Women Mythology

Mystical Celtic Woman

“In the traditional mythological tradition, the woman is there. All she has to do is to realize that she’s the place that people are trying to get to. When a woman realizes what her wonderful character is, she’s not going to get messed up with the notion of being pseudo-male.”

—Joseph Campbell

Women Mythology

Since childhood, ancient mythology has fascinated me because of the significant roles that women played in the tales. They were powerful goddesses, mothers, warriors, creators, and destroyers. Women were not only associated with fertility and birth, but with warfare and destruction.

Mother Goddess Epona Flanked by Horses

Women have already had a power that men did not have—the power of creating life. Early ancient civilizations acknowledged this power through the Mother Goddess who ruled supreme over all. The ancients held women’s ability to create new life inside her body in awe and feared the mystical blood flows that synchronized with the phases of the moon. Women were considered magical and the intermediaries between the physical world and spiritual world. They could serve as seers, priestesses, healers, oracles, lawmakers, judges, and agents of the Great Goddess Mother who gave birth to the Universe.

Mythology Women Macha Curses Men of Ulstur

The hero’s journey as described by Joseph Campbell is a journey to the depths of our psyches where we discover spiritual meaning to our lives. It allows us insight into our souls where there are no boundaries between the spiritual and physical worlds. The ancient myths celebrated a female’s courage and cleverness to rescue their family, to be a partner on the hero’s journey, and to spin ways to overcome the giants in their way.

Statue of Boudica in London

It is no wonder myths have flourished throughout history because the tales and symbols reflect our universal struggle to find spiritual meaning in our everyday lives. Universal symbols in myths and dreams are connections into our creative, intuitive side. Unfortunately, the evolution of paternalistic societies and the emphasis on science, analytical reasoning, and technology in modern times have often left a void where people feel they cannot connect to each other and discover the spiritual meaning of their own lives.

Minerva, Roman Goddess of Wisdom and Battle

Heroine’s Journey

The heroine’s journey has always existed in epic myths, but it was often understated. Many ancient myths were unfortunately rewritten to reflect the religious and cultural beliefs that depicted women as seductresses and witches, or as pure-minded maidens and mothers.

In today’s society, women oppressed by the hero quest see only two choices:

• Be the sobbing princess needing rescue
• Be the hero, taking on the masculine qualities to success

However, the heroine’s true role is neither to be hero or his prize. The power of women was reflected in the worship of the Great Goddesses who battled darkness. Her worship once dominated ancient mankind. She was the earth and sea from which life was created. She offered her feminine qualities of beauty, imagination, and compassion.

But she also offered death and savagery. The primal goddess reigned uncontested for centuries as Ishtar, Morrigan, and Cybele who could be cruel and lustful goddesses.  Many of these tales celebrate the metaphoric death of the inadequate self to resurrect into a higher plan of existence.

Queen of Night relief often representing Ishtar British Museum

For both men and women, myths helped their passage from childhood into adulthood. In the original ancient tales, heroines were brave, resourceful, and clever. They accustomed to saving themselves and their princes. Myths are the collective conscious of humanity to help the next generation face conflicts and journey to self-discovery.

Complexity Women’s Roles

When I began writing the APOLLO’S RAVEN series, I grappled writing about my heroine, a Celtic warrior princess. Ancient mythology gave me insight into the complexity of women that provides them with both the courage and wisdom to overcome the monsters in their lives. Women not only ascend into the heavens as goddesses, but delve in the Underworld to face the shadowy parts of their souls. From these destructive forces bring forth new life. The heroine must use her darker feminine side to balance compassion and cruelty when overcoming evil forces in her journey.

Triplicate Mother Goddesses Displayed at Bath UK Roman Baths

Only after the heroine understands her dark side can she gain the wisdom to guide others needing her counsel, especially children. The heroine travels between the mortal and spirituals worlds to become a goddess and protector of others.

To Be Continued

The next posts will further explore the heroine’s journey with particularly emphasis on Celtic mythology of powerful women and goddesses.

References

Joseph Campbell, The Hero with a Thousand Faces—Bollingen Series XVII Third Edition; Joseph Campbell Foundation; New World Library, Novato, 2008.

Valerie Estella Frankel, From Girl to Goddess: The Heroine’s Journey through Myth and Legend; McFarland & Company, Inc., Jefferson, North Carolina, 2010,

Maureen Murdock, The Heroine’s Journey: Woman’s Quest for Wholeness; Shambhala Publications, Inc., Boston, MA, 1990.

Interview Luciana Cavallaro, Author Accursed Women

 

Introduction to Luciana Cavallaro

It was my pleasure to interview Luciana Cavallaro, an exciting new author of ACCURSED WOMEN, which retells the stories of five legendary women.

Luciana grew up in the small town in Western Australia. The first in her family to attain a university degree, she taught in government and private schools. Her passion for mythology and Ancient History was ignited upon seeing the Colosseum and the Roman Forum. From then on, her inspiration to write Historical Fantasy was born. She has traveled extensively to Greece and Italy— the inspiration for her stories. After working as a teacher in high schools, she decided to fulfill her life-long ambition of being an author and storyteller.

Luciana has completed writing two unpublished novels in the SERVANT OF THE GODS series and has published several short stories which are available on Amazon and Smashwords.

