By Lykeia, Jan. 21, 2015
Inspired by a friend’s comment today, and the fact that at sundown tonight we celebrate the Noumenia and so honor Apollon Noumenios, I wanted to take a moment to talk about giving offerings to Apollon. I rarely have given much consideration to touching on this topic because I figured that this was something so rudimentary that most of my readers would not be interested in it. However, it turns out that may not be the case and there may very well be *someone* out there who will find it helpful who are feeling a bit lost in the establishment of their relationship with Apollon through offerings in worship.
Unlike most of us who may have grown up going to church in which services comprises solely of singing and listening to a pastor (more or less) with the occasional communion type of service perhaps thrown in which confirms the Christian believer’s faith in their god and is their manner of giving worship, the presenting of offerings to the gods is perhaps the most core part of worship in polytheism. Music is of course not excluded from worship, nor is dance and other forms of devotion, but usually speaking there is some kind of substance offered in which you are “feeding” the gods. This is an important basic part of establishing and developing and confirming your relationship with the god or goddess in question. This offering is often encased in traditional methodology of procedures, gestures and symbols that tends to differ from culture to culture. For instance, Roman worship tends to be a lot more complicated in its formulaic manner than Greek worship. During my brief time with Nova Roma I did memorize each of the individual gestures performed for approaching the altar, addressing the god, praying, and presenting the offering. In contrast the Greek rituals have two primary gestures dealing with communing with the god: one in which the hands are raised palm up (although some say that to chthonic gods one should have the palms down), and another where the hand is raised above the head in a kind of crowning gesture. Unlike the previously described Roman gestures, these gestures are not sequential but are alternative…either one works.
Of course the ritual for individual gods is within the same traditional cultural context that is used for other gods. That is to say, there is little variance in how one would give offerings to Apollon than how one would do for say Aphrodite, Athena, Zeus etc. The ritual construction can be seen as the common road of spiritual travel in which the gods have a history of recognizing. There of course may be personal variations, but general the whole of the ritual in its skeletal form looks pretty similar. The only thing that I tend to leave out as a solitary worshiper unless I am worshipping in with a body of people (which has happened a total of one time) is the procession. Likewise if you are doing rituals in your home which has a permanent home/altar for the gods there is less necessity for purifying the area as our altars and shrines tend to be purified with our household in monthly rites at the Deipnon.
With Apollon the matter of giving offerings and worship gets a bit more complicated because it depends on where you are giving the offerings. Many people who are devoted to him will likely keep an individual shrine or altar for Apollon in addition to his usual place in the household before the doorway where he is represented as upright stone (traditionally a black stone…I am still looking for the perfect black stone myself and so using a white quartz stone instead at the moment). At the doorway the manner of giving offerings to Apollon tends to be rather simple, usually involved garlanding his stone in some manner, usually with laurel, and pouring libations directly over the stone. This more simple method is largely due to being a daily activity as people are entering and leaving the household to protect the integrity of the household as well as the person who is leaving/arriving. There is no flame lit, Apollon is a constant presence residing there in that stone by his own representation as being the very form of the stone itself. This is a trait he shares with Hermes as well as a couple of other gods who have similar forms. As the god is installed at the property and is functioning at the property, feeding him there at the stone reaffirms his establishment there and his protections there. It is done on behalf of the household in general, and really is not part of building one’s own relationship with him in a very significant way.
In the case of a shrine or altar in which you are inviting the presence of a god in your ritual is where you come down to the regular interaction and relationship building with the god. It is here where you are presenting gifts to the god to establish Kharis with him. For most worshippers this may be irregularly, at certain important feasts and holidays (such as in celebration of his birthday), for those who are devoted to him or are interested in developing their relationship more with the god this may be weekly, monthly or daily. Although the stone for Apollon Agyieus is still normally adorned and receives libations, the actual ceremonial offerings for Apollon Noumenios occurs within the household. I would consider this a kind of banquet of Apollon in which Apollon may be a primary deity being honored…a guest of honor, but in which all the other gods of the household are also provided for.
