The Scorpion Twins

November 13, 2015
8th century BCE Assyrian seal. Source: Walters Art Museum/Wikimedia Commons
8th century BCE Assyrian seal. Source: Walters Art Museum/Wikimedia Commons

In The Epic of Gilgamesh, the hero encounters scorpion people on his quest for eternal life. Scorpion men, called Girtablullu, are depicted in Akkadian and Assyrian drawings as composite human/scorpion/bird figures, reflecting a complex understanding of animal deities.

Gilgamesh encounters a male/female pair of scorpion deities at the “Twin Mountains,” probably in the Zagros range to the east of his Mesopotamian city of Uruk. The pair are guarding the tunnel through the underworld, which the sun travels at night. As Gilgamesh approaches, the Girtablullu remarks:

“This one who has come to us, his body is flesh of a god!”
The wife of the scorpion monster answered him:”Two-thirds of him is divine, one-third is human.”

The scorpion pair are usually depicted as husband and wife in English translations, but the text literally defines them as “scorpion-man” and “scorpion-woman.” Logic would categorize the two as brother and sister, not husband and wife, since the opening they guard is between mountains characterized as “twins.”

Why is this important? In pre-patriarchal societies sibling bonds are paramount and marital bonds are relatively unimportant, since the organizing principle of society is the mother-child relationship rather than that of husband-wife. The Akkadian culture where this myth was first recorded in written form was unquestionably patriarchal, yet vestiges of a pre-patriarchal culture can be gleaned within this story that unquestionably arose at an earlier time. Modern scholars impose a more rigid patriarchal framework when translating these myths, however, rendering the pre-patriarchal vestiges invisible to the reader.

So if Girtablullu is the Akkadian word for scorpion-man, what is the equivalent for scorpion-woman? I had to search for a transliteration of the Akkadian text for this one. I think it is Girtablullu-sinnistu.

Sources

Foster, Benjamin R., ed. The Epic of Gilgamesh. New York: W.W. Norton & Co., 2001.

Gardner, John and John Maier, eds. Gilgamesh.New York: Vantage Books, 1985.

Mitchell, Stephen. Gilgamesh: A New English Version. New York: Free Press, 2004.

Lions and Bees: What’s the Connection?

October 16, 2015
Lions decorate the sleeve of Artemis of Ephesus. From a 2nd century Roman reproduction. Photo: Miguel Hermoso Cuesta.
Lions decorate the sleeve of Artemis of Ephesus. From a 2nd century Roman reproduction. Photo: Miguel Hermoso Cuesta.

The following research is related to my next book (in progress) about animal divination.

Most people are aware of the connection between lions and bees through the biblical story of Samson. The hero featured in the Book of Judges was on his way to meet his betrothed when he encountered a lion, which he killed with his bare hands. Some days later he passed the carcass and found a swarm of bees in it, and he scraped out the honey and shared it with his parents without telling them where he found it. The biblical account is quite clear on this point, perhaps to reconcile some inconsistencies in the tale, such as that honey coming from a dead carcass would not have been kosher. A kernel of this story originates in the cult of the bee goddess of Anatolia, as does the myth of Aristaeus recounted by Virgil near the start of the Common Era. Before moving back to Anatolia, let’s look at the Greek myth.

Aristaeus was the child of the huntress Cyrene, who liked to wrestle lions barehanded, and the sun god Apollo. He was fostered by myrtle nymphs, who taught him the cottage industries of olive curing, cheesemaking, and beekeeping. One day he was distressed to find that all his bees were dead or dying. He traveled to a pool of water and asked his mother what to do. She directed him to a seer, who revealed this was punishment for his role in the death of Eurydice. (This occurs in a well-loved tale that is only tangential to this story.) Aristaeus sought his mother’s counsel again, and she instructed him to build four altars to the wood nymphs and on them sacrifice four bulls and four heifers. He was then to leave the sacrificial place and return on the morning of the ninth day, bringing poppies, a calf, and a black ewe. When Aristaeus returned with these offerings, he found bees in a rotting carcass, which rose in a swarm to a nearby tree.

Seated woman of Catal Huyuk. 6,000 B.C.E. Photo: Roweromaniac.
Seated woman of Catal Huyuk. 6,000 B.C.E. Photo: Roweromaniac.

