PaganSquare.com - WitchesAndPagans.com

Although writing in patriarchal Greece from a patriarchal perspective, Hesiod said in hisTheogony or Birth of the Gods that Gaia or Earth alone was the mother of the Mountains, Sky, and Sea. With the male Sky she gave birth to the next generation of deities known as the “Titans,” who were overthrown by Zeus. Hesiod’s was a “tale with a point of view” in which “it was necessary” for the “forces of civilization”–for him represented by warrior God and rapist Zeus–to violently overthrow and replace earlier conceptions of the origin life on earth and presumably also to overthrow and replace the people and societies that created them.

With the triumph of Christianity in the age of Constantine in the 4th century AD, Christus Victor replaced Zeus in the cities, while the religion of Mother Earth continued to be practiced in the countryside. Over time, many of the attributes of Mother Earth were assimilated into the image of Mary, and priests began to perform rituals earlier dedicated to Mother Earth, such as blessing the fields and the seeds before planting. In the Middle Ages “the Goddess” re-emerged within Western Christianity in devotion to the Virgin Mary, the female saints, and figures such as Lady Wisdom, at the same time that the history of the Goddess was being erased.

Scholars continue to imagine that bull-leaping games in ancient Crete must have been about power over and domination of a very dangerous animal. Watch this video of a woman with her bull friend and weep for their ignorance. 

"What seems to me even more significant are the ideas behind bull-leaping: the conception of the bull as an adversary, the need to prove superior human skill, the opposition between man and nature. . . If . . . the idea is that the bull is an adversary to be hunted or outwitted, as I have suggested, then it pertains to a domain which belongs exclusively to the male sphere." Nanno Marinatos, Minonan Religion

"As in Egyptian and Near Eastern bull cults, Minoan bull-leaping gave expression to the tension that underlies man's somewhat tenuous mastery of nature, reaffirmed each time human triumphs over animal. Not coincidentally such cults flourish in societies as they become increasingly stratified, as the affirmation of human prowess serves by analogy as an affirmation of social order." Jeremy McInerney, "Bulls and Bull-leaping in the Minoan World"

When I first saw the images of handprints in caves that were sites of worship during the paleolithic era, I suggested that women might have blown red ocher around their hands to leave their marks in prehistoric caves. At the time I thought this was a rather bold suggestion.

Had I been asked why I thought the images were made by women, I might have said that people have understood caves to be the womb of the Great Mother, the Source of All Life, from time immemorial. I might have added that those who performed rituals in the caves cannot have been performing simple “hunting magic,” but must also have been thanking the Source of Life for making life possible for them and for the great beasts they hunted.  Still I am not certain that I imagined women as the artists in the paleolithic caves.

On a recent Goddess Pilgrimage to Crete, I visited the Historical Museum of Heraklion where I saw this beautiful embroidery on silk of a mermaid identified as having come from Koustogerako, a village in western Crete. As it is unlikely that a man in Crete would have known how to embroider, in this case "Anonymous" most definitely "was a woman."

In this thread painting a mermaid surrounded by fish is holding the anchor of a ship in one hand and a fish in the other. In Greece the mermaid is the protectress of sailors. In a well-known legend, a mermaid said to be the sister of Alexander the Great, emerges from the sea in front of a ship during a storm and asks: “Is Alexander the Great still living?” If the sailors answer, “Yes, he lives and reigns,” the ship is saved.

In this image the mermaid–who does not much resemble “the little mermaid” of recent lore—is identified by the woman who embroidered her as: “GORGONA, H THEA TIS THALASSIS,” MERMAID GODDESS OF THE SEA.”

In Greece the liturgies of lent and especially of the week before Easter are known as the “divine drama,” in Greek theodrama.  This may refer to the “drama” of the capture, crucifixion, and resurrection of Jesus and to the suffering of God the Father and Mary.

However, it is important to recall that the drama in ancient Greece referred to both the tragedies and comedies, most specifically, those that were performed in the theater of Dionysios in Athens.  While we have been taught that the Greek tragedies celebrated “downfall of the hero” due to his “tragic flaw,” it is important to remember that Dionysios was the original protagonist of the Greek tragedy: it was his death and rebirth that was first celebrated.

Some have argued that the Greek tragedies should never be “read” alone, for they were always “performed” in tandem with the comedies, which were followed by the bawdy phallic humor of the satyr plays.  The tragedies end in death and irreparable loss.  But if the comedies and satyr plays are considered an integral part of the cycle, death is followed by the resurgence of life.

This is my body, given for you,

This is my blood, given for you.

While these words are the center of a Christian liturgy celebrating the sacrifice of Jesus as the Christ, they are more appropriately spoken of our own mothers. Your mother and my mother and all mothers, human and other than human, mammalian, avian, and reptilian, give their bodies and blood so their offspring might have life. True, mothers do not always make conscious choices to get pregnant, but almost all mothers affirm life in their willingness to nurture the young who emerge from their bodies and from their nests. Had mothers—human and other than human–not been giving their bodies and their blood from time immemorial, you and I would not be here.

The Easter liturgy fails to acknowledge that the original offering of body and blood is the mother’s offering. Christianity “stole” the imagery associated with birth and attributed it to a male savior.

I believe this earth is a beautiful, magical place and that this world is our true home.  I believe life in the body is good. I feel connected to all beings in the web of life. I feel the Blessed Mother always with us, and I know the love of God the Mother or Goddess to be like the love of my mother and grandmothers for me. Though I was brought up Christian, I learned all of these things as a child.

I was brought home from Huntington Hospital just before Christmas in to my grandmother’s home on Old Ranch Road in Arcadia, California.  Peacocks from the adjacent Los Angeles County Arboretum screeched on the roof. There was another baby in the house, my cousin Dee, born a few months earlier.  My mother and her sister were living with their mother. The war was over, and they were anticipating the return of their husbands from the Pacific Front.  My earliest memory, recovered during a healing energy session, is visual and visceral. I am lying crossways in a crib next to the other baby. There is a soft breeze. The other baby is kicking its legs, and I am trying to do the same.  I look up and see three faces looking down at us.  Although the faces are blurry in the vision I see, I feel them as female and loving.