhea saw him visibly smell her, take her in, his hands squeezing her upper arms so intensely she let out a little whimper. Mars shook her a little at that, and Rhea turned her head away from him. Mars set her on her feet then, and placed his hand across her chin, “You think I care about your family’s honor. I am a god amongst men” he spat, his face was so close to her, she could smell the apple on his breath, amongst other things and feel the heat of his breath. Mars pivoted and tossed her towards the bed then made two hasty strides to meet her there.

Rhea cowered at the end of the bed; eyes bright. Rhea slumped to the floor again, but removed her robe, leaving her shift that was so thin, he could see the nipples bead against the fabric. He picked her up again, and set her on the end of the bed, and grabbed her breast in his meaty hand, and massaged it, his thumb brushing the nipples through the fabric. Rhea felt a new sensation tingle through her, but she was still scared. Her other nipple followed suit and pursed against the fabric. Mars watched her face as she let him touch her. All things happened in microseconds of time.

Mars tore at her gown, exposing all of her to him. He roared excitedly and shucked off his pants hastily. Rhea shivered again, and closed her eyes, as his hands were all over her. Gripping her buttocks, her hips, and brushing by her throat. His one hand on the back of her neck, he stared at her, then grabbed his cock in his other hand, and started to stroke it. Rhea looked down shamefully and was amazed at what she saw. It was large and veiny and it pulsed in his hand, extending from his body. Rhea had never seen anything like that before. He panted a bit, as he said, “Suck it” to her, and then he pushed her mouth towards his cock. She didn’t know what to do, so she closed her eyes, and he grabbed her hair and pulled, “Look at it!” he barked. She still had use of her hands, so she tried to touch him, but he simply shoved his cock into her open mouth and started to rock into her, his hand on her hair was tight and he fucked her throat with righteous abandon. Rhea gagged and spat and tried to breathe.

Mars just kept fucking her, and moaning, happily, “oh, in all my years” he crowed. Rhea pushed at him and gasped as he pulled out, his hold of her hair loosened. Mars let go of her and she choked and spat on to the floor. Her back was turned so she did not see the rope he gathered from the bedclothes. He tied her hands behind her, “So you won’t get away, or think to mark me up. I have a reputation to hold in the bordellos, you know” he smirked and chuckled, his voice deeper now. Mars picked Rhea up again, by her arms and laid her on her back on the bed, her arms tied and pinned beneath her. He stroked his cock again, filling the slick of her spit on it in revelry. He pushed his thighs against hers, parting them. Rhea tensed, not knowing what to expect next, but only hearing stories from the older ladies of the village.

Mars rubbed his cock against her mound, and felt a warmth and slickness, “You told me you haven’t been with a man, then why are you wet?” he cajoled. Rhea’s face flushed with heat, “I don’t know my archon, I.. I”. Mars leaned over her, and spoke against her lips, “It doesn’t matter now, you are mine, now, I can mark you however I wish, and I don’t care about Amulius’ little treaty.  I’ll fill you with my pups until you can’t stand it anymore”, he said grinned wildly. As he stood back up, pulling her ass to the edge of the bed. Mars entered her with conviction and Rhea screamed from the mixing of flesh on flesh and the tearing of her insides it seemed. Mars roared louder feeling her tightness against his throbbing cock. Her walls were untouched and it felt amazing, he pounded into her, holding her hips, his hands gripping her tight. Rhea’s legs were draped past either hip, limp, but not willing. Mars looked at her, and saw her ashen face, he slowed down a moment. Tears were streaming down her cheeks, towards her ears.

“Been a while since I had a virgin” he cackled, “And your so fucking sweet, you may turn me into a softer man.” Mars stayed deep inside her, Rhea’s pussy trembled around him, pulsing. Rhea could feel a warmth in her core now, it rose and fell with his thrusts, but in his stillness, there was a yearning for more. Mars felt the twitch of her cunt, and he smiled again, leaning down to bite her neck, and sucked her flesh between his teeth, “Mine” he growled. And Rhea let out a sensational moan, she hadn’t ever heard herself make that sound before, “My archon, what was..” Rhea murmured. Mars stopped sucking her neck, and came to look upon her, “That my wife was a moan”. Rhea nearly giggled, but still was mightily uncomfortable.

Mars started his pace again, thrusting deep and fast into her, and panting as he went. His eyes bore into hers, and still tears filled hers in fright and confusion. Mars pulled out of her and readjusted her. He picked her up by the waist, turned her around and pushed her face first into the bed, her ass presented for him. Mars grinned broadly, “oh the gods did smile upon me this day.” And Mars grabbed Rhea’s ass, massaging it greedily, parting her cheeks, and pressing his cock into her pussy again. Rhea moaned, but into the bed. Mars’ cock strained and grew thicker as he pushed deeper and pumped faster. He could feel his climax building inside him, and he wanted to fill her core with as much of his seed as he could. He needed to, to rebel against that spoiled King, Amulius.

Mars kept pushing deeper, right to her Rhea’s cervix, and he banged into it with great relish, bruising it, and causing more spasms inside her. Rhea did not know how to orgasm, he knew that, and her body reacted to him just as nature intended. Rhea’s face was smooshed into the bed clothes, her ass in the air, her core spasming. She felt totally out of control, and she made little sounds with her mouth, but she didn’t know if they were a call for relief or more. Mars went faster and faster and harder and harder. Rhea spasmed around his cock, and as he cum, shooting his hot load against her cervix, washing it with his seed, Mars growled again, and pulled Rhea’s torso up to meet his chest.

