#velchanos

[juniorig0327]

At first I wasn't going to involve any Mycenaean or Minoan related things in my kinda sorta superhero demigod au but I'm actually reconsidering.

I'm currently writing this scene were Percy ends up going on a mission but he sort of loses his shit after injecting something and I think I want the trigger to be because he has such origins.

So I started doing a little research and found out that there was (supposedly? idk how true it is) was a Minoan god known as Potidas who was essentially ruled over everything and like natural things, so he ruled over the earth, the sky, storms, etc.

And so I also found out that Poseidon (atleast maybe his name?) actually came from this god.

And of course you may or may not know about Mycenaean Poseidon who was a chthonic deity.

So I plan on having Percy be of such descent probably.

But I don't want to do this with just Percy. I want to do this with other demigods too, especially ones like Zeus who was associated with a Minoan God known as Velchanos and was associated with like vegetation but I don't know if I should do this with preexisting characters or make some new ones up to do it.

So I decided im just gonna, make a poll lol and the first one is gonna be for Zeus's kids. Jason isn't going to be on this list because he's Jupiter's kid and I want to have the distinction in this be pretty clear.

[infjtarot]

8 of Pentacles. Mystic Spiral Tarot

Themes and Keywords The virtue of restraint. Self-sufficient development. Growth and refinement. Attention to detail. Craft and skill. Patiently growing, ripening. Making and perfecting. Accrual of resources. Tending, vigilance over, and care of small things. Humility and diligence. Astrology/Element The earth sign Virgo is ruled by Mercury, as are the eights. As mutable earth, it is a sign of Earth’s maturing phase. But it is the first decan of the sign, so it is the sowing before the fruition and gathering. The first decan of Virgo is ruled by the Sun. Virgo, the earth’s crust, is being warmed by the sun, encouraging the growth of the secret seed. Virgo is “virginal” in the sense of self-sufficiency. Through Virgo’s patient tending of the fertile soil, resources ripen in anticipation of an eventual plentiful harvest. Mythology/Time of Year Virgo gives us maidens, goddesses of the subtle virtues: grain goddesses like Persephone, Queen of the Underworld, or Astraea, the celestial virgin. Hindu goddess Saraswati is not only pure but also mercurial, as the goddess of wisdom and healing. She was the possessor of purifying knowledge: speech, language, music, and cleansing creative work that flows and purifies the essence and self of a person. Hermes (Mercury) also has a chthonic aspect. He is not only a child of Zeus, but a son of Maia. Maia, Greek mountain nymph with lovely dark eyes, was the eldest of the Pleiades. The Roman Maia was a goddess of growth, associated with Terra (Earth), and the Bona Dea (Good Goddess). The Bona Dea, whose rites of both chastity and fertility were for women only, may be an aspect of nature goddess Fauna. Maia also had ties to Vulcan, god of the forge who may have evolved from the Cretan Velchanos, god of nature and the netherworld, a youthful consort of the Great Goddess. Susan T. Chang

[roa2112]

VELCHANOS

oc

[skitariiposting]

Dear friend Jerry,

Hello again, I've been hearing a lot of people talk about Stroika-Unit recently. I, for one, am very glad about us Skitarii units getting the limelight in some imperial media, and i do hope we will get more imperial sanctioned media that follow Skitarii

I do wish to ask if you have heard of what has become of Stroika-unit after the nasty events that transpired on Velchanos Magna? I personally think it's a shame, but at least he is still in the service of the Machine god.

Sincerely,

Cu

funct.print ("[lamenting] it is a shame what has happened to Stroika-unit and his skitariius. I know a couple of my mutuals on here are infatuated with him, so I'm sure they're handling the situation in their own ways. I myself have spoken to him and some of the members of his battalion on a couple of occasions, which makes their situation all the more real for me. The dark mechanicum has ascended far above being mere heretics at this point. They are bastards, and I'll take joy in being a part of snuffing their forces out one by one. For the glory and honor of the Omnissiah, and for unit Haldron-44 Stroika.");

[etymopedia]

‏‎#قصة_كلمة : #بركان #Volcano اصله لاتيني من اله النار #Vulcan ويسمى عندهم وعند اليونان القدامى #Velchanos ويقاربه الكلمات #اللاتينية (fulgur, fulgere, fulmen) التي تفيد معنى #البرق . ومنها بالانكليزية #flame اي #لهب . ان جذر اعلاه هو (VLC, FLG) يقارب اللغات السامية ومنها العربية الجذر #برق . والاصلح ان يسمى #برقان لا #البركان . #wikipedia #online_etymology_dictionary #Etymopedia #اتموبيديا ‎‏ (في ‏‎Bali, Indonesia‎‏)

[alatismeni-theitsa]

Thank you!!