Interview Luciana Cavallaro 

What was your inspiration for retelling the five stories of the following legendary women in ACCURSED WOMEN: Phaedra, Helen of Sparta, Hera, Pandora, and Medousa?

Luciana: The idea for Aphrodite’s Curse came after I read Euripides’ play called Hippolytus. I knew Phaedra was one of Ariadne’s siblings but didn’t know much more about her. I read as much as I could on the character wanting to learn more, but there wasn’t a lot of information on her. So I thought why not write a story from her point of view. She was a relatively unknown character from mythology and I decided this was a great opportunity to give her a voice. I published the short story as an ebook and it wasn’t until a month or so later I had an epiphany and inspired to write stories of women/goddesses whose reputation was tarnished by either events or circumstance. It was a great journey of exploration and I am grateful to tell their stories.

One of the unique aspects of ACCURSED WOMEN is that each story is told by a different storyteller, including a historian and a talk show host.  Did you have a special purpose for retelling these myths from the perspective of various storytellers?

Luciana: I wanted to present the stories in a different light and perspective. Three of the storytellers are male, a deliberate choice as the writers of the day were mainly men who did not paint women in a favourable light. Drake Drabbler in the A Goddess’ Curse did try to emulate the naysayers of the past but I think Hera won that battle. I loved the idea of a talk show host and wanted to write a more contemporary story of the myth of Hera and in a familiar setting.

The monologue was an interesting methodology as I had many readers respond saying they didn’t like Phaedra but really enjoyed the story and could understand her actions. The Curse of Troy was inspired by Herodotos. Not only did he give crucial details about Helen not going to Ilios but I wanted to pay tribute to the first travel journalist. The historian is loosely based on Herodotos, though he never did meet Helen. With Boxed in a Curse I wanted a familial approach to one of the oldest myths in Greek mythology and the origins of the Golden Race orated by Hesiod. The poet did not like women! I also thought it would be a nice way to draw connections between the past and present. Cursed by Treachery was experimental and to be honest I wasn’t sure it was going to work. It was challenging to write a story in retrospect and one I will attempt again. It forced me to consider the actions of the “hero” Perseus and the “villain” Medousa. What led to her transformation and why did it happen?

Each of the short stories in ACCURSED WOMEN present a more favorable perspective of these legendary women from what had been written in the original myths. Was this your intent in rewriting these tales?

Luciana: At the time I thought it would be more thought-provoking to write the stories and present the characters in a sympathetic way yet (and hoped to achieve) make them credible. Real women with issues which today’s generation can either empathise or at least comprehend their actions. I was asked once whether rewriting these familiar and famous characters was a daunting prospect. Even if you haven’t read Greek Mythology most people would have heard of Helen, Pandora and Medousa. At the time no, but once I had finished and published the stories, then it hit me people/readers may not appreciate what I have written. What I hoped to achieve was to make the stories accessible for everyone to read and enjoy.

Some of the short stories have different twists from the original myths. Of particular note is Helen of Sparta from The Iliad. Were these twists based on other historical written accounts?

Luciana: Helen’s story was based on a passage from Herodotos’ Histories on his travels to Egypt. He was told by Egyptian priests how Paris’ ship ran into bad weather on his way from Sparta with Helen on board. The ship was forced to land in Egypt. Paris leaves Helen in Egypt after being denounced by his slaves and the King of Egypt charges him with offences of abduction and stealing from Menelaos. Herodotos even references Homer’s Iliad and Odyssey which indicates Helen was not in Troy during the war. This information can be found in Book Two of the Histories and does lend credence to Herodotos’ theory.

As for the other four short stories, they weren’t based on any historical account. It was my version of telling their stories in a different way or rather, how they wanted their story told.

You are currently writing novels in the Servant of the Gods series. Could you give a teaser as to what these stories are about?

Luciana: The series is about the Greek gods and their impending dissolution. To avert the coming of a new religion they set their children on a quest to recover ancient relics of the Mother Goddess. I have a blurb for book one: THE GOLDEN SERPENT. I hope it’s okay with you if I add it here Linnea and would love to hear what your followers think. It is a work in progress. I haven’t posted it on my blog as yet and your followers are the first to read it.

THE GOLDEN SERPENT
When is a dream not a dream?

What if you’re born during another time grew up in the 21st century and thrust back into the past? Confused? So is Evan Chronis.

One morning he woke up drenched and smelling like he’d been swimming in the ocean. Plagued by strange dreams, sleepless nights and visions Evan seeks the help of a sleep specialist to find a solution. All seems to go well…

Then one night, drawn by screams he ventures out onto the back veranda and sees blood trickling down the limestone steps. He follows the trail down into the garden and as his foot touches the cool grass, he vanishes.

It’s not where he appears, it’s when.

There is no future and no past, just the present.

Thank you Linnea for having me and it’s been a pleasure talking with you.