His hand drifted lazily against her folds, and he rubbed her clit a little. Kissing her neck, softer now, as she gasped from his fingers on her. His cock was still inside her, pulsing, and when he touched her clit, Rhea’s eyes rolled back in her head in joyful sadness, “Please, my archon, I don’t understand”.  He shushed against her cheek, “Its alright, you’ll understand one day, I’ll teach you”. Rhea’s eyes closed then, tears rolling down her cheeks. Mars cock was still hard, and he pumped into her a few more times, her pussy still clamping onto him, Mars breath hitched against her neck, “You are amazing, just think what can happen, when you know what your doing.”

Rhea blushed at those words, the warmth in her belly transferring to her cheeks. Mars’ arm held her to him, across her chest and against his own. Rhea’s arms still bound behind her. Mars set her down gently then and untied her. He rubbed her wrists, and checked for marks, tossing the rope aside. Rhea turned to him, gathering herself into a sitting position, her knees up at her chest. Mars looked at her then and realized how youthful her face, in the torchlight. “My god, you really are beautiful aren’t you?” Rhea looked down, and wept into her knees. Mars’ seed was oozing out of her pussy, and he noticed it gathering on the bed. He coaxed her with whispered to her to ‘lay down’, and he propped her legs up, against his side.

Mars gathered a bit of covers over her then. And Rhea gratefully accepted them. Mar’s propped his hand on his head and looked at her. Rhea looked at him still puzzled, “What are we doing now?” Mars lazily retorted, “trying to make heirs so your uncle will lose all he has”. Rhea smiled then for the first time all night, “Oh, well, if that’s what it takes, I will try my best.” Mars grinned, letting his finger make circles on her belly against the blanket, “And if it doesn’t, we can just keep trying.” Rhea looked at him then still a little shaken, “But not like that, every time, right?”

Mars looked down a second, a light in his eyes shining warmly towards her, “No, not every time,” he paused, sitting up a bit, “Unless I’m fresh from battle, I tend to be an ogre”, his boyish grin is almost endearing. Rhea tries to feel something besides the tenderness between her legs and the utter sadness of losing her position as priestess, “So what does a wife of a guard captain do?” Mars looked at her with as much seriousness as he could muster in that moment, “Take care of me, I guess. I honestly don’t know”. Rhea actually felt a bit lighter as at his relaxed confession, “Well maybe we can make it as we go along?” she asked. Mars looked at her a bit steely, his blue eyes sharpening in the lamplight “Perhaps.” Rhea nodded in understanding.

(Part 2?)

Taglist:

@ scariusaquarius @legolasbadass @sweetestgbye @middleearthpixie @evenstaredits @lathalea @riepu10

Lyn’s writing event 2024 

[yamayuandadu]

I don't know how well versed in Canaanite or Phoenician stuff, but if so, what's the deal with Tanit? Did she originate in Ashtart, or was a separate goddess? I keep finding a lot of conflicting information on her, and the fact that she's associated with supposed child-sacrifice means a lot of the stuff I find on her has an air of sensationalism

I won’t claim it’s a major interest (recall that the only strictly Canaanite deity whose wiki page I wrote is Baalat Gebal) but I think I can help. However, bear in mind there might be significant gaps in my knowledge esp. regarding the various colonies across the Ibernian peninsula, Sardinia etc.

Saying anything firm about Tanit is not exactly easy since virtually all attestations of her are brief dedicatory inscriptions, theophoric names, toponyms (ex. Aqtanit, Aitanit, Kfar Tanit) and symbolic representations. No hymns, no myths, no theological speculation, not even much in the way of sources hinting at how her cult was organized. Such a body of evidence doesn’t let one do much beyond concluding she certainly was an actively worshiped deity.

There are multiple proposals regarding her name but as far as I am aware most if not all come from authors whose methods leave a lot to be desired, so I’ll leave that out. It’s really not possible to say much beyond the fact she was clearly regarded as the tutelary goddess of Carthage. There is also evidence for some degree of worship in Sidon from the sixth century BCE onward, Kition from the fifth (references to a group of devotees, theophoric names) and in the Mount Lebanon range (a single Carthaginian inscription mentions “Tanit in Lebanon”; see Spencer L. Allen, The Splintered Divine, p. 243-244 and 302). The only connection between Tanit and another deity we can be sure about is that with Baal Hammon, presumably her spouse. It’s best reflected in her epithet “Face of Baal”, found almost exclusively in sources from Carthage, the main exception being two attestations from Constantine in Algeria. What exactly this title entails is difficult to tell, though (The Splintered Divine, p. 242-243). An interesting Neo-Punic inscription pairs Tanit with Kronos, which would indicate the author was familiar with the interpretatio graeca of Baal Hammon, which goes back at least to Sophocles’ times (The Splintered Divine, p. 57).

Out of necessity the rest of the response will largely focus on explaining who Tanit certainly wasn’t. 

For starters, she definitely was not Ashtart in any shape or form. Aren M. Wilson-Wright in Athtart. The Transmission and Transformation of a Goddess in the Late Bronze Age (the book isn’t open access, but you can find the dissertation it was based on here) points out that authors seeking to prove they’re related treat data from different locations and time periods as fully interchangeable, without taking into account deities change across time (p. 7). 

