1.
Dionysus
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Dionysus is the god of the grape harvest, winemaking and wine, of ritual madness, fertility, theatre and religious ecstasy in ancient Greek religion and myth. Wine played an important role in Greek culture, and the cult of Dionysus was the religious focus for its unrestrained consumption. He may have been worshipped as early as c, 1500–1100 BC by Mycenean Greeks, traces of Dionysian-type cult have also been found in ancient Minoan Crete. His origins are uncertain, and his cults took many forms, some are described by ancient sources as Thracian, in some cults, he arrives from the east, as an Asiatic foreigner, in others, from Ethiopia in the South. He is a god of epiphany, the god that comes and his festivals were the driving force behind the development of Greek theatre. The earliest cult images of Dionysus show a male, bearded and robed. He holds a staff, tipped with a pine-cone and known as a thyrsus. Later images show him as a beardless, sensuous, naked or half-naked androgynous youth, in its fully developed form, his central cult imagery shows his triumphant, disorderly arrival or return, as if from some place beyond the borders of the known and civilized. His procession is made up of female followers and bearded satyrs with erect penises, some are armed with the thyrsus. The god himself is drawn in a chariot, usually by exotic beasts such as lions or tigers and this procession is presumed to be the cult model for the followers of his Dionysian Mysteries. He is also known as Bacchus, the adopted by the Romans. His thyrsus, sometimes wound with ivy and dripping with honey, is both a beneficent wand and a used to destroy those who oppose his cult and the freedoms he represents. As Eleutherios, his wine, music and ecstatic dance free his followers from self-conscious fear and care and those who partake of his mysteries are possessed and empowered by the god himself. The cult of Dionysus is also a cult of the souls, his maenads feed the dead through blood-offerings and he is sometimes categorised as a dying-and-rising god. Some scholars believe that Dionysus is a syncretism of a local Greek nature deity, Dionysus had a strange birth that evokes the difficulty in fitting him into the Olympian pantheon. His mother was a woman, Semele, the daughter of king Cadmus of Thebes, and his father was Zeus. Zeus wife, Hera, discovered the affair while Semele was pregnant, appearing as an old crone, Hera befriended Semele, who confided in her that Zeus was the actual father of the baby in her womb. Hera pretended not to believe her, and planted seeds of doubt in Semeles mind, curious, Semele demanded of Zeus that he reveal himself in all his glory as proof of his godhood
2.
Muses
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The Muses are the inspirational goddesses of literature, science, and the arts in Greek mythology. They were considered the source of the knowledge embodied in the poetry, lyric songs and they were later adopted by the Romans as a part of their pantheon. In current English usage, muse can refer in general to a person who inspires an artist, writer, the earliest known records of the Nine Muses are from Boeotia, the homeland of Hesiod. Some ancient authorities thought that the Nine Muses were of Thracian origin, there, a tradition persisted that the Muses had once been three in number. They were again called Melete or Practice, Mneme or Memory, three ancient Muses were also reported in Plutarchs Quaestiones Convivales. According to Pausanias in the second century AD, there were three original Muses, worshiped on Mount Helicon in Boeotia, Aoidḗ, Melétē, and Mnḗmē. Together, these three form the picture of the preconditions of poetic art in cult practice. In Delphi three Muses were worshiped as well, but with other names, Nḗtē, Mésē, and Hýpatē, alternatively they later were called Kēphisṓ, Apollōnís, and Borysthenís, which names characterize them as daughters of Apollo. In later tradition, a set of four Muses were recognized, Thelxinóē, Aoidḗ Archē, one of the people frequently associated with the Muses was Pierus. By some he was called the father of a total of seven Muses, called Neilṓ, Tritṓnē, Asōpṓ, Heptápora, Achelōís, Tipoplṓ, and Rhodía. According to Hesiods Theogony, they were daughters of Zeus, the second king of the gods. For Alcman and Mimnermus, they were even more primordial, springing from the deities, Uranus. Sometimes the Muses are referred to as water nymphs, associated with the springs of Helicon and it was said that the winged horse Pegasus touched his hooves to the ground on Helicon, causing four sacred springs to burst forth, from which the muses were born. Athena later tamed the horse and presented him to the muses, classical writers set Apollo as their leader, Apollon Mousagetēs. In one myth, the Muses judged a contest between Apollo and Marsyas and they also gathered the pieces of the dead body of Orpheus, son of Calliope, and buried them. In a later myth, Thamyris challenged them to a singing contest and they won and punished Thamyris by blinding him and robbing him of his singing ability. He thus challenged the Muses to a match, resulting in his daughters, Pausanias records a tradition of two generations of Muses, the first are the daughters of Uranus and Gaia, the second of Zeus and Mnemosyne. Another, rarer genealogy is that they are daughters of Harmonia, some Greek writers give the names of the nine Muses as Kallichore, Helike, Eunike, Thelxinoë, Terpsichore, Euterpe, Eukelade, Dia, and Enope
3.
