Phosphorus: Treasury Newsletter – Issue 2

Hello again, Sisters, friends and associates!

The Treasury of Apollon’s second issue of Phosphorus has arrived!  Thanks so much for reading, and or subscribing!  We really enjoy what we do, and knowing that it is well-received is the best encouragement we can ever have, in return.  We will attempt to have each month’s newsletter posted here (as well as sent out to subscribers) on the day before each Noumenia.  Hence why we’re posting today instead of tomorrow.

So, Happy Deipnon for today, and a very Happy Noumenia of Theoxenion, and a Blessed Theoxenia for tomorrow!

Hail Hestia!  Hail Apollon!

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Phosphorus, the Treasury’s Newsletter!

Hello, everyone!  The Treasury of Apollon has just begun working on a, perhaps, monthly newsletter that we will distribute to our Sisterhood, and to anyone else who may wish to receive it.  The first issue of ‘Phosphorus’ is kind of an experiment, so we can decide how we want it to look, and what we want to express.

Included here is the link to the PDF of Newsletter Daphneion, 2019.  Sunweaver is our Editor, and if you would like to contribute, or to subscribe or unsubscribe, contact TreasuryNewsletter(at)gmail(dot)com.

Have a Blessed month of Daphneion!

Bi-Yearly Oracular Forecast

Theoxenion through Aegletion, 2019

 

Theoxenion (IV) – Apr. 6-May. 4, 2019

(M) Mu (Γ) Gamma, (Ρ) Rho

“You have begun the work, together, as it should be done, each according to her skill and interest.  Continue in this vein.  Do what is necessary to keep your traditions alive.  The Earth, in all Her bounty, cradles you in Her hands, and you shall receive of Her gifts tenfold, but keep the promises you shall make, for they will be forged in blood and ichor.  Strive not to vainglory, even in your beauty, even in your grace.  Humble yourselves in solace of the peace gained through mastery of your own ego.  Your time will come, My swans.”  – Apollon

 

Pytheion (V) – May. 5-Jun. 3, 2019

(Y) Upsilon, (Δ) Delta, (I) Iota

For the month of Pytheion, we are warned not to allow our work ethic to consume our daily lives and relationships.  There will always be work to be done, and as we are conquering the many fields before us, we may again become consumed with the battles of immediate import.  Yet, we must not walk down the path of self-destruction.  A steady pace, with time allotted for tranquility and normal life, is best.  We do our best work for Him when we are at our best.

 

Batrachion (VI) – Jun 4-Jul. 2, 2019

(B) Beta, (T) Tau, (A) Alpha

Batrachion is the time to sever ties with all which does not, or no longer, serves a purpose toward our ultimate goals.  Between the words, it is stressed that our work for Apollon, particularly, be considered here.  Those individuals who spread toxicity toward our God(s), or who simply can not abide our existence, for whatever reason, must all be left behind.  Once we have done this, our paths will be opened in ways we have yet thought possible.  And beside us, our Prince shall stand, a guiding force, whose light will shine our way forward.

 

Pyrophorion (VII) – Jul. 3-Aug. 1, 2019

(Λ) Lambda, (H) Eta, (N) Nu

We must strengthen our defenses in the month of Pyrophorion, for Apollon warns of imminent malicious intent, which shall be focused upon us at this time.  Stay alert and watchful, and know that all deeds done under the Sun, are seen and recorded.  There is no hiding from the Gods.  And when dust is settled, our patience and strength shall be reward enough.

 

Karneion (VIII) – Aug. 2-Aug. 30, 2019

(M) Mu, (O) Omicron, (Ω) Omega

Karneion may come with a bitter harvest, as the seeds sown by troublemakers in the previous month, though cut down, still leave some residue upon the blade.  We must continue to cleanse ourselves of all ill, and to follow the roads Apollon has paved for us.  What is difficult often offers the most satisfying reward, come the end.  And again, all that is given is what is earned.  Walk in the right, and right shall precede you, in truth.

 

Agetoreios (IX) – Aug. 31-Sep. 28, 2019

(Ξ) Xi, (P) Rho, (Π) Pi

We find ourselves waiting in Agetoreios, for that which we have long hoped for, but, is what we have hoped for truly what is best?  If we have waited so long, why has our idleness not been rewarded?  Perhaps it is time to cease waiting, for what is not ready, may never be ready for us.  Our destiny awaits, regardless.  When we accept this, the goal shall become tangible.

