In Honor of Leto, the Mother

As one who loves Apollon, Leto has an important place my in home. I am not sure how much worship she gets in modern Hellenismos. It is clear that she had a significant following historically. It is pretty clear though that her worship was inseparable from that of Apollon and Artemis as she is typically depicted in the company of her children, and in one case from Lydia she was represented too with the nymph Ortygia. Her accompanying role to her children in much of Hellas is contrasted by Lycia where her cult may have had a stronger position than in many other places, as her name seems to have translated into meaning “woman”, inferring that Leto may have been considered a goddess of prominence. However, the alternate translation of her name (“Unobserved”)  is also revealing and not unassociated with her role in Lycia and other parts of Ionia as a goddess associated strongly with the underworld. This name suggests a hidden nature of the titanide. As the sister of Asteria, it is quite possible that there may have been some contrast between the bright Asteria, and her darker hidden sister Leto, both of whom were desired by Zeus..one who married him and the other who fled into the sea to escape him and became the island Delos. Such darkness may very well aligned Leto both the underworld and to the dark envelope of night from which light is born. It seems as a matter of coincidence that Leto was said to come from Hyperborea, a land beyond the furthest north (which is in itself connected to long seasons of darkness).

In such respects we can, for the purpose of reconstructing her worship, can probably infer some commonalities between Leto and Persephone, or her niece Hekate. Indeed if we consider for a moment the role that Zeus takes as Chthonic god as her position as one of his earlier “wives” (for which the suggestion on theoi.com that her name Unobservable or To Move Unseen, we may regard this to refer to modesty that is associated with the lives of married women), there may be some early parallel to Hades and Persephone. In the Theogony Leto is specifically addressed as a goddess who is always mild and kind to the deathless gods, which implies to me that she is of such character as one would expect of a hidden underworld goddess…one who is kindly by nature as would be a goddess who receives the dead. Of course that she is poetically often described as being present on Olympos, particularly in the poem of Hesiod in the Homeric Hymn to Apollon, this only seems to imply a retention of her power and esteemed position, as she is the one who receives the bow of her son and unstrings it. She is the receiver and bearer of light. In this fashion I imagine Leto as a beautiful woman, garbed in black or gray, with a sympathetic and kind face. An obscure goddess illuminated only by the presence of her children in whose company she delights. For she never appears where they are not. In the Iliad she is inseparable for the side of Artemis.

Actually when it comes to the Iliad I think we can learn something from the manner in which the gods are paired in the war of the gods that reveal something. Some gods we see nothing if (such as Demeter and Hestia…Hestia perhaps because she never leaves the hearth of Olympos, and Demeter perhaps because she is unaffiliated in such concerns). The lot of gods in whom they are combating is certain quite purposeful. Apollon and Poseidon (whom Homer reminds us worked cooperatively before in Ilium) and have associations with the traversing of the sea and harbors are matched against each other in the quarrel. Athena takes part against Ares, both gods who are esteemed in the art of war. Hera and Artemis are set against each other in which we have the queen of gods and men being challenged by a goddess who is often called queen in her own right and is ascribed as the daughter of Hera by the Thracians. Hephaistos’ fire is countered by the streams of Xanthus. And Leto is set against Hermes, a god whose functions lay in the traversing between the world of the living, that abode of the gods, and the underworld. So for me this pairing is rather significant, even as it is amusing by the fashion in which Hermes yields the contest to Leto refusing to raise hand against her.

I would suggest even that the strange scepter which she is often depicted as bearing resembles both a young plant shooting up, and with its spirals, a labyrinth type pattern of a kind, as a goddess who issues forth the light which returns to us every spring and a goddess of the hidden way. Certainly she must be associated with some kind of road or passage as she herself was made the journey from place to place (in the company of Athena apparently) until she arrived on Delos. This almost chthonic vision of Leto is rather complimentary in fact to versions of myth which assign Artemis’ parentage to Demeter (as another chthonic goddess) and Poseidon. There seems to be a certain assigning of the earth and the new upwelling of streams in the Lycian account of the birth of Apollon and Artemis (as revealed by Quintus Smyrnaeus in his The Fall of Troy) that speaks of the Xanthus appearing when Leto, in her labor pains, tore up the earth of the plains with her hands.