At this point I should divert off course for a moment and talk about offerings. In many cases when giving offerings for multiple gods it is best to give offerings which are satisfactory to gods present, unless you have the ability to give a separate offering to each god. Usually for Hellenic gods this comprises of fatty meats and bones, wine and breads/cakes, in addition to some kind of fumigation of incense (typically frankincense tends to be the usual). Of course in times where I am giving individual offerings to Apollon I may include other incenses he seems to favor (such as cinnamon, sandalwood and rose for starters) and can give libations of things such as rum, honeyed-wine and mead. Raw honey and milk are also great offerings for him. Now some like these brought to the altar with all pomp in special decorated vessels, which is a lovely idea and special vessels can affirm who the offering is for in a very visual symbolic manner (and a reason why there are historical cases in which special cups and vessels were reserved for the worship of specific gods..more commonly in Roman worship but not rare in Greek worship). At best I have special offering bowls that are permanently on my altars. If you are not doing some community procession to the altar I tend to recommend you already have the vessels of the offerings on the altar or on a table near the altar (I use my coffee table as my altars are all accessible from my living room at this point where I am living).
As I said before, if you are giving worship in your house purification of the area, unless there is some specific reason why you feel that the sacred space may have been violated or polluted, is not necessary as it has been taken care of with the vigorous cleansings and purifications that occur monthly. However, if you are in a new space or outdoors, sprinkling the area with khernips, lustral water, is a good idea. Also performed is the scattering of barley. Indoors this tends to be messy and problematic, so I have adapted this custom to a jar of barley on my altar which, before the ritual begins, I remove the lid and take out a handful of barley, offerings prayers to the gods as I let it fall from my hands back down into the vessel on the altar…symbolically dropping barley grains down on the altar. This purpose of the ritual act is the same if carried out a bit differently. Afterwards the flame of Hestia is lit, she who carries by her flames all offerings to the gods. Again, in household worship this tends to be symbolic as most are not in position to burn food offerings in the course of ritual, but does work in offerings of incense as a manner of releasing the perfume into the air for consumption by the gods. And before you start thinking that as Apollon is a fiery deity himself and therefore offerings to Hestia is unnecessary, I will be quick to point out that Apollon himself adores Hestia (as demonstrated in the myth in which he and Poseidon competed to marry her) and she had a prominent place of honor at a large hearth within his temple. Hestia’s presence is absolutely necessary regardless.
When it ritual there is a part of calling the attention of the god, and a secondary part of presenting the offerings. The former part tends to be stressed the most in literary works. Ancient plays often have lovely invocations of the gods in which the worshiper calls on the attention of the god in question. People often feel inspired to use these traditional prayers, whether particular invocative lines from a play, or, more often, from actual poems and hymns penned for the gods by ancient poets. The Homeric hymns commonly get used, as do the Orphic Hymns. And there are folks out there who are writing modern “hymns” for the gods that can be seen all over the internet, myself included! If you want to do it off the cuff, or compose something yourself, these usually include a greeting to the god, an adoration of the god (recognize the power of the god), recognition of a time that the god has helped you (if applicable), and other praise and invitation (the last part is especially noticeable in the Orphic hymns. This part never gets old, and becomes part of the most meaningful part of your worship. I go back and forth myself between off the cuff and ancient prayers as I feel inspired to do…and often I will do both! You are not only entreating the god to be present but also welcoming him, and celebrating his presence.
Manners of presenting offerings tends to vary from worshiper to worshiper. It seems as long as you are calling attention to the deity that you are offering this item on behalf of yourself (presumably your household too) and anyone else you wish to include, that this works well enough. I tend to go off the cuff with various poetic things that come to mind when I am giving offerings, but people who are just starting may be more comfortably having written formula that will make the offering meaningful and less nerve-wracking. Generally speaking it doesn’t have to be anything more than this:
” O lord Apollon, (fill in any meaningful epithets you want to address), please accept this offering of wine/incense/cake/etc that you may feast upon it and it may please you. Accept this offering I present to you on behalf of myself, my household (fill in anyone else you want to include) in thanks (you can include specific things you are thanking him for) and that you continue to bestow your blessings upon me/us (can also include anything in particular you need his help with more immediately).”
