Tag Archive: prophecy


Goddess Xi Hou

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“Xi Hou’s themes are kinship, longevity, unity, divination and weather. Her symbols are sunlight and gold dragons. As the Chinese mother of the sun, this Goddess joins our festivities today to celebrate Her child’s rebirth. Each morning, Xi Hou diligently bathes one of ten suns in the lake of creation so it can shine in purity, and then She puts it on top of the trees, where it’s received by a dragon chariot that moves the sun across the sky.

Consider following Chinese custom, and rejoice in the solstice by gathering in the kitchen with your housemates and leaving offerings of chopsticks, oranges, incense, and candles for unity and long life for all those gathered. Open a curtain to let the sun light flood in, than thank Xi Hou for Her child and its warmth. Also, at some point during the day, enjoy some Oriental-style dumplings (dim sum) for kinship.

Among the favorite activities today are weather prophecies. Go outside and see what direction the wind is coming from. An east wind portends trouble, west winds indicate the ripening of an effort or a good grain crop, south winds counsel watching your money, as the harvest will be poor (don’t invest in crop shares!), and north winds foretell bounty.

Red clouds reveal that your personal energy will wane and droughts may follow, black clouds predict floods, yellow clouds precede prosperity and abundant crops, and white clouds reveal arguments or war.”

(Patricia Telesco, “365 Goddess: a daily guide to the magic and inspiration of the goddess”.)

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“Hsi-Ho” by Janet Hess

The Goddess Xi Hou (pronounced SHE-hoe) is the “mother of the ten suns; this ancient Chinese heroine created the calendar by selecting the order in which She would bathe Her children – thus establishing which day came before which.  After bathing the child in the sweet waters of the Kan Yuan Gulf, She hung the day’s sun in a mulberry tree and raised it into the sky” (Monaghan, p. 156).

Also seen as Xi He and Hsi-Ho (see my February 7th entry Goddess Hsi-Ho).

 

 

Sources:

Monaghan, Patricia. The New Book of Goddesses and Heroines, “Hsi-Ho”.

 

Suggested Links:

Cnculture.org, “Ho Yi Shoots down the Suns“.

Wikipedia, “Dōngzhì Festival“.

Goddess Fauna

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“Fauna” by Katrina Sesum

“Fauna’s themes are fertility, nature and divination. Her symbols are all forest items.  In Roman mythology, Fauna is the consort to Faunus, whom this date venerates. With Faunus, She protects the woodlands and plants that live there. While Her role in stories seems minor, Fauna’s power lives on in botanical terminology, Her name having been given to vegetation.

Faunus was a woodland god like Pan, who sends messages through the forests for those who know nature’s omens and signs. If at all possible, go to a natural location today (even a park or a quiet tree in your neighborhood will do) with a small libation of wine or milk, both of which are customary. Pour this on the ground, focusing on your intention to learn more about nature’s messages to us. Then spend at least twenty minutes observing.

Take notes as you do. Do the trees’ leaves seem to talk? Do they move in a specific way? Are birds taking flight? Where do they go? Do any drop feathers on the ground? Do any animals appear unexpectedly? If so, what does the creature do, and where does it go? All these things, and other similar experiences, can carry a sign meant to help you today or in the days ahead.”

(Patricia Telesco, “365 Goddess: a daily guide to the magic and inspiration of the goddess”.)

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“Fauna” by Charlie Terrell

Thalia Took writes a very in-depth piece on Fauna that I’d like to share with you; she writes: “Fauna is an old Roman Goddess of Prophecy and Fruitfulness, with ties to the forest and fields and the animals found there. She is closely related to the God Faunus; She is variously His wife, sister, or daughter. Her name, like Faunus’s, is from the Latin faveo, ‘to befriend, support, or back up’, from which we get our ‘favor’; an alternate etymology is from fari, ‘to speak, talk, or say’, referring to Their powers of prophecy. Her name then could be variously translated as ‘She Who Favors’, ‘the Friendly One’, ‘the Speaker’, or even ‘She Who Has Your Back’. She was identified with the prophetic Goddess Fatua, again meaning, ‘the Speaker’, but with additional meanings of ‘She Who Speaks Prophecy’, or ‘the Oracle’.