 

Aegletion (XI) – Sep. 29-Oct. 28, 2019

(P) Rho, (Ξ) Xi, (E) Epsilon

In the month of Aegletion, we can see ahead, the fruit of our labors.  We see all the potential, and all that is good within the promises we have made, and kept.  We may seek to quickly grasp what lay ahead, but that time has not yet come.  Patience is still required.  We must allow events to ripen, and roots to take hold.  This will ensure that the tree has a solid foundation, as it grows, branching toward the heavens.

 

[Ktistêsia, 2019]

Ktistêsia: Foundation Day

Foundation of the Delphic Temple

Ktistesia, the Treasury of Apollon’s founding anniversary, and day for the purification of altars.  It derives its name from Ktistes, the title of the hero-founder, one who would have founded a city, dynasty, or institution in times past.  And the One whom we focus this adoration upon, as our Founder, is of course, Apollon, who rules the family that is our Sisterhood.  Ktistesia provides a time for us, as Sisters, to come together, no matter how far apart, to take our places as the first roots in a system that may yet stretch deep and wide across time and distance, should that remain Apollon’s will.

Today is a busy day, so the ritual of Ktistesia is a simple one, which leaves plenty of time for the work of dusting, washing, and wiping altars, shrines and statues.  It is advised that the general house cleaning be taken care of previously, so that your mind may be focused solely upon the spiritual work ahead.  You will need only a small altar, and whatever items bring you closer to Apollon, as well as offerings, incense, and a libation.  You will also utilize your own bodily energy, and sincere adoration of Apollon.

If you are in a group, each person will take another by the wrist of their adjacent arm, as they stand next to one another.  Close the gap to form a circle around your altar (representing unity), whereupon you have laid offerings and burned incense.  If you are alone, you will grasp your own wrists, holding your arms out in front of you, in a kind of circle, as you stand before the altar.  The Ritual Facilitator lets out a cry of longing, and begins to evoke Lord Apollon, in whatever way is appropriate and agreed upon.

The crying out must not be skipped.  This ritual, though brief, is designed to evoke emotion and familial attachment between us Sisters, and between our Sisterhood and Apollon, present and future.  We are emotionally attached to our families, therefor we must demonstrate this with authenticity.  I genuinely love and care for all of you.  I genuinely want all of you to succeed.  And like any dynasty, we should be concerned with the excellence we leave in our wake.  And if we are lucky, as well as persistent, it will build upon each successive generation.

As that is our hope, in this ritual we offer these future generations solace and care, and a place and family with which to unburden themselves, along side us here and now.  We are their foundation.  Let them lean upon us.  Let us be solid, yet flexible within the shifting ground.

After the evocation, and Apollon has revealed His presence, comes time for standing firm.  At this stage of the ritual, still in our circular stance, we simply pledge to be the strength of the Treasury, to uphold its foundations, and to strive toward excellence, in Apollon’s name.  We pledge to hold our Sisters in their burdens, and to keep compassion and tenderness in our hearts.  We pledge to be the firsts roots of the great tree, soaking in the nutrients needed to sustain our Treasury in the years to come.  And we pledge to tend this tree, and to help it to grow tall and outward stretching, as our Lord sweeps across the world.  We are the roots, intertwined.  We are the system than endures.  These pledges may be uttered spontaneously, or memorized as you please.  What matters is that they are heartfelt.

Once the pledges are made, we release our/each others’ hands, raising them to the heavens, in the traditional pose, as the Ritual Facilitator entreats Apollon for His blessings in this endeavor.  And other offerings from the Sisterhood may be laid upon, or around, the altar at this time.  Ritual Facilitator then offers thanks to Apollon for His presence and blessings.  A final libation is made at this time, with all Sisters expressing our gratitude, and hope for our Treasury’s future.  Again, we thank our Lord, Apollon Ktistes (Apollon the Founder), concluding the ritual.

Afterward, get to breaking down all altars that you wish to be cleansed, and start the important work of the day.  Blessed Ktistesia, Sisters!