I also find it curious that in the relating of the gods (with the exception of Athena and Zeus) fled into Egypt from Typhon, that Leto become a shrew-mouse. Interesting the mouse and the mongoose snake (the mouse representing night and the snake representing day) were both directly associated with the Egyptian Wadjet who was revered as a goddess of childbirth, protector of children, a goddess associated with justice, and eventually considered the protector of kings. She is also a nurturing goddess as the one who helped Isis nurse Horus, and was associated with plant growth–specifically the papyrus. For a general overview on Wadjet you may wish to read further here. If we consider that there was some alignment in Hellenic thought between Leto and Wadjet we are seeing a goddess associated with divine rulership, law, death, and growth…all of which is compatible with my vision of Leto, and my theories on the relationship between Leto and Themis who bore such similar sons, and the latter who nursed the son of Leto on ambrosia. The early association between Wadjet and Isis just makes it all the more convenient too.

Therefore if we thought the mouse was an appropriate symbol for Apollon as Apollon Smintheus, we must consider the shrew mouse (the most common species of mouse in Alaska–much to my amusement) to be a sacred symbol of Leto. Likewise this draws some interesting comparisons when we consider that the heavenly axis of her father Koios was the eye of a stellar dragon, which paralleled the dragon of Delphi, the serpent of the oracle last in holding of Phoebe prior to Apollon, and the associations with the serpentine Wadjet, we see a goddess associated with two animals that burrow within the earth, and the latter of which is a creature associated with immortality, it presents us with an interesting chthonic deity.

Yet among the  birds Leto is strongly associated with the stork, as we understand from Aristophanes’ Birds. It is a mute bird, clattering their beaks for communication rather than any kind of song. The clattering sound is rather eerie from what I have heard in their nesting grounds when I visited Morocco, like some primitive primal noise that rises on the air and makes the hairs on your arm raise ever slightly. And like the swans associated with Apollon, the stork is also attached to its mate (and to its nest for that matter). To back up whatever chthonic nature Leto has, the stork has been associated with bearing wealth (which reminds us of Plutus) by some Germanic peoples, and with the underworld by Estonians, and in Baltic mythology has been associated with killing insects and reptiles. Of course sacred birds make an interesting mix as the swan is also associated with Ares and Zeus, so too is the stork also associated with Hera. Overall the stork is representative typically of nurturing parenting that tends to be common of earthly goddesses.

So for a shrine to Leto here is what I recommend. A representation of the mouse and the serpent, perhaps something related to the stork (I have a stork’s feather myself), an image draped in darkish fabric to represent that which is hidden.  I would even add a pair of lights to her shrine to represent the twin lights that she gave birth to for the world. Any imagery related to infants and mothers would also be appropriate. Leto is by far the earthly goddess of mothers, she who receives and gives forth life. Her worship is, and shall ever remain, and important part of my oikos, and it would please me know others are also giving her active worship!

— Lykeia (3/09/2012)

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Arrows

Flying
High over the trees
And striking
Clean through the hearts
Of the young boys

Running
They are running
Screaming in terror
Confused by the wrath
Of a God

Tearing
Straight through
And ripping
The flesh from soft bones
Not yet hardened by life

Falling
Hard upon the ground
So warm
Red and pooling
Soaking in deep

Wailing
Throaty and rasping
Keening to the sound
Of bodies thrashing
And convulsing their last

Silence
Quiet and still
Red eyes
Soaking in a red scene
Everything lost to hubris

— Columbine

All Shall Prosper, In His Name

leto-junto-a-apolo-y-artemisa-1861

“Delos, if you would be willing to be the abode of my son Phoebus Apollo and make him a rich temple –; for no other will touch you, as you will find: and I think you will never be rich in oxen and sheep, nor bear vintage nor yet produce plants abundantly. But if you have the temple of far-shooting Apollo, all men will bring you hecatombs and gather here, and incessant savour of rich sacrifice will always arise, and you will feed those who dwell in you from the hand of strangers; for truly your own soil is not rich.”