Ultimately the only real argument comes from a text discovered during the excavations in Sarepta dated to the sixth century BCE. It contains the compound name “Tanit-Astarte” (The Splintered Divine, p. 241). The problem is that the two were clearly viewed as distinct in Carthage, as evidenced by roughly contemporary sources. (The Splintered Divine, p. 244). 

Allen notes we might be dealing with a situation like Tanit being worshiped alongside Astarte and the double name designating her as an “associate” of sorts, or that similarly as in the case of Neo-Assyrian compound theonyms the double name indicates a form of Tanit with Astarte’s attributes, like how “Ashur-Enlil” was a designation of Ashur as the king of the gods and not an indication he was merged with Enlil (The Splintered Divine, p. 241).

Even with Ashtart out of the picture, the dreadful specter of interchangeability of goddesses refuses to leave the room, though. There’s an even more nonsensical proposal, namely that Tanit is, somehow, Asherah. We have Frank Moore Cross of Canaanite Myth and Hebrew Epic to blame for this one. As outlined by Steve A. Wiggins in A Reassessment of Asherah With Further Considerations of the Goddess (p. 131), subsequent publications making the same claim just rely on Cross, with no new material added. The equation is utterly baseless since it depends on assigning symbols to “Asherah” (really to Ugaritic Athirat) based on the pure vibes school of scholarship. Alleged leonine connections rest entirely on the deeply puzzling equation with the sparsely attested Qudshu (or however we’re romanizing her name this week), conclusively proven to be an Egyptian invention (see Christiane Zivie Coche, Foreign Deities in Egypt, pages 4-5) and thus irrelevant to this discussion.

It’s worth noting the only reason why forced attempts are made every now and then is that since Q. appears once - on a now lost stela, lol - with Anat and Ashtart - she CLEARLY must be a northern goddess of equal standing which somehow means Athirat (hardly attested outside Ugarit, and even then, Shapash, Nikkal, Pidray, the collective Kotharat are all equally if not better attested…). So, in other words: the Tanit link here was built on multiple levels of unsound foundations.

[galleryofart]

The Garden of the Hesperides

Artist: Edward Burne-Jones (English, 1833–1898)

Date: c. 1869

Media: Oil on canvas

Collection: Kunsthalle Hamburg, Hamburg, Germany

Description

In Greek mythology, the Hesperides, are the nymphs of evening and golden light of sunsets, who were the "Daughters of the Evening" or "Nymphs of the West". They were also called the Atlantides from their reputed father, Atlas.

The Nymphs of the Evening

Ordinarily, the Hesperides number three, like the other Greek triads (the Three Graces and the Three Fates). They are sometimes portrayed as the evening daughters of Night (Nyx), either alone or with Darkness (Erebus), in accord with the way Eos in the farthermost east, in Colchis, is the daughter of the titan Hyperion. The Hesperides are also listed as the daughters of Atlas and Hesperis, or of Phorcys and Ceto, or of Zeus and Themis.

They are sometimes called the "Western Maidens", the "Daughters of Evening", or Erythrai, and the "Sunset Goddesses", designations all apparently tied to their imagined location in the distant west. Hesperis is appropriately the personification of the evening (as Eos is of the dawn) and the Evening Star is Hesperus.

In addition to their tending of the garden, they have taken great pleasure in singing. Euripides calls them "minstrel maids" as they possess the power of sweet song. The Hesperides could be hamadryad nymphs or epimeliads as suggested by a passage in which they change into trees: "… Hespere became a poplar and Eretheis an elm, and Aegle a willow's sacred trunk …" and in the same account, they are described figuratively or literally to have white arms and golden heads.

Erytheia ("the red one") is one of the Hesperides. The name was applied to an island close to the coast of southern Hispania, which was the site of the original Punic colony of Gades (modern Cadiz). Pliny's Natural History records of the island of Gades:

"On the side which looks towards Spain, at about 100 paces distance, is another long island, three miles wide, on which the original city of Gades stood. By Ephorus and Philistides it is called Erythia, by Timæus and Silenus Aphrodisias, and by the natives the Isle of Juno." The island was the home of Geryon, who was overcome by Heracles.

[yaellaharpe-blog]

Tanit was the most important goddess who represented a mother goddess, life, & fertility.

TANIT ERA LA DIOSA MÁS IMPORTANTE QUE REPRESENTABA A UNA DIOSA MADRE, LA VIDA Y LA FERTILIDAD.

(English / Español)

Carthage was founded by the Phoenician city of Tyre in the 9th century BCE, and along with many other cultural practices, the city adopted aspects of the religion of its founding fathers. Polytheistic in nature, such important Phoenician gods as Melqart and Baal were worshipped in the colony alongside new ones such as Tanit. These, in turn, were spread to new Punic colonies around the ancient Mediterranean while in the other direction gods from neighbouring cultures were incorporated into the Carthaginian pantheon. Temples were built in their honour, ceremonies were overseen by a priestly class, sacrifices were made to appease them, and their imagery appeared on ships, coins, and in the arts.

------------------------------------------------------------------------------

Cartago fue fundada por la ciudad fenicia de Tiro en el siglo IX a.C. y, junto con muchas otras prácticas culturales, la ciudad adoptó aspectos de la religión de sus padres fundadores. Era de carácter politeísta y en la colonia se veneraban dioses fenicios tan importantes como Melkart y Baal junto a otros nuevos como Tanit. Estos, a su vez, se difundieron en las nuevas colonias púnicas alrededor del antiguo Mediterráneo, mientras que por otro lado, los dioses de las culturas vecinas se incorporaron al panteón cartaginés. Se construyeron templos en honor a ellos, las ceremonias eran supervisadas por una clase sacerdotal, se hacían sacrificios para apaciguarlos y sus imágenes aparecían en barcos, monedas y en el arte.