Zeus
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Zeus /ˈzjuːs/ is the sky and thunder god in ancient Greek religion, who ruled as king of the gods of Mount Olympus. His name is cognate with the first element of his Roman equivalent Jupiter and his mythologies and powers are similar, though not identical, to those of the Indo-European deities such as Indra, Jupiter, Perun, Thor, and Odin. Zeus is the child of Cronus and Rhea, the youngest of his siblings to be born, in most traditions, he is married to Hera, by whom he is usually said to have fathered Ares, Hebe, and Hephaestus. At the oracle of Dodona, his consort was said to be Dione, Zeus was also infamous for his erotic escapades. These resulted in many godly and heroic offspring, including Athena, Apollo, Artemis, Hermes, Persephone, Dionysus, Perseus, Heracles, Helen of Troy, Minos, and the Muses. He was equated with many foreign weather gods, permitting Pausanias to observe That Zeus is king in heaven is a common to all men. His symbols are the thunderbolt, eagle, bull, and oak, in addition to his Indo-European inheritance, the classical cloud-gatherer also derives certain iconographic traits from the cultures of the Ancient Near East, such as the scepter. Zeus is frequently depicted by Greek artists in one of two poses, standing, striding forward with a thunderbolt leveled in his right hand. The gods name in the nominative is Ζεύς Zeús and it is inflected as follows, vocative, Ζεῦ Zeû, accusative, Δία Día, genitive, Διός Diós, dative, Διί Dií. Diogenes Laertius quotes Pherecydes of Syros as spelling the name, Ζάς, Zeus is the Greek continuation of *Di̯ēus, the name of the Proto-Indo-European god of the daytime sky, also called *Dyeus ph2tēr. The god is known under this name in the Rigveda, Latin, Zeus is the only deity in the Olympic pantheon whose name has such a transparent Indo-European etymology. The earliest attested forms of the name are the Mycenaean Greek
4.
Polyhymnia
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Polyhymnia, also spelt Polymnia was in Greek mythology the Muse of sacred poetry, sacred hymn, dance, and eloquence as well as agriculture and pantomime. Her name comes from the Greek words poly meaning many and hymnos and she is depicted as very serious, pensive and meditative, and often holding a finger to her mouth, dressed in a long cloak and veil and resting her elbow on a pillar. Polyhymnia is also credited as being the Muse of geometry. In Bibliotheca historica, Diodorus Siculus wrote, Polyhymnia, because by her great praises she brings distinction to writers whose works have won for them immortal fame and she appears in Dantes Divine Comedy, Paradiso. Canto XXIII, line 56, and is referenced in works of fiction. In astrology, there are nine asteroids, each one named after a different Muse and this specific one is a main belt asteroid discovered by Jean Chacornac, a French astrologer, in 1854. On Mount Parnassus, there was a spring that was sacred to Polyhymnia and it was said to flow between two big rocks above Delphi, then down into a large square basin. The water was used by the Pythia, who were priests and priestesses, media related to Polyhymnia at Wikimedia Commons Primary sources and basic information concerning Polyhymnia Polyhymnia in painting Warburg Institute Iconographic Database
5.