Fauna’s origins are in Latium, the land of the Latins, the people of the area around Rome, and She is closely associated with them. According to yet another of the Roman stories glorifying the city’s origins, Fauna was one of the Hyperborians, who were believed to live far in the north (hyperboreas in the Greek literally means ‘beyond the North Wind’), and said to worship Apollo. She hooked up with the hero Hercules and as a result gave birth to a son Latinus, later a king of the Latins, and therefore a mythical ancestor of the Roman people and a claim to the famous blood of Hercules. Faunus was Her second husband, Whom She married after Hercules left Her (per his usual modus operandi). Other stories reverse that, making Faunus Her original husband, and then make Her relationship with Hercules an extramarital affair. Still other stories name Faunus as the father of Latinus, by the river nymph Marica, Who was Herself identified with Aphrodite, the Greek Love Goddess.

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“Courtesan” by *OtherworldCreations

In a similar vein, Fauna was sometimes judged to be a prostitute or courtesan; though this seems to be a late tale and may simply be a reaction to Her as a Goddess of Fertility. Her husband Faunus was sometimes said to be the same as the God Inuus, a God of sex, intercourse, and fertility, Whose name is supposedly from a Latin verb inire, ‘to copulate’; and since She is supposed to be the female equivalent of Faunus, that would make Her a Goddess of sex and copulation as well. Faunus was sometimes said to be the God for Whom the Lupercalia, a very old festival of purification and renewed fertility with strong sexual overtones, was celebrated; and two Faunalia, rural festivals of feasting and dancing, were celebrated to Them, on the Ides of February (the 13th, and in the old lunar calendar, the full moon) and the 5th of December.

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Art by Jonathon Earl Bowser

In other legends however, Fauna is known for Her chastity and modesty; She was said to never leave Her grove or let a man look upon Her, and no man was allowed in Her temple. These tales are associated with the Bona Dea, ‘the Good Goddess’, said to be a cult name of Fauna. The Bona Dea, called so because Her true name was considered too sacred to be spoken aloud, is a Goddess of women and healing Whose worship was exclusive to women, men being forbidden to participate in Her rites. Perhaps Her virginity or chastity was a way of explaining why She would not allow men in Her rituals, and was the Roman way of rationalizing a Goddess Who was purely concerned with women.

Far more is known of Faunus than Fauna; His tales may perhaps shed some light on Her attributes and personality. Faunus was a very popular and ancient God Who protected and watched over livestock and Who haunted fields and the forest. As a prophetic God, He used both dreams and His own disembodied voice to reveal the future, and had a shrine in Tivoli at the grove of Albunea where prophetic dreaming was practiced. Their father was usually said to be the prophetic God Picus; though Their mother is not mentioned, Picus was famous for His devotion to Canens, a forest nymph known for Her beautiful singing voice.

Though myth is not necessarily that straightforward about things, Canens and Faunus do have a bit in common as They were both known as ‘the Voice of the Woods’. Canens in turn is associated with the witch Kirke, as Kirke was also enamoured of Picus, though She couldn’t steal Him away from Canens; and Latinus is sometimes said to be the son of Kirke and the famous Greek traveller and all-around tricksy guy Odysseus, or his son Telemakhos.

In some legends told of the Bona Dea, Faunus does not treat Her well at all; in one, She is His daughter; He lusts after Her, and when She rejects Him, He gets Her drunk and beats Her with sticks of myrtle, and then rapes Her as a serpent. In another, He beats Her to death, again with myrtle branches, for the crime of drinking. These legends seem to have been created to explain why both myrtle and wine played a part in the rites of the Bona Dea; they also emphasize Faunus’s wild, untamed and dangerous nature. The names Fauna and Faunus ‘the Friendly One(s)’ may well have been placating names, to keep the worshipper on Their good sides, much like the fairies of Celtic lore are called ‘the Good Folk’, so as to prevent any harm they might do. Fauna and Faunus were known to travel with an entourage of fauns (yes, like Mr. Tumnus, though without the Christian/Aslanic associations), wild and mischevious spirits of the countryside, equated with the satyrs of the Greeks, and believed to cause nightmares. Faunus Himself was identified with the Greek Pan, the Wild God par excellence.