Source: www.worldhistory.org

[brookstonalmanac]

Holidays 2.5

Holidays

Adlai Stevenson Day (Illinois)

Aerial Victory Day

Angel Conwell Day (South Carolina)

Antigone Asteroid Day

Belle Starr Day

Chama Cha Mapinduzi Day (Tanzania)

Cheongwoldaeboreum (Folk Festival; North Korea)

Crown Princess Mary Day (Denmark)

Disaster Day

Family Leave Bill Day

Georgia Arts Day (Georgia)

Hank Aaron Day

International Clash Day

Kashmir Solidarity Day (Pakistan)

Lailatul Quadr (Night of Power)

Longest War Day (3rd Punic War ended in 1985 after 2,131 years)

Move Hollywood and Broadway to Lebanon, Pennsylvania Day

National Fart Day (a.k.a. Did You Fart? Day)

National Red Solo Cup (Toby Keith)

National Shower with a Friend Day

National Tinnitus Awareness Day

National Weatherperson's Day (f.k.a. Weatherman's Day)

Othroktide (Elder Scrolls)

Pikachu Day

Robert “Bobbie” Peel Day (UK)

Runeberg Day (Finland)

Trayvon Martin Day

Unity Day (Burundi)

Waitangi Dildo Incident Day (New Zealand)

Wiffle Ball Day

Food & Drink Celebrations

Bartender’s Cup

Chocolate Fondue Day

National Rosé Day (Australia; New Zealand)

World Nutella Day

Nature Celebrations

California Western Monarch Day

Fern Day (Lovely; Korean Birth Flowers)

Lichen Day (French Republic)

Primrose Day (Primula acaulis)

Western Monarch Day

World Animal Reiki Day

Independence, Flag & Related Days

Arkazja (Declared; 2022) [unrecognized]

Constitution Day (Mexico)

Liberation Day (From the Alberoni Occupation; San Marino)

1st Wednesday in February

Book Direct Day [1st Wednesday]

Empire State Building Run Up Day [1st Wednesday]

Global School Play Day [1st Wednesday]

Hump Day [Every Wednesday]

National Girls and Women in Sports Day [1st Wednesday]

National Signing Day (College Football) [1st Wednesday]

Wacky Wednesday [Every Wednesday]

Website Wednesday [Every Wednesday]

Wheat Beer Wednesday [1st Wednesday of Each Month]

Wilderness Wednesday [1st Wednesday of Each Month]

Winter Walk Day (Canada) [1st Wednesday]

World Read Aloud Day [1st Wednesday]

Weekly Holidays beginning February 5 (1st Week of February)

US Snow Sculpting Week (thru 2.9)

Festivals Beginning February 5, 2025

Festival Astropolis (Brest, France) [thru 2.9]

Food Processing Expo (Sacramento, California) [thru 2.6]

Southern Farm Show (Raleigh, North Carolina) [thru 2.7]

Southwest Michigan Horticultural Days (Benton Harbor, Michigan) [thru 2.6]

Lunar Calendar Holidays

Chinese: Month 1 (Wu-Yin), Day 8 (Yi-Si)

Day Pillar: Wood Snake

12-Day Officers/12 Gods: Balance Day (平 Ping) [Inauspicious]

Holidays: None Known

Secular Saints Days

Herman Charles Bosman (Literature)

C. E. Brock (Art)

William S. Burroughs (Literature)

Henfil (Art)

H.R. Giger (Art)

Christopher Guest (Entertainment)

Robert Hofstader (Science)

B.S. Johnson (Literature)

Al Kooper (Music)

Jennifer Jason Leigh (Entertainment)

Laura Linney (Entertainment)

Bob Marley (Music)

Charlotte Rempling (Entertainment)

Carl Spitzweg (Art)

Roger Staubach (Sports)

Cory Wells (Music)

David Wiesner (Art)

Festivals Beginning February 5, 2024

Carnival of Oruro (Oruro, Bolivia) [thru 2.14]

New Mexico Chile Conference (Las Cruces, New Mexico) [thru 2.5]

Order of Venus Mob-Chella Mardia Gras Ball (Mobile, Alabama)

Ridgefield Restaurant Week (Ridgefield, Connecticut) [thru 2.11]

Whale Fiesta (San Pedro, California)

Feast Days

Abraamius, Bishop of Arbela (Christian; Martyr)

Adelaide of Vilich (or Bellich; a.k.a. Alice; Christian; Saint)

Agatha of Sicily (Christian; Saint)

Anne Hutchinson (Episcopal Church USA)

Avitus of Vienne (Christian; Saint)

Benedict Arnold Day (Church of the SubGenius; Saint) 

Bertulf (a.k.a. Bertulph; Bertoul of Renty; Christian; Saint)

Day of the Serpent (Pagan)

Doodle Day (Pastafarian)

The Fornacalia (Goddess of Furnaces) [until 17th]

The Goat (Muppetism)

Indractus and Dominica (Christian; Martyrs)

Ingenuinus (Jenewein; Christian; Saint)

Jeanne de Valois (Christian; Martyr)

Lantern Festival (China) [15th Day of Chinese New Year]

Martyrs of Japan (Christian; 25 Martyrs, 1597)

Martyrs of Pontus (Christian; Martyrs)