Siren (mythology)
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In Greek mythology, the Sirens were dangerous creatures, who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. Roman poets placed them on small islands called Sirenum scopuli. All such locations were surrounded by cliffs and rocks, although a Sophocles fragment makes Phorcys their father, when Sirens are named, they are usually as daughters of the river god Achelous, with Terpsichore, Melpomene, Sterope, or Chthon. In Euripides play, Helen, Helen in her anguish calls upon Winged maidens, although they lured mariners, the Greeks portrayed the Sirens in their meadow starred with flowers and not as sea deities. Roman writers linked the Sirens more closely to the sea, as daughters of Phorcys, Sirens are found in many Greek stories, notably in Homers Odyssey. Their number is reported as from two to five. In the Odyssey, Homer says nothing of their origin or names, according to Ovid, the Sirens were the companions of young Persephone. They were given wings by Demeter to search for Persephone when she was abducted, however, the Fabulae of Hyginus has Demeter cursing the Sirens for failing to intervene in the abduction of Persephone. Their song is continually calling on Persephone, the term siren song refers to an appeal that is hard to resist but that, if heeded, will lead to a bad conclusion. As Jane Ellen Harrison notes of The Ker as siren, It is strange and beautiful that Homer should make the Sirens appeal to the spirit, not to the flesh. The siren song is a promise to Odysseus of mantic truths, with a promise that he will live to tell them, they sing, Once he hears to his hearts content, sails on. We know all the pains that the Greeks and Trojans once endured on the plain of Troy when the gods willed it so— all that comes to pass on the fertile earth. They are mantic creatures like the Sphinx with whom they have much in common and their song takes effect at midday, in a windless calm. The end of song is death. That the sailors flesh is rotting away, suggests it has not been eaten and it has been suggested that, with their feathers stolen, their divine nature kept them alive, but unable to provide food for their visitors, who starved to death by refusing to leave. According to Hyginus, sirens were fated to live only until the mortals who heard their songs were able to pass by them, Sirens were believed to combine women and birds in various ways. In early Greek art, Sirens were represented as birds with womens heads, bird feathers. Later, they were represented as female figures with the legs of birds, with or without wings, playing a variety of musical instruments, especially harps
6.
Persephone
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In Greek mythology, Persephone, also called Kore or Cora, is the daughter of Zeus and the harvest goddess Demeter, and is the queen of the underworld. Homer describes her as the formidable, venerable majestic princess of the underworld, Persephone was married to Hades, the god-king of the underworld. Similar myths appear in the Orient, in the cults of gods like Attis, Adonis and Osiris. Persephone is further said to have become by Zeus the mother of Dionysus, Iacchus, or Zagreus, the origins of her cult are uncertain, but it was based on very old agrarian cults of agricultural communities. Persephone was commonly worshipped along with Demeter and with the same mysteries, to her alone were dedicated the mysteries celebrated at Athens in the month of Anthesterion. In Classical Greek art, Persephone is invariably portrayed robed, often carrying a sheaf of grain and she may appear as a mystical divinity with a sceptre and a little box, but she was mostly represented in the process of being carried off by Hades. In Roman mythology, she is called Proserpina, and her mother, persephonē is her name in the Ionic Greek of epic literature. The Homeric form of her name is Persephoneia, in other dialects she was known under variant names, Persephassa, Persephatta, or simply Korē. Plato calls her Pherepapha in his Cratylus, because she is wise, There are also the forms Periphona and Phersephassa. The existence of so many different forms shows how difficult it was for the Greeks to pronounce the word in their own language, an alternative etymology is from φέρειν φόνον, pherein phonon, to bring death. John Chadwick speculatively relates the name of Persephone with the name of Perse, the Romans first heard of her from the Aeolian and Dorian cities of Magna Graecia, who used the dialectal variant Proserpinē. Hence, in Roman mythology she was called Proserpina, a name derived by the Romans from proserpere, to shoot forth. In a Classical period text ascribed to Empedocles, c, and Nestis, moistening mortal springs with tears. The epithets of Persephone reveal her double function as chthonic and vegetation goddess, the surnames given to her by the poets refer to her character as Queen of the lower world and the dead, or her symbolic meaning of the power that shoots forth and withdraws into the earth. Her common name as a goddess is Kore and in Arcadia she was worshipped under the title Despoina the mistress. Plutarch identifies her with spring and Cicero calls her the seed of the fruits of the fields, in the Eleusinian mysteries her return is the symbol of immortality and hence she was frequently represented on sarcophagi. The Orphic Persephone is further said to have become by Zeus the mother of Dionysus, Iacchus, Zagreus, as a goddess of the underworld, Persephone was given euphemistically friendly names. However it is possible some of them were the names of original goddesses
7.
Demeter
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In ancient Greek religion and Greek mythology, Demeter is the goddess of the harvest and agriculture, who presided over grains and the fertility of the earth. Her cult titles include Sito, she of the Grain, as the giver of food or grain, though Demeter is often described simply as the goddess of the harvest, she presided also over the sacred law, and the cycle of life and death. She and her daughter Persephone were the figures of the Eleusinian Mysteries that predated the Olympian pantheon. In the Linear B Mycenean Greek tablets of c, 1400–1200 BC found at Pylos, the two mistresses and the king may be related with Demeter, Persephone and Poseidon. It is possible that Demeter appears in Linear A as da-ma-te on three documents, all three dedicated in religious situations and all three bearing just the name. It is unlikely that Demeter appears as da-ma-te in a Linear B inscription, on the other hand,
8.