Further Information

Order ACCURSED WOMEN:  http://www.amazon.com/Accursed-Women-Luciana-Cavallaro-ebook/dp/B00H28TYNWcU

Customer Reviews ACCURSED WOMEN:  http://www.amazon.com/Accursed-Women-Luciana-Cavallaro-ebook/product-reviews/B00H28TYNW/ref=dp_top_cm_cr_acr_txt/178-4288540-6592459?ie=UTF8&showViewpoints=1

Visit Luciana Cavallaro’s Official Website:  http://luccav.com/

ACCURSED WOMEN, by Luciana Cavallaro, Trailer

http://www.youtube.com/watch?v=pBY6antXpPw

Goodreads:  http://www.goodreads.com/author/show/6567841.Luciana_Cavallaro

Facebook: https://www.facebook.com/pages/Luciana-Cavallaro-Writer/304218202959903?ref=hl

Celtic Heroines: Boudica Revolt Against Romans

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“Behold the proud display of warlike spirits, and consider the motives for which we draw the avenging sword. On this spot we must either conquer, or die with glory. There is no alternative. Though a woman, my resolution is fixed; the men, if they please, may survive with infamy, and live in bondage.”–Boudica’s speech to her army; recorded by Tacitus

Introduction

In 60-61 AD, the Romans faced their most fierce vengeance in a revolt led by Boudica, the best known Celtic warrior queen in Britain. A formidable woman of high intelligence, Boudica assembled some 120,000 men and women warriors for her rebellion. Her initial battles with the Romans almost succeeded in driving them out of Britain. The best-known accounts of this revolt were documented by the Roman historians Tacitus in 1st century and Cassius Dio in the 2nd century.

Dio Cassius described the Iceni queen as “very tall in stature, in appearance most terrifying, in the glance of an eye most fierce. Around her neck was a large golden torc. She wore a tunic of diverse colors which a thick mantle was fastened with a brooch. She grasped a spear to terrify all beholders.”

Statue of Boudica

Events Leading to Revolt

Boudica’s husband, Prasutugus, had during his long reign amassed considerable wealth as the king of the Iceni. Like the Brigantes who were ruled by another warrior queen, Cartimandua, the Iceni had formed an alliance with the Romans that allowed them prosperity and a good measure of independence. Before his death in 60 AD, King Prasutugus bequeathed half of his estate to Rome hoping the gesture would prove his fealty and appease Emperor Nero. The other half was willed to Boudica and their daughters.

Ancient Celtic Roundhouse of Chieftain (Interior)

However, Nero would not settle for just half when he could have it all—especially if such riches belonged to a mere woman. His subordinates seized the king’s estate and annexed the Iceni territory, reducing its inhabitants to slavery. When Boudica vehemently protested the injustice, Roman soldiers flogged her and raped her two daughters. These proud royal women were deprived of their positions which had been transmitted to them by their ancestors.

Enraged, Boudica took command of her Iceni warriors and joined forces with the Trinovantes, a neighboring state that refused crouching to Roman bondage. In secret councils, the Celtic leaders vowed to stand against the Roman Empire in the cause of liberty. Tacitus quoted Boudica as saying, “I am not fighting for my kingdom and wealth. I am fighting as an ordinary person for my lost freedom, bruised body, and my outraged daughters.”

Celtic Shield La Tène Style

What ignited the Trinovantes to ally with Boudica was the vile conduct of Roman veterans who had no compunction for driving the natives from their homes and treating them with cruelty and oppression. At Camulodunum (Colchester) a temple was built to honor Claudius—a symbol of eternal slavery to the Britons.

In an account by Cassius Dio, Boudica told her followers to accept some of the blame for allowing themselves to be manipulated by the Romans prior to their invasion in 43 AD. “But to speak the plain truth, it is we who have made ourselves responsible for all these evils, in that we allowed them to set foot on the island in the first place instead of expelling them an once as we did their famous Julius Caesar, – yes, and in that we did not deal with them while they were still far away under Augustus and with Gaius Caligula.”

Claudius Bonze Head

Destruction of Camulodunum

Tacitus wrote of several omens that foretold the destruction of the Roman capital of Camulodunum. One omen was the statue of the goddess of Victory in the city fell off its base and landed face-down. After this event, women in ecstasy rushed among the people and screamed the Romans would soon meet their doom. Another omen was the image of the colony in ruins seen in the transparent water near the mouth of the Thames. These omens set the stage for inciting the Britons to revolt.

Further, the Roman provincial governor, Seutonius Paulinus, was preoccupied with destroying the druidic power at Mona (Anglesey).

Suetonius Paulinus Statue

Fearing the crisis at Camulodunum could erupt into a rebellion, Roman veterans requested reinforcements from Catus Decianus, the procurator of the province, to defend their city. The procurator only spared two hundred men to quash the uprising. The Romans had hoped to make their stand at the fortified temple of Claudius. However, Boudica’s army demolished the unguarded city, besieging the last defenders in the temple for two days before it fell. Archaeologists have shown that the city was methodically laid to waste with fire and sword.

The ninth Roman legion was sent to relieve the city. Before battling these military forces, Boudica offered a hare to the war goddess, Andastre. Then the Britons rushed into battle and annihilated the Roman army.

Counterattack by Seutonius

Suetonius marched back through Britain as far as Londonium (London), the center for trade and commerce. He had counted on Boudica attacking this settlement, but she instead moved twenty miles north to Verulamium (St. Albans) which her army sacked.

Verulamium Excavations Ancient Roman City Wall

Meanwhile, Seutonius fortified his forces with the fourteenth legion and auxiliaries from adjacent stations, and drafted men of fighting age. He left Londonium undefended despite the inhabitants’ pleas to stay so he could confront Boudica. However, she attacked the defenseless Londonium, determined to exact her revenge on the Romanized citizens.