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“Fauna of a wood” by ~Selenaart

It would seem, then, that Fauna represents the thin line separating the wild from the untamed, as Goddess of both the dark mysterious forest and the cultivated fields, and Her very name is now used to refer to the animal kingdom, the fauna, (as opposed to the plant kingdom, called flora). As the Bona Dea was worshipped exclusively by women, Fauna is a Goddess of the wild sexuality of women, specifically sexual intercourse itself as an expression of the Life Force, and also of fertility (the latter was after all, until modern times and the invention of reliable contraception, a common result of the former). She brings prophecy through dreams and the voices of the wild places, and Her association with dreams and nightmares again connects to humanity’s dark and untamed nature. Several of the other Goddesses She is connected with were known as sorceresses and healers, such as Kirke and the Bona Dea (and by extension Angitia), which would make magic and healing another of Her attributes. All these Goddesses—The Bona Dea (and so majestic Maia as well) Angitia, Albunea, Canens, Marica, and even Kirke, whichever native Goddess She stands in for—can perhaps be thought of a constellation of related Goddesses of wild, magical, and sexual natures, possibly originally springing from the same source.” [1]

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“Fauna” by ~Bizenghast

According to Judika Illes, “In addition to secret, mystic rites, Fauna was also very publicly a Goddess of physical healing.  The sick were tended to in Her temple’s garden of medicinal herbs, essentially a sacred hospital.  In Rome, snakes were associated with healing in general, but especially with women’s reproductive health.  Snakes, Fauna’s sacred creature, were housed in Her temple gardens.

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“Fatidica” by Lord Leighton

Iconography: Fauna is portrayed seated upon a throne, holding a cornucopia.

Creature: Snake

Element: Earth

Day: December 4th commemorates the anniversary of Her Mystery.

Offerings: There is controversy as to whether wine is forbidden from Fauna’s rites.  One theory is that, because wine was once taboo for Roman women, any wine brought into Fauna’s temple was euphemistically called ‘milk’.  Alternatively, the legend goes that wine and myrtle were banned because Faunus once got drunk and beat Fauna with a myrtle branch.  That may be a euphemism for the myth in which Faunus rapes his daughter (who may also be his consort).” [2]

Alternate spellings: Faula; Fatuai seems to be Her Oscan name.

Also called: Fatua, Fatuella; She was called Damia at Tarentum (a city originally founded by Greek colonists), a name that refers to the secret sacrifice made to the Bona Dea.” [3]

Sources:

Illes, Judika. The Encyclopedia of Spirits, “Fauna“.

Took, Thalia. Thaliatook.com, “Fauna“.

Suggested Links:

Ladyoftheabyss. Witchesofthecraft.com, “Earth Goddesses – FAUNA“.

Took, Thalia. Thaliatook.com, “The Bona Dea“.

Wikipedia, “Fauna (goddess)“.

Goddess Voluspa

“Crone Ceremony: Voluspa” by Willow Arlenea

“Voluspa’s themes are foresight, history, perspective, divination and time. Her symbols are stories and storybooks.  This Nordic Goddess was born before all things, with the knowledge of all time within Her. When asked to tell a tale to the gods, She recounted history, including the gods’ downfall. To commemorate this, wise women and seers in the northern climes are sill sometimes called Voluspa.  Voluspa teaches us the value of farsightedness and of remembering our history. We cannot know where we’re going if we don’t remember where we came from.

An old festival in Iceland known as the Islendingadagurinn [Icelandic Festival of Manitoba] preserves Voluspa’s energy by recounting local heritage and custom in a public forum including theater, singing, writing and costumes. For our adaptation, I suggest taking out or working on a family tree, or perhaps a personal journal. Read over the chronicles of people from your ethnic background and honor their lives in some appropriate manner (perhaps by lighting a candle). Voluspa lives in these moments and at any time that we give ourselves to commemorating the past.