Leto ~ The Homeric Hymn to Delian Apollo

~

Many of us spend much of our time challenging our own self worth.  We put ourselves down, thinking that our current skills in any particular thing are below some level that has been lauded by society or community.  We look at the things we accomplish and compare them to the accomplishments of others.  We take our shortcomings into ourselves in such a way that they begin to harm us, rather than provide a starting-place for improvement.  I too am guilty of this.  Although I am able to keep it together most of the time, some days just do not seem like I am getting much of anything substantial done, in regards to the facilitation of my Lord’s worship.

This is because, like Delos Island, I am not rich in the things which are commonly desired by society, nor am I exceptionally skilled in any areas of societal worth.  However, also like Delos Island, I have agreed joyously to host the temple of Apollon.  But, as I am not myself an island or a plot of land, I must keep my Lord’s temple safely within my heart.

And this is the secret of Apollon’s attention and love; those who keep Him always within the core of their being will never be abandoned, for He takes care of His own.  When you shine outwardly the light of Apollon from within, you will naturally attract that which is needed for your day to day care. Trust in Him is the key.  He is the Provider, and you are the one He provides for, out of love, and the duty to protect.

Like Delos Island, we need not be beautiful in a traditional sense, for our Lord sees the beauty of our souls, and the unique ways in which we all express our inner selves.  His love is not always predicated upon what we can do for Him, but sometimes is given simply because He wishes to see us prosper, in His name.  Because we all have jobs to do for Him, whether those jobs are related to spiritual facilitation, or are of a more domestic association, our first priority will be to keep our own hearts happy, and filled with the love He has shown us.  All else comes later, and in many ways, is superfluous.

When we are truly joyous in our worship of Him, we no longer worry about how we are seen by those standing on the outside of our relationships.  We no longer waste our time with comparisons or jealousies.  With trust in Apollon comes freedom from the pettiness which so frequently inhabits our minds, and the world around us.

Within the Hymn itself, we see these thoughts, and others, echoed by Delos Island, as She speaks:

“Leto, most glorious daughter of great Coeus, joyfully would I receive your child the far-shooting lord; for it is all too true that I am ill-spoken of among men, whereas thus I should become very greatly honoured. But this saying I fear, and I will not hide it from you, Leto. They say that Apollo will be one that is very haughty and will greatly lord it among gods and men all over the fruitful earth. Therefore, I greatly fear in heart and spirit that as soon as he sets the light of the sun, he will scorn this island — for truly I have but a hard, rocky soil…”

It is true that our Lord Apollon is very haughty.  It is true that He often lords Himself over us mightily.  Yet, those traits that He possesses are the same traits which inspire Him to defend those who are His, without question, and without fail.  The insecurities of Delos Island are highlighted here, as well. She fears that He will scorn and abandon Her once He has seen what the world has to offer Him, in comparison to what She Herself can give.

But, the Island has nothing to fear, even without Leto’s pledge that Her Son would hold Delos as the heart of His future cult sites.  She need fear nothing because Apollon always accepts the sincere gift of oneself generously.  If you would only love Him, He will return your love a thousand fold.

Delos was the first to honor Him thus, with a place to call home, a place to rest and to administer to His people.  Delos was the first to open Her heart to Him completely, and the first to be held up in honor, as an example of the devotion that we too must display.  Delos Island is truly a marvel of selflessness, trust and compassion for all Apollonians to emulate.

By the example of Delos, we see that we are enough, that our contributions to Apollon’s honor are enough, that our skills, though always improvable, are enough at the current time, in their current state.  Improvements should be made not because we believe that we are presently unworthy, but because we strive to be better.  Knowing that one may always improve upon their life and situation does not mean that one should first consider themselves lowly, because the truth is that we are enough.  Indeed, you are enough.