That Aristaeus is raised by myrtle nymphs is significant. It reveals him as a shamanic deity who travels to the underworld to gain knowledge. The myrtle tree is a symbol of love and marriage today due to its association with Aphrodite, who is remembered by most for her love goddess aspect, but myrtles in ancient Greece were used for funeral wreathes. While the flowers and even the leaves have a sweet fragrance, the sweetness was associated with death, perhaps because corpses emit a sweet odor as they decay. The idea of honeybees swarming on a dead carcass of any kind is absurd, although they do gather around the myrtle tree.

Bee and lion imagery in Anatolia goes back to before the fifth millennium. The Seated Woman of Catal Huyuk, who is flanked by two felines usually identified as leopards (which could as easily be lionesses), looks strikingly similar to classical statues of Cybele. The goddess Cybele is unmistakably enthroned between male lions.

Cybele’s myth, as told by the Greeks, starts with her arrival from outer space in the form of a meteorite. Cybele eventually falls in love with the beautiful god Attis, who returns her attentions for a time, then becomes infatuated with another. The infuriated Cybele harasses him ceaselessly until he goes insane. In remorse, Attis tears off his genitals and dies of his wounds beneath a pine tree. Cybele tearfully shrouds his body and buries it at the mouth of her sacred cave shrine, along with the transplanted pine tree.

Perhaps it was Cybele’s fiery form across the sky that first evoked the image of the fierce, fleet, destructive lion. The tormenting Cybele is the angry bee. The emasculation of Attis refers to the death of the drone after copulation. The pine is of a species found in Turkey which draws a type of aphid that sweats a sweet nectar. Bees congregate around this pine, attracted to the aphid nectar. The resulting honey is renowned for both its taste and its healing properties, and it is mentioned in Classical medical literature.

Another healing agent known to ancient physicians is the opium poppy, which strongly attracts bees. The bees gather poppy pollen granules to take back to the hive. Bees, lions, and flowers that could be poppies appear on the statue of Artemis of Ephesus, along with cattle, goats, and the animals of the zodiac. Whatever the name and personality of the mother-goddess as she was first worshiped at Ephesus, she evolved into a goddess exhibiting hybrid traits of Cybele and of Artemis, who had already absorbed many other goddesses by the time the Greeks colonized the Anatolian coast. That the bee is meant to be a significant and not a minor facet of Ephesian Artemis is demonstrated by the coinage of the city-state: deer on one side; bee on the other.

Coin from Ephesus. 4th Century B.C.E.
Coin from Ephesus. 4th Century B.C.E.

It is in Greece that art specifically linking the bee and the lion first appears, yet the association seems to have been imported from Anatolia. The swarm of bees arising from the heifer/bull sacrifice rather than from a lion is a Greek permutation of another myth. Normally bees are assumed to be linked exclusively with bulls in pictures, but we often forget cows can also have horns. Bees and cows are alike from a human standpoint, in that they provide nourishing food from their bodies. Bees like cows are normally fairly docile and allow themselves to be “herded” into a new field or nest site. But bees are like lions in that they roar, they like the sun, they hunt in an open field, they are territorial, they attack in a coordinated fashion, and (when possible) they make their home in caves.

Sources

Gough, Andrew. “The Bee” (parts I-II-III). June 2008. http://andrewgough.co.uk/articles_bee1/

Graves, Robert. The Greek Myths. London: Penguin, 1992.

Monaghan, Patricia. The Book of Goddesses and Heroines. St Paul, MN: LLewellyn, 1990.

New English Bible. New York: Cambridge University Press, 1972.

Now is the Time to Buy

August 7, 2015

hmr.hirescover

I happened to notice the other day that my book Invoking Animal Magic: A guide for the pagan priestess is priced at $16.56 at right now at Amazon.com. That’s over $10 off the cover price and lowest I’ve seen it offered yet. So, if you haven’t read the book yet or you’re thinking about getting it for a friend, this might be the time.

I was thinking the other day that although I have an excerpt at the book’s website, invokinganimalmagic.com, and excerpts have appeared in quite a few magazines, I’ve never put one on my blog. So here is a retelling of a traditional folk tale from the book.

Why the Owl Hunts by Night

There are many tales explaining mobbing. A few have beauty as the rationale. An English fable has the owl mobbed for stealing a rose set aside as a beauty prize, while in a Polish tale the owl must hide from other birds bewitched by her beauty. In an Aesop story the owl’s intellect provokes the jealousy of mobbing birds. Another Polish tale claims the owl is mobbed because she once got too drunk and obnoxious at a wedding. The following story comes from Brittany.