Tacitus wrote, “They [Boudica and her warriors] wasted no time in getting down to the bloody business of hanging, burning, and crucifying.”

To be Continued

The warrior queen then turned her attention to Seutonius, tracking him down north of London. The next post will detail the final battle between Boudica and Seutonius.

References:

Jeannine Davis-Kimball, Ph.D., Warrior Women: An Archaeologist’s Search for History Hidden Heroines; 2002; Warner Books, Inc., New York.

Cassius Dio: The Neronian Revolt of the Iceni under Suetonius Paullinus; Book LXII, Chapters 1-12 (AD 61)

Description by Tacitus of the Rebellion of Boudica (AD 60-61) [from the Annual by Tacitus (AD 110-120), Book XIV]; Athena Review Vol. 1, No. 1.

Celtic Heroines: Golden Age of Warriors and Queens

“We have not even to risk the adventure alone, for the heroes of all time have gone before us. The labyrinth is thoroughly know. We have only to follow the thread of the hero path…And where we had thought to be alone, we will be with all of the world.”—Joseph Campbell, The Power of Myth

Introduction

The epic historical fantasy, APOLLO’S RAVEN, is the first novel in the Spirit Warrior Chronicles set in 1^st Century Britain and Rome. The primary character is Catrin, a Canatiaci warrior princess in southeast Britain. Not only is she trained as a warrior, but she uses raven mystical powers to help her parents defend their kingdom against a rival tribal king and her half-brother. She meets the great-grandson of Marc Antony, Marcellus, when he accompanies his father, a Roman senator, to arbitrate a settlement between the rival tribal kingdoms. Catrin and Marcellus bridge their cultural differences and form an unlikely friendship that develops into a deeper relationship which could threaten the political powers in Britain and Rome.

Catrin, Celtic Spirit Warrior

This unpublished novel is inspired by historical accounts and mythology of Celtic heroines who had significant roles as warriors, rulers, and spiritual advisers in the Celtic society. Celtic women were distinctly different from their Greek and Roman counterparts, as they had more liberty, legal rights, and status. This may be due, in part, because females often fended for themselves at home while their menfolk plundered, invaded, or served as mercenaries in foreign lands. Ancient classical historians also provided accounts that women incited, participated, and led battles.

Celtic Heroine Warriors 

Classical writers described Celtic females as not only strong and courageous warriors, but they were beautiful with comely bodies. Classical writer Diodorus wrote Celtic women were “nearly as tall as the men, whom they rivaled in courage.”

Roman historian Marcus Borealis further elaborated: “The women of the Celtic tribes are bigger and stronger than our Roman women. This is most likely due to their natures as well as their peculiar fondness for all things martial and robust. The flaxen haired maidens of the north are trained in sports and war while our gentle ladies are content to do their womanly duties and thus are less powerful than most young girls from Gaul and the hinterlands.”

Celtic Woman Warrior Prepares for Battle

Ammianus Marcellinus wrote a lively description of Celtic woman in battle as follows: “…a whole band of foreigners will be unable to cope with one [Celt] in a fight if he calls on his wife, stronger than he by far and with flashing eyes; least of all when she swells her neck and gnashes her teeth, and poising her huge white arms, begins to rain blows mingled with kicks like shots discharged by the twisted cords of a catapult.”

Celtic woman warrior in sword fight

Though men usually held the highest political authority, it was not uncommon for women to rule as queens and military commanders. The 1st-century Roman historian Tacitus wrote the Britons “are used to women commanders in war,” and offered detailed reports on the exploits of two warrior queens—Cartimandua and Boudicca.

Celtic Heroine Queens

The Sleek Pony

Cartimandua, known as the sleek pony, was queen of the Brigantes, a vast tribal confederation in north-central Britain. Although Cartimandua ruled with her husband, Venutius, she held the real power to the kingdom. When the Romans invaded in 43 AD, both Cartimandua and Venutius realized the political advantages of siding with the aggressors and thus their kingdom because a thriving Roman client state around 50 AD.

However, Cartimandua lost popularity among her subjects when she betrayed the famous rebel leader Caratacus, turning him over to the Romans after he had sought asylum in her court. Her power eroded when she divorced Venutius and then married his armor bearer who she made the new king. Her actions prompted a civil war with her former husband, the Romans entering the fray and helping her to defeat Venutius in 71 AD. Though she may not have been viewed favorably in history, she still nonetheless was a powerful leader.

Celtic Woman Warrior with Sword

Boudica

Boudica was a charismatic warrior queen who united several British tribes to drive the Romans out of Britain in 61 AD. A bronze statue of Boudica driving her chariot is prominently displayed on the bank of the Thames (London) in honor of her valiant attempt to overcome her oppressors. Roman historian Dio Cassius described her as “very tall in stature, in appearance most terrifying, in the glance of her eye most fierce, harsh in voice…and with a great mass of bright red hair falling to her hips.”

Statue of Boudica

Like the Brigantes, the Iceni had formed an alliance with the Romans that at first gave them prosperity and independence. That changed when her husband, King Prasutagus, died in 60 AD and she became the leader of the Iceni. He willed half of his personal estate to Rome in the hope the gesture would demonstrate his fealty and appease the Roman Nero. The other half was bequeathed to Boudica.

