what did the ram represent to the pagans

This article is about the Wiccan deity. For gods with horns or antlers on their heads, see Horned deity.

Horned God
God of nature, wilderness, sexuality, hunting
Consort	Triple Goddess

The Horned God is one of the ii master deities constitute in Wicca and some related forms of Neopaganism. The term Horned God itself predates Wicca, and is an early on 20th-century syncretic term for a horned or antlered anthropomorphic god partly based on historical horned deities.^[1]

The Horned God represents the male part of the religion's duotheistic theological arrangement, the consort of the female person Triple goddess of the Moon or other Mother goddess.^[2] In common Wiccan conventionalities, he is associated with nature, wilderness, sexuality, hunting, and the life bike.^{[3] : 32–34} Whilst depictions of the deity vary, he is ever shown with either horns or antlers upon his head, often depicted equally being theriocephalic (having a beast's head), in this way emphasizing "the union of the divine and the animal", the latter of which includes humanity.^{[4] : 11}

In traditional Wicca (British Traditional Wicca), he is generally regarded as a dualistic god of twofold aspects: vivid and dark, night and day, summer and wintertime, the Oak King and the Holly Rex. In this dualistic view, his two horns symbolize, in part, his dual nature. (The use of horns to symbolize duality is likewise reflected in the phrase "on the horns of a dilemma.") The three aspects of the Goddess and the two aspects of the Horned god are sometimes mapped on to the five points of the Pentagram, (spiritual/pagan/satanism), or Pentacle, (Wicca), although which points represent to which deity aspects varies. In some other systems, he is represented every bit a triune god, split into three aspects that reflect those of the Triple goddess: the Youth (Warrior), the Father, and the Sage.

The Horned God has been explored within several psychological theories and has become a recurrent theme in fantasy literature.^{[5] : 872}

In Wicca [edit]

In traditional and mainstream Wicca, the Horned God is viewed as the divine male principality, existence both equal and opposite to the Goddess. The Wiccan god himself can exist represented in many forms, including equally the Dominicus God, the Sacrificed God and the Vegetation God,^[3] although the Horned God is the most pop representation. The pioneers of the various Wiccan or Witchcraft traditions, such every bit Gerald Gardner, Doreen Valiente and Robert Cochrane, all claimed that their religion was a continuation of the pagan religion of the Witch-Cult following historians who had purported the Witch-Cult's existence, such as Jules Michelet and Margaret Murray.

For Wiccans, the Horned God is "the personification of the life force energy in animals and the wild"^[vi] and is associated with the wilderness, virility and the chase.^{[vii] : 16} Doreen Valiente writes that the Horned God too carries the souls of the dead to the underworld.^[eight]

Wiccans more often than not, every bit well as some other neopagans, tend to conceive of the universe as polarized into gender opposites of male person and female energies. In traditional Wicca, the Horned God and the Goddess are seen as equal and contrary in gender polarity. Even so, in some of the newer traditions of Wicca, and specially those influenced by feminist ideology, there is more emphasis on the Goddess, and consequently the symbolism of the Horned God is less adult than that of the Goddess.^{[ix] : 154} In Wicca the cycle of the seasons is celebrated during eight sabbats called The Wheel of the Year. The seasonal bicycle is imagined to follow the relationship between the Horned God and the Goddess.^[7] The Horned God is built-in in winter, impregnates the Goddess and then dies during the autumn and winter months and is then reborn by the Goddess at Yule.^[x] The different relationships throughout the twelvemonth are sometimes distinguished past splitting the god into aspects, the Oak King and the Holly King.^[7] The relationships between the Goddess and the Horned God are mirrored past Wiccans in seasonal rituals. At that place is some variation betwixt Wiccan groups as to which sabbat corresponds to which part of the cycle. Some Wiccans regard the Horned God as dying at Lammas, August 1; besides known every bit Lughnasadh, which is the first harvest sabbat. Others may see him dying at Mabon, the autumn equinox, or the second harvest festival. Still other Wiccans conceive of the Horned God dying on Oct 31, which Wiccans call Samhain, the ritual of which is focused on death. He is then reborn on Winter Solstice, December 21.^{[11] : 190}