The offering is either traditional, or can be anything that you find is particularly pleasing to the deity. For instance it is usual to have some kind of pork offering for Apollon Noumenios, which may or may not have also something to do with the sacrifice of pigs to Apollon in the Eleusinia. As your ritual is about your relationship with the god, the only mandatory thing with offerings is that it is something the god enjoys, and if said god has any taboos on certain types of offerings that these are observed. And no, there is no taboo against alchohol with Apollon, as I have said before in my blog (and will readdress here) this is an assumption usually based on a particular rule regarding the Pythian games mixed with Neitzche dichotomy ideas where anything of Dionysos would be offensive given to Apollon. There is nothing, however, to support this and I have found this is definitely not the case…especially not for a god that the Orphic hymns call Bacchic.
After the offering you can include any kind of devotional activity to honor the god while he is present at your ritual, this often includes singing (or some form of music), dancing (my preference), or any further gifts you want to give or anointing of the statue, or any dedications you wish to make. This is the celebratory/festive part of the ritual if it is being done for a festival or any kind of special occasion (or if you just really want to just because). This is often a good time to focus on what form of the god you are honoring and for what purpose (in which most events ongoing would have been tied to this concept).
I do want to note that if you are including other gods in the ritual, which is common, that in my experience it is best to include them before Apollon (or whatever god is the primary god being worshiped), in that manner while you have invited and given offerings to “guest” gods and goddesses, the rest of the event stays on target of the main deity in question. The occasion remains about him while the other gods get to partake. For myself, I include the gods of the Orphic month that I am worshiping in and Zeus and Hera usually.
Finally the ritual concludes with a final offering to Hestia in thanks to her.
Well that is about it in a nutshell. If I have forgotten to write anything down I do apologize, but mostly I hope that someone has found this helpful!
The Stepteria has three principle things going on…set aside the whole fighting a dragon/monster scenario. Really that has little to do with it. Dragon is what nature designs its nature to be. Being harmful to people is a side effect of its massive territorial nature in western myth (as would be the consuming of livestock). Delphyne is neither a god nor a man. Typhon, whom she reared at the request of Hera, was evil, because he was not a dragon or a creature of such innate nature. As the child of god, while the way he reared may have ruined him in many ways instilling in him a destructive lifestyle, he was of a higher state. He was of the divine stock, whereas Delphyne was a creature of the earthen stock. The Erinyes are not exactly pleasant and are considered pretty baneful but they are not considered evil as the do as their nature dictates that their role in the cosmos is. Dragons do as their natures dictate that they do. So set Delphyne more or less aside in the specifics of being a monster (something which distinguishes her from the other Python who looted pilgrims to Delphi). Apollon slaying her was not personal, but a matter of just what he did…as was the purpose of decaying her on the ground.
This leads me to the first point. Delphyne in many ways represents the purpose of Apollon as Pytho, the decayer. He frees the spirit from the miasma that has attached to it simply from life. He frees the soul from the burdens of its life and form. The most expedient way to do this was by burning (hence we see early practices too of funeral pyres being used). However painful it is for us, it is a liberation. And how liberating it is for us, it still instills grief among those who are left behind. Why would the residents of Delphi have funerary rites for Delphyne if not to appease her and a sacred relationship with her that they benefit from. Her bones and flesh literally becomes the sacred precinct. She is transformed into a guardian spirit of the precinct by all of this. But all it carries certain ramifications….and his own purifications for having to deal intimately with it is part of his cycle. I would say that Delphyne allegorically takes the place of every innocent life he slays out of his natural role.
