Lady Victoria Eclectic Pagan's blog: "Gods and Goddesses"

Kali, the Black Goddess of Yore Kali is not what one imagines a typical Hindu woman to be. She is neither gentle, bashful, nor subservient toward her husband. She moves around in the nude; her hair is disheveled; and she gets intoxicated from drinking the blood of demons.. Kali is a Goddess who fights alone. And if she wants help, she accepts it from other females but does not seek it from men. Whenever the male Gods are unable to subdue the demons in battle, they ask the Great Mother Goddess for help, and not until after she has scored a victory can they go back in peace and perform their normal godly duties.. The fact that Ma Kali is black makes one wonder whether this Goddess originated with an ancient African super culture. Most scholars don't believe she is ancient. They call her a relatively "young" Goddess who did not reach full popularity in India until the 18th or 19th century. Their opinion is based on the Vedas which are perhaps the most ancient scriptures in the world. They hardly mention Kali. The earliest references to Kali are found in the Mundaka Upanishad, in the Puranas, dating back to the early medieval period--around A.D. 600.. But, one asks, what about the time before the Vedas were conceived? Could it be that God in ancient times was a She? According to Judeo-Christian tradition, this idea is "unthinkable," but if one seriously studies history with an open mind, one cannot exclude the possibility of a Great Mother Goddess that reigned long before the Father God appeared. Primitive man, observing women giving birth, perceived her as magic and prayed to her to make his tribe strong and give him more sons and daughters.. Dating back to Neolithic times, the most ancient images found were always female and depicted fertility. Many are black and mysteriously related. One can't help but ask, "Was the Black Goddess Kali at one time worshiped by peoples all over the world?" Modern research by Westerners certainly points in this direction.. We find Kali in Mexico as an ancient Aztec Goddess of enormous stature. Her name is Coatlicue, and her resemblance to the Hindu Kali is striking.. The colossal Aztec statue of Coatlicue fuses in one image the dual functions of the earth which both creates and destroys. In different aspects she represents Coatlicue, "Lady Of the Skirt of Serpents" or Goddess of the Serpent Petticoat"; Cihuacoatl, "the Serpent Woman"; Tlazolteotl, "Goddess of Filth"; and Tonantzin, "Our Mother," who was later sanctified by the Catholic Church as the Virgin of Guadalupe, the dark-faced Madonna, La Virgen Morena, la Virgen Guadalupana, the patroness and protectoress of New Spain; and who is still the patroness of all Indian Mexico. In the statue her head is severed from her body, and from the neck flow two streams of blood in the shape of two serpents. She wears a skirt of serpents girdled by another serpent as a belt. On her breast hangs a neck-lace of human hearts and hands bearing a human skull as a pendant. Her hands and feet are shaped like claws. From the bicephalous mass which takes the place of the head and which represents Omeyocan, the topmost heaven, to the world of the Dead extending below the feet, the statue embraces both life and death. Squat and massive, the monumental twelve-ton sculpture embodies pyramidal, cruciform, and human forms.. As the art critic Justino Fernandez writes in his often-quoted description, it represents not a being but an idea, "the embodiment of the cosmic-dynamic power which bestows life and which thrives on death in the struggle of opposites." (1) We find Kali in ancient Crete as Rhea, the Aegean Universal Mother or Great Goddess, who was worshiped in a vast area by many peoples.. Rhea was not restricted to the Aegean area. Among ancient tribes of southern Russia she was Rha, the Red One, another version of Kali as Mother Time clothed in her garment of blood when she devoured all the gods, her offspring. The same Mother Time became the Celtic Goddess Rhiannon, who also devoured her own children one by one. This image of the cannibal mother was typical everywhere of the Goddess of Time, who consumes what she brings forth; or as Earth, who does the same. When Rhea was given a consort in Hellenic myth, he was called Kronus or Chronos, "Father Time," who devoured his own children in imitation of Rhea's earlier activity. He also castrated and killed his own father, the Heaven-God Uranus; and he in turn was threatened by his own son, Zeus. These myths reflect the primitive succession of sacred kings castrated and killed by their supplanters. It was originally Rhea Kronia, Mother Time, who wielded the castrating moon-sickle or scythe, a Scythian weapon, the instrument with which the Heavenly Father was "reaped." Rhea herself was the Grim Reaper.... (2) We find Kali in historic Europe. In Ireland, Kali appeared as Caillech or Cailleach, an old Celtic name for the Great Goddess in her Destroyer aspect.. Like Kali, the Caillech was a black Mother who founded many races of people and outlived many husbands. She was also a creatress. She made the world, building mountain ranges of stones that dropped from her apron.. Scotland was once called Caledonia: the land give by Kali, or Cale, or the Cailleach... "Scotland" came from Scotia, the same goddess, known to Romans as a "dark Aphrodite"; to Celts as Scatha or Scyth; and to Scandinavians as Skadi.. Like the Hindus' destroying Kalika, the Caillech was known as a spirit of disease. One manifestation of her was a famous idol of carved and painted wood, kept by an old family in Country Cork, and described as the Goddess of Smallpox. As diseased persons in India sacrificed to the appropriate incarnation of the Kalika, so in Ireland those afflicted by smallpox sacrificed sheep to this image. It can hardly be doubted that Kalika and Caillech were the same word.. According to various interpretations, "caillech" meant either an old woman, or a hag, or a nun, or a "veiled one." This last apparently referred to the Goddess's most mysterious manifestation as the future, Fate, and Death--ever veiled from the sight of men, since no man could know the manner of his own death.. In medieval legend the Caillech became the Black Queen who ruled a western paradise in the Indies, where men were used in Amazonian