— Columbine

Misconceptions of Apollon

This post is entirely inspired by a similar post on Hera that can be found here.

Understandably I will not be able to touch on each and every single thing that I have come across, but I will give it a go to touch on some of the biggest misconceptions that bug the hell out of me. This is developed from my own studies and devotion to Apollon.

1) Apollon is a god who has never married and is unfortunate in love

This is usually inspired by such myths as Daphne, Hyakinthos and a number of other myths in which those loved by Apollon die. However, this seems to not take in account that Apollon is effectively “married” to all the Muses, which is explained mythically that Apollon chose to not marry any of the Muses because he could not decide which to marry over the others (my paraphrase). In a sense this leader of the Muses is the spouse of all nine, which also reflects in the number nine that is sacred to his domain. This statement also tends to forget that Apollon did marry, he married the Thessalian princess/nymph Kyrene. Aphrodite prepared their marital chamber in Libya where he carried the maiden off to, and in her arms she was said to have bore three sons, the most notable of which is Aristaios, the divine shepherd who is often regarded as an offshoot of Apollon in that he is called by a cult title “the shepherd Apollon”. the fact that many of his lovers die has more to do with the function of his domain, that he is a transformative king who purifies through death. In such cases we have Daphne immortalized and cherished in the form of his sacred tree, and Hyakinthos in scenes in his Amyclaean cult which depicted him, on the throne of Apollon, ascending to the heavens upon his death. This hardly seems like Apollon is unfortunate in love, nor that his lovers are unfortunate themselves either. Rather it seems quite the reverse.

2. Apollon is all sweetness and light, a proverbial angel with his lyre.

The boy band image of Apollon is amusing at best. This was mentioned to me and I do agree that this is somewhat popular misconception. This goes to the extreme of ignoring some of the traits of his domain, particularly those which concern death and destruction….which is funny considering his name refers to “destroyer”. This is often done by those who like to divide a polar contrast between Dionysos and Apollon, ascribing the more passionate, dangerous and destructive features to Dionysos and rendering Apollon in some whimsical tame light that is all sobriety and intellectualism. the fact of the matter is that Apollon is uniquely connected with death and we see in Euripedes Aclestis a conversation in which Thanatos states that the law of death is that which is under the government of Apollon (and thus ironic to him that Apollon wished to act against it). Likewise we know from Pausanias that Hippocrates dedicated a bronze figure of a rotting corpse to the god. Not to mention several cult functions which are addressed to slaying and burial.

3. Apollon is a polar contrast to Dionysos

This is connected to the previous post and perhaps one of my biggest pet peeves. These will be people who say give wine to Dionysos and nothing but water to Apollon because Apollon is a sober god. This appears to be most drawn from a statement that I came across in the past regarding the prohibition of wine in the Pythian games. In actuality Apollon has been described anciently as the ivied, and the bacchic, alluding to a closer relationship with Dionysos then this perception would give credit to. There are also descriptions I have come across in scholarly articles which discuss portrayals of Apollon and Dionysos drinking together. Evidence goes also that Apollon is not hesitant to wine to drug the Furies who are pursuing Orestes. All this taken together, and the absence of any mention in ancient literature that Apollon has an aversion to wine, and rather a loose correlation in the opposite with Aristaios mixing wine with honey, certainly indicates that Apollon enjoys a particularly close relationship with Dionysos. This idea carries further with Apollon being leader of the chorus for the mysteries of Dionysos and leader of initiates in this fashion. Rather than being an opposite of Dionysos, or any concept of Apollon and Dionysos being polarities, Apollon plays a strategic part in the development of Dionysos mythically as the first to greet the young god and within his mysteries. The Thyiades are a great example of this as these women are named after Thyia, the first worshipper of Dionysos at Delphi, who is also ascribed as being a lover of Apollon. More so the division of Apollon as a god of civilization and Dionysos as a god of the outlaying places that is a popular form of this idea of polarity is also ridiculous in concept. Dionysos isn’t absent from the cities, and Apollon, while part of the creation of civilization, is very frequently associated with places in far outlaying areas as many of his holy places are located high in the mountains, in swamps etc. In fact he has many epithets which state a very rustic character as pastoral and shepherd god, and like Dionysos appears horned (though with the horns of a ram typically). Apollon and Dionysos also share iconography of serpents, goats, bulls etc. the close relationship between the gods is also indicated in the Karneia which is a festival of Apollon celebrating the first harvest of grapes, the beginning of the season for the sacrifice of Dionysos, and images of Apollon from Rhodes that I have read about in which Apollon is a winged figure with grapes hanging from him. This goes well with the function of Apollon Smintheus in which Apollon in the summer slays the mice that feed on the young fruits. In Rhodes Apollon and Dionysos are said to work together in this. Here we see the true form of the relationship between Apollon and Dionysos in which Apollon is a protective and nurturing figure toward Dionysos.