Nones of February (Ancient Rome)

Philip of Jesus (Christian; Saint)

Pirate Garb Day (Pastafarian)

Ragged Young Man, Shaggy Filly & Freckle-Legged Girl Day (Celtic Book of Days)

Roger Williams (Baptist & Episcopal Church USA)

Sacred Maiden Ia Day (Everyday Wicca)

Scopas (Positivist; Saint)

Triodion begins (Eastern Orthodox Christian) [70 Days before Easter]

Twenty-six Martyrs of Japan (Evangelical Lutheran Church in America; Anglican Church in Japan)

Vasant Panchami (Hinduism)

Vodalus (a.k.a. Voel; Christian; Saint)

Weatherperson’s Day (Starza Pagan Book of Days)

Wyrd’s Day (Celtic Goddess of Fortune Telling)

Lucky & Unlucky Days

The Furies Bring Calamity Day (Ancient Greece)

Lucky Day (Philippines) [9 of 71]

Tomobiki (友引 Japan) [Good luck all day, except at noon.]

Premieres

The ABC of Hand Tools (Disney Cartoon; 1946)

The Adventures of Hardrock Dome #2 (Paramount-Bray Pictographs Cartoon; 1919)

Alice in Wonderland in Paris (Animated Film; 1966)

Back Alley Oproar (Blue Ribbon Hit Parade Cartoon; 1955)

Bear Country (Disney Documentary Short; 1953)

Be Mice to Cats (Noveltoons Cartoons; 1960)

Big Cheese Boris or I’d Rather Be Rat (Rocky & Bullwinkle Cartoon, S2, Ep. 96; 1961)

Blue Monday (Captain & the Kids MGM Cartoon; 1938)

The Book Shop (Terrytoons Cartoon; 1937)

Boris Makes His Move or The Miceman Cometh (Rocky & Bullwinkle Cartoon, S2, Ep. 95; 1961)

Chew-Chew Baby (Woody Woodpecker Cartoon; 1945)

The County Fair (Oswald the Lucky Rabbit Cartoon; 1934)

Crazy Heart (Film; 2010)

Daisy-Head Mayzie (Hanna-Barbera Animated TV Special; 1995)

Doctor Bluebird (Color Rhapsody Cartoon; 1936)

Donald’s Diary (Donald Duck Disney Cartoon; 1953)

An Education (Film; 2010)

Epitaph for a Spy: A Spy Thriller, by Eric Ambler (Novel; 1938)

Featuring the Saint, by Leslie Charteris (Short Stories; 1931) [Saint #5]

Felix the Cat in the Oily Bird (Felix the Cat Cartoon; 1928)

Flower in the Hat or The Rose Bowler (Rocky & Bullwinkle Cartoon, S4, Ep. 201; 1963)

The General (Film; 1927)

Glad Rags to Riches (Film; 1933)

Hail, Caesar! (Film; 2016)

Hansel and Gretel (Terrytoons Cartoon; 1933)

Heart of Gold, by Neil Young (Song; 1972)

He Dood It Again (Super Mouse Cartoon; 1943)

Instant Replay, by The Monks (Album; 1969)

Lego Masters (UK TV Series; 2022)

Loaded Weapon (Film; 1993)

Love My Life Away, by Gene Pitney (Song; 1961)

Modern Times (Silent Film; 1936)

Mother and Child Reunion, by Paul Simon (Album; 1972)

Mr. Fuller Pep: He Does Some Quick Moving (Powers Cartoon; 1917)

Mucho Loco (WB MM Cartoon; 1966)

No Deposit, No Return (Film; 1976)

Otello, by Giuseppe Verdi (Opera; 1887)

Patton (Film; 1970)

Peter Pan (Animated Disney Film; 1953)

Pipe Dreams (Happy Harmonies MGM Cartoon; 1938)

Porky at the Crocadero (WB LT Cartoon; 1938)

Presto Change-O (Blue Ribbon Hit Parade Cartoon; 1949)

Pride and Prejudice and Zombies (Film; 2016)

Private 1st Class Norakuro (Norakuro Cartoon; 1935)

Puddy the Pup in the Bookshop (Terrytoons Cartoon; 1937)

Robin Hood, Jr. (Willie Whopper MGM Cartoon; 1934)

RoboCop (Orion Stop Motion Cartoon; 1988)

The Robot (Fleischer Talkartoon Cartoon; 1932)

Scooby-Doo! and the Curse of the 13th Ghost (WB Animated Film; 2019)

She’s Having a Baby (Film; 1988)

The Sidewalks of New York (Fleischer Screen Song Cartoon; 1929)

A Single Man (Film; 2010)

A Snitch in Time or The Finking Man’s Thilter (Rocky & Bullwinkle Cartoon, S4, Ep. 202; 1963)

Southern Exposure (Krazy Kat Cartoon; 1934)

The Spector (Oregon Newspaper; 1846) [1st in Oregon]

String Quartet No. 1 in D Minor, by Arnold Schoenberg (String Quartet; 1907)

Sunday in New York (Film; 1964)

Tau Zero, by Poul Anderson (Novel; 1970)

Tito’s Guitar (Columbia Favorites Cartoon; 1953)

Topsy Turkey (Phantasies Cartoon; 1948)

Travelaugh (Pathé Review; 1921)

Tuxedo Junction, recorded by Glenn Miller (Song; 1940)

Two Happy Amigos (Disney Animated TV Special; 1960)

The Unbearable Lightness of Being (Film; 1988)