fashion for breeding purposes only, then slain. Spaniards called her Califia, whose territory was rich in gold, silver, and gems. Spanish explorers later gave her name to the newly discovered paradise on the Pacific shore of North America, which is how the state of California came to be named after Kali.. In the present century, Irish and Scottish descendants of the Celtic "creatress" still use the word "caillech" as a synonym for "old woman." (3) The Black Goddess was known in Finland as Kalma (Kali Ma), a haunter of tombs and an eater of the dead. (4) The Black Goddess worshipped by the gypsies was named Sara-Kali, "Queen Kali," and to this present day, Sara is worshipped in the South of France at Ste-Marie-de-la-Mer during a yearly festival.. Some gypsies appeared in 10th-century Persia as tribes of itinerant dervishes calling themselves Kalenderees, "People of the Goddess Kali." A common gypsy clan name is still Kaldera or Calderash, descended from past Kali-worshippers, like the Kele-De of Ireland.. European gypsies relocated their Goddess in the ancient "Druid Grotto" underneath Chartres Cathedral, once the interior of a sacred mount known as the Womb of Gaul, when the area was occupied by the Carnutes, "Children of the Goddess Car." Carnac, Kermario, Kerlescan, Kercado, Carmona in Spain, and Chartres itself were named after this Goddess, probably a Celtic version of Kore or Q're traceable through eastern nations to Kauri, another name for Kali.. The Druid Grotto used to be occupied by the image of a black Goddess giving birth, similar to certain images of Kali. Christians adopted this ancient idol and called her Virgo Paritura, "Virgin Giving Birth." Gypsies called her Sara-Kali, "the mother, the woman, the sister, the queen, the Phuri Dai, the source of all Romany blood." They said the black Virgin wore the dress of a gypsy dancer, and every gypsy should make a pilgrimage to her grotto at least once in his life. The grotto was described as "your mother's womb." A gypsy pilgrim was told: "Shut your eyes in front of Sara the Kali, and you will know the source of the spring of life which flows over the gypsy race. (5) We find variations of Kali's name throughout the ancient world.. The Greeks had a word Kalli, meaning "beautiful," but applied to things that were not particularly beautiful such as the demonic centaurs called "kallikantzari," relatives of Kali's Asvins. Their city of Kallipolis, the modern Gallipoli, was centered in Amazon country formerly ruled by Artemis Kalliste. The annual birth festival at Eleusis was Kalligeneia, translatable as "coming forth from the Beautiful One," or "coming forth from Kali." Lunar priests of Sinai, formerly priestesses of the Moon-Goddess, called themselves "kalu." Similar priestesses of prehistoric Ireland were "kelles," origin of the name Kelly, which meant a hierophantic clan devoted to "the Goddess Kele." This was cognate with the Saxon Kale, or Cale, whose lunar calendar or kalends included the spring month of Sproutkale, when Mother Earth (Kale) put forth new shoots.. In antiquity the Phoenicians referred to the strait of Gibraltar as Calpe, because it was considered the passage to the western paradise of the Mother. (6) The Black Goddess was even carried into Christianity as a mother figure, and one can find all over the world images of Mother Mary, the mother of Jesus Christ, depicted as a black madonna.. (1) Frank Waters, Mexico Mystique: The Coming Sixth World of Consciousness, pp. 185-186.. (2) Barbara G. Walker, The Women's Encyclopedia of Myths and Secrets, pp. 856, 857.. (3) See Sir J. G. Frazer, The Golden Bough: A Study in Magic and Religion, p. 467.. (4) The Woman's Encyclopedia of Myths and Secrets, p. 492.. (5) The Woman's Encyclopedia of Myths and Secrets, pp. 890-891.. (6) The Woman's Encyclopedia of Myths and Secrets, pp. 491-492..

Eris Greco-Roman goddess of Discord and Chaos adopted in the 20th century by the Discordians. Eris was the personification of strife. Known to the Romans as Discordia, she was a sister of Mars and belonged to the retinue of Mars and Bellona. She is said to have a son known as Strife. In Greco-Roman mythology she was variously blamed for strife, deceit, contention, murder, wars, disputation, and rivalry. She has been associated with the Fool and Tower tarot cards (representing both her trickster and her destructive aspects). She is most commonly known by the part she played in: Myth of the Apple of Discord (this version extracted from the Principia Discordia - it's more or less true to most versions of the myth except for the bit about hot dogs. And about Paris being French. But what do historians know anyway?) Zeus was preparing a wedding banquet for Peleus and Thetis and did not want to invite Eris because of Her reputation as a trouble maker. This made Eris angry, and so She fashioned an apple of pure gold and inscribed upon it KALLISTI ("The Prettiest One", sometimes translated as "To The Prettiest One") and on the day of the fete She rolled it into the banquet hall and then left to be alone and joyously partake of a hot dog. Now, three of the invited goddesses, Athena, Hera, and Aphrodite, each immediately claimed it to belong to herself because of the inscription. And they started fighting, and they started throwing punch all over the place and everything. Finally Zeus calmed things down and declared that an arbitrator must be selected, which was a reasonable suggestion, and all agreed. He sent them to a shepherd of Troy, whose name was Paris because his mother had had a lot of gaul and had married a Frenchman; but each of the sneaky goddesses tried to outwit the others by going early and offering a bribe to Paris. Athena offered him Heroic War Victories, Hera offered him Great Wealth, and Aphrodite offered him the Most Beautiful Woman on Earth. Being a healthy young Trojan lad, Paris promptly accepted Aphrodite's bribe and she got the apple and he got screwed. As she had promised, she maneuvered earthly happenings so that Paris could have Helen (the Helen) then living with her husband Menelaus, King of Sparta. Anyway, everyone knows that the Trojan War followed when Sparta demanded their Queen back and that the Trojan War is said to be The First War among men. And so we suffer because of the Original Snub. And so a Discordian is to partake of No Hot Dog Buns.