This is the second point. Apollon exacts nature’s laws in which Thanatos operates, in that which is born and lives must die, that which is miasmatic must be expunged for the welfare of all. Stepteria ought to make us deal with very harsh realities about our own natures and that we have our own “impure” inclinations that are just part of being living beings. And that at the end of our days we will have to lay down to rot in order to be freed and progress. As such this cycle with Delphyne purifies Apollon by the river Peneios and by Daphne for his duties in nature. There is a reason why Apollon is associated with so many purifying agents…..it is often because he himself is need of their use prior to anyone else having their use available to them.
Lastly, it is a recognition of transformation and change. It is unyielding and always eventual. There is nothing evil in the act of destruction but it is a necessity with its own consequences within nature. We cannot find against it, but ought to celebrate it even as we mourn for it. Change is hard, but it is a blessing even if it doesn’t appear so. That Delphyne’s bones and ashes were used to make the foundation of the sacred precinct of Delphi we can not a punishment (and while Apollon did punish Telphousa in myth, there is really no indication that his battle with Delphyne was a punishment but rather the movement of forces.
By celebrating the Stepteria, we see that it is aptly named….the crowning festival. This may seem at odds with the rather downer mythic component of exile. In reality it stresses victory. victory of the god yes, but also a kind of spiritual victory. We ask that the god crown us, that the god slay us, destroy us, and remake us by cleansing us. The boughs that were gathered likely to crown heroes from the Pythian games probably has the same emphasis. The proof of worth, the remaking of the self to be crowned heroically to dwell among the blessed. Stepteria is a most holy sacred festival of our lord even as we grieve and purify as we await to celebrate his return. We identify with Apollon and with the serpent.
Following the birth of Apollon during the Delphic Polythousia (or the Theban Prostateria) that occurs on the 7th day of the Delphic month Bysios (derived from Pythios) or the Theban month Prostaterios (Anthesteria to people who are only familiar with the Attic calendar lol) in the this month following (reminding you all that I am a month ahead of most people by my calendar since I celebrated Poseidon II last year) this month (Attic Elaphebolia) honors the slaying of the dragoness Python and the narration of the myth of the return of Apollon next month.
For those who are not familiar with the myth, Apollon following his birth, arrived at Delphi. There are two variations of this myth. One in which he has come as a grown man, and another in which he and Artemis are carried to Delphi by their mother. There he encounters to the guardian of the stream Castilla. In the Homeric hymn to Pythian Apollon we find a description of Delphyne as a great bane of a creature who is a plague bringer and devourer of flocks. Apollon slays her either with his golden sword or with his bow, either alone or with the aid of his sister (as all of these versions exist). He (or they in the case of Artemis as well) departs Delphi in sorrow, weeping in his exile. Myth has it that as he leaves for Hyperborea that his tears fall as amber on the earth.
However in the Stepteria we have the program of the slaying of Delphyne acted out in which the youth, standing in for Apollon, slays the dragon. It has been suggested by scholars that this may have either been by throwing a live serpent or effigy of a snake into a structure to burn to death as Delphyne was consumed. So doing, he would flee immediately, taking no part of food or comfort. There he would be at the mercy of strangers as he traveled from town to town with his attendants, acting the role of an outcast in exile before finally arriving at the Tempe Valley. There he would be purified by entering the laurel grove and would cut branches from the sacred laurel at the side of the river Peneios to return with them to temple around the time of the spring equinox to the temple with great celebration.
For this ritual, unless you have a sacred river and laurel trees to act out the exile on a small scale (or the means for roughly a month of camping) the best way I have found to celebrate this ritual is to praise Apollon, the slayer of the serpent, to invite him of the golden sword to liberate and free, to destroy the miasma that infects our homes and cities and regions. Invite the shooter from afar to pour out his arrows as he begins the season of his return. From paper make a small serpent (or out of any other flammable substance) and set this in a fire safe bowl upon your altar, as you do so lighting it on fire as you praise Apollon as purifier and averter of evil, praising him for being Pythios, who causes things to rot and pass away to release all things for new rebirth. You are welcoming here too the dawn of spring as you destroy the fortifying wintry dragon. I then follow this with grieving for the exiled lord Apollon, and grieving for the death of the dragoness as was carried out in Delphi. I pour offerings upon the earth for her even as Apollon does to appease her spirit as he flees.