[Ktistêsia, 2019]

Music of Apollon: Healing, Sight, Harmony and Destruction

Image may contain: one or more people, tree, plant, outdoor and nature

 

The *Orphic hymn has a beautiful line in it to Apollon in which it addresses the god as one who turns the seasons by his song, reminding us of the cyclic nature that is so very much a part of his domain (or exit out of the cycle in myths of deification such as in the cases of Marsyas, Hyakinthos etc) as we see the end always beginning again the new. This concept is perhaps best understood in the passage of time in Hellenic thought wherein the final year of a cycle was also simultaneously the first year, and Apollon Noumenios, begins too the new lunar month in every monthly course. The close dance of death and birth are always present together, even as in both cases certain miasmatic presence is accrued with both the release of death and the hazards of the first days of an infants birth after which Apollon and/or his twin are typically lauded. It is a harmony of nature, which appears to have foremost appreciated by Socrates in Plato’s Cratylus wherein he speaks of the meanings inherent in the names of the gods. Thus this keeping of harmonic movement of the cosmos in balanced score is perhaps most profoundly represented by his attribute as a player of the kithara or lyre. As most may recall, this was not an invention of himself but rather of Hermes. Given that Apollon has a more archaic nature as a pastoral deity he likely had related associations with music that were more organic, such as that of singing which can certainly demonstrate such a fondness in myth for the kithara that gave him an accompaniment to his voice. This point has been reinforced in myth by the contest between Marsyas with his pipes and the superiority of the abilities of the kithara that allowed Apollon to sing in company with the plucking of the strings.

This singing feature is probably also closely related to the prophetic nature of the god, for not only is he a god who oversees cycles making him a god who sees patterns of all things that have been and to come, but the close relationship between poets (who typically sang their work with a lyre of some kind) and seers is one that has been made also by Socrates as noted by Plato as a source of divine inspiration coming through similar channels. Certainly the Pythia’s oracles in metered verse (probably done singing or in a sing-song manner) lends a very thorough connection between the two. Therefore it is quite natural that as a god whose personal power comes through his vocalizations (albeit with the company of his stringed instrument to his liking…enough so that he bargained with Hermes for it). In some ways it is amusing because when we think of the music of Apollon we do not imagine his music being the power of his singing, but rather attached directly and solely to an external instrument whether it is kithara or the flute that he also attained from Hermes in the Homeric Hymn to Hermes. Yet it seems that his abilities as song-master and vocalization is perhaps the most important key to understanding Apollon’s music as he sings forth the intricate dance of the cosmos and the delicate weave of moving bodies therein by his lyrics. That by this he is Logos as truth, a golden unbreakable song. And by which too that Lycurgus, when given instruction from Delphi, used a poet to sing of the laws to coax people into following them by delivering in the most perfect form the persuasion of truth to their minds and souls. Or by relation, the belief that Thrakians had that singing to the soul of an individual could aid in curing their illness by restoring the order and harmonic balance to the soul via song.

And then there are the Kleidones, who were attached to his Delphi cult as well as at another location that escapes my memory at the moment. At Delphi, during the time of the bronze temple in that location according to myth, these Kleidones, described as being akin to Sirens) would perch at the pediment of the temple and sing their prophecies there. The close relationship they bear with Sirens can probably draw the relationship of Sires more acutely with Apollon, especially given their relationship to the Muses who are beloved by Apollon and are part of his divine company. The Sirens, prior to the Muses taking the position, were believed to be original divine beings of the celestial spheres. These duties were taken over by the Muses, and yet we see the Sirens in myth trying to take over the duties too of the Muses by challenging them to a contest of singing (which the Muses won and as penalty the Sirens had their feathers plucked to be worn as headdresses by the Muses in their triumph). Sirens are in myth, however, also embody the most dangerous form of music, that which can lure and entice men from their purpose (which is why Plato wanted public music to be ideally only of a certain type and without such threats) as we see in the Odyssey in which their songs lead directly to death. If Muses are one part of Apollon’s company as embodiments the perfections of civilization, I would consider the Sirens to be their shadowy sisters in his company….and a kind of natural harmony occurring between then. I do at times wonder if the adorning of the Muses with feathers could be seen as a direct relationship between the identify of the Muses with the Sirens…. perhaps in a less civilized and more violent type of being that has less to do with the civilized arts that better the soul and more with their place in the natural world in which song not only creates but is part of the cycle of the seasons between birth and death. The would certainly make sense in the context of song in the cult of Apollon.