The Lady watched the Men and Women, looking thru the eyes of a myriad of Women, children, young girls, mothers, daughters, wives, lovers....all of the Women there were in the World. And She saw that, in many places, the Men had forgotten that the Women were to walk by their side as equals and partners, working as a team, but regarded Women as not-equal, and as possessions. "This must not be," she said. "What shall I do to teach them?" She thought, and remembered that the Fool would teach Men and Women, in His own way, and that Way might work for Her, too. She turned, and was the Maiden, and was in the World. A Man saw Her beauty, and seeing not Her Divinity caught and raped Her. Another took Her, and put Her in chains, and set Her to serving him. In the midst of the night, a band of men broke into the house, killing the slave-maker, and took Her away. They forced Her to serve them as a prostitute, and took the money she was paid for themselves. On and on it went, with humiliation and degradation piled higher and higher, until, on a still, dark night She spoke, and said, quietly, "Enough!" And the quiet coldness of the Word was enough to freeze the Moon in its path, and the singing insects of the night stilled their song. And the Maiden turned, and moved to the other side of the Coin, and became Lillith. She embodied the pleasures of the flesh, and the animal wildness of the wilderness; the lust of the bitch-in-heat and the fierceness of a mother defending her young was Hers, and Her eyes were mad. And She enslaved the men in Her turn, enslaving them to Lust and Passion, making them mad to possess Her, She that cannot be possessed, and fettering them in silken chains of desire. She showed the women Herself, and taught them Freedom, and Wildness, and all the secret places where Wildness lives, and the Mystery of being Woman. She was Lillith and Diana, Artemis and Athena, Scatach and Morrigan, and all the Wildness of Woman was in Her. She took the women to the secret places within themselves, and looked back out at them with feral eyes. She ran with the wolves, and howled. She flew with the hawks and ravens, and hunted with the owl. She crawled with the serpent, and stalked Her prey with the lioness, and all of this was put into Her Dance. "Know you that you are free," She cried to the women, "And let none put chains upon you not of your own making. Live as you will, not as another would force you. You are partners with Man, not his slave, and I am in you forever!" And the Wild was in the women, singing in their blood, and, so long as they remembered, they were free. "That was pretty spectacular." said the Fool. "A bit severe for my style, though." The Lady grinned at Him, and said, "Well, you're not the only Teacher around here, You know." The Fool rolled over on His back and swatted at a stray piece of dandelion fluff that had settled on His ear, and said, "Never thought I was!" He seemed a bit huffy. "I just hope they can handle it," said the Lord. "They sure can make simple things complicated fast." "Oh, they'll mess it up a bit, as usual," said the Lady, "But it will all come out right eventually." "I hope so," said the Fool. "They sure can get balled up in non-essentials. By the way, I just invented ice-cream. Want some?" "Sounds interesting," said the Lord and the Lady. And They all smiled at each other. Thus it was, and so it is, and evermore shall be so!

Yemaya, Goddess of the Ocean and the New Year They call her the goddess Yemaya, Ymoga (Mother of the Fishes), Iamanga, and Balianne. She traveled with them from Yoruba to distant lands, comforting them in the holds of the slave ships that took them far away from their homeland in Africa. Today she is also celebrated under many other names, including the virgin Mary (Our Lady of the Immaculate Conception), Stella Maris (Star of the Sea), and Our Lady of Regla...to name but a few. Originally Yemaya was a river goddess of the Yoruba in Nigeria, far from the ocean. She was a nature spirit, an orisha, a powerful guardian spirit that reflects an important aspect of the God of the Ife religion. An orisha manifests itself as a force of nature. When her people were hoarded onto the slave ships, Yemaya went with them, thus becoming the Goddess of the Ocean. Actually Yemaya shares responsibility for the ocean with another orisha. Okolun rules the dark and turbulent depths of the ocean. Her domain is the upper level, the part of the sea that the light strikes, where water evaporates to be carried to land by her daughter Oya (the wind) to make rain for the crops. Yemaya's gentle waves rock the watery cradle of the abundant life forms of the sea. Yemaya is a mother goddess, the goddess of home, fertility, love and family. Like water she represents both change and constancy--bringing forth life, protecting it, and changing it as is necessary. In the creation myths of the Yoruba, the creator Olodumare first created a mortal god-human, Obatala, and gave him a wife. Their children were Yemaya and Aganyu, who had a son together. They named him Orungan. As a teenager Orungan rebelled against his father and brutally raped his mother. When he tried to rape Yemaya a second time, the river goddess fled to a nearby mountaintop where she cursed her son until he died. In sorrow she chose to end her own life on the summit of the mountain. As she died she gave birth to fourteen powerful orisha. When her waters broke it caused the great flood that inundated the world and created the seven seas. Obafulom and Lyaa, the first human male and female and the ancestors of all humans, arose from the bones of the goddess. According to legend, Yemaya is the mother of all life. According to legend, Yemaya's first gift to humans was a sea shell in which her voice could always be heard. To this day we honor Yemaya when we hold a shell to our ear in order to hear her voice, the ocean. Olokun, the orisha of the bottom of the sea where the light does not shine, inspires respect and fear, for the powers of destruction that can be unleashed from the ocean depths are vast. In The Secrets of the Sea, Gloria Rolanda tells of a time that Okolun, feeling unappreciated, decided to punish mankind. At his orders, immense waves began to invade the land...the ocean swelled up, darkened, infinite, and people who lived furthest from the coast saw, terrified, a horizon of water mountains running towards them. Fortunately Yemaya was able to calm the fury of Okolun just in time, and the wave settled gently into the shore, leaving mounds of coral and pearls when the water receded. Olukun demands respect for his ominous power that is unbounded, but it is Yemaya that is associated with creation and with life itself. When each of their dual aspects, (such as male and female, power and compassion) is held in proper balance, these two orisha unite to offer enormous gifts and unlimited energy. Often depicted as a mermaid, or simply a beautiful woman standing amidst the waves, Yemaya is a goddess of comfort and inspiration. When it comes to caring for others, her impulses are sincere and comforting. And she has a love for children that is unequaled. Yemaya reminds us that even the worst catastrophes can be endured and that, with her help, we can learn to negotiate the ebbs and flows of change in our lives with her wisdom, courage, and grace. Goddess Symbols and Sacred Objects of Yemaya The symbols of Yemaya, Goddess of the Ocean follow in the chart below. Such goddess symbols, individualized for each goddess, were incorporated into the worship of the ancient goddesses, were often worn as jewelry, and also used in the household decor as talismans to seek the goddesses special gifts, blessings, or protection. A large number of goddess symbols have survived in statuary and other works of art. Many of the goddess symbols come from the legends surrounding a specific goddess and were "characters" in her story. Other goddess symbols were derived from the rituals used in the ancient rites of worship of these pagan goddesses. Yemaya is often represented by symbols associated with water. It is not surprising that many of our icons representing the enduring beauty and simple goodness are derived from the ancient goddess symbols of Yemaya. Yemaya Goddess Symbols General: Ocean, rivers, mermaids, the virgin Mary, New Year's Eve, February 2, the North Star, half moon, rivers, dreams, pound cake, boats and ships, fans, sacred dance, and the Number 7. Animals: Fish, ducks, doves, peacocks, feathers, chickens, snakes, and all sea creatures. Plants: Oranges, tropical flowers, yams, grain, seaweed and other plants that grow in the ocean. Perfumes/Scents: Scented soaps, raspberry, cinnamon, balsam. Gems and Metals: Silver, pearls, mother of pearl, coral, moonstone, crystal quartz, turquoise, and any blue gem or bead. Colors: Sky blue, silver, white, green, and especially a blue dress with full skirt of 7 layers to represent ocean waves or the seven seas.