The ritual should be finished with a simple meal, the fair of exiles without friend or shelter, relying on what little they could manage. A humble meal should follow. Tonight we are having some chicken and roasted potatoes. Simple fare without extras or indulgences. For seven days then I pray to Apollon for his return. On the 21st day of the month that is sacred to him I enact my own ritual that I call the Daphneaia which is about his entrance into the holy grove and his purification by the river Peneios and Daphne. Until then it is a time of reflection, awaiting purifications of the Daphneaia.
Post Ritual Update:
This year I did something a bit different. I had burned the paper serpent in a brass incense burner bowl and watched her dissolve into dust from the flames even as I prayed to Apollon. I had forgotten to mention above that it is appropriate to read from the Homeric Hymn to Pythios, which I did reading the segment of her destruction. Following her destruction I pray to Apollon that that which is miasmatic, that which breeds evil is not in and of itself evil in all entirety and that he cleanses and purifies all things to release us from the bonds. I lamented for Delphyne and lauded her place that she gained as guardian spirit of Delphi as upon her bones the precinct rested. I poured the libation, not directly on the earth this time, but upon her ashes (which will be disposed of upon the earth at some point this evening), lamenting her death as I did so. I then followed as my usual lamentation for his exile that he shall not be among friends, that he departed for the far lands and left all bereft of his presence as he attends to his blessed cleansing.
I then played my wooden flute for Delphyne. In Delphi the youth representing Apollon would as Apollon play the flute for Delphyne as Apollon was said to have done. Its long mournful tones singing to her passing and mourning too his banishment from the company of men.
In the end there are many ways you may come up with to celebrate this festival that will all be spiritually fulfilling and meaningful.
First, you just gotta love how dysfunctional Hellenic calendar systems are. I am celebrating this month what is usually called by the Hellenic name Anthesterion but I call by the Boeotian name Prostaterias, whereas others celebrated Poseidon II this year and are a month behind in Gamelion. So perhaps this post (and subsequent post I may make tomorrow) can be of some use then for others who come along into that month.
It is hard to imagine, where here it is cold and icy, that in other parts of the world this is the lambing season. That Dionysos’ grand festival, the Anthesteria, takes place amid this very early spring atmosphere as winter is ending and the activities of spring are coming in. Yet, as widely known as the Anthesteria celebration is, Plutarch also reminds us that Delphi and Sparta recognized and agreed with the Boeotian birth of Apollon at the Theban Delos (a natural island created between two rivers named Olive and Palm) that also occurs this month. In fact it occurs at sundown tonight.
Unlike the Thargelia which takes certain distinction in the role of Apollon in the ripening grain that gives his birth in May, this early spring birthday of Apollon seems quite appropriate for the herding lord that he is in a sense being born among lambs. Those that see a certain continuity between the cults of Poseidon and Apollon can probably see how this may symbolically echo alternative myths of Poseidon in which he was not swallowed by his father but, as an infant, hidden among lambs. Although there is nothing known of anything dealing with herding beasts in the Boeotian birth of Apollon (really little is known about it other than this information shared by Plutarch) it is easy to grasp upon these theme, especially given the shepherd feasts to Apollon at the end of summer as the god who is born at the time of lambing is the appropriate god to deliver sacrifices to when the spring lamb has been well fed and reared.