For Apollon, the most beautiful singing was so attached to his nature that death of that which was most sacred to him was credited as possessing the most beautiful songs moments before their death. Swans (one of his heraldic animals and creatures that were known to pull his chariot to Hyperborea) particularly were spoken of in this manner, that before their death it was only then that they would beautifully sing. This idea to passed to humans who belong to him as well as exhibited by Cassandra in Ascheylus’ play Agamemnon in which laments before her death where characterized as such beautiful funerary singing that it is addressed as her “swan song”. It is not hard to imagine why laments, accompanied by the keening of the flutes, would be part of his musical sphere, even if it was banned at Delphic contests for a time because it was considered too depressing of a subject to be fit in honoring the god, even though it had an ancient tradition in place as an offering to him, and he was said himself to play such laments at the funerary libations he gave to the Python. After all the paean is known not only as a song in honor of the god for a victory (as indicated by the myth of the paean in relation to the slaying of Delphyne by the village men), but also as a lamenting song (as per the paean in the myth of Hyakinthos). Obviously someone eventually saw sense because after a number of years it was permitted back into the Delphic contests.I have may times said that if Dionysos was the god of theater and the masks of men acting through the passages of their lives, then Apollon is the leader of the chorus who brings revelations in their laments and praises.

That said, even though I belong to Apollon I sing like a raven, but I take it to heart that ravens for all the cawing are beloved by him too, and hold the song for myself as a more spiritual thing that comes across in a different way…through poetry and art primarily. So while great singers and poets are beloved and especially gifted in this manner by him, possessing enormous singing ability isn’t strictly a requirement of those who are his thankfully! Besides as I have indicated above his song is so much more vast in his domain and nature than simply putting together beautiful narratives in musical form. It is the very mechanism of the functions of his domain.

Lykeia (8/20/2015)


Painting: “Apollo visiting Admetus”, by Nicolas-Antoine Taunay.

*[33] XXXIII. TO APOLLO [APOLLON]

The Fumigation from Manna.
Blest Pæan, come, propitious to my pray’r, illustrious pow’r, whom Memphian tribes revere,
Slayer of Tityus, and the God of health, Lycorian Phœbus, fruitful source of wealth .
Spermatic, golden-lyr’d, the field from thee receives it’s constant, rich fertility.
Titanic, Grunian, Smynthian, thee I sing, Python-destroying, hallow’d, Delphian king:
Rural, light-bearer, and the Muse’s head, noble and lovely, arm’d with arrows dread:
Far-darting, Bacchian, two-fold, and divine, pow’r far diffused, and course oblique is thine.
O, Delian king, whose light-producing eye views all within, and all beneath the sky:
Whose locks are gold, whose oracles are sure, who, omens good reveal’st, and precepts pure:
Hear me entreating for the human kind, hear, and be present with benignant mind;
For thou survey’st this boundless æther all, and ev’ry part of this terrestrial ball
Abundant, blessed; and thy piercing sight, extends beneath the gloomy, silent night;
Beyond the darkness, starry-ey’d, profound, the stable roots, deep fix’d by thee are found.
The world’s wide bounds, all-flourishing are thine, thyself all the source and end divine:
‘Tis thine all Nature’s music to inspire, with various-sounding, harmonising lyre;
Now the last string thou tun’ft to sweet accord, divinely warbling now the highest chord;
Th’ immortal golden lyre, now touch’d by thee, responsive yields a Dorian melody.
All Nature’s tribes to thee their diff’rence owe, and changing seasons from thy music flow
Hence, mix’d by thee in equal parts, advance Summer and Winter in alternate dance;
This claims the highest, that the lowest string, the Dorian measure tunes the lovely spring .
Hence by mankind, Pan-royal, two-horn’d nam’d, emitting whistling winds thro’ Syrinx fam’d;
Since to thy care, the figur’d seal’s consign’d, which stamps the world with forms of ev’ry kind.
Hear me, blest pow’r, and in these rites rejoice, and save thy mystics with a suppliant voice.