Up, by Cardi B (Song; 2021)

Ups ’n’ Downs (WB LT Cartoon; 1931)

The Wandering Earth (Film; 2019)

What Is Life? with Mind and Matter and Autobiographical Sketches, by Erwin Schrödinger (Philosophy Book; 1944)

Why Adam Walked the Floor (Tony Sarg’s Almanac Cartoon; 1922)

Zoo-Illogical Studies (Keen Cartoon; 1917)

Today’s Name Days

Agatha, Albuin (Austria)

Agata, Dobrila, Goran, Jagoda (Croatia)

Dobromila (Czech Republic)

Agathe (Denmark)

Aet, Agaate, Aita, Ita, Iti (Estonia)

Asser (Finland)

Agathe (France)

Agathe, Albuin (Germany)

Agathe, Agathi (Greece)

Ágota, Ingrid (Hungary)

Agata (Italy)

Agate, Agra, Ardis, Selga, Silga (Latvia)

Agota, Birutė, Gaudvinas, Ilona (Lithuania)

Agate, Ågot (Norway)

Adelajda, Aga, Agata, Albin, Izydor, Jakub, Jan, Justynian, Paweł, Piotr, Strzeżysława (Poland)

Agata (Romania)

Agáta (Slovakia)

Ágata, Águeda, Felipe (Spain)

Agata, Agda (Sweden)

Agatha (Ukraine)

Agatha, Chanel, Chanelle, Chantel, Phoenix, Shantel (USA)

Today’s National Name Days

National Leo Day

Today is Also…

Day of Year: Day 36 of 2025; 329 days remaining in the year

ISO Week: Day 3 of Week 6 of 2025

Celtic Tree Calendar: Luis (Rowan) [Day 16 of 28]

Chinese: Month 1 (Wu-Yin), Day 8 (Yi-Si)

Chinese Year of the: Snake 4723 (until February 17, 2026) [Ding-Chou]

Coptic: 28 Tubah 1741

Druid Tree Calendar: Poplar (Feb 4-8) [Day 2 of 5]

Hebrew: 7 Shevat 5785

Islamic: 6 Sha’ban 1446

Julian: 23 January 2025

Moon: 50%: 1st Quarter

Positivist: 8 Homer (2nd Month) [Scopas)

Runic Half Month: Elhaz (Elk) [Day 15 of 15]

Season: Winter (Day 47 of 90)

SUn Calendar: 6 Gray; Sixthday [6 of 30]

Week: 1st Week of February

Zodiac:

Tropical (Typical) Zodiac: Aquarius (Day 17 of 30)

Sidereal Zodiac: Capricorn (Day 22 of 29)

Schmidt Zodiac: Capricorn (Day 11 of 27)

IAU Boundaries (Current) Zodiac: Capricorn (Day 17 of 28)

IAU Boundaries (1977) Zodiac: Capricornus (Day 18 of 28)

[readyforevolution]

THE AMAZIGH!

Amazighs are very likely the direct descendants of the Mesolithic and Neolithic Caspian populations that live between 8000 and 2700 BC in North Africa. The reason why there are many Amazigh groups that are quite different from each other is the vast extent of the North African territory where they have live for millennia. Each region has its specific geographical characteristics imposing therefore a specific lifestyle. That's why the northern regions of North Africa that have a Mediterranean climate with regular seasons has a sedentary population, while hotter and arid regions in the High Plateaus and the Sahara have nomadic populations.

The Amazighs live in scattered communities across Morocco 🇲🇦 Algeria 🇩🇿 Tunisia 🇹🇳 Libya 🇱🇾 Egypt 🇪🇬 Mali 🇲🇱 Niger 🇳🇪 and Mauritania 🇲🇷 They speak various Amazigh languages belonging to the Afro-Asiatic family related to ancient Egyptian.

The Amazighs, indigenous to North Africa, have a rich and ancient culture. Their traditional crafts, including jewellery, pottery, weaving, and henna art, hold great value and have been passed down for generations.

The heaviest concentration of Amazighs speakers is found in Morocco. Major Amazigh languages include Tashelhit (Tashelhiyt, Tashelhait, Shilha), Tarifit, Kabyle, Tamazight, and Tamahaq.

In North Africa, the The Amazighs religion was based on Phoenician and Punic deities, with a god (Baal) and a goddess (Tanit).

#AfricaMyAfrica

[mask131]

Last time, when I posted the vague translation of an article about Tanit, a lot of people were surprised and said they were unaware of the goddess' very existence... So for those who are interested into the Punic mythology, I will list here some points one can find literaly by going to the French Wikipedia article about the Punic religion. (I precise French Wikipedia because the French and English Wikipedias sometimes do not have the same information)

(Again this is not exact or definitive stuff, just a little bit of intro ; a "little taste for the beginning of the research")

The Punic religion/mythology is the one of the city of Carthage. You know? The Great Carthage, the famed rival and enemy of Rome, Hannibal and all that. It also extended to all the cities and regions which were under Carthage's influence and control. (So we are talking the coasts of Northern Africa, the south of Spain and Italy, and other adjacent areas)

The Punic mythology is derived from the Phoenician mythology, hence why several Phoenician gods can be found back among the Punic pantheon - but differences between the Phoenician and Punic religions are attested as early as Carthage's foundation.

Despite the conquest and destruction of Carthage by the Roman Empire, the religion still went on - it is attested as having been performed during the 3rd and 2nd centuries BCE, and some theorize the Punic gods might have stayed "alive" as late as the fourth century CE.