4. Apollon is a “young” god, and usurper.

Though Apollon is depicted perpetually as a teenager and is concerned with transitions of youth, and is best known in his incarnation as the son of Zeus, the idea that Apollon is a young god who usurps the powers of other gods is rather curious. This is based on a literal take of the myths that Apollon, in the most popular accounts born of Zeus and Leto, is of the younger generation of gods who is given reign over things that properly belong to other gods by his father. Even those who are happy to embrace ideas of Dionysos, Pan and other gods having a more archaic root, will frequently still regard Apollon in this light of a more junior deity. However Pausanias tells us that this is not the case in that in Arcadia, in a temple whose practices a mirror of those at Eleusis, Apollon and Pan are hailed among the eldest of gods. Apollon also appears in Samothrake as father of the Korybantes who cared for the infant Zeus. The idea of Apollon as usurper tends to be placed in relation to his worship at Delphi, which has a history of previously belonging to Ge, Themis, and Phoebe, and in regards to his relationship with Helios that he has been periodically confused with Helios in later periods. This idea I find to be a tragic misunderstanding of the function of Apollon in these cases. With Helios they share a close relationship because Apollon’s domain is that of the light, which carries both dangerous and beneficial properties, and Helios as the entity of the physical sun, is himself producing light. The sun falls into the company of Apollon by this association. Apollon is a higher governing force of light bearing bodies to which the sun belongs, and is thus perhaps the divine being who has the closest relation to Apollon among those gods that fall into his company of his domain. Meanwhile, Apollon’s place at Delphi is a development in relation to his cosmic function in relation to logos, specifically though as the part of logos that functions as truth. This makes him, in his incarnation as the son of Zeus and Leto, the perfect deity of the oracle, a job that cannot be assigned to any other as Apollon tells Hermes (who also functions in a different form of logos) in the Homeric Hymn to Hermes. Apollon thus is acknowledged in the myths associated with his rearing, with the knowledge of the earth and also by divination via the bee nymphs of Parnassos. Therefore the presence of Apollon at Delphi represents a shift from the dream-oracles of Ge, which we know of in a version of myth that Ge had prophecies sent through dreams when Apollon took over the oracle. Apollon with his profound connection with the earth, which is expressed in epithets which celebrate him as being of Ge (described by Pausanias) and imagery of Apollon libating to the earth, is the evolution of the arcane hidden knowledge of the earth (something Zeus also knows during his foster period) as the voice of truth delivering directly the will of Zeus and the gods. This represents an evolution of the form of knowledge and how it is received and transmitted. In this respect, in this higher form of transmitted knowledge we also find Apollon closely connected with education in general.