Other important dates for the Horned God include Imbolc when, according to Valiente, he leads a wild chase.^{[viii] : 191} In Gardnerian Wicca, the Dryghten prayer recited at the finish of every ritual meeting contains the lines referring to the Horned God:

In the proper noun of the Lady of the Moon,
and the Horned Lord of Expiry and Resurrection^[12]

According to Sabina Magliocco,^{[12] : 28} Gerald Gardner says (in 1959's The Pregnant of Witchcraft) that The Horned God is an Under-god, a mediator between an unknowable supreme deity and the people. (In Wiccan liturgy in the Book of Shadows, this formulation of an unknowable supreme deity is referred to as "Dryghtyn." It is not a personal god, but rather an impersonal divinity similar to the Tao of Taoism.)

Whilst the Horned God is the about mutual depiction of masculine divinity in Wicca, he is not the only representation. Other examples include the Dark-green Human being and the Sun God.^[three] In traditional Wicca, however, these other representations of the Wiccan god are subsumed or amalgamated into the Horned God, as aspects or expressions of him. Sometimes this is shown by adding horns or antlers to the iconography. The Green Man, for case, may be shown with branches resembling antlers; and the Sun God may be depicted with a crown or halo of solar rays, that may resemble horns. These other conceptions of the Wiccan god should non be regarded equally displacing the Horned God, just rather as elaborating on various facets of his nature. Doreen Valiente has called the Horned God "the eldest of gods" in both The Witches Creed and also in her Invocation To The Horned God.

Wiccans believe that The Horned God, as Lord of Decease, is their "comforter and consoler" afterward death and earlier reincarnation; and that he rules the Underworld or Summerland where the souls of the dead reside as they await rebirth. Some, such every bit Joanne Pearson, believe that this is based on the Mesopotamian myth of Inanna's descent into the underworld, though this has not been confirmed.^{[xiii] : 147}

Names [edit]

Chantry statues of the Horned God and Mother Goddess crafted by Bel Bucca and endemic by the "Mother of Wicca", Doreen Valiente

Doreen Valiente, a quondam High Priestess of the Gardnerian tradition, claimed that Gerald Gardner's Bricket Wood coven referred to the god equally Cernunnos, or Kernunno, which is a Latin word, discovered on a rock etching constitute in France, significant "the Horned One". Valiente claimed that the coven likewise referred to the god equally Janicot,^{[ needs IPA ]} which she theorised was of Basque origin, and Gardner also used this name in his novel High Magic's Assistance.^{[fourteen] : 52–53}

Stewart Farrar, a High Priest of the Alexandrian tradition referred to the Horned God as Karnayna, which he believed was a corruption of the word Cernunnos.^[fifteen] The historian Ronald Hutton has suggested that it instead came from the Arabic term Dhul-Qarnayn which meant "Horned 1". Margaret Murray had mentioned this data in her 1933 book The God of the Witches, and Hutton theorised that Alex Sanders had taken it from there, enjoying the fact that he shared his name with the ancient Macedonian emperor.^{[sixteen] : 331} Prudence Jones has suggested that the proper name may instead derive from Karneios, a Spartan deity conflated with Apollo as a subordinate consort to Diana.^[17]

In the writings of Charles Cardell and Raymond Howard, the god was referred to as Atho. Howard had a wooden statue of Atho's head which he claimed was 2200 years sometime, but the statue was stolen in Apr 1967. Howard'south son afterwards admitted that his father had carved the statue himself.^[18]