But Nero would not settle for half the fortune—particularly to a mere woman. He ordered his subordinates to seize Boudica’s estate and annex the Iceni territory. When Boudica protested, the Roman soldiers flogged the queen and raped her two teenage daughters.

But the Romans would soon face her fury. The details of this rebellion will be provided in the next post.

References

Jeannine Davis-Kimball, Ph.D., Warrior Women: An Archaeologist’s Search for History Hidden Heroines; 2002; Warner Books, Inc., New York.

Cassius Dio: The Neronian Revolt of the Iceni under Suetonius Paullinus; Book LXII, Chapters 1-12 (AD 61)

Ammianus Marcellinus: The Roman History of Ammianus Marcellinus, published in Vol. I of the Loeb Classical Library edition, 1935; Book XV, 12 The Manners and Customs of the Gauls.

Quest for Catrin: Photographic Adventure—Celtic Spiritual Warrior (Part 7)

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Furthermore, we have not even risked the adventure alone, for the heroes of all time have gone before us. The labyrinth is thoroughly known. We have only to follow the thread of the hero path, and where we had thought to find an abomination, we shall find a god. And where we had thought to slay another, we shall slay ourselves. Where we had thought to travel outward, we will come to the center of our own existence. And where we had thought to be alone, we will be with all the world. —Joseph Campbell

Impressions of a Heroine

Before completing the series of the photographic adventure of Catrin, the heroine in my unpublished historical fantasy, APOLLO’S RAVEN, I wanted to post some comments from my eleven-year-old granddaughter, Maylin, about her experience posing as a Celtic warrior princess. Needless to say, it is not everyday a crazy grandmother asks her granddaughter to dress up as a warrior and re-enact sword fights and summoning a raven. In addition, I asked Maylin about her favorite mythological characters and young adult novels she enjoyed reading.

My granddaughter was quite the trooper during the photo shoot and interview. But Maylin finally admitted that at first she wondered if she had been thrown under the bus when her mother graciously volunteered her to do the photo shoot.

Thank you, Maylin, for sharing this wonderful adventure with me.

Interview with Maylin

Question 1. What were your first thoughts when your mother volunteered you to pose as a young Celtic woman warrior?

Answer: At first I wasn’t  happy. I asked my mother, “Why would you want to throw me under the bus?” I did not want to go through the fuss of make-up and dressing up like a warrior. The only reason I did it was because I loved my mother and grandmother. (Note: Always the perfect answer for a grandmother.)

Question 2. What type of characteristics would you like to see in a heroine?

Answer: Heroines should be fighters and stand up for what they believe in. Yet they should protect people who they love. I liked Katniss Everdeen in the Hunger Games because she traded places with her sister to protect her. Heroines should have a soft side, too.

Question 3. What is your favorite mythological character?

Answer: Poseidon is my favorite because he is a god associated with the sea and water. I liked the character Percy Jackson because he was the son of Poseidon, a demigod, in the series of novels written by Rick Riordan. I like to swim on my school team. My favorite monster is the serpent-like hydra that has many heads. For each head cut off, it grew two more heads back in place of one.

Question 4. If you were given the opportunity to have supernatural powers, what powers would you like?

Answer: I would like to have the power of telekinesis. Specifically, I would like to read the minds of other people and levitate objects. I would like to read my friends’ thoughts to know if there is anything wrong. Possibly I could help them.

Question 5. What comes to mind when you think of a raven? What types of powers would you envision a raven to have?

Answer: A raven is a bird. Nothing comes to mind as to what raven powers would be.

Question 6. How did you feel as you were being transformed into a Celtic warrior princess for the photographic shoot?

Answer: I was pretty amazed at what could be done with make-up, particularly the raven tattoo. The whole process of dressing up and re-enacting Catrin in an ancient time was pretty amazing. I have to admit I was pleasantly surprised.

Celtic Woman Warrior Sword Fight

Question 7. What were the favorite aspects of the photo shoot for you?

Answer: I like the photographic shoot of the sword fight in the forest. Not until I saw my facial expressions in the photographs did I realize how much I really got into role-playing the part of a warrior. I particularly liked the scenes where I had to sword fight with Shevek, an assistant off-camera.

Celtic Woman Warrior in Battle

Question 8. What are your favorite books and authors?

Answer: My favorite series of novels were the mythological adventures of Percy Jackson written by Rick Riordan. What I liked best is Rick Riordan actually went into some of the original Greek myths in his book. I also liked the Harry Potter series and the world created by J. K. Rowling. Finally, I liked Hunger Games written by Suzanne Collins.

Reference: Joseph Cambell, The Power of Myth with Bill Moyers; Published by Doubleday; New York, July 1991.

Quest for Catrin: Photographic Adventure—Celtic Spiritual Warrior (Part 4)

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Quest for Catrin: Photographic Adventure—Celtic Spiritual Warrior (Part 4)

On his first expedition to Britain in 55 BC, Julius Caesar wrote in Conquest of Gaul the following description of the coastal white cliffs: “…on his approach the whole line of hills crowned with the armed forces of the enemy. There was so little space between the sea and the rising wall of rock, that the shore was easily commanded by any spear thrown from above.”

 

Coastal White Cliffs Britain

The final challenge in the photographic shoot for transforming my eleven-year-old granddaughter into Catrin, the Celtic spiritual warrior in the historical epic fantasy, APOLLO’S RAVEN, was to provide a realistic backdrop of the hillsides leading up to the white cliffs along the British Channel. The adventure is set in 24 AD Ancient Britain where the army of Catrin’s father battles with Roman who have allied with his Celtic rivals in their plan to overtake his kingdom.