Not sure if you already know this or not - and I've only done some research - but from what I've found, it appears that Zeus was influenced by the Cretan / Minoan God known as Velchanos. Velchanos was a young vegetation deity who participated in an hieros gamis with the Cretan Mother Goddess, which likely explains why the cult of Zeus Velchanos in the Cretan city-states of Knowsos, Gortyna, and Lyttos depicted him as a beardless youth and surrounded by trees.

Interesting! If you have found some sources that support this please send them to me!

[transmechanicus]

The Fabricator-Locum has hired someone else to take over catgirl production, named "mini"-something or whatever. Your position has been changed to uh,

*noospheric notes checking*

"Unemployed".

POV you’re just dying to see me give this Forge World the Velchanos Magna Exterminatus treatment, you want me to Gellar wash this stupid rock ball so bad it makes you look heretical.

[littlesparklight]

Some quick ideas for some of the gods’ energy forms. I drew the six Kronides in order (after regurgitation), but since I had to chop them up separate the effect is lost a little.

Hades and Hestia were real hard, since they don’t have very many different domains to draw from that can make easy visual representations - that’d definitely be easier to do in text, because when it came to Hestia I didn’t want to lean on fire too much, since she is more than that. Both Hestia and Hera share the “veiled figure” look, for slightly different reasons; Hera’s is to reference her position as a goddess of marriage/brides, Hestia’s for the whole family/modesty thing. Hestia has those coloured ribbons as an attempt to make her “hearth/home” visual as a connection to her siblings. Zeus, Poseidon, Hades and Demeter all have a bit of chthonic energy in their cores/as part of their energy, but Poseidon’s and Demeter’s were native to them (for Poseidon, it was to reference how he was probably the Underworld god back in the Myceneaen era, for Demeter it’s because of the “riches of the earth/agriculture” bit, which isn’t just all that grows ON TOP after all). Zeus has his as a reference to the Chthonic “Zeus Melichios” epithet (I have my own headcanon as to how this happened), Hades gained his first upon assuming kingship of the Underworld. Demeter, Hades and Poseidon all share some obvious features with their sacred animals, and Poseidon gets a mix of water and an attempt to reference his earthquake powers, since the earthquake powers would have been native to him and the water came only later. Zeus’ oak leaves, wheat and rain are native, basically referencing the child!Zeus of Crete (Velchanos).

Apollo and Artemis are basically made up of ouranic energy and light, though Artemis gets some nod to the bear as her sacred animal, and the dark wisps are for their “sudden death”ing powers over young women and men, as well as Apollo’s plague powers.

[americangodstalk]

Cultural backgrounds: Vulcan

Vulcan was one of the principal Roman gods, and the god of fire.

He originally was one of the oldest Latin gods. Probably derived from the Cretan god Velchanos (the youthful supreme god of the Cretan pantheon, master of fire, later identified with the Greek Zeus), Vulcan used to be the Latin god Volcanus, king of the gods, husband of Juno. Associated with Maia, an earthly and motherly goddess of growth, and Vesta, the goddess of earth and the hearth, he was the father of many children, from legendary heroes and mythical kings to dreaded monsters. He usually impregnated mortal women by manifesting through the sparks or the ashes of the hearth’s fire. Some theorize that he was the father of Jupiter from Fortuna, the goddess of luck and fortune.

God of fire, but also of the lightning and the sun, he was a dreaded god, feared for his destructive behavior. The main purpose of his worship was to prevent him from creating harmful fires, or to convince him to stop already existing fires. [3] He was also, in a paradoxical way, a god of the hearth and of the fertilizing heat (as shown by his many descendants). Hints seem to indicate that Volcanus used to be the local military god before Mars. God of Rome, it was told he had a hand in its construction. His oldest shrine was the the Vulcanal, said to have been built in the eighth century BC by Titus Tatius, king of the Sabines and co-ruler of Rome, on the site where a peace treaty between the Sabines (led by Titus) and the Latins (led by Romulus) was signed, unifying the two tribes as the Roman state.