One of the big problems when studying the Punic religion is to differentiate historical facts from biased accusations, because the Roman authors were known to heavily caricature and demonize its rites. Notably the Romans regularly accused the people of Carthage of monstrous infant-sacrifices, and the archeological discoveries are quite ambiguous as to whether there were indeed sacrifices of children or not...

As I said before, the Punic gods were born when the Phoenician gods were brought over to Northern Africa and acquired there specific traits, while also interacting with other local religions. The Punic gods are dominated by the figure of the "superior god" that is Ba'al Hammon (or just Ba'al), and which is inherited from the Phoenicians - though the Punic Ba'al and the Phoenician Ba'al are quite different from each other. Astarte, Ba'al paredra (female companion) in the Oriental religions, is also present in the Punic religion but in a secondary and "weakened" way - she was rather replaced/fused with an emblematic goddess of the Punic religion, Tanit, the paredra of the Punic Baal (and even called the "face of Baal").

Astarte was preserved as a goddess of fecundity and war, though she seems to have been moved to a "secondary" situation. Other Phoenician gods preserved include Eshmun, god of medecine, and Melkart, a god symbolizing expansion and enrichment. Melkart was quite notably fused/equated with the Greek figure of the hero-god Herakles.

Most of the gods of the Punic pantheon (except for Baal, which oversaw and dominated them all) acted as "poliads", aka as city-gods. Tanit is considered to have been the goddess of the city of Carthage, while Melkart was the patron of the city of Gades (Cadiz), and Sid the tutelar deity of Sardinia (hence his alternate name "Sardus Pater").

Ba'al Hammon, the leader of the Punic gods, was born of the meeting between the Phoenician Baal, and the Egyptian Ammon, whose cult had spread to Lybia and almost most of Northern Africa (Ba'al Hammon notably had the same ram-association as Amon). This dual god, who symbolized fire and the sun, was later, in the Roman era, assimilated with Jupiter - and it is attested that the Punic Baal (Baal-Amon-Jupiter) still had a worship when Christianity started establishing itself.

The Punic religion had some "imported" cults too. Most notably, during the Greco-Punic wars, the Punic civilization adopted the worship of Demeter and Kore, as goddesses of fertility and harvest. This was due (according to Diodorus of Sicily) to the destruction of these goddesses' temple at Syracuse in 396 BCE: after this, all sorts of disasters plagued the army of Carthage, and so the city adopted the worship of the goddesses in an attempt at appeasing them. Some archeological clue also indicate that the cult of Isis might have existed at Carthage - but it is not firmly confirmed.

The Punic gods were usually invoked when an important historical event had to take place: for example before any military campaign, they were invoked, and if a sea-expedition was successful, the gods were thanked. The Punic religion was a state-business, since there was not cleric/secular division in the Carthagian lifestyle. The priests did not have any direct or open political power, but they had an enormous influence over society - and the members of the higher ranks of the religious hierarchy all belonged to the most powerful families of Carthage.

There was an entire "society-within-a-society" linked to the temples, since each temple had its own set of barbers, slaves and servants. Sacred prostitution was also common within many Punic temples: this prostitution involved both male and female prostitutes, and to be one could be either a definitive, lifetime state, or a temporary function. There was also a whole commerce of ex-votos the followers of the god could buy in buildings linked to the temples - in fact this commerce was most developped by the sea-shores and in coastal cities, where foreigners could bring donations and offerings or receive ex-votos. In fact, the offerings of the temples (usually meat and other resources for consumption) played a big part in the economical model of Carthage. There were specific "prices" and "tariffs" when it came to offerings: we have preserved several "price lists" indicating which type and amount of offering was needed depending on the request or demand. Could be sacrificed vegetables, food, objects, but also small and big animals (usually birds for "small" and cows for "big"). The offering was shared between the priest, the offerer and the god, and then a commemorative stone was set.

A big debate point is the tophet of Carthage, the sacred area dedicated to Tanit and Baal. The thing is we have very little clues and knowledge about this area, outside of vague and repetitive texts found on the ex-votos, thanking "Tanit Pene Baal and Lord Ba'al Hammon". The problem is that some Roman writers and historians (but not all - which adds oil to the fire) said the child-sacrifices took place within this area, identifying these rituals to the sacrifices of Moloch. Some child bones were found in urns, but given no violent cause of death could be found, it is unknown if this indeed was a place of child-sacrifices, or a necropolis for dead children.

It is established that, in the Punic religion, there was a difference between the state-religion, dominated by Carthage, and a folk-religion expressed through the amulets and the talismans protecting against demons and diseases. The folk-religion was heavily influenced by the Egyptian mythology: the Egyptian god Bes was a very popular folk-god of the Punic civilization, charged with protecting both the living and the dead.

We also know a few more details of religious practices, though they stay obscure... For example we know there was a worship of the ancestors within the houses of Carthage, but we don't know how, why, when. Similarly we know the Punic civilization forbade the eating of pork - a diet restriction still efficient by the early 4th century... But why, we don't know. We also do know the Punics seemed to have a belief in life after death, because even though the funeral rites involved incineration, there were mortuary chambers decorated like a house of the living, filled with offerings of food and drinks, and perfumed before being sealed. The position of the corpse was sometimes similar to the "Oriental" rites inherited from the Phoenicians, but other times influenced by the funeral practices of the Berbers (which were one of the population with influential interactions with the Punic civilization).