Proserpina
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Proserpina or Proserpine is an ancient Roman goddess whose cult, myths and mysteries were based on those of Greek Persephone and her mother Demeter, the Greek goddess of grain and agriculture. The Romans identified Proserpina with their native fertility goddess Libera, daughter of the grain and agriculture goddess Ceres, just as Persephone was thought to be a daughter of Demeter, Romans made Proserpina a daughter of Demeters Roman equivalent, Ceres. Her name is a Latinisation of Persephone, perhaps influenced by the Latin proserpere, the cult originated in southern Italy and was probably based on the women-only Greek Thesmophoria, a mystery cult to Demeter and Persephone as Mother and Maiden. It arrived along with its Greek priestesses, who were granted Roman citizenship so that they could pray to the gods with a foreign and external knowledge and their joint cult recalls Demeters search for Persephone, after the latters rape and abduction into the underworld by Hades. At the Aventine, the new cult took its place alongside the old and it made no reference to Liber, whose open and gender-mixed cult continued to play a central role in plebeian culture, as a patron and protector of plebeian rights, freedoms and values. Unmarried girls should emulate the chastity of Proserpina, the maiden, married women should seek to emulate Ceres and their rites were intended to secure a good harvest, and increase the fertility of those who partook in the mysteries. A Temple of Proserpina was located in a suburb of Melite, in modern Mtarfa, the temples ruins were quarried between the 17th and 18th centuries, and only a few fragments survive. The best-known myth surrounding Proserpina is of her abduction by the god of the Underworld, her mother Ceres frantic search for her, renamed thus, the king of the underworld is distanced from his consorts violent abduction. In the early 1st century Ovid gives two versions of the myth in Latin, one in Book 5 of his Metamorphoses. Venus, in order to bring love to Pluto, sent her son Amor to hit Pluto with one of his arrows and he abducted her in order to marry her and live with her in the underworld of which he was the ruler. In her desperation Ceres angrily stopped the growth of fruits and vegetables, Ceres refused to go back to Mount Olympus and started walking on the Earth, making a desert at every step. Worried, Jupiter sent Mercury to order Pluto to free Proserpina, Pluto obeyed, but before letting her go he made her eat six pomegranate seeds, because those who have eaten the food of the dead could not return to the world of the living. This meant that she would have to live six months of year with him. In another version of the story, Proserpina ate only four pomegranate seeds, when Jupiter ordered her return, Pluto struck a deal with Jupiter, saying that since she had stolen his pomegranate seeds, she must stay with him four months of the year in return. For this reason, in spring when Ceres receives her back, the crops blossom. In the autumn Ceres changes the leaves to shades of brown, during the time that Proserpina resides with Pluto, the world goes through winter, a time when the earth is barren. The most extensive myth of Proserpina in Latin is Claudians and it is closely connected with that of Orpheus and Eurydice. But Orpheus could not resist a backward glance, so Eurydice was forever lost to him
9.
Hades
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Hades was the ancient Greek chthonic god of the underworld, which eventually took his name. In Greek mythology, Hades was regarded as the oldest son of Cronus and Rhea and he and his brothers Zeus and Poseidon defeated their fathers generation of gods, the Titans, and claimed rulership over the cosmos. Hades received the underworld, Zeus the sky, and Poseidon the sea, Hades was often portrayed with his three-headed guard dog Cerberus. The Etruscan god Aita and Roman gods Dis Pater and Orcus were eventually taken as equivalent to the Greek Hades and merged as Pluto, the origin of Hades name is uncertain, but has generally been seen as meaning The Unseen One since antiquity. Modern linguists have proposed the Proto-Greek form *Awides, the earliest attested form is Aḯdēs, which lacks the proposed digamma. West argues instead for a meaning of the one who presides over meeting up from the universality of death. In Homeric and Ionic Greek, he was known as Áïdēs, other poetic variations of the name include Aïdōneús and the inflected forms Áïdos, Áïdi, and Áïda, whose reconstructed nominative case *Áïs is, however, not attested. The name as it came to be known in classical times was Háidēs, later the iota became silent, then a subscript marking, and finally omitted entirely. Perhaps from fear of pronouncing his name, around the 5th century BC, Plouton became the Roman god who both rules the underworld and distributed riches from below. This deity was a mixture of the Greek god Hades and the Eleusinian icon Ploutos, and from this he received a priestess. More elaborate names of the genre were Ploutodótēs or Ploutodotḗr meaning giver of wealth. Epithets of Hades include Agesander and Agesilaos, both from ágō and anḗr or laos, describing Hades as the god who carries away all. He was also referred to as Zeus Katachthonios, meaning the Zeus of the Underworld, by avoiding his actual name. In Greek mythology, Hades the god of the underworld, was a son of the Titans Cronus and he had three sisters, Demeter, Hestia, and Hera, as well as two brothers, Zeus, the youngest of the three, and Poseidon. Upon reaching adulthood, Zeus managed to force his father to disgorge his siblings, after their release, the six younger gods, along with allies they managed to gather, challenged the elder gods for power in the Titanomachy, a divine war. The war lasted for ten years and ended with the victory of the younger gods, following their victory, according to a single famous passage in the Iliad, Hades and his two brothers, Poseidon and Zeus, drew lots for realms to rule. Some myths suggest that Hades was dissatisfied with his turnout, but had no choice, Hades obtained his wife and queen, Persephone, through abduction at the behest of Zeus. Despite modern connotations of death as evil, Hades was actually more altruistically inclined in mythology, Hades was often portrayed as passive rather than evil, his role was often maintaining relative balance
10.