When the Roman Empire incorporated the Greek gods into their own pantheon, Volcanus, now named Vulcan, became associated with Hephaestus, the Greek god of the forge. Vulcan became the son of Jupiter and Juno, king and queen of the gods, and the divine smith, who forged the weapons, chariots and thrones of the other god. He became the husband of Venus, goddess of love and beauty, and was said to live in his smithy, located under the Etna (a Sicilian volcano). Whenever Venus was unfaithful to him, Vulcan would angrily beat red-hot metals in his smithy, causing rains of sparks and huge dark clouds, resulting in the Etna erupting. Vulcan also assimilated a lot of Hephaestus legends: just like him he became rejected by his mother due to his ugliness, thrown from the top of Olympus, leaving him crippled, raised underwater by the marine deity Thetis and gained back his place in Olympus by imprisoning his mother in a trap shaped like a throne.

Vulcan’s major holiday was the Vulcanalia, on Augustus 23rd, when the crops were at the highest risk of burning due to the summer heat and dryness. During this festival, fishes and small animals were thrown alive into the bonfires, as an offering to the god. The purpose of this ritual was to prevent the fire from consuming humans by “feeding” it beasts beforehand. After the Great Fire of Rome, in 64 AD, seen as a manifestation of Vulcan’s wrath, the emperor Domitian ordered that red bull-claves and red boars had to be added to the list of Vulcanalia sacrifices.

Usually represented as a bearded god, sometimes with a facial deformity, he wore a pilleus (a brimless, felt cap) and a short tunic revealing his right arm and shoulder. He got from Hephaestus the attributes of the hammer, the pliers and the anvil. Associated with ovens, he became the patron of cooks, bakers and confectioners, to the point of being described by Apuleius as the cook of divine marriage feasts. [4]

Vulcan still benefits from a certain popularity in modern days. The word “volcano” is a derived from his name. He is the patron of the English steel-making city of Sheffield, where he has several statues. He is also the mascot of the California University of Pennsylvania, and a statue of him was erected in Birmingham, Alabama. It is considered the largest cast iron statue in the world and was probably the one that inspired Neil Gaiman to create the character of Vulcan for the television series.

[withinycu-arch]

NAME: Adonai, Dumuzid, Tammuz, Aegipan, Pan, Adonis, Cernunnos SPECIES: elder god GENDER: Male but their nature is sorta fluid so sometimes gender-neutral pronouns are more appropriate

NEED TO KNOWS/CONSISTENT TRAITS

Note: Putting this at the top since this character is complicated for simplicity’s sake I’ll be referring to him as Adonai as that was an epithet/title of one of their original/first incarnations. Its also plural which fits his nature.

Adonai was created/born from Gaea alone to guard and watch over those of her children who were in danger of extinction. They are not dependent on human worship or memory to exist. 

He dies- fairly frequently all things considered. Adonai’s death usually heralds the end one era (culturally/environmentally) and the beginning of another.

He helped humanity discover animal husbandry. 

He’s an extremely sexual creature but also very linked to cycles- seasons/cultural/environmental shifts. So while arguably a fertility figure he’s also symbolic of destruction and craves that just as much he does sex/romance. It is also why he’s attracted to deities who share that duality such as Inanna and Aphrodite.

As the guardian of animals, he can speak/communicate with all creatures. As well as produce a scream that induces panic in any and all who hear it.

APPEARANCE/INCARNATIONS

Dumuzid/Tammuz- The oldest incarnation and easily his most powerful. He has died and been reborn multiple times as this incarnation and retains all his memories/experiences of all his incarnations in this form. Each form has died because of their involvement with Inanna and her successor deities (Ishtar, Astarte, etc.)

FC: Mahesh Jadu

Aegipan/Velchanos- The form in which he first came to Greece. Here he grew horns and taught Hermes to play the flute, gave Artemis her hounds and taught Apollon the art of prophecy. He was also a teacher and companion of the child Zeus on Crete. While aware they were the same being as Dumuzid/Tammuz they did not have full access to their memory/experiences. This incarnation died at the end of the Mycenean period though it is unclear how/why. 

FC: Oliver Parker as Peloquin in Nightbreed

Adonis- One of his shortest lived incarnations. Adonis essentially represented the Greek dark age. He always seemed to be on the cusp of knowing/understand who he was but never achieved it. 