Numerous elements of modern-day Northern African/Muslim cultures were directly inherited from the Punic religion. For example, the khamsa amulet is widely recognized as being a leftover of the Punic amulets ; similarly, modern-day Tunisia regularly uses the "Symbol of Tanit" (it is used within the cinematographic prize of the "Gold Tanit"). The Algerian and Tunisian expression "Baali agriculture" to designate a non-irrigated agriculture is explained as a reference to the Punic Baal, the same way the Tunisian ritual of the Umuk Tangu/Ommek Tannu (Oumouk Tangou, Ommek Tannou, "Mother Tannou/Tangou"), a rain-invocation for periods of droughts, is a survival of the goddess Tanit (of whom Tangu/Tannu are alternate names). Some go as far as to theorize that the "star and the crescent", symbol of the Muslim religion ever since the Ottoman empire popularized it, might have been influenced by the Punic religious symbols...

[didanawisgi]

Limestone votive stela; decoration in low flat relief; in pediment is a 12 petalled rosette in a disk; 4 line neo-Punic inscription; symbol of the goddess Tanit is flanked by caducei; above them are astral symbols. 2ndC BC-1stC BC. British Museum

[catilinas]

second punic war historical fiction pov character anna As In, Dido's Sister From The Aeneid Who Was Going To Maybe Be Murdered By Lavinia And Turned Into A River About It, assimilated into the roman goddess anna perenna (there's a cool motif about circular narratives in there. like we Are trapped in meanings that circulate like blood). in silius italicus' punica she helps out hannibal or something. Elaborate On That. (and it Needs to get weird about time + epic narrative in a laviniacore way.) the other pov character is iuturna As In, Turnus' Unwillingly Immortal Sister From The Aeneid Who Was Also A River Goddess. altar in the forum romanum despite her spending the whole aeneid on the side of the war that Lost to aeneas. And They Are Lesbians. turnus has always been hannibalcoded we Know this. did you know turnus and dido are also parallels and also Cousins. the potential for evil mimetic haunted sibling relationships is almost infinite. we are trapped in meanings that circulate like blood! second punic war is the main event but if it gets weird and nonlinear i think polybius should be there also. in what is very clearly a hostage situation. also hannibal is being pursued by an army of ghosts or something idk

[dea-syria]

The primitive statue of the goddess of Pessinus, a black stone or baetyl dignified by the name of the Mother of the Gods, was transported to Rome in the stress of the Second Punic War and there became the centre of a ritual served by eunuch priests supported by the State; while, later, her analogue, the Syrian goddess, whose temple at Hierapolis, according to Lucian, required a personnel of over three hundred ministrants, became the object of the special devotion of the Emperor Nero.

--Francis Legge, "Forerunners and Rivals of Christianity"

[butterclaw]

Dama de Elche (Lady of Elche), Punic-Iberian goddess Tanit

[jasper-the-menace]

So, as those of you who witnessed my spiral in my Chima Discord server know, I recently realized that my Tales of Chima series had some fascinating parallels with Egyptian mythology and divines therein, which is fun because that's one of the pantheons I worship and honor as a polytheist.

Well, I decided to be a lot more intentional from the get-go when it came to mythological and religious references in Chimahaven, starting with the surnames of our protagonists:

Emily and Onyx Zephyras: Derived from Zephyros, the Greek god of the west wind and one of the Anemoi. This gives them both a connection between the two of them to all four classical elements (with Emily having earth-as-plants and Onyx using steam magic, a combination of fire and water). It also gives Onyx a stronger connection to their elemental Prismari college.

Dennari Areia: Derived from the epithet Areia, meaning "the Warlike", used for the goddesses Aphrodite and Athena in ancient Greece. This emphasizes Dennari's combat magic specialty and ties her more into her Lorehold college. Her first name is also a reference to the denarius, the standard Roman silver coin introduced during the Second Punic War.

Eris Notus: Derived from Notos, the Greek god of the south wind and one of the Anemoi. This gives her a connection to both her air/wind elemental magic and the fire-based powers granted to her by her strange connection to the Phoenixes.

Scorm Imperator: Unlike the others, Scorm's surname isn't derived from a Greek or Roman god. It's instead derived from the scientific name for the emperor scorpion, Pandinus imperator, because that's what I've clocked the Scorpion Tribe as. This has nothing to do with his magic in this setting, he's just here.

Cragger Ponteid: Cragger's surname is derived from the Greek primordial ocean god, Pontos, who was the biggest ocean guy on the block before Okeanos showed up (and then later Poseidon). This ties Cragger back into his home swamp and into his water elemental magic.

Razar Pheletes: Razar's surname comes from an epithet for Hermes (Φηλητης, Phêlêtês, of which he is the only bearer) that means "Thief", "Robber", and "Rustler". It felt quite fitting, especially since Razar's magic is vocal instead of elemental in nature.

Laval Vestalia: Derived from the ancient Roman festival of Vestalia, which ran from June 7th to June 15th and honored the hearth goddess Vesta. Since Laval has the most prominent fire elemental magic of our protagonists (besides possibly Onyx), I felt that depicting it as the fire of the hearth was a pretty neat idea. There's a lot of focus on fire as destroyer in element-based media, so I wanted to take a different angle with Laval's magic.

So, building on this, most of the symbolism I'll use for Chimahaven will be rooted in Greek mythology/religion (of which I identify most closely with in my honoring), while adding some from later Roman mythology/religion for a little extra...texture, we'll say.