Who should be designated king of the birds is not easily detected at first. Would that be the biggest bird, the prettiest, the bird with the sweetest voice? If the king of birds is the wisest, perhaps that would be the owl, but she suggested the honor go to the bird which could fly the highest. The other birds flocked to this suggestion and agreed the one who could fly the highest should be crowned king.

The owl and the eagle, as giant birds of prey, were the main contestants for this prize, but the wren, unbeknownst to anyone, decided to enter the contest secretly. She hid in the feathers of the eagle and rode far up in the sky. When the eagle, having passed the owl, tired and could fly no higher, the wren sped out of her hiding place and climbed as high as she could go. “I’m it!” she cried excitedly. “I’m king—queen—leader—whatever you call the best of all birds.”

The other birds puzzled over this development, but there were many witnesses to the feat, and the wren was duly crowned.

In most tales, the story ends here. But there is a sequel, because birds are not fools. The owl had not seen the wren pass her, and the eagle had felt the wren’s wings beat against him. Through much discussion, the bird kingdom spotted the ruse and confronted the wren, who was immediately imprisoned. The owl was given the job of guarding the wren in her hole while the other birds determined punishment.

It took them a very long time. Everyone had something to say about the trick—a suggestion to make or a desire to spout off about the indecency of the stunt. As the hours dragged by, the owl began to get sleepy. Her eyelids became heavy and she lapsed into a doze. The doze became a snooze and the snooze became a slumber. The wren jumped out of her hole and flew away.

Oh, the other birds were mad! All of the fury they had saved for the wren became directed at the owl. They flocked around her and pecked and menaced and screamed, and the owl had to fly very high and very far to get away.

They are still angry about it. To this day the owl hides by daylight and does not leave her roost until all the other birds are asleep.

The Mathematical Priestess, part II

May 29, 2015
Uruk Temple. Drawing Lamassu Design.
Uruk Temple. Drawing Lamassu Design.

In Mesopotamia the first accounting systems arose out of the need to record and disperse temple commodities. Many of these early accounting scribes were women. As societies became more complex, arithmetical systems developed to accommodate trade, architecture, irrigation, and land division. Math and record-keeping were also necessary for the development of Mesopotamian astrology, which was the genesis for the Greek astrological system we use today. We’re not talking about grade school arithmetic at this point either: Mesopotamians had a base 60 counting system (it eased division), utilized square and cube root tables, calculated compound interest, and (by the later period) could calculate the time of an eclipse to within a few minutes. Both Mesopotamians and Egyptians understood triangular relationships long before Pythagoras, although the Greeks did provide the theorems.

Review: Breaking the Mother Goose Code

May 15, 2015

goosecode
A study published earlier this year out of the State University of New York – Buffalo, finding that men are more narcissistic than women, was met with jokes and derision for being yet another academic examination of the obvious, but author Emily Grijalva responded eloquently that it is precisely those things that “everybody knows” that need to be examined. Not simply because they might not be true, although (obviously) there is a chance that they are false: establishing a fundamental fact (the what) allows us to move on to questions of why or how.

I thought of Grijalva’s words when I saw the promotion for Breaking the Mother Goose Code, about Mother Goose as a surviving form of the Mother Goddess. I believe I may have heard this idea from Z Budapest in the mid-1980s, but I don’t believe she made any claim to have researched this herself. I began showing my own students a picture of Aphrodite on her goose and calling her an early form of Mother Goose, and I don’t think it occurred to me or to anyone to examine the assumption.

In Breaking the Mother Goose Code Jeri Studebaker chronicles her effort to pin down the source of the nursery character, and on the journey with Mother Goose finds a long history of suppression of the Mother Goddess. Without delving exhaustively into the patriarchal takeover of Europe and the Christian takeover of religion, Studebaker provides the background for understanding why Mother Goose is such a powerful figure and how Christianity changed her. Studebaker gives a history of the fairytale and a synopsis of the prevalent theories for how European fairytales developed. There is a more detailed examination of the German goddess Holda than most women will be familiar with, along with some discussion about the goddesses Baba Yaga, Mari, Brigid and Aphrodite. There is some examination of theater history related to the Harlequin that appears in one of the rhymes. In addition to a history of their publication, Studebaker goes through the nursery rhymes line by line and attempts to decipher them. This involves a great deal of conjecture, but apparently this author is intrepid.

Studebaker’s intuition is on track in the avenues she explores, even when she admits that her evidence is tenuous. In some cases she seems to be unaware of information that would bolster her arguments further. I do disagree with her argument about classic fairytales created as an underground Pagan resistance movement. If anything, I think these fairytales were created as allegories against rival Christian institutions. I was going to expound on this, but it’s a rather esoteric point.