White Buffalo Calf Woman and the Mother of Life White Buffalo Calf Woman's legend is ancient, arising about 2000 years ago, and is central to the spiritual practices of numerous Native American nations. Various, but similar, versions of the legend of White Buffalo Calf Woman are told. The brief story presented here is based primarily on the story of White Buffalo Calf Woman at various websites as told by Joseph Chasing Horse, Traditional Leader of the Lakota Nation. “It was told that next time there is chaos and disparity, she would return again. She said she would return as a White Buffalo Calf. Some believe she already has.” Words of Chief Arvol Looking Horse, 19th Generation Keeper of the Sacred White Buffalo Calf Pipe of the Lakota Nation While two warriors were out hunting buffalo, a white buffalo calf appeared. As she approached them she changed into a beautiful young woman... which is how she came to be called the White Buffalo Calf Woman. One of the young warriors offended her with his lustful thoughts, and White Buffalo Calf Woman asked him to approach. As he stepped forward, a black cloud descended over him and when it dissipated all that was left of him was his bones. The other warrior fell to his knees and began to pray. The White Buffalo Calf Woman told him to return to his people, telling them she would appear to them in four days, bringing with her a sacred bundle. And this she did, appearing to them as a white buffalo calf descending on a cloud. Stepping down, she rolled over on the ground, changing from white to black, then yellow, then red. When White Buffalo Calf Woman arose she was once again the beautiful woman, cradling the sacred bundle in her arms. Spending four days with the people, White Buffalo Calf Woman taught them sacred songs, dances, and ceremonies as well as the traditional ways. White Buffalo Calf Woman instructed them to be responsible caretakers of the land and to be always mindful that the children are the future of the people. On the fourth day White Buffalo Calf Woman left in the same manner she had arrived, telling the people she was leaving the sacred bundle, the White Buffalo Calf Woman pipe, in their care. She promised to one day return for it and to bring harmony and spiritual balance to the world. White Buffalo Calf Woman prophesied that the birth of a white buffalo calf would be a sign that it was near the time of her return. A beautiful, and different, telling of the story of the White Buffalo Calf Woman is provided by Matthew Richter in American Comments, a web magazine fighting racial hatred and discrimination. This version tells the story of how a woman called the Mother of Life came to become the White Buffalo Calf Woman and discusses the meaning of the pipe and the prophesy. According to this legend a young woman, during an enemy attack on her village, saw a toddler injured and ran to cradle him in her arms and comfort him as death approached. Soon, she too was mortally wounded, and her young body crumpled with the young child still cradled in her arms. Her spirit hurried to catch up with the child's so that she would be there to care for him when they crossed over. To honor her noble act, the Sioux gave her the name Mother of Life. Later she appeared as White Buffalo Calf Woman to a young warrior whose troubled heart yearned for a good future for the children, a future without the prospect of continual war and divisiveness, a future of peace. White Buffalo Calf Woman advised him "to seek the vision of a mother's heart for the love of her children". White Buffalo Calf Woman gave the pipe into his care, detailing the ways in which the people could learn to grow into responsible keepers of the pipe, cultivating peace and understanding. One of her gifts was the suggestion that all children be taught to hold baby animals with love and caring, so that as they grow they will learn to love all the other babies of the world. As she gave her instructions, the white buffalo calf that accompanied the woman rolled over four times, each time changing colors . . . once for each race, first white, then yellow, then red, the black, signifying that we are all members of the same family. Laurie Sue Brockway highlights the importance of the White Buffalo Calf Woman in her delightful book, A Goddess Is A Girl's Best Friend: Now, more than any time in history, we need the sacred feminine to balance our lives and to balance our world. We must be spiritual warriors…culling the profound and important aspects of the power of feminine wisdom and directing them toward peace within, as without, and utilizing the energies of the goddess and all mythical women and spiritual heroines to help direct the course of history.” *In 1994, a white buffalo calf was born on a farm in Wisconsin. . . the first white buffalo born in decades. Some believe she was the fulfillment of the prophecy that the return of the White Buffalo Calf Woman will herald the advent of an age of peace and harmony. Goddess Symbols and Sacred Objects of White Buffalo Calf Woman Goddess symbols, individualized for each goddess, were incorporated into the worship of the ancient goddesses, were often worn as jewelry, and also used in the household decor as talismans to seek the goddesses special gifts, blessings, or protection. A large number of goddess symbols have survived in statuary and other works of art. Many of the goddess symbols come from the legends surrounding a specific goddess and were "characters" in her story. Other goddess symbols were derived from the rituals used in the ancient rites of worship of these pagan goddesses. White Buffalo Calf Woman is often represented by symbols associated with her personality traits and her contribution to her people. It is not surprising that many of our icons representing Native American civilization and spirituality are derived from the ancient goddess symbols of the goddess White Buffalo Calf Woman. Goddess Symbols of White Buffalo Calf Woman General: White buffalo, peace-pipe, circle (hoop), and the numbers 4 and 7 Animals: Buffalo and bison, eagle, and hawk Plants: Buttercup, pulsatilla (Pasque flower), and spruce Perfumes/Scents: Sage, wisteria, tangerine, and rose geranium Gems and Metals: Agate, rose quartz, gold, silver, and red clay Colors: White, yellow, red, and black

Tara, Goddess of Peace and Protection Goddess Tara is probably the oldest goddess who is still worshiped extensively in modern times. Tara originated as a Hindu goddess, the Mother Creator, representing the eternal life force that fuels all life. There are many embodiments of Tara, but the best known are the White Tara and the Green Tara. The peaceful, compassionate White Tara gently protects and brings long life and peace. The more dynamic goddess, Green Tara is the "Mother Earth", and a fierce goddess who overcomes obstacles, and saves us from physical and spiritual danger. In Sanskrit, the name Tara means Star, but she was also called She Who Brings Forth Life, The Great Compassionate Mother, and The Embodiment of Wisdom, and the Great Protectress. Adopted by Buddhism, she become the most widely revered deity in the Tibetan pantheon. In Buddhist tradition, Tara is actually much greater than a goddess -- she is a female Buddha, an enlightened one was has attained the highest wisdom, capability and compassion. . . one who can take human form and who remains in oneness with the every living thing. The oldest reference to the goddess Tara, perhaps, is found in an ancient saga of Finland thought to be 5 million years old. The saga speaks of a group known as Tar, the Women of Wisdom. A version of the Goddess Tara exists in virtually every culture. Indeed, it is said that the Goddess Tara will assume as many forms on earth as there are needs for by the people. The Celts called their Great Goddess Tara. Her name is thought to be the root of the word Tor, which is a mound of earth or hillock imbued with spiritual energy or connection to the other worlds. We also hear the echo of her name in the Latin word for earth, Terra, a connection between Tara and the concept of "Mother Earth". The Goddess Tara is also associated with Kuan Yin, the great Chinese goddess of compassion. In South America