In Cochrane'due south Arts and crafts, which was founded by Robert Cochrane, the Horned God was ofttimes referred to by a Biblical name; Tubal-cain, who, according to the Bible was the first blacksmith.^[19] In this neopagan concept, the god is also referred to as Brân, a Welsh mythological figure, Wayland, the smith in Germanic mythology, and Herne, a horned figure from English language sociology.^[19]

In the neopagan tradition of Stregheria, founded past Raven Grimassi and loosely inspired past the works of Charles Godfrey Leland, the Horned God goes by several names, including Dianus, Faunus, Cern, and Actaeon.^{[ citation needed ]}

In the Hinduism, the Horned God is referred to Pashupati, Encounter Pashupati seal.^{[ citation needed ]}

In psychology [edit]

Jungian analysis [edit]

Bronze figurine of a "Horned God" from Enkomi, Cyprus

Sherry Salman considers the prototype of the Horned God in Jungian terms, every bit an archetypal protector and mediator of the exterior world to the objective psyche. In her theory the male psyche's 'Horned God' often compensates for inadequate fathering.

When kickoff encountered, the figure is a unsafe, 'hairy chthonic wildman' possessed of kindness and intelligence. If repressed, later in life The Horned God appears as the lord of the Otherworld, or Hades. If split off entirely, he leads to violence, substance abuse and sexual perversion. When integrated he gives the male person an ego 'in possession of its own destructiveness' and for the female person psyche gives an effective counterinsurgency relating to both the concrete trunk and the psyche.^[twenty]

In because the Horned God as a symbol recurring in women's literature, Richard Sugg suggests the Horned God represents the 'natural Eros', a masculine lover subjugating the social-conformist nature of the female shadow, thus encompassing a combination of the shadow and counterinsurgency. One such example is Heathcliff from Emily Brontë'due south Wuthering Heights. Sugg goes on to note that female characters who are paired with this character usually end up socially ostracised, or worse – in an inverted ending to the male hero-story.^{[21] : 162}

Humanistic psychology [edit]

Following the work of Robert Bly in the Mythopoetic men's movement, John Rowan proposes the Horned God as a "Wild Man" exist used as a fantasy image or "sub-personality"^{[22] : 38} helpful to men in humanistic psychology, and escaping from "narrow societal images of masculinity"^{[23] : 249} encompassing excessive deference to women and paraphillia.^{[23] : 57–57}

Theories of historical origins [edit]

A red deer headdress from Star Carr. Many of the 20 other headdresses have more complex sets of antlers.

Sketch of Breuil'south drawing

Many horned deities are known to take been worshipped in diverse cultures throughout history. Prove for horned gods appear very early on in the homo record. The and then-called Sorcerer dates from peradventure 13,000 BCE. Xx-ane cherry-red deer headdresses, made from the skulls of the red deer and likely fitted with leather laces, have been uncovered at the Mesolithic site of Star Carr. They are thought to date from roughly 9,000 BCE.^[24] Several theories take been created to establish historical roots for mod Neopagan worship of a Horned God.

Margaret Murray [edit]

Post-obit the writings of suffragist Matilda Joslyn Gage^[25] and others, Margaret Murray, in her 1921 book The Witch-Cult in Western Europe, proposed the theory that the witches of the early-modernistic menstruation were remnants of a infidel cult and that the Christian Church had declared the god of the witches was in fact the Devil. Without recourse to whatsoever specific representation of this deity, Murray speculates that the head coverings common in inquisition-derived descriptions of the devil "may throw calorie-free on one of the possible origins of the cult."^[26]

Horned God Naigamesha of the Indian sub-religion Kaumaram. Possibly from the Shunga period (1st-2nd century B.C), or before

In 1931 Murray published a sequel, The God of the Witches, which tries to gather bear witness in support of her witch-cult theory. In Affiliate ane "The Horned God".^[27] Murray claims that various depictions of humans with horns from European and Indian sources, ranging from the paleolithic French cave painting of "The Sorcerer" to the Indic Pashupati to the mod English Dorset Ooser, are evidence for an unbroken, Europe-wide tradition of worship of a singular Horned God. Murray derived this model of a horned god cult from James Frazer and Jules Michelet.^{[28] : 36}