Certainly the sacredness of white wool as an emblem of purity would be an interesting association to Apollon as the herder. The same white wool that adorns doorways at the birth of girls in honor of Artemis, Apollon wears in the locks of his hair. Why not, wherein at the Ionian Delos, Leto departs of Lycia to purify her babe that instead his swaddling that the Homeric hymn makes brief mention of was made out of the pure white wool from which he leapt made in full vigor whereas the Ionian myths of Lycia has him a helpless babe until arriving there (contradicting other myths in which the babe at just a few days old went to construct his temple at Delphi. This takes us to two threads regarding Delphi. The Ionian thread in which Apollon, after returning from Lycia grown arrives at Delphi as an adult. And another in which Apollon and Artemis arrive at Delphi as small children/babes with her mother which would reasonably align more with the Boeotian birth of Apollon and the events of the Stepteria at Delphi in the following month in which Apollon slew Delphyne which was celebrated with a child acting as Apollon both in slaying Delphyne and in acting out the exile). It is possible that the Homeric Hymn blends these two elements of his births in its narration of the birth of Apollon making it relatable regardless of the audience. It never mentions the whens are other specifics really. But that is just my personal thought on that.
Still in the question is, what possible relationship did the lambing season and Apollon’s birth have? This is about the time of the year where the moose and reindeer are preparing to drop their calves, so this is not entirely insignificant for me. Up here, long before there are flowers we see the return of migratory critters and the dropping of calves. Here may lay a distinction in view of a migratory god such as Apollon who is associated with such creatures, and vegetation gods who dye yearly and are reborn with the spring (of course Dionysos is an interesting difference here because he is born in the winter still when the ivy grows abundantly which gives him a somewhat distinctive difference from other vegetation deities who adjourn for the winter in the underworld). Remember too that Apollon, as serving as a slave to Admetus, was said to have blessed the herds with bearing twins. This certainly points to an importance of Apollon in the calving/lambing season, that he was conceived as being born among them as one who is caretaker and herder, overseer of the lambing season and the rutting season in the autumn before he himself adjourns away.
So at sundown today and into tomorrow until sundown, I will honor Apollon Prostaterios, lord before the doors, lord of the renewal of life, herder god. I will honor him who was born between the rivers.
Apollon is in Hyperborea, dwelling among the blessed in his never dying, eternal, garden. To imagine this is to see the god in his eternal, changeless, ageless face. Like a flower that never yellows or wilts, ever in its vibrancy of youth and beauty. In some way this seems to be a strange vision for a god who is a god who presides over the passage of time, particularly the flow of the seasons for he, himself, is without season of life. He is not typical of other gods of fruition and harvest which are often characterized by themselves undergoing cycles of dying and birth. But the distinction that should be made here is that he is not the god that is traveling through the passage of the seasons giving his own vitality to the growth. He it outside of it, he is the steward of the passage of life and death for which he is adequately named the Destroyer. He is not a slain god, nor does he bare the mysteries poignant of a slain/sacrificed god. His journey to the other world is independent and on his own power and means rather than transported by an outside agent (ie slayers, guides, abduction etc), in fact he has more than once served the purpose of being the action upon the slain vegetation god. In some mythic variations he is responsible for the death of Adonis, and he can be viewed as a slayer of Dionysos in his position as reaper of the vine as the vineyard harvest begins with Karneia.
He directs the passage of time as we understand from the Orphic hymn in which he conducts the movement of the seasons, even as he himself expresses the season of growth and fruition (or rather that his particular power holds particular sway at this time of the year as opposed to the power of fertilization and sowing of seed that is particular to the season of Pan. As such he provides the necessities for the sustainment of life (through light, harmony, healing, purifications, provision of plenty etc), as well as the passage from life for which he is, as we see for example in the Iliad, the embalmer kindly wrapping the body in linen in respect of the life that once was contained within, the perfumer who anoints the flesh of the deceased to ease the passage of the soul in preparation of its journey, and the guardian of the cemetery where he guards the place of rest, the physical connection of the deceased to the living world. Here too then we see he provides for the soul of the living.