she was known as the ancient mother goddess Tarahumara. The Cheyenne people revere the Star Woman who fell from the heavens and whose body became the earth that provided them with food. The ancient Egyptian Goddess IshTar who, in her myths, came to earth from the heavens and instructed her people to co mingle and intermarry with the earthlings to give them the benefits of their learning and wisdom was yet another incarnation of the Goddess Tara. In the legends of Tibet where the worship of the Goddess Tara is still practiced in the Buddhist tradition, it is told that the goddess Tara is the feminine counterpart of the Avalokitesvara, the Buddha who is reincarnated as the Dalai Lama. It is told that she first appeared rising from a lotus blossom in the lake that had formed from his first tears of compassion, tears that fell when he first beheld the scope of suffering in the world. Because of her essential goodness, she was granted the right to assume her human form as a man. But Tara elected to remain in her womanly form. The Goddess Tara vowed: "There are many who wish to gain enlightenment in a man's form, And there are few who wish to work for the welfare of living beings in a female form. Therefore may I, in a female body, work for the welfare of all beings, until such time as all humanity has found its fullness." One of the myths of the goddess Tara demonstrates her compassionate and loving nature and tells how she got the name "Tara of the Turned Face". An elderly woman who was a sculptor worked in a city where there was a large Buddhist temple called the Mahabodhi (Great Wisdom). She sculpted a statue of the goddess Tara and built a shrine to house it. Upon completing the project she was filled with regret when she realized that she had not considered the placement of the shrine. "Oh no," she thought, "Tara has her back to the Mahabodhi and that isn't right!" Then she heard the sculpture speak to her, saying "If you are unhappy, I will look toward the Mahabodhi." As the woman watched in amazement, the door of the shrine and the image of the goddess Tara both turned to face the Temple. Such is the love and compassion of the goddess Tara. The ancient goddess Tara in her many incarnations has many gifts to share with contemporary women. Tara embodies the feminine strengths of great caring and compassion, the ability to endure stressful and even terrifying moments, the acts of creation, and the source of sustenance and protection. Demonstrating the psychological flexibility that is granted to the female spirit, the goddess Tara, in some of her human forms, could be quite fierce and wild. Refugees fleeing the horrors of the occupation of Tibet by the Chinese armies recounted numerous stories of the Green Tara that protected them during their torture and guided their flight to freedom. In other of her forms, such as the White Tara, she embodied inner peace and spiritual acceptance. She symbolizes purity and is thought to be part of every good and virtuous woman. Tara is an archetype of our own inner wisdom. She guides and protects us as we navigate the depths of our unconscious minds, helping us to transform consciousness, our own personal journeys of freedom. It is the goddess Tara who helps us to remain "centered". The myths of the Goddess Tara remind us of our "oneness" with all of creation and the importance of nurturing the spirit within. Goddess Symbols and Sacred Objects of Tara Goddess symbols, individualized for each goddess, were incorporated into the worship of the ancient goddesses, were often worn as jewelry, and also used in the household decor as talismans to seek the goddesses special gifts, blessings, or protection. A large number of goddess symbols have survived in statuary and other works of art. Many of the goddess symbols come from the legends surrounding a specific goddess and were "characters" in her story. Other goddess symbols were derived from the rituals used in the ancient rites of worship of these pagan goddesses. Tara (most widely known in her incarnations as the White Tara or the Green Tara) is often represented as a beautiful, light-skinned, slender and elegant woman. She is often pictured with her male counterpart, a Buddha. When depicted as Green Tara, her skin is often painted in shades of green. Many of her goddess symbols allude to her "all-seeing"nature by showing eyes painted on her forehead, palms, and feet . . . meant to imply that all of her acts are performed with awareness and wisdom. Goddess Symbols of Tara General: Star, third eye (in the middle of the forehead), seven eyes (including eyes in the palms of the hands and soles of the feet), full moon, lakes, rainbows, and the number 3, 7, and 11 Animals: Owl, raven, sow, and mare Plants: Lotus blossom, either open or closed and any orange flowers Perfumes/Scents: Incense (especially Green Tara incense), rose, musk, jonquils Gems and Metals: Diamonds, rose quartz, pink tourmaline, emerald ( any pink or green stones) Colors: All colors, but especially white and green

Sophia, Goddess of Wisdom Have you ever wondered about that gorgeous woman in Michelangelo’s painting on the ceiling of the Sistine chapel — the one that God has his arm wrapped around while his other arm extends to touch the hand of Adam? Some art historians believe the petite blonde was Jehovah’s grandmother, the Goddess Sophia. In the Judeo-Christian tradition the goddess Sophia is the beginning, the source of wisdom, and keeper of the knowledge of all that is righteous and just. With her sound wisdom and guidance, rulers lead their kingdoms to prosper. In the darkness and ignorance that thrive in her absence, the proverbial wasteland eats away at the soul and nations perish. Known as the Mother of All or simply as Wisdom, Sophia was born of Silence according to Gnostic creation myths. She gave birth to both Male and Female who together created all the elements of our material world. Female then gave birth to Jehovah in all his emanations. But she also gave birth to Ildabaoth who was known as the Son of Darkness. When humans were created, Sophia loved them all dearly. Unfortunately, her affection for humans sparked jealousy in both Ildabaoth and Jehovah. Hoping to keep humans weak and powerless, the brothers forbade humans to eat the fruit of the tree of knowledge. Female then sent her spirit in the form of the serpent to teach the humans to disobey the envious gods. Sophia so desperately loved humans that she decided she would live among them. To her dismay they mostly ignored her. She tried speaking to them. When they turned a deaf ear, she screamed from the tops of the highest walls. Still she was not heard. In her anguish at being so neglected, she left humans with one last thought: You have denied and ignored me, so will I do when calamity strikes and you call for my help. Only those who earnestly search for me and love me will merit my love and assistance. There are those who believe that Sophia, so desperate in her desire to relate, later returned to humans in another attempt to bond with them. Sophia is often symbolized by the Dove of Aphrodite, which later became the dove representing the Holy Spirit. The dove appeared to the Virgin Mary in the form of the Virgin of Light, entered her and conceived Jesus. In this sense, Sophia attempted again, in to form of a man, to be united with the mortals she so loved. Sophia’s traits include: righteous, wise, loving, communicative, knowledgeable, creative, protective, giving, and truthful. A Sophia woman sees it and tells it as it is; she has no fear of the truth. She brings meaning to human experience with her gift of understanding “the bigger picture”. Only when you stand back, gaining some emotional distance, can you see that even the most traumatic experiences can be the birthplace of your most treasured strengths. It is only in times of great stress that heroic feats are truly appreciated. Sophia was also the mother of Faith, Hope, and Charity. They are Sofia’s gifts to us, gifts that can overcome the despair, confusion, and suffering that frame human life. Sophia reminds you that clear vision and understanding line the path that leads to the discovery of the meaning of your life.