In dealing with "The Sorcerer",^{[26] : 23–4} the earliest evidence claimed, Murray based her observations on a drawing by Henri Breuil, which some modern scholars such every bit Ronald Hutton claim is inaccurate. Hutton states that modern photographs bear witness the original cave art lacks horns, a human trunk or any other significant particular on its upper half.^{[29] : 34} Yet, others, such as historic prehistorian Jean Clottes, assert that Breuil's sketch is indeed authentic. Clottes stated that "I take seen it myself perhaps 20 times over the years".^[30]

Breuil considered his cartoon to represent a shaman or magician - an interpretation which gives the image its proper name. Murray having seen the drawing called Breuil's prototype "the kickoff delineation of a deity", an idea which Breuil and others afterward adopted.

Murray also used an inaccurate cartoon of a mesolithic rock-painting at Cogul in northeast Espana as evidence of group religious ceremony of the cult, although the primal male effigy is non horned.^{[26] : 65} The analogy she used of the Cogul painting leaves out a number of figures, human and fauna, and the original is more likely a sequence of superimposed but unrelated illustrations, rather than a depiction of a single scene.^{[xvi] : 197}

Despite widespread criticism of Murray'due south scholarship some minor aspects of her work connected to accept supporters.^{[31] : 9 [32]}

Influences from literature [edit]

The pop image of the Greek god Pan was removed from its classical context in the writings of the Romantics of the 18th century and connected with their ideals of a pastoral England. This, forth with the general public's increasing lack of familiarity of Greek mythology at the fourth dimension led to the figure of Pan becoming generalised as a 'horned god', and applying connotations to the character, such as benevolence that were not evident in the original Greek myths which in turn gave ascension to the popular acceptance of Murray's hypothetical horned god of the witches.^[xvi]

The reception of Aradia among Neopagans has not been entirely positive. Clifton suggests that mod claims of revealing an Italian pagan witchcraft tradition, for instance those of Leo Martello and Raven Grimassi, must exist "friction match[ed] against", and compared with the claims in Aradia. He further suggests that a lack of comfort with Aradia may be due to an "insecurity" within Neopaganism about the movement's merits to authenticity as a religious revival.^{[33] : 61}

Valiente offers some other caption for the negative reaction of some neopagans; that the identification of Lucifer equally the god of the witches in Aradia was "as well strong meat" for Wiccans who were used to the gentler, romantic paganism of Gerald Gardner and were especially quick to reject any relationship between witchcraft and Satanism.^[34]

In 1985 Classical historian Georg Luck, in his Arcana Mundi: Magic and the Occult in the Greek and Roman Worlds, theorised that the origins of the Witch-cult may have appeared in tardily antiquity as a religion primarily designed to worship the Horned God, stemming from the merging of Cernunnos, a horned god of the Celts, with the Greco-Roman Pan/Faunus,^[35] a combination of gods which he posits created a new deity, around which the remaining pagans, those refusing to convert to Christianity, rallied and that this deity provided the prototype for later Christian conceptions of the Devil, and his worshippers were cast by the Church building every bit witches.^[35]

Influences from occultism [edit]

The 19th century image of a Sabbatic Goat, created by Eliphas Lévi. Baphomet serves as an historical model for Murray'due south concept.