This certainly makes him an appropriate god at the Noumenia every month as the month renews again and a new cycle begins, and for the introduction of the New Year (regardless of what time of the year one celebrates). The Celebration of the New Year commonly on the Noumenia following a particular stellar or solar occasion (ie the Athenian New Year being the Noumenia after the Summer Solstice) would have been naturally presided over by Apollon regardless of whether he was among us or in his Hyperborean garden. This fulfillment of beginning and ends at once and the keeping of the passage of time in his vigilance and under his caretaking for the furthering of life and abundance, including the guardian of such (but as averter of evil and as protector of the tomb) is reasonable that aside from his domestic worship as Apollon Noumenios he is also the god before the road/door. We can understand something almost Janus-like in his nature (although lacking an aged face), and with the new year we can see his presence as one that is purifying and bestowing blessings for a prosperous new year.
Lord of the doorway, lord of keys, turner of time, lord of life (both protector and destroyer), hail to Apollon in the new year’s dawning.
Hail to you my love, my king. O father of shadows, you who recline in this our bower. You have set off your radiant crown and there is not but the golden gleam of your face. Oh king of the winds, you have cracked open the hallowed doors of Boreas, and draw me within your hidden warmth. For the warmth of the world passes, you are the flame that consumes me. Hail to you my love, you who approach with your windy hounds, those griffins of your father. The household shudders as you approach the door, and the ravens cry good tidings.
— Lykeia [Aegletia, Day 2]
Entering into the autumn we promptly arrive, just prior to the sacred mysteries of the Elesinia and the Greater Mystery Program, to another important festival of Apollon: the Boedromia. The festival of Apollon as a god who acts as a savior, coming to the aid of men. This would be appropriate for a god who acts as guide, god of law (that which was first established by Ge/Themis), and purifier that he would be so honored just prior to the autumn mysteries of Demeter.
Naturally the mythic background fits the nature of this festival, as we find Athens beset upon by Amazons to recover their queen. Such can effortlessly viewed as a parallel to the myth of the recovery of Helene or the seeking of Persephone. The Amazons in all their fearsomeness advance upon Athens, into the city, and encamped on the aeropagus, the resting place of the Erinyes in their beneficial form as the Eumenides. Here, just as in Troy where Apollon bore the Aegeus, Apollon sets forth the object of fear to triumph.
The object of fear is an important aspect of the Mysteries. So we find that before the bridge of the initiates, before arriving at the temple of Apollon Daphneios, that they had to confront a fearsome spectar arranged by gruesome masks. Such kinds of masks are incidentally are also found at the temple of Artemis Orthia, even as thus gateway would rest between the temples of Artemis and Apollon.
The play Eumenides happens to stress the link between Apollon and the Erinyes to the point of an overlayering between them. Apollon’s highly chthonic , but not solely so, nature and his own dominance over the action of law and the protection of its sanctity is a common thread, just as is the punishment carried out against violators. However, as Apollon represents the evolution of sacred law from the crude vengeance of the Erinyes, we find conflict and complaint about usurping younger gods. It is in this matter that Apollon works against the vengeance of the Amazons that is all destructive by implimenting fear, but likely also as keeper of mystic law as he works too as guide of initiates, for which purpose he is the lord of the sacred road and ward of the fearful barrier at the bridge as our lord shepherd stands at the boundary. He, with Artemis, leads us to that boundary where we must confront our fears, and overcome them to progress. We are challenged by him. We may go forth as the Aegeans did at Troy, or retreat as the Amazons did at Athens.
That this is the scene of the action of mystic law we find in the very encampments location as the Eumenides sit at their foundations. The very goddesses who recieves by their right a portion of the autumn harvest. The Amazons are dwelling on a mound of fear acting to protect the city, to work against their advancement, and the ill winds of Apollon as fear takes flight driven before him as he shouts Boe. All men shouting Boe.
We vanquish our fear, vanquish the dread of death.
At Boedromia Apollon is seated before us, making us face our fear. We deny the power of fear over us and in jubilation we praise him. For he has aided our souls.