FC: undecided

Pan- This incarnation was a son of Hermes and Pênelopeia and represented the classical world. Of the various incarnations, this one was likely the least aware of his true nature. He died at the end of the classical era. 

Doug Jones in Pan’s Labyrinth

Herne/Cernunnos- His latest incarnation, which is at most only about a century or two old. While aware of his nature he does not have access to his full memory. He’s found something of a home with the remnants of the Celtic Pantheon but in no way believes he was ever truly one of their numbers.

FC: James McAvoy

TAGS

headcanon/lore tag

character tag

[beppebort]

L’Albero della Vita e il Legno della Croce: un esempio di letteratura tardoantica

Storia Romana e Bizantina

La caratteristica principale della Letteratura Latina Tardoantica è quella di avviare un nuovo ciclo e, al tempo stesso, di non dimenticare quanto è stato prodotto in precedenza dagli autori pagani. Se da una parte la produzione letteraria si arricchisce di opere cristiane, dall’altra gli stessi autori cristiani, educati nelle tradizionali scuole di retorica, non possono che avvalersi delle tecniche dei pagani e, soprattutto, rifarsi alle celebri opere dell’Antichità. Si tratta, insomma, di un’epoca di passaggio (in genere individuata tra il III e il VII secolo) che sfocerà, poi, nella produzione letteraria medievale.

Davvero numerosi sono i prodotti partoriti dall’epoca tardoantica (in particolar modo dal IV, con la libertà di culto conquistata dai cristiani, la relativa produzione letteraria conosce un incremento significativo) che possono essere studiati e confrontati con i classici repubblicani e altoimperiali. In questo articolo si parlerà di un componimento sconosciuto ai più e davvero poco studiato (basti pensare che non esiste una traduzione italiana del testo): si tratta del De Ligno Crucis, noto anche come De Cruce, De Pascha e De ligno vitae. Esso consta di solo 69 esametri ma si distingue per i contenuti e per la tecnica di composizione.

Prima di esaminare questi elementi, tuttavia, va sottolineato che la tradizione manoscritta attribuisce il poemetto al vescovo Cipriano (210-258) ma gli studiosi sono concordi nel posticipare la nascita del componimento. Diverse sono le teorie su datazione e paternità dell’opera ma, ad oggi, gli studiosi non sono riusciti a convergere su un unico nome. Per quanto riguarda il contenuto, protagonista del componimento è un albero che sorge al centro della Terra, raggiunge con la sua chioma il cielo e diffonde i suoi rami in tutto il mondo. È l’Albero della Vita, un simbolo che, sicuramente, non nasce con il cristianesimo ma venne riadattato dagli autori cristiani accostandolo all’immagine della Croce. Non si dimentichi che in epoca medievale la simbologia dell’Albero della Vita e del Legno della Croce sarà davvero molto diffusa: tra le prime testimonianze si ricordi Vexilla regis di Venanzio Fortunato (530-607).

Si diceva che l’immagine dell’Albero della Vita precede (e di tanto) il cristianesimo: esso compare nell’Epopea di Gilgamesh, nella mitologia egiziana, nella mitologia indiana (con il cosiddetto Soma, nome dell’elisir che dona immortalità, nonché della pianta stessa che lo produce), nella tradizione buddista (con l’Aşvaṭṭha, l’Albero cosmico presso cui Siddharta sacrificherà se stesso per diventare Buddha), nella mitologia cinese (con il Quián Mù,il legno eretto che sostiene il mondo). Nella mitologia greco-romana, poi, si ricordino le querce sacre di Dodona, il dio albero Velchanos a Creta (identificabile con il romano Vulcano), l’identificazione di Zeus con la quercia, di Marte con il fico, di Poseidone con il frassino, di Atena con l’ulivo, nonché Dioniso spesso citato come dendrites (protettore degli alberi) o èndendros (colui che è nell’albero), il giardino delle Esperidi con l’albero dai pomi d’oro che donano immortalità. Infine vanno citate la tradizione germanica con l’albero cosmico Yggdrasill e, ovviamente, quella giudeo-cristiana con l’albero della conoscenza e l’albero del bene e del male nel giardino dell’Eden.