Eliphas Levi'south prototype of "Baphomet" serves equally an example of the transformation of the Devil into a benevolent fertility deity and provided the image for Murray's horned god.^[36] Murray's central thesis that images of the Devil were actually of deities and that Christianity had demonised these worshippers as following Satan, is first recorded in the piece of work of Levi in the stylish 19th-century Occultist circles of England and France.^[36] Levi created his image of Baphomet, published in his Dogme et Rituel de la Haute Magie (1855), by combining symbolism from diverse traditions, including the Diable menu of the 16th and 17th century Tarot of Marseille. Lévi chosen his epitome "The Caprine animal of Mendes", possibly post-obit Herodotus' account^[37] that the god of Mendes—the Greek proper noun for Djedet, Arab republic of egypt—was depicted with a goat's face and legs. Herodotus relates how all male goats were held in great reverence by the Mendesians, and how in his time a adult female publicly copulated with a goat.^[38] E. A. Wallis Budge writes,

At several places in the Delta, eastward.1000. Hermopolis, Lycopolis, and Mendes, the god Pan and a caprine animal were worshipped; Strabo, quoting (xvii. ane, 19) Pindar, says that in these places goats had intercourse with women, and Herodotus (ii. 46) instances a case which was said to have taken place in the open twenty-four hours. The Mendisians, co-ordinate to this concluding writer, paid reverence to all goats, and more to the males than to the females, and particularly to ane he-caprine animal, on the death of which public mourning is observed throughout the whole Mendesian commune; they call both Pan and the goat Mendes, and both were worshipped as gods of generation and fecundity. Diodorus (i. 88) compares the cult of the caprine animal of Mendes with that of Priapus, and groups the god with the Pans and the Satyrs. The goat referred to by all these writers is the famous Mendean Ram, or Ram of Mendes, the cult of which was, co-ordinate to Manetho, established by Kakau, the rex of the IInd dynasty.^[39]

Historically, the deity that was venerated at Egyptian Mendes was a ram deity Banebdjedet (literally Ba of the lord of djed, and titled "the Lord of Mendes"), who was the soul of Osiris. Lévi combined the images of the Tarot of Marseilles Devil card and refigured the ram Banebdjed as a he-goat, further imagined by him equally "copulator in Anep and inseminator in the district of Mendes".

Gerald Gardner and Wicca [edit]

Margaret Murray'southward theory of the historical origins of the Horned God has been used by Wiccans to create a myth of historical origins for their religion.^{[7] : 110} There is no verifiable evidence to support claims that the religion originates earlier than the mid-20th century.^[16]

Modernistic scholarship has disproved Margaret Murray'due south theory, however various horned gods and mother goddesses were indeed worshipped in the British Isles during the aboriginal and early Medieval periods.^[forty]

The "father of Wicca", Gerald Gardner, who adopted Margaret Murray'southward thesis, claimed Wicca was a modern survival of an aboriginal pan-European heathen organized religion.^[41] Gardner states that he had reconstructed elements of the faith from fragments, incorporating elements from Freemasonry, the Occult, and Theosophy, which came together in the Hermetic Order of the Golden Dawn, where Gardner met Aleister Crowley, whose influence became the basis for Wiccan magical practices.^{[42] : 27}

Gerald Gardner was initiated into the O.T.O. by Aleister Crowley and after went on to plant the Neopagan religion of Wicca. Various scholars on early Wiccan history, such as Ronald Hutton, Philip Heselton, and Leo Ruickbie concord that witchcraft's early rituals, every bit devised by Gardner, contained much from Crowley's writings such every bit the Gnostic Mass. The tertiary degree initiation ceremony in Gardnerian Wicca (including the Great Rite) is derived almost completely from the Gnostic Mass.^[43]

Romano-Celtic fusion [edit]

Georg Luck, repeats part of Murray's theory, stating that the Horned God may have appeared in belatedly antiquity, stemming from the merging of Cernunnos, an antlered god of the Continental Celts, with the Greco-Roman Pan/Faunus,^[35] a combination of gods which he posits created a new deity, around which the remaining pagans, those refusing to convert to Christianity, rallied and that this deity provided the prototype for after Christian conceptions of the devil, and his worshippers were cast by the Church every bit witches.^[35]

Art, fantasy and science fiction [edit]

Francisco de Goya's Witches Sabbat (1789), which depicts the Devil flanked past Satanic witches. The Witch Cult hypothesis states that such stories are based upon a real-life pagan cult that revered a horned god

In 1908's The Current of air in the Willows by Kenneth Grahame, in Affiliate seven, "The Piper at the Gates of Dawn", Ratty and Mole come across a mystical horned being, powerful, fearsome and kind.^{[33] : 85} Grahame's piece of work was a significant part of the cultural milieu which stripped the Greek god Pan of his cultural identity in favor of an unnamed, generic horned deity which led to Murray's thesis of historical origins.