Alternatively, get out some good storybooks and read! Turn off the TV for a while and enrich you imagination with the words of bards who keep Voluspa’s power alive in the world. Especially read to children so they can learn of this Goddess’s wonders.”

(Patricia Telesco, “365 Goddess: a daily guide to the magic and inspiration of the goddess”.)

The seeress speaks her prophecy from a 19th century Swedish translation of the Poetic Edda. Illustration by Carl Larsson.

Patricia Monaghan tells us that “[Voluspa’s] name, or the similar word volvawas used of wise women in Scandinavia.  The most famous seer in Norse legend was the one for whom the poem Völuspá is named.  Born before this world began, Voluspa was asked to tell the history of the world.  Once started, She did not stop, even though the gods did not wish to hear of their own death at Ragnarok, the doom of the gods” (p. 312).

“Odin and the Völva” by Lorenz Frølich

“The poem [Völuspá] starts with the völva requesting silence from ‘the sons of Heimdallr‘ (human beings) and asking Odin whether he wants Her to recite ancient lore. She says She remembers giants born in antiquity who reared Her.

She then goes on to relate a creation myth; the world was empty until the sons of Burr lifted the earth out of the sea. The Æsir then established order in the cosmos by finding places for the sun, the moon and the stars, thereby starting the cycle of day and night. A golden age ensued where the Æsir had plenty of gold and happily constructed temples and made tools. But then three mighty giant maidens came from Jötunheimr and the golden age came to an end. The Æsir then created the dwarves, of whom Mótsognir and Durinn are the mightiest.

At this point ten of the poem’s stanzas are over and six stanzas ensue which contain names of dwarves. This section, sometimes called ‘Dvergatal’ (‘Catalogue of Dwarves’), is usually considered an interpolation and sometimes omitted by editors and translators.

After the ‘Dvergatal’, the creation of the first man and woman are recounted and Yggdrasill, the world-tree, is described. The seer recalls the events that led to the first ever war, and what occurred in the struggle between the Æsir and Vanir.

The seeress then reveals to Odin that She knows some of his own secrets, of what he sacrificed of himself in pursuit of knowledge. She tells him She knows where his eye is hidden and how he gave it up in exchange for knowledge. She asks him in several refrains if he understands, or if he would like to hear more.

“THE DUSK OF THE GODS” by P. N. Arbo

The seeress goes on to describe the slaying of Baldr, best and fairest of the gods and the enmity of Loki, and of others. Then She prophesies the destruction of the gods where fire and flood overwhelm heaven and earth as the gods fight their final battles with their enemies. This is the ‘fate of the gods’ – Ragnarök. She describes the summons to battle, the deaths of many of the gods and how Odin, himself, is slain.

Finally a beautiful reborn world will rise from the ashes of death and destruction where Baldr will live again in a new world where the earth sprouts abundance without sowing seed. A final stanza describes the sudden appearance of Nidhogg the dragon, bearing corpses in his wings, before the seeress emerges from Her trance.

Versions differ, for example Baldr’s return is present in Codex Regius, but absent in others.” [2]

 

 

 

 

Sources:

Monaghan, Patricia. The New Book of Goddesses and Heroines, “Voluspa”.

Wikipedia, “Völuspá“.

 

Suggested Links:

Kodratoff, Yves. Nordic-life.org, “Völuspá“.

Mythencyclopedia.com, “Norse Mythology“.

Sacred-texts.com, “The Poetic Edda: Voluspo“.

Timelessmyths.com, “Norse Creation“.

Wikipedia, “Völva“.

Goddess Coventina

"Cascade" by Jonathon Earl Bowser

“Coventina’s themes are wishes, water, purity, and innocence.  Her symbol is water.  This British/Celtic Goddess of sacred water sources flows with the Blajini (water spirits) to enrich our life with clarity and virtue and to answer our heart’s desires. In works of art She is depicted as a water nymph floating on a leaf while holding vessels teaming with water. Customary offerings to encourage Conventina’s favor include pins, votives, coins and semiprecious stones.