L’albero Yggdrasill della tradizione germanica

Adamo ed Eva: l’albero della vita e l’albero della morte. Messale di Salisburgo 1489

Tornando al De Ligno Crucis, la simbologia fa da padrona in questo poemetto: i frutti di quest’albero che sono sul Golgota vengono colti non solo da “quelli del luogo” ma anche da stranieri (novità del messaggio di Cristo non più solo rivolto al popolo giudaico), l’albero nasce da una sola trave e ha due rami gemelli (simbolo della Croce), in tre giorni si eleva verso il cielo (la Resurrezione), in quaranta lo tocca (Ascensione), mentre dodici rami si diffondono per tutta la terra portando nutrimento (missione evangelizzatrice dei dodici apostoli) e, nel cinquantesimo giorno, lo spirito celeste riversa nei frutti il “gusto” (Pentecoste). Ai piedi dell’albero scorre una fonte nella quale i popoli di tutto il mondo possono purificarsi dai loro peccati e la seconda parte del componimento verte proprio sul tema della purificazione, del perdono dei peccati e della rinascita spirituale.

Da quanto detto, si potrebbe concludere che il componimento sia di tipo non solo celebrativo ma anche catechetico: con una semplice simbologia numerica, vengono riassunti i princìpi base del cristianesimo.

Dal punto di vista stilistico si possono fare diverse riflessioni:

I primi due versi («Est locus ex omni medius quem cernimus orbe, / Golgotha Iudaei patrio cognomine dicunt») rimandano a Eneide 1, 530 («Est locus, Hesperiam Grai cognomine dicunt») e al De Ave Phoenice di Lattanzio, vv. 1-2 («Est locus in primo oriente remotus / Qua patet aeterni maxima porta poli»).

Il v. 8 («Et mox in geminos extendit brachia ramos») rimanda a Eneide 6, 282-283 («In medio ramos annosaque bracchia pandit / ulmus opaca ingens […]»)

Ai vv. 15-17 si legge: «Sed bis vicenis formatus et ille diebus Crevit in immensum caelumque cacumine summo Contigit et tandem sanctum caput abdidit alte». Similmente in Eneide 4, 176-177: « […] mox sese attolit in auras / Ingrediturque solo et caput inter nubila condit». E in Georgiche 3, 422: «[…] iamque fuga timidum caput abdidit alte».

In questa sede basteranno tali esempi ma le corrispondenze tra il De Ligno Crucis e il componimento di Lattanzio, nonché le opere virgiliane, sono molte di più. È stata data, comunque, un’idea di quella che si può definire un’aemulatio tardoantica.

In poche parole il De Ligno Crucis è da considerarsi come emblema delle tendenze letterarie dell’epoca tardoantica: esso ripropone la ripresa e il superamento della tradizione letteraria pagana e, al tempo stesso, delle tradizioni mitologiche molto più antiche. Per la prima volta, infatti, l’Albero della Vita viene paragonato a un oggetto (la Croce) e a una persona (Gesù Cristo). E se questo superamento e rimodellamento fosse nato da un’esigenza che non fosse solo catechetica? Se lo sconosciuto autore avesse preso spunto da una realtà ben precisa dell’epoca? Se l’esigenza non fosse stata soltanto quella di diffondere il messaggio evangelico e il dogma cristiano, ma quella di combattere il paganesimo ancora diffuso?

Nella biografia di San Martino realizzata da Sulpicio Severo si legge di come il santo voglia abbattere un pino venerato dai pagani e di come questi ultimi lo sfidino a resistere all’albero che cadrà su di lui. Martino, allora, con un semplice cenno della mano riesce a far cadere l’albero dalla parte opposta dimostrando che il suo è il vero Dio da adorare. Oltre la leggenda, si può leggere di personaggi del calibro di Columba e San Benedetto che, nel VI secolo, fondarono monasteri laddove sorgevano boschi sacri ai pagani (rispettivamente in Irlanda e a Monte Cassino) con l’intento di purificare quelle aree e consacrarle al vero Dio. Si potrebbe, quindi, immaginare che il De Ligno Crucis nasca in un contesto simile? Non a caso nel 452 ad Arles, nel 567 a Tours e nel 568 a Nantes si tennero dei concili ecclesiastici con l’intento di legiferare contro il culto pagano di alberi, fontane e pietre. Che il nostro componimento volesse insegnare a un paganesimo ancora diffuso e influente sul popolo cristiano che l’unico albero da adorare fosse quello della Croce?