Outside of works that predate the publication of Murray's thesis, horned god motifs and characters appear in fantasy literature that draws upon her work and that of her followers.

In the novel Childhood's End (1953) past Arthur C. Clarke, all humans have a collective premonition, besides described every bit a memory of the future, of horned aliens which arrive to usher in a new phase of human being development. The collective hidden epitome of the horned aliens is what accounts for flesh'due south image of the devil or Satan. This theme is also explored in the Physician Who story The Dæmons in 1971, where the local superstitions effectually a landmark known every bit The Devil's Hump testify to be based on reality, as aliens from the planet Dæmos have been affecting man's progress over the millennia and the Hump really contains a spacecraft. The simply Dæmon to appear is a archetype estimation of a horned satyr-like being with hooves.

In the critically acclaimed and influential 1950s Television receiver series created by Nigel Kneale, Quatermass and the Pit, depictions of supernatural horned entities, with specific reference to prehistoric cave-fine art and shamanistic horned head-dress are revealed to be a "race-retention" of psychic Martian grasshoppers, manifested at the climax of the moving picture past a fiery horned god.^{[44] : 244}

Murray's theories take been seen to have had influence on the horror picture The Blood on Satan's Claw (1971), where a murderous female person-led cult worships a horned deity named Behemoth.^{[45] : 94}

Marion Zimmer Bradley, who acknowledges the influence of Murray, uses the figure of the "horned god" in her feminist fantasy transformation of Arthurian myth, Mists of Avalon (1984), and portrays ritualistic incest between King Arthur as the representative of the horned god and his sister Morgaine as the "spring maiden".^{[46] : 106}

In the pop video game Morrowind, its expansion Bloodmoon has a plot enemy known as Hircine, the Daedric god of the Hunt, who appears every bit a horned man with the face up of a deer skull. He condemned his "hounds" (werewolves) to walk the mortal ground during the Bloodmoon until a champion defeats him or Bloodmoon falls. When in combat, Hircine appears as a horned wolf or behave.

The 1992 Discworld novel Lords and Ladies, by Terry Pratchett, features a Male monarch of the Elves who is strongly reminiscent of the Horned God. Although not worshipped by the witches who are the heroines of the volume (indeed, quite the reverse), they temporarily ally themselves with him out of necessity.

Run across too [edit]

• Dionysus
• Cernunnos
• Green Man
• Herne the Hunter
• Horned deity (mythology)
• Horned helmet
• Krampus
• Pan
• Satyr
• Triple Goddess (Neopaganism)
• Enki

References [edit]