5. Apollon is a “woman-hater”

I don’t come across this very often but when I do it irritates me more than I can say, this is often paired with Apollon being presented as a violator of women. A good part of this is represented in how people perceive the myth of Daphne, usually because of a literalist interpretation of it. He is then viewed as nothing better than a rapist. This represents one of the biggest problems of taking the myths literally, because what should be a beautiful symbol of the transformation of the soul, and most holy symbol of his work in the cosmos, becomes perverted in such a tragic manner. the fact we are speaking of the gods, who are not people, means that we must take into account that their actions have to do with more than inter-human relationships. And when it comes to this action upon mortals, the divine seizing and penetration is something which can be alarming, fierce, and descend upon one without warning. Thus we see Cassandra, when caught in her prophecy, appealing to Apollon who embraces her fiercely. It a most holy matter, and not one to be tarnished with an overlay of mortal inter-relationships and morals….because it is not a moral matter but a deeply spiritual one. Of course the idea of Apollon being a woman hater is also used by many folks who are deeply committed to the idea of “herstory” as explanation for the myth of the dragoness Delphinia. Of course whenever this comes up it is quite erroneously accompanied with statements that this was a goddess of Delphi rather than a guardian dragon (very much not uncommon in Hellenic myths for several important things had guardian dragons and Delphinia was not only guardian of the oracular water of Castalia, but also in the war with Typhon guarded the sinews of Zeus when Typhon cut them. Her destruction is part of the divine myth of Apollon and part of the sacredness of Pytho, the land of Delphi. I have my own ideas about the connection between the serpent Delphinia and her relationship with Phoebe in comparison to the heavenly serpent whose eye is the polar star which is associated with Phoebe’s husband Koios. Apollon inherits the axis of both the earth and the heavens from these his grandparents, and the sacrifice of Delphinia (whom he does pay funeral respects to and is revived in iconography as being eternally present at Delphi as a divine serpent of Apollon) plays an important part of this. This would then logically be shown in the idea of Apollon being given Delphi as a birthday gift by his grandmother along side the common myth of the dragoness Delphinia. As with all myths one is not more “correct” than the other but rather should be taken as different expressions of the same spiritual idea. It is thus hardly female-hating. But again because Delphinia is a female dragon and because Apollon slew her, this breeds some problems in literalist readings.

6. Apollon and Artemis are polarities

Umm no. Just as in the case of Dionysos, this is not true either. In fact Apollon and Artemis share a number of conjoined functions, far more than polarities. There are those who try to say that Artemis is a huntress and Apollon is a sportsman archer, and yet this is not factual because Apollon has epithets which call him a hunter and had dedicated to him in his temples shields of hunters, as well as weapons of hunters (such as the spear which slew the Calydonian boar). Though Artemis is acclaimed more as a huntress than Apollon appears as a hunter in popular literature, in cultic evidence this is not the case. Apollon and Artemis are also both dancers, and both players of the kithara. In many cases we see Apollon was masculine forms of the names of Artemis, and Artemis with feminine names of Apollon. Both are deities associated with nurturing young, and both associated with life transitions, as well as being leader deities and gods of light. The division of Apollon as sun and Artemis as moon as an example of polarity is quite popular too, and yet Apollon has several major points of connection with the moon itself, particular as Noumenios, lord of the new lunar month and many festivals which culminate on the fullmoon in the Doric calendar. Whereas Artemis also has several associations with sunlight. Therefore rather than opposites it is more constructive to see Artemis and Apollon, born of the same womb, as cooperative divine units in the cosmos on par with that of Zeus and Hera who are also expressed as divine twins as air that accompanies aether. They also enjoy many of the same symbols in the horned deer, the goat, the bow, the laurel, the arrow, the torch etc.

— Lykeia

Looking For Mythic Truth Behind Apollon’s Loves: A few notes

Among the Deathless Ones, Apollon is probably the one whose reputation has been more tarnished by modern rereadings of the myths.   Today He is often remembered with adjectives like petty, temperamental, indifferent to mortals’ plights, fickle… when He is not equaled to Nietzche’s ideal of strict and frigid rationality,  He’s frequently defined as an adolescently immature and delicate god, going from one extreme to its polar opposite.