There is some great supplemental material in the appendices: a glossary, a list of fairytale codewords, a synopsis of the stories in Tales of Mother Goose, two timelines, and the full text of a Holda fairytale. The author did not neglect to provide references, a bibliography, and an index, which in this case were essential.

Source: MCAD Library/Wikimedia Commons
Source: MCAD Library/Wikimedia Commons
One regrettable omission: there are no pictures. Studebaker admits that an examination of artwork was essential to her research, and she refers to this artwork frequently. Priestesses in the Goddess Movement have become accustomed to relying on pictures to enhance their understanding, and I think the Internet has fueled the demand for illustrations even more. She says that the decision to omit pictures was made to accommodate e-book requirements, but many e-books do have illustrations. In fact, e-books should be making it easier and cheaper to produce books with pictures, as well as expanding other creative borders. I am aware that the variety of e-book readers on the market makes it challenging to format manuscripts, but even in the early days of the printing press, books had illustrations. There are a lot of e-book readers out there that are marketed to consumers with features that do about everything except wash your clothes, but at the same time they are limiting the ability of authors to produce creative content. It’s not right, and authors, publishers, and consumers should not be standing for it.

All in all I really liked this book (except for the pictures – did I mention that?). I hope the author will return to the subject of nursery rhymes, including Mother Goose. While the book is a respectable 300 pages there is still a lot of gold to mine here.

Spring is a Sound, not a Picture

March 20, 2015

I wanted to post a nice flower picture for my Spring Equinox entry this year, but alas not even a snowdrop is blooming. The subtle signs of spring are welcome but not eye-catching. I doubt anyone wants to see a picture of snow fleas, who aren’t really discernible anyway except by their movement. Similarly, the increasing flow of water can only be expressed over time. There are brown bare patches of earth in the fields, but mud is not the best part of the thaw, and anyway these patches will be covered once again in the snowstorm this weekend.

The most startling shift for me at the equinox is an audible one: the winter birds begin making their presence felt. They have not been completely silent during the dark months, to be sure, but now their calls are louder, more frequent, and much more varied. Blue Jays, ravens, chickadees, doves, and woodpeckers are most prominent. The migrating birds have not yet appeared, but soon the cacophony of Canada Geese will be overhead and then the huge chorus will begin, going on all day and all night, with insects and frogs adding to the fracas. I can’t wait. Whoever said the country is quiet? Only in the winter, and I am beginning to hear the sounds of spring.

chickadee

Crocs with Style

March 13, 2015
"Goddess, I'm beautiful!" Nile crocodile photo by Stuart Burns.
“Goddess, I’m beautiful!” Nile crocodile photo by Stuart Burns.

From my forthcoming book:

The crocodile is an appropriate mother deity not only for her position as apex predator (and thus ruler) of the Nile, but for her maternal instincts. Crocodiles are more like their bird cousins than other reptiles in taking responsibility for their young. Mothers do not feed while they are nesting, and they guard their eggs continually except for brief periods when temperatures rise so high that they must enter the water to cool off. Nile crocodiles prefer colonial nesting, although predation by humans discourages this behavior. Eggs are buried in sand, and babies squeak as they are hatching. As soon as the mother hears the squeaks, she uncovers the eggs and carries the babies in her mouth to the water. During their first months of life, juveniles seek out and receive protection from adults, usually but not necessarily the mother.

The Myriads of Wenut

March 6, 2015

haretext

If you’re wondering who Wenut is (and most people are), this is the name of the Egyptian hare goddess.

The Egyptians had a hare goddess?

Yes, her name is also spelled Wenet, if that clarifies things for you.

Wenut is considered an obscure goddess, and she gets little or no mention in my library of books on ancient Egypt, not even the books on animals or goddesses. Yet I have seen a fair number of leporids in Egyptian art, usually presented without explication. In some cases I am not sure that I’m really looking at a hare, because the desert foxes also have long ears, and the Jungle Cat is sometimes drawn with exaggerated ears to distinguish it from the Libyan Wildcat. Yet Egyptian drawing conventions are so standardized that I’m confident that most of these long-eared creatures are hares.

Hare funerary offering. 1500 BCE.
Hare funerary offering. 1500 BCE.

One explanation for the ubiquity of the hare is that it is the hieroglyph for a common verb or sound. For example, Hilary Wilson in Understanding Hieroglyphs writes that the symbol for the hare corresponds to the sound wen and is the verb for “being.” To me this explanation begs the question. Why would the hare correspond to a common verb if it were unimportant?