In Romania, water spirits are called Blajini, or ‘gentle ones’, because they kindly reward people who give them an offering (much like wishing wells in Europe). These are citizens of the Conventina’s fairy realm, whose motivations are pure and guileless. To keep the Blajini happy and encourage Conventina’s sanction, present a special offering to them while whispering your hopes and dreams. Go to any fountain (perhaps one at the mall) and toss in a coin. The Blajini will bear the coin and the wish to Conventina for manifestation.

For personal clarity or to inspire principled actions in a situation in which you might be tempted to be a proverbial ‘bad witch’, start the day off with a glass of water. Recite this incantation over it before drinking:

 ‘Conventina, keep my magic pure
within my spirit let Goodness endure.’

Repeat this phrase throughout the day anytime you have water.”

(Patricia Telesco, “365 Goddess: a daily guide to the magic and inspiration of the goddess”.)

“Coventina was a Romano-British Goddess of wells and springs. She is known from multiple inscriptions at one site in Northumberland county of the United Kingdom, an area surrounding a wellspring near Carrawburgh on Hadrian’s Wall. It is possible that other inscriptions, two from Hispania and one from Narbonensis, refer to Coventina, but this is uncertain and disputed.”[1]

"Coventina" by destinysolo

“Coventina is associated with healing, renewal, abundance, new beginnings, life cycles, inspiration, childbirth, wishes and prophecy.  In worship to Her, coins and other objects were tossed into the wells as offerings for sympathetic magick. These wells represent the earth womb, where the Celts felt Her power could be most strongly felt. Her symbols are the cauldron, cup, water, coins, broaches and wells. The moon that corresponds to Her is the Reed Moon and Her aspect is divination. A lot of the information on Her has been lost, even so it known that She was looked upon as the queen of the river Goddesses. From Scotland comes Her association with the Underworld, where She was the Goddess of featherless flying creatures which could pass to the Otherworld. Being a river Goddess She is connected the ebb and flow of time.” [2]

"Carrawbrough: Coventina's Well" Bas-relief of triple Coventina.

“Coventina is depicted as a nymph and invoked as a triple Goddess.  The possible invocation of Coventina as a triple mother Goddess is interesting, given the offerings found in the well dedicated to Her. The votive pins strongly suggest a fertility cult and association with childbirth, as does the bronze horse, a distinct fertility symbol. The dog is associated with the Greco-Roman physician Aesculapius in classical mythology, though in Celtic mythology it is also linked to human lifespans; strongly suggesting a healing aspect to the Goddess’ cult; which is also a function of the spring itself. Thus fecundity and healing are suggested by the votive offerings though She is obviously predominantly a water deity. The presence of bronze heads and head plaques, as well as face pots, one of which protrays an elegant female face (possibly the Goddess herself?) as well as the human skull suggests that the cult of the head may have been prevalent at Coventina’s shrine. However, the human skull may be a red herring, part of the shrine’s desecration during the Christian era. Though the dedication of heads and head representations to watery shrines is a well-attested practice which may also have been conducted at this shrine.” [3]

For more information on Conventina, please visit Coventina – a website devoted to the Goddess Coventina. Here you’ll find everything you need to know about this Romano-Celtic water Goddess, including Her history, Her myth, images of Her in ancient and contemporary art, all about the archaeological site associated with Her, and a little bit about Her significance in modern spirituality.

Sources:

Nemeton: The Sacred Grove, Home of the Celtic gods, “Coventina, A Brythonic Goddess, also known as Covetina, Covventina, Cuhvetena: Disappearing Memory, Memory of Snow“.

Tranquillity Fearn.  The Order of the White Moon, “Coventina: Queen of the River Goddesses“.

Wikipedia, “Coventina“.

Suggested Links:

Dumas, Adrienne. The Faeries And Angels Magazine, “Goddess Coventina: Water Healing“.

Ford, David Nash. Early British Kingdoms, “Nimue, alias Vivienne, Lady of the Lake“.

The Goddess Temple, Inc. Talk with the Goddess, “Goddess Coventina“.

Midgley, Tim.  The Midgley Web Page, “Coventina: A Romano-British Goddess of Freshwater“.

Nicole, Shantel. Angelic Connections with Shantel Nicole, “Coventina“.

Tehomet. Coventina.

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