Sedna, Inuit Goddess of the Deep Sea The Inuit goddess Sedna 's story begins with a common mythological theme—a beautiful young woman who is not impressed by any of her multiple suitors. Sedna's father, a widower, was constantly trying to marry her off, but she would have none of it. One fateful day a sea bird (a fulmar) promised to take her away to his “comfortable, luxurious” home. The impulsive young girl eloped with the fulmar. The “veritable palace” he had described turned out to be a filthy, smelly nest. And, to make matters worse, her new husband treated her like a slave. Sedna begged her father to come and take her back home, and he agreed. But as they were heading across the waters, a flock of fulmars surrounded the boat. The incessant flapping of their wings caused a tremendous storm to arise and their small vessel was being tossed from side to side. Fearing for his own safety, Sedna's father threw her into the ocean to appease the angry birds. When Sedna tried to climb back into the boat, he cut off her fingers. As she struggled to use her mutilated hands to try again, he cut off her hands and threw her and her appendages into the water. As she sank to the bottom of the ocean, her dismembered limbs grew into fish, seals, whales, and all of the other sea mammals. She descended to Adlivum (the Inuit Land of the Dead) where she now rules. As Queen of the Adlivum, Sedna is responsible for sending food to the hunters. To ensure that she continues to feed the people, shamans must descend through many horrifying places to reach Sedna and soothe her. The route is dangerous and terrifying. The shamans have to pass through countless dead souls, an abyss where an icy wheel turns slowly and perpetually, then past a cauldron full of boiling seals, and finally past the horrible dog that guards the knife-thin passageway into her home. When shaman visit her, they massage Sedna's aching limbs and comb her hair. Only when she is properly comforted will Sedna permit the shaman to return to the people and inform them that she will send the animals to be hunted so that they will not face starvation. Sedna is the Mistress of Life and Death to the Inuit people because it is she who provides for them. If she is not respected she begins to feel her hands sear with pain and, in her misery, sends sickness, storms, and starvation to punish the humans. Only when someone is willing to brave the voyage to her home and assuage her pain will she let the animals return to be hunted. But when people treat her with respect and concern, they receive her blessings. Sedna lives on in the sky. In 2003 astronomers discovered a heretofore unknown planet in the farthest reaches of our solar system. In a deviation from the custom of naming celestial bodies after characters from Greek and Roman mythology, the name chosen for this newcomer was Sedna, after the Inuit goddess of the Sea. Why was the goddess Sedna chosen for this honor? It would be nice to think that, while scientists are venturing farther into the mysterious outer regions of our solar system, equal emphasis is being given to diving into the depths of the human psyche. The goddess Sedna teaches us that we must delve into the dark, cold places that we fear most if we are to find the riches that rest there. Sedna reminds us that, in spite of all our infirmities (and foolish mistakes), we are still worthy of love and respect and have every right to expect, and even demand, that others treat us well.