Troilus
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Troilus is a legendary character associated with the story of the Trojan War. The first surviving reference to him is in Homers Iliad, which scholars believe was composed by bards, in Greek mythology, Troilus is a young Trojan prince, one of the sons of King Priam and Hecuba. Prophecies link Troilus fate to that of Troy and so he is ambushed and murdered by Achilles, Sophocles was one of the writers to tell this tale. It was also a theme among artists of the time. Ancient writers treated Troilus as the epitome of a dead child mourned by his parents and he was also regarded as a paragon of youthful male beauty. In Western European medieval and Renaissance versions of the legend, Troilus is the youngest of Priams five legitimate sons by Hecuba, despite his youth he is one of the main Trojan war leaders. He dies in battle at Achilles hands, in a popular addition to the story, originating in the 12th century, Troilus falls in love with Cressida, whose father has defected to the Greeks. Cressida pledges her love to Troilus but she switches her affections to the Greek hero Diomedes when sent to her father in a hostage exchange. Chaucer and Shakespeare are among the authors who wrote works telling the story of Troilus, within the medieval tradition, Troilus was regarded as a paragon of the faithful courtly lover and also of the virtuous pagan knight. Once the custom of courtly love had faded, his fate was regarded less sympathetically, little attention was paid to the character during the 18th and 19th centuries. However, Troilus has reappeared in 20th and 21st century retellings of the Trojan War by authors who have elements from both the classical and medieval versions of his story. For the ancient Greeks, the tale of the Trojan War, the characters death early in the war and the prophecies surrounding him demonstrated that all Trojan efforts to defend their home would be in vain. His symbolic significance is evidenced by linguistic analysis of his Greek name Troilos and it can be interpreted as an elision of the names of Tros and Ilos, the legendary founders of Troy, as a diminutive or pet name little Tros or as an elision of Troië and lyo. These multiple possibilities emphasise the link between the fates of Troilus and of the city where he lived, given this, it is unfortunate that the Cypria—the part of the Epic Cycle that covers the period of the Trojan War of Troilus death—does not survive. Indeed, no complete narrative of his remains from archaic times or the subsequent classical period. Most of the sources from before the Hellenistic age that even referred to the character are lost or survive only in fragments or summary. Partially compensating for the texts are the physical artifacts that remain from the archaic. The story of the circumstances around Troilus death was a theme among pottery painters
11.