White Cliffs Hillside Britain

Rome’s Influence on Ancient Britain

Although Caesar mounted two expeditions to Britain in 55-54 BC, Rome did not invade and occupy this island until 43 AD. Even so, coins minted after Caesar’s expeditions suggest Rome heavily influenced the process of establishing dynasties in the two most powerful tribes in southeast Britain. Establishing loyal client-kingdoms outside the areas under Rome’s direct control was standard foreign policy. Celtic client kings may have spent their youth growing up in aristocratic Roman circles to learn the Roman culture and even to gain experience in the Roman army. In addition, there is archaeological evidence of extensive trading between Britain and the Continent as early as 100 BC.

Although the narrowest point between the Strait of Dover is only 21 miles between Britain and France (Roman Gaul), the logistics of moving soldiers, cavalry, and supplies proved to be a formidable task. Invasion of Britain was a high priority for Augustus, but other crises in the Empire may have influenced his decision not to invade. The Roman historian, Tacitus, records that in 16 AD some Roman soldiers were cast ashore in Britain and promptly returned to Rome by a local ruler.

White Cliffs Hillside Britain

The above historical assumptions of Rome’s influence on the political climate in Ancient Britain set the backdrop to APOLLOS’ RAVEN.

Photographic Challenge – Setting

The photographer, Rebekah West [Rebekah West Photography and Creative International; Website: http://rebekahwest.com] had to find a suitable location in Boulder that looked similar to the grassy and forested landscape of the white cliffs’ hillsides. The British coastline is known for encroaching fog while in Colorado most days are arid and sunny. Further complicating the shoot, Colorado had a severe drought. Throughout Colorado, several forest fires raged, creating a smoky haze along the front range.

Celtic woman warrior in sword fight

The final location of the shoot was Fairview High School situated next to open space in Boulder. The school building served as the backdrop for a stone fortress while the open space provided a grassy hillside and groves of trees.

Celtic Spiritual Warrior

 

On the evening of the photographic shoot, the air cleared and the approaching sunset provided fabulous lighting for the photographs.

Celtic Woman Warrior in Battle

(To be continued—Quest for Catrin: Photographic Adventure)

References:

“The Conquest of Gaul,” Julius Caesar; translated by F. P. Long; The Barnes and Noble Library of Essential Reading, 2005, pg. 94.

“AD 43 The Roman Invasion of Britain,” John Manley; Tempus Publishing, Inc., 2002.

Quest for Catrin: Photographic Adventure—Celtic Spiritual Warrior (Part 3)

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I have fled in the shape of a raven of prophetic speech —Taliesin’s Song of his Origins, 6th century

Raven Tattoo

One of the challenges in the photo shoot was to transform my eleven-year-old granddaughter, Maylin, into the adolescent Celtic warrior princess, Catrin—the heroine in APOLLO’S RAVEN. Isabelle Kai, a makeup artist from Boulder, worked with Rebekah West (Rebekah West Photography), and myself to design a raven tattoo for placement on Maylin’s forehead. The raven is the protector animal that guides Catrin and helps her prophesy.

Isabelle created a unique stencil template that was used to spray paint the raven on Maylin’s head. The British Celts were known for tattooing their bodies by using the leaves of the Woad plant to create a viscous blue dye. The indigo paste was tapped into the skin with needles to force the stain under the skin layers. In addition, feathers were pasted on Maylin’s face to highlight the strength she garners from her raven spirit.

Catrin, Celtic Spiritual Warrior

Mythological Raven

The mythology of ravens is widespread throughout the world, including North America, Europe, and Asia. Ravens have been associated with prophesy and wisdom, but they also conjure dark images of bad luck and death (discussed below).

Raven Animal Protector

A spiritual warrior society, the Celts revered animals as protectors and teachers. They believed the physical world is one level of existence. Overlaying this mortal world is the Otherworld, the world of spirits and forces which can guide and help us. Ravens, in particular, were revered for their ability to bridge these two worlds. They served as messengers from the Otherworld and acted as guardians and protectors.

Catrin, Celtic Spiritual Warrior Summons Raven

Raven Light Symbolism

In Greek and Roman mythology, the raven was associated with both Athena (Roman: Minerva) and Apollo—deities closely affiliated with the sun and the light of wisdom. Apollo was an oracular god, and thus, the association between the conversational raven and the god of divination made sense.

Apollo’s Raven

In Norse mythology, the god, Odin, was pictured with two ravens on his shoulders: Hugin representing the power of thought and active search for information; Mugin, representing wisdom and its ability to understand by intuition. Odin would send these two ravens out each day to spy upon the lands. They would return to tell him what they learned on their journeys.

Raven Dark Symbolism

Ravens are associated with predators, particularly wolves, which kill prey for ravens to scavenge. As human civilization became more war-like, fostering conflict and the spread of disease, ravens often picked at the bloody remains of fallen warriors in battle. People interpreted this predictable biological response as a supernatural sign and came to view ravens as omens of bad luck and harbingers of death. The sight of elongated beaks pecking into corpses reinforced the nightmarish images of ravens.