While each one of those stereotypical representations is distant from Apollon’s true nature, He is indeed a god of sharp-edged extremes, as it is beautifully demonstrated by his two main attributes – the lyre and the bow – showing that compassionate generosity and ruthless violence find both expression in His character.

This is more evident than in Apollon’ s mythic stories of tragic love.
We have three themes that recur in Apollon’s loves – the first is the ‘escape’, where the god pursues – and most specifically, He chases, like a predator, like the wolf that is His animal counterpart– the object of His love until He catches up to Them, eventually. The most famous example is the nymph Daphne, his very first love, who to escape Him is  turned into a laurel tree and still  is chosen to be His crown, but Kastalia’s story has just the same meaning. Like Daphne, Kastalia is a nymph who spurned Apollon’s love transformed herself, turning her body into a pool of water to escape his restless pursuit. Yet, her waters were the ones who inspired Delphi’s priestesses and there they were used to cleanse the temple. Therefore she too became a powerful tool  of the god, regardless her initial resistance.

Kyrene’s case is a little different  – the Thessalian princess is seized and spirited away to Libya, where  she gives into Apollon and conceives with Him a son, yet the basic construct of Apollon’s pursuit  remains – there’s a sense of the lover being ‘hunted’ from the god that I found to be common enough among Apollon’s chosen servants. And indeed how can one to not run from Apollon, when first faced with the unrelenting focus of the god’ interest? There’s an intensity to it that burns and consumes and while you are inevitably drawn to it, like a moth to the flame, the instinctual response is still ‘run or you will get scorched’.

The second pattern is maybe the most evident – death and transformation. If you look to Apollon’ s involvement with Ciparissus and Hyacinth in particular, the god’s presence and love somehow triggers their death and following transfiguration into plants that reflect their deeper nature. Hyacinth and Ciparisuss are immortalized through and in Apollon’ s love- He leads them to the death of the old self and into enlightenment,  making them an example of what happens when one’s calling to Apollon is embraced completely and to the god’s satisfaction.

The third pattern has the god offering gifts to His prospective lovers and turning them into curses when they don’t maintain their promise of offering themselves to Him in return. Cassandra receives the gift of prophecy and The Sybil an incredibly long life, yet they both refuse to give themselves to Him.
Faithful to His role of preserver of lawful order, Apollon stands by his side of the contract and instead of withdrawing those gifts, He makes impossible for Cassandra and the Sybil to enjoy them. In those instances, I see Apollon acting more like a judge, punishing those who dare to break a contract with a god, than a jilted admirer, especially looking at how for Olympians, hubris was the very worst sin one could commit toward deity.

On a more figurative interpretation, we might say that as a deity responsible for the Mastery Of Self, Apollon acts opening His followers to the development of their best qualities in service to their community –both Cumae’s Sybil and Cassandra were seers and His priestesses, after all- so to shut the Self out of His favor has those qualities He has bestowed on it grow wild and out control, so they are no longer a tool of improvement for the community but a reason to be isolated from it.

This is not a denial of His harsher tempers, naturally. The flaying of Marsyas  is not the only mythical proof of Apollon’ s capacity for ruthless punishments – Koronis ‘s betrayal with the mortal Ischys is soon rewarded with death, upon His request if not by His hand. That episode contrasts somewhat with Marpessa’s and Chione’s examples. As Apollon is shown to share Chione freely with His brother Hermes and to accept Marpessa’s choice of the mortal Idas over Him, the purpose of Koronis’ story is not merely portraying  Apollon as a possessive god (although He’s quite able to claim the major part of His devotees time or attention).  As it suits to someone who is directly concerned with law-giving, the worst of Apollon’ s  rage is reserved to those behave falsely and /or with hubris.

Sources: http://www.theoi.com/Nymphe/NympheKastalia.html
http://www.theoi.com/Olympios/ApollonLoves.html

— Seastruck