Furthermore, one of the provinces in northern Egypt was called Hare, and the city of Hermopolis within this province had a hare as its emblem. Hermopolis had the main temple to Wenut.

The litmus test for whether an animal (or anything else) had religious importance in Egypt is its presence in funerary materials, and here, too, the hare does not disappoint. Hares appear as votive offerings, and are mentioned in funerary texts as well as illustrations accompanying those texts. Spell 17 of The Book of the Dead says the “Swallower of Myriads” lives in the Lake of Wenut. There are other references to Wenut in the Book of the Dead and the Coffin Texts. Wenut is not prominent in funerary literature, to be sure, but neither is she trivial.

Cape Hare
Cape Hare

Meditating on Wenut, whose name means “the swift one,” is a reflection on the meaning of obscurity, for hares with their genius for camouflage have a tendency to hide in plain sight. Understanding Egyptian mysteries requires extraordinary perspicacity, because what is important is not so much hidden as overlooked.

March is a March Hare
Online Webinar
Monday, March 9, 2015
7:00 Eastern Time (Daylight Savings)
Cost $25
Webinar will be recorded

Register Here

Sources

Dunn, Jimmy. “El-Ashmuneim (Ancient Hermopolis)” in Tour Egypt. http://www.touregypt.net/featurestories/hermopolis.htm

Germond, Philippe. An Egyptian Bestiary: Animals in Life and Religion in the Land of the Pharaohs. Barbara Mellor, trans. London: Thames and Hudson, 2001.

Houlihan, Patrick F. The Animal World of the Pharaohs. London: Thames and Hudson, 1996.

Iles, Linda. “Wenet the Swift One” in Mirror of Isis vol. 5, Samhain 2010. http://mirrorofisis.freeyellow.com/id599.html

Bronze hare weight, Late Period.
Bronze hare weight, Late Period.
Goulet Jr., Ogden, et al, trans. The Egyptian Book of the Dead rev. ed. San Francisco: Chronicle Books, 2015.

Lesko, Barbara. The Great Goddesses of Egypt. Norman, OK: The University of Oklahoma Press, 1999.

Wilson, Hilary. Understanding Hierogyphs: A Complete Introductory Guide. London: Brockhampton Press, 1993.

White Rabbits I Have Known

February 20, 2015

One of the things that fascinates me about hare magic is that it continues to evolve. In my book Invoking Animal Magic I put forth the theory that the hare is a vessel for whatever values are strong within a culture, whichever culture that is, and that the hare becomes denigrated when cultural values are undergoing a dramatic shift. In that sense the hare is a symbol of what the culture sees as its strength.

For the ancient Celts, that strength was prowess in warfare, particularly hand-to-hand combat. Here are two European Brown Hares duking it out.

These guys and ladies live in rough world. They fight in the spring, usually during March and April, during mating season. Males will fight other males, females not ready to mate will fend off males, females ready to mate will test males. Brown Hares are not the only species that fight, by the way, but they get the most camera footage.

Americans tend to conflate hares and rabbits, which sometimes irritates natives of the British Isles, but from a Eurocentric point of view a lot of our rabbits act like hares while our hares act like rabbits. We need to get technical for a moment here, however, in order to talk about a very famous hare battle, Monty Python’s Rabbit of Caerbannog. As rabbits had not made their way to Britain in King Arthur’s time, this leporid could only have been a hare. More importantly, King Arthur and his men would have been extremely suspicious of a hare guarding a cave. Here’s the skit:

Today rabbits are often synonymous with magic. While the rabbit hat trick is a standard illusion of magician-entertainers, the phrase “pulling a rabbit out of hat” is used to refer to any surprising and impressive feat that seems miraculous. Then there is the White Rabbit who starts Alice on her adventures when she chases him into his burrow, making “down the rabbit hole” a reference to a fantastic ineluctable journey.

White Rabbit illustration by John Tenniel from Alice's Adventures in Wonderland
White Rabbit illustration by John Tenniel from Alice’s Adventures in Wonderland

On March 9, 2015 I will be hosting a webinar entitled “March is a March Hare,” where we will explore the magical significance of the rabbit/hare. While not neglecting traditional Pagan symbolism, this webinar will have more focus on modern interpretations than my other webinars, as I am interested in the evolving mysteries of the hare.

March is a March Hare
Monday, March 9, 2015, 7:00 pm EDT
Cost: $25
Webinar will be recorded
Register here