Rhiannon, Celtic Goddess of Inspiration and the Moon Rhiannon, the Celtic goddess of the moon was a Welch goddess. The goddess Rhiannon's name meant “Divine Queen” of the fairies. In her myths, Rhiannon was promised in marriage to an older man she found repugnant. Defying her family’s wishes that Rhiannon, like other Celtic goddesses, declined to marry one of her "own kind". Instead, the goddess Rhiannon chose the mortal Prince Pwyll (pronounced Poo-ul or translated as Paul) as her future husband. Rhiannon appeared to Pwyll one afternoon while he stood with his companions on a great grass-covered mound in the deep forest surrounding his castle. These mounds, called Tors, were thought to be magical places, perhaps covering the entrance to the otherworld beneath the earth. It was thought that those who stood upon them would become enchanted, so most people avoided them. So it is no surprise that the young prince was enchanted by the vision of the beautiful young goddess Rhiannon, who was dressed in glittering gold as she galloped by on her powerful white horse. Rhiannon rode by without sparing him even a glance. Pwyll was intrigued and enraptured, and his companions were understandably concerned. Ignoring the protest of his friends, Pwyll sent his servant off riding his swiftest horse to catch her and asked her to return to meet the prince. But the servant soon returned and reported that she rode so swiftly that it seemed her horse’s feet scarcely touched the ground and that he could not even follow her to learn where she went. The next day, ignoring his friends’ advice, Pwyll returned alone to the mound and, once more, the Celtic goddess appeared. Mounted on his horse, Pwyll pursued her but could not overtake her. Although his horse ran even faster than Rhiannon's, the distance between them always remained the same. Finally, after his horse began to tremble with exhaustion, he stopped and called out for her to wait. And Rhiannon did. When Pwyll drew close she teased him gently, telling him that it would have been much kinder to his horse had he simply called out instead of chasing her. The goddess Rhiannon then let him know that she had come to find him, seeking his love. Pwyll welcomed this for the very sight of this beautiful Celtic goddess had tugged at his heart, and he reached for her reins to guide her to his kingdom. But Rhiannon smiled tenderly and shook her head, telling him that they must wait a year and that then she would marry him. In the next moment, the goddess Rhiannon simply disappeared from him into the deep forest. Rhiannon returned one year later, dressed as before, to greet Pwyll on the Tor. He was accompanied by a troop of his own men, as befitted a prince on his wedding day. Speaking no words, Rhiannon turned her horse and gestured for the men to follow her into the tangled woods. Although fearful, they complied. As they rode the trees suddenly parted before them, clearing a path, then closing in behind them when they passed. Soon they entered a clearing and were joined by a flock of small songbirds that swooped playfully in the air around Rhiannon’s head. At the sound of their beautiful caroling all fear and worry suddenly left the men. Before long they arrived at her father’s palace, a stunning site that was surrounded by a lake. The castle, unlike any they had ever seen, was built not of wood or stone, but of silvery crystal. It spires soared into the heavens. After the wedding a great feast was held to celebrate the marriage of the goddess. Rhiannon’s family and people were both welcoming and merry, but a quarrel broke out at the festivities. It was said that the man she’d once been promised to marry was making a scene, arguing that she should not be allowed to marry outside her own people. Rhiannon slipped away from her husband’s side to deal with the situation as discreetly as she could . . . using a bit of magic, she turned the persistent suitor into a badger and caught him in a bag which she tied close and threw into the lake. Unfortunately, he managed to escape and later returned to cause great havoc in Rhiannon's life. The next day Rhiannon left with Pwyll and his men to go to Wales as his princess. When they emerged from the forest and the trees closed behind them, Rhiannon took a moment to glance lovingly behind her. She knew that the entrance to the fairy kingdom was now closed and that she could never return to her childhood home. But she didn’t pause for long and seemed to have no regret. The goddess Rhiannon was welcomed by her husband’s people and admired for her great beauty and her lovely singing. However, when two full years had passed without her becoming pregnant with an heir to the throne, the question of her bloodline, her “fitness” to be queen began to be raised. Fortunately, in the next year she delivered a fine and healthy son. This baby, however, was to become the source of great sorrow for Rhiannon and Pwyll. As was the custom then, six women servants had been assigned to stay with Rhiannon in her lying-in quarters to help her care for the infant. Although the servants were supposed to work in shifts tending to the baby throughout the night so that the goddess Rhiannon could sleep and regain her strength after having given birth, one evening they all fell asleep on the job. When they woke to find the cradle empty, they were fearful they would be punished severely for their carelessness. They devised a plan to cast the blame on the goddess Rhiannon, who was, after all, an outsider, not really one of their own people. Killing a puppy, they smeared its blood on the sleeping Rhiannon and scattered its bones around her bed. Sounding the alarm, they accused the goddess of eating her own child. Although Rhiannon swore her innocence, Pwyll, suffering from his own shock and grief and faced with the anger of his advisers and the people, did not come strongly to her defense, saying only that he would not divorce her and asking only that her life be spared. Rhiannon’s punishment was announced. For the next seven years the goddess Rhiannon was to sit by the castle gate, bent under the heavy weight of a horse collar, greeting guests with the story of her crime and offering to carry them on her back into the castle. Rhiannon bore her humiliating punishment without complaint. Through the bitter cold of winters and the dusty heat of four summers, she endured with quiet acceptance. Her courage was such that few accepted her offer to transport them into the castle. Respect for her began to spread throughout the country as travelers talked of the wretched punishment and the dignity with which the goddess Rhiannon bore her suffering. In the fall of the fourth year three strangers appeared at the gate—a well-dressed nobleman, his wife, and a young boy. Rhiannon rose to greet them saying, “Lord, I am here to carry each of you into the Prince’s court, for I have killed my only child and this is my punishment.” The man, his wife, and the child dismounted. While the man lifted the surprised Rhiannon onto his horse, the boy handed her a piece of an infant’s gown. Rhiannon saw that it was cloth that had been woven by her own hands. The boy then smiled at her, and she recognized that he had the eyes of his father, Pwyll. Soon the story was told. Four years earlier, during a great storm, the nobleman had been called to the field to help a mare in labor, when he heard the infant’s cries and found him lying abandoned. He and his wife took the baby in, raising him as if he were their own. When the rumors of the goddess Rhiannon’s fate had reached his ears, he realized what had happened and set out at once to return the child to his parents. Most legends suggest that the badger actually was the enraged suitor that Rhiannon had rejected who had escaped and taken his revenge by kidnapping Rhiannon's infant son. Pwyll and his people quickly recognized the boy for Pwyll and Rhiannon’s son. The goddess Rhiannon was restored to her honor and her place beside her husband. Although she had suffered immensely at their hands, Rhiannon, goddess of noble traits, saw that they were ashamed and was filled with forgiveness and understanding. In some versions of the legend, Rhiannon was the Celtic goddess who later became Vivienne, best known as the Lady of the Lake. She was the Celtic goddess who gave Arthur the sword Excalibur, empowering him to become King in the legends of Camelot. The story of the Celtic goddess Rhiannon reminds us of the healing power of humor, tears, and forgiveness. The goddess Rhiannon is a goddess of movement and change who remains steadfast, comforting us in times of crisis and of loss. Goddess Symbols and Sacred Objects of Rhiannon Goddess symbols, individualized for each goddess, were incorporated into the worship of the ancient goddesses, were often worn as jewelry, and also used in the household decor as talismans to seek the goddesses special gifts, blessings, or protection. A large number of goddess symbols have survived in statuary and other works of art. Many of the goddess symbols come from the legends surrounding a specific goddess and were "characters" in her story. Other goddess symbols were derived from the rituals used in the ancient rites of worship of these pagan goddesses. Rhiannon is often represented by symbols associated with her astonishing "other-worldliness". It is not surprising that many of our icons representing the enduring beauty and simple goodness are derived from the ancient goddess symbols of Rhiannon. Goddess Symbols of Rhiannon General: Moon, horses, horseshoe, songbirds, gates, the wind, and the Number 7. Animals: Horse, badger, frog, dogs (especially puppies), canaries and other songbirds, hummingbirds, and dragons. Plants: Narcissus and daffodils, leeks, pansies, forsythia, cedar and pine trees, bayberry, sage, and rosemary Perfumes/Scents: Sandalwood, neroli, bergamot, lavender, narcissus, and geranium. Gems and Metals: Gold, silver, cat's eye, moonstone, crystal quartz, ruby, red garnet, bloodstone, turquoise, and amethyst. Colors: Dark green, maroon, gold, silver, rich brown, white, black, charcoal grey, and ruby red.