Affresco dalla chiesa di Santa Maria del Casale di Brindisi

[daimonphania]

View this post on Instagram

A post shared by Natura Mirabilis (@natura.mirabilis)

In ancient Rome, the Volcanalia were celebrated on 23th August, in honor of the god Vulcan.

Known in Crete as Velchanos and in Etruria first as Sethlans and then as Velchans.

Vulcan was a deity who personified the destructive fire both in good and in evil and had his altar with a perennial fire, in a place called Vulcanale, where the statue of the god was also present.

To propitiate the god who could be responsible for the fires that threatened to burn the crops in the summer, during the Volcanalia, in his honor, the cruel rite of throwing small fish alive into the fire and of human sacrifices was performed, and some animals with red livery were sacrificed.

Varro attributed to Titus Tazio the introduction of the cult of Vulcan in Rome, which was also in charge of one of the minor flamines, the Flamen Volcanalis.

#naturamirabilis

[quase-bruxa]

Celebração do Dia 11 DE JULHO Kronia, festival anual cretense honrando o deus Kronos, o Pai Tempo e a deusa Rhea, a Mãe Terra, esposa de Kronos e mãe da maior parte das divindades. A deusa Rhea, sob seu aspecto de Potnia, era chamada de Magna Mater – a Grande Mãe – e de senhora do labirinto. Era a deusa principal de Creta e seus símbolos sagrados eram a “labrys’, o pilar e a serpente. Tinha vários templos a ela dedicados, como em Kydonia, Phaistos, Mallia e Zakro, mas o principal era dentro do templo de Cnossos, cujo formato originou a lenda do labirinto. Seu consorte era o jovem Velchanos, que “morria” anualmente com o fim da vegetação e “renascia” a cada primavera. Similar a Demeter/ Perséfone, Inanna/Damuzi e Cibele/Attis, esse mito simbolizava o ciclo das estações e da natureza. Aniversário de Theano, a padroeira dos vegetarianos, esposa de Pitágoras e filósofa como ele. Acredita-se que este é o dia mais afortunado do ano e que as crianças nascidas hoje terão muita sorte e sucesso em suas vidas. *informações extraídas do livro “ O Anuário da Grande Mãe”, de Mirella Faur.

[littlesparklight]

I'm curious, who's your favorite god and why? I don't know of you answered this before buuut well, I wanna know!

No one has!

I’m going to have to split this into god/dess because nothing else would be fair.

Zeus. Which has nothing at all to do with him being, even within Greek mythology, “good” or anything. I think he’s interesting, I think the fact that he’s (by nature? by function as the “high” king?) responsible for enacting ananke and is a/the oracular god (all of Apollo’s oracles ultimately come from Zeus) is extremely interesting. The possibility that at he plain has no choice (even if he doesn’t know it at the time) when it comes to at least some of his adulteries, because they were necessary. He has to do things he doesn’t want to, for the sphere/cosmos/the Earth to function correctly, as is with the Trojan war and the fact that Zeus doesn’t want Troy to fall, but it is going to fall. I am also terribly fond of young Zeus, growing up on Crete with nurses and attendants, then coming to his father’s court under pretence until he and Metis has the chance to act, and the whole Titanomachy. Cretan kouros!Zeus (Zeus Velchanos), as the divine child and his mother’s son and consort is interesting to me as well. (As an aside the whole internet keeps insisting Zeus fought a giant lizard that was threatening Crete and he turned it into stone (the island Dia) and I just wanna know what the source is, or, if it’s not a specific source, if it’s legit folklore belief!)

Demeter. She’s plain badass, okay. She doesn’t get consulted like basically happens to all mothers (and daughters) and instead of just accepting it she says no, puts her foot down. It might not nullify Persephone’s marriage in the end, but she brings the world and thus Zeus (through the threat to the world) to their knees, and gets her daughter back part of the time. How is that not absolutely amazing? She also does not marry (again, after Zeus, going by Hesiod’s order) and yet have other (consensual) lovers. It’s not without problems, but it doesn’t stop her, and she has a pretty large family of her own, if you count all the various kids she has! (Related several places insist Mecon was a young lover of hers but I cannot find a source. I assume it’s Roman? But until then I accept him as another one of her lovers, because Demeter deserves as many as she wants.)