The Morrigan was the shape-shifting Celtic Goddess of war, fate, and death. She soared over battlefields in the form of a raven and frequently foretold or influenced the outcome of the conflict.

Raven Over Battlefield

The Norse god, Odin, was also known as the Raven God. His daughters, Valkyries, would transform into ravens and whisper to the souls of fallen Norse warriors to follow them to Valhalla in the sky.

My next series of posts will continue to unfold how Rebekah West prepared for the photo shoot that transformed Maylin into a Celtic warrior princess based on historical accounts in Ancient Britain.

(To be continued—Quest for Catrin: Photographic Adventure)

 

Quest for Catrin: Photographic Adventure—Celtic Woman Warrior (Part 2)

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Quest for Catrin: Photographic Adventure—Celtic Woman Warrior (Part 2)

 “…a whole band of foreigners will be unable to cope with one [Celtic Gaul] in a fight if he calls in his wife, stronger than he by far and with flashing eyes; least of all when she swells her neck and gnashes her teeth, and poising her huge white arms, begins to rain blows mingled with kicks like shots discharged by the twisted cords of a catapult.”

–Ammianus Marcellinus

Historical Background

The Celtic heroine, Catrin, in Apollo’s Raven is based on reliable evidence of first-century warrior queens of powerful tribes in Ancient Britain (Ancient Roman Britannia). These real-life  female rulers and military commanders were recorded in historical accounts by the Romans who invaded Britain in 43 AD.

Celtic Woman Warrior in Battle

Tacitus, a first-century historian, wrote in his Anals: “it is not the first time that Britons have been led to battle by a woman.” He wrote extensively on two Ancient Britain warrior queens:

• Cartimandua (Sleek Pony): Queen of the Brigantes, a north-central British tribe; Roman client queen in 50 AD.
• Boudicca (Victoress): Queen of the Iceni, a Northeastern British tribe; military leader of both female and male warriors in major revolt against Roman occupation in 60 AD.

The rights and position of Celtic women far exceed those in Rome, where the male head of the family (paterfamilias) had complete control over his wife and family. Further, there was historical evidence for the existence of female druids—spiritual leaders—in the Celtic society. Boudicca may have been a priestess of the goddess ‘Adrasta’, the goddess of victory.

Celtic Woman Warrior Battle Dress

One of the challenges for Rebekah West [Rebekah West Photography and Creative International; Website: http://rebekahwest.com%5D was to locate authentic costumes and weapons in preparation for the photo shoot on 13 June 2012 when my granddaughter, Maylin, posed as Catrin, an adolescent Celtic warrior princess. Rebekah’s son, Shevek, who had a background in theater arts, provided Celtic swords used in the various settings. Just prior to the photographic adventure, he practiced with Maylin in the proper handling of the sword.

The more difficult obstacle was to locate authentic wardrobe for a Celtic woman warrior. My original vision was based on documented battle gear of Celtic male warriors: multi-colored tunics, mail-shirt or leather chest armor. In advance of the photo shoot, I provided key measurements to Rebekah for outfitting  Maylin. After an extensive search, Rebekah finally located a woman’s leather chest and wrist protectors based on actual replicas from archaeological digs. And just in case—a local artist was ready to weave a mail-shirt as back-up wardrobe.

Below is a photograph of Maylin posing as Catrin in battle dress (leather chest and wrist protectors and earth-brown tunic) and armed with sword.

Celtic Spiritual Warrior

 

(To be continued—Quest for Catrin: Photographic Adventure)

Reference:

The Roman History of Amminus Marcellinus, published in Vol. I of the Loeb Classical Library edition, 1935; Book XV, 12 The Manners and Customs of the Gauls, p. 197.

Women Warriors: Myth; Historical and Archaeological Evidence

“The images of myth are reflection of the spiritual potentialities in every one of us. Through contemplating these, we evoke their powers in our own lives.”

—Joseph Campbell, The Power of Myth

Introduction

The credibility of women warriors described in myths and legends is supported by not only historical accounts, but also by recent archaeological excavations which provide evidence of the status, power, and position of women in ancient warlike societies, many of which had been considered patriarchal. These ancient women played dynamic roles as advisors, priestesses, wives, mothers, and warriors—partners with men striving to hold the foundation of their societies together.

Below will be the first of a series of myths, historical accounts, and archaeological evidence of ancient women warriors—beginning with the Amazons.

Greek Mythology

Ancient Greek literature and mythology abound with tales of fierce women warriors. In the Iliad, the epic poem about the legendary siege of Troy by the Greeks in the twelfth century BC, Homer called them Amazons, “the equal of men.” Fighting on the side of the Trojans, these female warriors were led by the courageous and beautiful queen Penthesilea. In a battle, Achilles impaled the queen by his spear. But as she lay dying, he removed her helmet and was smitten by her beauty.

Various accounts of Amazons describe these women as “virgins fearless in battle,” and “the daughters of Ares armed with iron.”

Classical Greek History

The Greek historian, Herodotus, recounted tales of warrior women riding the steppes of modern Southern Russia. While the Greeks called these women Amazons, the Scythians, another nomadic tribe, referred to them as Oirpoata, “killers of men.”