Psyche, Greek Goddess of the Soul The Greek goddess Psyche, strictly speaking, wasn't a natural-born goddess . . . she got there by "marrying up". But talk about mother-in-law problems, not to mention having a "mama's boy" for a husband! You'd be hard pressed to come up with a story that tops that of the Greek goddess Psyche's. The goddess Psyche started out as a mortal, but one of exquisite grace and beauty. Fervently courted by numerous mortal men and gods, Psyche truly wasn't interested in romance and she wasn't just playing hard to get! This offended Aphrodite, the goddess of love, who decided to bring Psyche down a notch by sending her son Eros, the god of love, to shoot her with one of his magical arrows tipped in an aphrodisiac that would make her fall hopelessly in love with the first man she saw, no matter how wretched, unsuitable, or unappealing he might be. But as the Fates (the Greek goddesses responsible for luck and destiny) would have it, just as Eros had Psyche lined up in his sights, Eros stumbled and accidentally pricked himself with the arrow and fell madly in love with Psyche himself. Reluctant to face mama with the news of what had happened, Eros whisked Psyche off to his palatial hideaway in the mountains for a quick wedding and lengthy honeymoon. Afraid that he might be recognized and word of his bumbling might get back to Aphrodite, Eros visited Psyche only after dark and made her swear she would never look at him. She was beginning to love him deeply and growing more curious each day about her beloved's features. Psyche decided to take just a quick peek while he lay sleeping, but a drop of hot oil from her lamp accidentally spilled on his shoulder, waking him . . . but not before she saw that he was more beautiful than any many she'd ever imagined. Another version of the story, probably the original version of "Beauty and the Beast", was that she was persuaded by her sisters, who were jealous of her good fortune in marrying into such wealth, to stab him as he slept since he surely must be a "monster" to be so fearful of her seeing him, and that he awoke to find her poised over him, knife in hand. Regardless, Eros was upset by her lack of trust and her betrayal and flew back home to mother and made a full confession. Psyche missed him enormously. Abandoned and bereft, she decided to go to go and humble herself before Aphrodite, begging for her blessing on the marriage and for the return of her husband. Aphrodite, however, saw this as her opportunity to take her revenge. She demanded that Psyche complete four tasks, each of them more frightening and difficult than the previous, if she were to prove herself worthy of marriage to her son. First, Psyche was to spend the night in a room filled with assorted grains and to have them all sorted and bagged by daybreak. Realizing the enormity of the task, Psyche huddled in the corner weeping, when an army of ants took pity on her and came to her aid, getting the job done for her well in advance of the deadline. Next Psyche was ordered to bring back the Golden Fleece belonging to a fearsome ram that had already killed several heroes who had tried to acquire his fleece. Terrified that she too would be crushed, Psyche took the advice of a nearby reed that whispered to her to wait until nightfall when the ram slept before entering the field and to gather the fleece that had fallen off the ram and clung to the branches of the blackthorn trees. For her third task, Aphrodite gave Psyche a crystal jar and demanded she return with water taken from a waterfall positioned on a high cliff on the River Styx, the entrance to the underworld. In the depths of despair when she arrived and saw the tremendous danger involved, Psyche was amazed when an eagle, circling above her, swept down for the jar and flew off to the waterfall to fill it for her. The future goddess Psyche's last and most frightening challenge was to descend into the underworld, the kingdom of the dead, and to return with a box of sleeping potion from Persephone, the Queen of the Underworld, all the while ignoring the pleas for help from all the unfortunate that she encountered. This task was her longest and hardest: she succeeded, but Psyche was so exhausted by the effort that she took some of the potion for herself. Finding Psyche in a deep sleep and unable to rouse her, Eros rubbed the potion from her eyes and returned it to the box which he sent on to his mother. Deciding, finally, that he'd had quite enough of his mother's meddling in his affairs, and that he truly loved Psyche, he humbled himself and sought expert advice to save their marriage. He flew to Zeus, who upon Athena's advice, made Psyche immortal (a Greek goddess in her own right). Their marriage, legitimized by the king of the gods, was now restored. Even Aphrodite had to admit they made a fine couple and gave them her blessing. The myths of the Greek goddess Psyche exemplify a woman's search for authentic personal growth, a reminder that the integration of our experiences, however sad or frightening they may be, matures and transforms us, like the symbol of the butterfly emerging into the light from its dark cocoon. Goddess Symbols and Sacred Objects of Psyche Goddess symbols, individualized for each goddess, were incorporated into the worship of the ancient goddesses, were often worn as jewelry, and also used in the household decor as talismans to seek the goddesses special gifts, blessings, or protection. A large number of goddess symbols have survived in statuary and other works of art. Many of the goddess symbols come from the legends surrounding a specific goddess and were "characters" in her story. Other goddess symbols were derived from the rituals used in the ancient rites of worship of these pagan goddesses. Psyche is often represented by symbols associated with her brave search for truth and understanding. It is not surprising that many of our icons representing spirituality and healing are derived from the ancient goddess symbols of Psyche. Goddess Symbols of Psyche General: Waterfalls, crescent moon (waning), grain, eye, three stars (representing body/life/soul), perfumed oil, and pottery jars Animals: Butterfly, eagle, sheep and ram, mice, ants, and fish Plants: Willow, flowering almond, ivy, blackthorn, reeds, sweet alyssum, lily of the valley, water lily, figs, and melons Perfumes/Scents: Floral scents, almond, lily of the valley, and mulberry Gems and Metals: Crystals of all types, amethyst, obsidian, moonstone, tourmaline, rose quartz, and platinum Colors: Black, light blue, blue, purple, silver, and sea green