Deity
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A deity is a concept conceived in diverse ways in various cultures, typically as a natural or supernatural being considered divine or sacred. A male deity is a god, while a female deity is a goddess, the Oxford reference defines deity as a god or goddess, or anything revered as divine. Various cultures have conceptualized a deity differently than a monotheistic God, a plain deity need not be omnipotent, omnipresent, omniscient, omnibenevolent, or eternal, however an almighty monotheistic God generally does have these attributes. Monotheistic religions typically refer to God in masculine terms, while other religions refer to their deities in a variety of ways – masculine, feminine, androgynous, some Avestan and Vedic deities were viewed as ethical concepts. In Indian religions, deities have been envisioned as manifesting within the temple of every living beings body, as sensory organs, but in Indian religions, all deities are also subject to death when their merit runs out. The English language word deity derives from Old French deité, the Latin deitatem or divine nature, deus is related through a common Proto-Indo-European language origin to *deiwos. Deva is masculine, and the feminine equivalent is devi. Etymologically, the cognates of Devi are Latin dea and Greek thea, in Old Persian, daiva- means demon, evil god, while in Sanskrit it means the opposite, referring to the heavenly, divine, terrestrial things of high excellence, exalted, shining ones. The closely linked term god refers to supreme being, deity, which states Douglas Harper, is derived from Proto-Germanic *guthan, from PIE *ghut-, guth in the Irish language means voice. The term *ghut- is also the source of Old Church Slavonic zovo, Sanskrit huta-, from the root *gheu- An alternate etymology for the term god traces it to the PIE root *ghu-to-, the term *gheu- is also the source of the Greek khein to pour. Originally the German root was a noun, but the gender of the monotheistic God shifted to masculine under the influence of Christianity. In contrast, all ancient Indo-European cultures and mythologies recognized both masculine and feminine deities, the term deity often connotes the concept of sacred or divine, as a god or goddess, in a polytheistic religion. However, there is no accepted consensus concept of deity across religions and cultures. Huw Owen states that the deity or god or its equivalent in other languages has a bewildering range of meanings. Some engravings or sketches show animals, hunters or rituals, the Venus of Willendorf, a female figurine found in Europe and dated to about 25,000 BCE has been interpreted as an exemplar of a prehistoric divine feminine. In Buddhist mythology, devas are beings inhabiting certain happily placed worlds of Buddhist cosmology and these beings are mortal and numerous. It is also common for iṣṭadevatās to be called deities, although the nature of Yidams is distinct from what is meant by the term. Buddhism does not believe in a creator deity, however, deities are an essential part of Buddhist cosmology, rebirth and Saṃsāra doctrines
12.
Ceres (mythology)
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In ancient Roman religion, Ceres was a goddess of agriculture, grain crops, fertility and motherly relationships. She was originally the central deity in Romes so-called plebeian or Aventine Triad and her seven-day April festival of Cerealia included the popular Ludi Ceriales. She was also honoured in the May lustratio of the fields at the Ambarvalia festival, at harvest-time, Ceres is the only one of Romes many agricultural deities to be listed among the Dii Consentes, Romes equivalent to the Twelve Olympians of Greek mythology. The Romans saw her as the counterpart of the Greek goddess Demeter, whose mythology was reinterpreted for Ceres in Roman art and literature. Roman etymologists thought ceres derived from the Latin verb gerere, to bear, bring forth, produce, because the goddess was linked to pastoral, agricultural and human fertility. Archaic cults to Ceres are well-evidenced among Romes neighbours in the Regal period, including the ancient Latins, Oscans and Sabellians, an archaic Faliscan inscription of c.600 BC asks her to provide far, which was a dietary staple of the Mediterranean world. Throughout the Roman era, Ceres name was synonymous with grain and, by extension and she had the power to fertilise, multiply and fructify plant and animal seed, and her laws and rites protected all activities of the agricultural cycle. In January, Ceres was offered spelt wheat and a pregnant sow and this was almost certainly held before the annual sowing of grain. The divine portion of sacrifice was the entrails presented in an earthenware pot, in a rural context, Cato the Elder describes the offer to Ceres of a porca praecidanea. Before the harvest, she was offered a propitiary grain sample, Ovid tells that Ceres is content with little, provided that her offerings are casta. Ceres main festival, Cerealia, was held from mid to late April and it was organised by her plebeian aediles and included circus games. From c.175 BC, Cerealia included ludi scaenici through April 12 to 18, W. H. Roscher lists these deities among the indigitamenta, names used to invoke specific divine functions. The adult males of the party waited at the grooms house. A wedding sacrifice was offered to Tellus on the brides behalf, Varro describes the sacrifice of a pig as a worthy mark of weddings because our women, and especially nurses call the female genitalia porcus. Spaeth believes Ceres may have included in the sacrificial dedication, because she is closely identified with Tellus and, as Ceres legifera. In the most solemn form of marriage, confarreatio, the bride and groom shared a cake made of far, from at least the mid-republican era, an official, joint cult to Ceres and Proserpina reinforced Ceres connection with Roman ideals of female virtue. The promotion of this cult coincides with the rise of a nobility, an increased birthrate among plebeian commoners. Several of Ceres ancient Italic precursors are connected to fertility and motherhood
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Media related to Melpomene at Wikimedia Commons