In one tale, the Greeks defeated the Amazons in a battle at Thermodon (now Terme, Turkey) and set sail with three ships of female captives. The cunning women seized control of the vessels and tossed their Greek captors into the Black Sea. Unfortunately, the ship wrecked on the north Black Sea coast and the women had to battle with Scythian warriors. When the Scythians examined the corpses of the fallen enemy, they realized they were women. In awe of their female adversaries, the Scythians reasoned these fierce women could bear formidable children. Eventually, the two groups intermarried, but the Amazons refused to be assimilated into the Scythian population. The eventual progeny of these intermarriages became known as Sauromatae to the Greeks.

Herodotus concluded the  Sauromatian women, “ride a-hunting with their men or without them; they go to war, and wear the same dress as the men. In regard to marriage, it is the custom that no virgin weds till she has slain a man of the enemy.”

Archaeological Evidence

For centuries, Herodotus’ account was considered nothing more than legend without any credibility. However, in the 1950s, Russian archaeologists began excavating sixth-century BC kurgans (burial mounds) and discovered women’s graves containing weapons, armor and riding gear. In 1980, the German archaeologist Renate Rolle (1989) took a closer look at women’s status among the ancient nomads and reported that approximately 20% of Scythian graves excavated in the lower Volga region belonged to women—with bows and arrows the most prevalent weapons.

Jeannine Davis-Kimball, Ph.D. (2002) reported evidence from the Pokrovka excavations that women from the Sauromatian and early Sarmatian tribes were warriors. One burial site was that of a female warrior, thirteen to fourteen years old, who was in high standing with her tribespeople—she may have been a young priestess as well as a warrior. The skeleton suggests this young female warrior died from battle-inflicted wounds. Pigments of charcoal and colored ores discovered at these sites suggest these nomadic tribes either body painted or tattooed their bodies—these designs held special powers.

Conclusions

Only when egalitarian power shifted to patriarchal empires, kingships, and priesthoods were women purged from position of influence and relegated to subservient roles. The heritage of influential ancient women deserves to be more openly discussed. The images of these women in myths and legends are a reflection of the power that we can evoke in our modern lives.

Bibliography

Davis-Kimball, Jeannine, 2002. Warrior women: An archaeologist’s search for history’s hidden heroines. New York: Warner Books, 2002

Rolle, Renate, 1989. The world of the Skythians. Trans. F.G. Walls, Berkeley: University of California Press. Originally published in German in 1980.

Websites:

http://www.csen.org/WomenWarriors/Statuses_Women_Warriors.html

http://www.csen.org/Pubs_Sales_Reviews/WW_Book_Announcement/WarriorWomenBookDesc.html

Heroine Mythological Adventure

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Introduction

Linnea Tanner is a native of Colorado where she attended the University of Colorado and earned her BA and MS in chemistry. After working in the pharmaceutical industry, she is now an aspiring writer of historical fantasy, romance, and adventure based on her lifelong passion for Ancient Rome, Celtic Britain, and mythology.

 

Life Venture of Linnea Tanner

As a child, Linnea was an avid reader of Greek/Roman/Nordic mythology which opened up a new world of gods/goddesses, heroes, and mythological adventure.  Using this fantastical world as a base, Linnea imagined herself as a heroine warrior on a perilous odyssey to overcome nearly insurmountable obstacles. Other characters joined Linnea on this journey, including Romans, who taught her about courage, love, duty, loyalty, and sacrifice. Yet most schools taught history and mythology in the biased viewpoint of male conquerors; women were invisible in the background.

Linnea’s childhood characters stayed with her as she began her life venture: marriage to her soul mate, birth of two children, education, and professional career. However, she rediscovered the wonder of the goddess mythology from ancient civilizations where women and men worked in partnership (“The Chalice & the Blade” by Riane Eisler). She was inspired by accounts of Celtic women warriors and rulers, and extensive research and expeditions to the UK and France. In the Celtic warrior society, the rights and status of women far exceeded those of the patriarchal societies of Greece and Rome. During her travels to the UK, Linnea’s passion for writing was ignited after she researched the historical account of the Celtic queen Boudica, whose rebellion almost resulted in the withdrawal of all Roman forces from Britain in 60 AD.

Vision of Celtic Spirit Chronicles

Linnea Tanner has taken the next step in her next life’s adventure of becoming a writer. She envisions completing the Spirit Warrior Chronicles, an epic historical fantasy set in 1st Century Celtic Britain prior to the Roman invasion in 43 AD. The story is about the heroine, Catrin—a Celtic spirit warrior destined to meet the great grandson of Marc Antony (Marcellus) and to become a warrior queen in her tribal kingdom.

The first two unpublished novels of the Spirit Warrior Chronicles are:

• APOLLO’S RAVEN is set in 24 AD when Catrin begins a perilous odyssey that starts in Celtic Britain (modern day Kent) where she meets Marcellus; ventures into Gaul (modern day France) where she becomes a gladiatrix; and ends in Rome where she reunites and falls in love with Marcellus.

• RAVEN’S FIRE continues the odyssey where Catrin must take on the dark powers of her raven spirit to fulfill her destiny to become warrior queen. The draft of this manuscript is near completion.

Purpose of Apollo’s Raven Blog

Linnea has begun this blog to share and to survey the opinions of others regarding ancient Celtic and Roman culture and mythology. In addition, she will share some of her research findings and photographs of sites in Britain (ancient Roman Britannia) and France (ancient Roman Gaul) where the heroine, Catrin, travels in her odyssey.