Hymn found at  https://www.theoi.com/Text/OrphicHymns1.html

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)

Ritual Meal, for the Feast of Leto

For the Feast of Leto, prepare a delicious meal, one that you would have no reservations in sharing with the Goddess, as well as Her Children. Set the table nicely, and in the center, prepare a small altar for Leto, with some space for Artemis and Apollon. Utilize whatever images or icons you prefer when making this space. Include a large plate upon which you will place servings of food for your Honored Guests.

Next, you will want to invite Leto, and your other Guests.

Ex: “Blessed are You, Leto, Sister of Asteria, Daughter of Phoebe! Sweet is Your name upon my/our lips! In all of my/our days, shall I/we ever strive toward Your Grace and Excellence!

“Blessed are You, Leto, Daughter of Koios, Consort of Zeus! Ever shall Yours be the way of cunning! Let all brave women follow after Your example, seizing that which they/we desire foremost!

“Blessed are You, Leto, Mother of Artemis, Mother of Apollon! Starry is the veil which covers Your holy face! Within the mystery of twilight, You are the center, the cause from whom ambition emanates!

“Blessed are You, Leto! Be welcomed here, to this seat made comfortable for You! Partake of this meal that I/we have prepared! And please, accept these offerings given freely by Your people!

“Great Goddess, I/we have come only to honor and praise You!

“Hail Leto, Mother of Wolves!”

“Blessed are You, Artemis, Swift-footed Goddess giving chase like no other! Be welcome to rest here at this table, to make merry, and to feast in the name of Your Mother!

“Blessed are You, Apollon, Prince among Gods, and the Preserver of Honor! Be welcomed here to this table, where You might find comfort, as well as sustenance, in the name of Your Holy Mother!

“Blessed and Divine Twins, be welcomed here in peace and in reverence! Hail Artemis! Hail Apollon!”

Once the food is ready, place each dish upon the table in offering, while saying a few words to indicate such.

Ex: “O Divine Leto, please accept this ______ (name of dish), that it might fill You with the sustenance of my/our love!”

You may also address Artemis and Apollon at this time, though it is really only necessary to address the Guest of Honor when offering dishes. Repeat for each dish offered to the table.

Now, everyone should be seated at the table, and all should offer thanks to the Theoi for the bounty gathered before you, first with a small bit of food offered to Hestia, by burning it in a candle flame, or saving it to be burned or buried later.

Ex: “Hestia, Most Sublime, I/we make the first offering to You, as is the/our custom. May You bless this table, and I/all seated before it, that my/our hearth and home might be ever peaceful and secure.”

Next, food should be distributed first to Leto, then to Artemis, then to Apollon, all upon Their plate at the center of the table. After your Guests have been served, everyone else may serve themselves.

Eating, discussion, and general merry-making may now commence. Examples of this could be songs sung, poems or adorations recited, myths told, or experiences shared.

With the completion of their meal, whomever wishes to leave the table must first address Leto, thanking Her and the Twins for being present.

Ex: “Glorious Leto, Illustrious Twins! Thank You for Your presence at this table, which was prepared in honor of You, for this great feast day! May our love given, accompany You back to the Northern heights of Hyperborea, from whence You have come! O Ladies! O Lord! May You be pleased!”

At the very end, before the last person leaves the table, a final food offering should be made to Hestia…

Ex: “Blessed Hestia, Keeper of the Hearth, again, I/we thank You for the peace and gentleness You have brought into this, my/our home! My/our gratitude hangs thick in the air, like the tasteful aroma which has filled this place of feasting!

“Hail to You, Hestia, and farewell!”

…and care should be taken to clean up the table.

Finally, all participants should return to surround the table, to give final thanks/goodbyes to Leto (and the Twins), for all that She does, and will do, in helping us to further understand ourselves within the roles to which we find ourselves attached.

Ex: “Blessed are You, Leto, and Blessed are Your Children, who enact the very essence of Your demeanor! You, who are bold! You, who are driven! You, who commands life to submit to Your will! Great Leto, I/we thank and praise You!

“Hail Mother Leto! Hail the Holy Twins!  Hail, and farewell!”

— Columbine