1. ^ Michael D. Bailey Witchcraft Historiography (review) in Magic, Ritual, and Witchcraft - Book 3, Number 1, Summer 2008, pp. 81-85
2. ^ "from the library of the Order of Bards, Ovates & Druids". Druidry.org. Retrieved 2014-02-25 .
3. ^ ^{a b c} Farrar, Janet; Farrar, Stewart (1989). The Witches' god: Lord of the Trip the light fantastic toe. London: Robert Hale. ISBN0-7090-3319-2.
4. ^ d'Este, Sorita (2008). Horns of Power. London: Avalonia. ISBN1-905297-17-iii.
5. ^ Clute, John The Encyclopedia of Fantasy Clute, John; Grant, John (1997). The Encyclopedia of Fantasy. Orbit. ISBN1-85723-368-ix.
6. ^ "Starhawk" in News-Week On-religion Some bones definitions 2006
7. ^ ^{a b c d} Davy, Barbara Jane (2006). Introduction to Pagan Studies. AltaMira Press. ISBN0-7591-0819-half-dozen.
8. ^ ^{a b} Greenwood, Susan (2005). The nature of magic. Berg Publishers. ISBNi-84520-095-0.
9. ^ Hanegraaff, Wouter J. (1997). New Age Religion and Western Culture . Country University of New York Press. ISBN0-7914-3854-half-dozen.
10. ^ Farrer, Janet; Stewart Farrer (2002). The Witches' bible. Robert Hale Ltd. ISBN0-7090-7227-9.
11. ^ Salomonsen, Jone (2001). Enchanted Feminism. Routledge. ISBN0-415-22393-8.
12. ^ ^{a b} Magliocco, Sabina (2004). Witching Civilization. University of Pennsylvania Press. ISBN0-8122-3803-6.
13. ^ Pearson, Joanne (2002). A Popular Dictionary of Paganism. Routledge. ISBN0-7007-1591-6.
14. ^ Valiente, Doreen (2007). The Rebirth of Witchcraft. Robert Hale Ltd. ISBN0-7090-8369-half-dozen.
15. ^ Farrar, Stewart (2010). What Witches Do. Robert Hale Ltd. ISBN0-7090-9014-5.
16. ^ ^{a b c d} Hutton, Ronald (1995). The Triumph of the Moon: a History of Modern Pagan Witchcaraft. Oxford Paperbacks. ISBN0-19-285449-six.
17. ^ Jones, P. 2005. A Goddess Arrives: Nineteenth Century Sources of the New Age Triple Moon Goddess. Culture and Cosmos, 19(1): 45-70.
18. ^ "The Coven of Atho". Thewica.co.uk.
19. ^ ^{a b} Howard, Mike (2001). The Roebuck in the Thicket: An Anthology of the Robert Cochrane Witchcraft Tradition. Capall Bann Publishing. ISBNane-86163-155-three. Affiliate Ane.
20. ^ Kalsched, Donald (1996). The Inner World of Trauma. Routledge. ISBN0-415-12329-1.
21. ^ Sugg, Richard (1994). Jungian Literary Criticism . Northwestern University Press. ISBN0-8101-1042-3.
22. ^ Rowan, John (1993). Detect your sub-personalities. Routledge. ISBN0-415-07366-nine.
23. ^ ^{a b} Rowan, John (1996). Healing the Male Psyche. Routledge. ISBN0-415-10049-6.
24. ^ "British Museum headdresses". Trustees of the British Museum. Retrieved 2018-01-17 .
25. ^ Cuff, Matilda (2008). Woman, Church and State. Forgotten Books. ISBN1-60620-191-3.
26. ^ ^{a b c} Murray, Margaret (2006). The Witch-cult in Western Europe (1921). Standard Publications. ISBN1-59462-126-viii.
27. ^ Murray, Margaret (1970). The God of the Witches (1931). OUA USA. ISBN0-19-501270-4.
28. ^ Purkiss, Diane (2006). The Witch in History. Routledge. ISBN0-415-08762-seven.
29. ^ Hutton, Ronald (2006). Witches, Druids, and King Arthur. Hambledon Continuum. ISBNone-85285-555-X.
30. ^ "Cavern Art Cobblers? - Beachcombing's Bizarre History Blog". six July 2011.
31. ^ Ginzburg, Carlo. Ecstasies: Deciphering the Witches' Sabbath.
32. ^ "Other historians, like Byloff and Bonomo, take been willing to build upon the useful aspects of Murray's work without adopting its untenable elements, and the independent and careful researches of contemporary scholars have lent aspects of the Murray thesis considerable new strength." — J. B. Russell (1972) Witchcraft in the Eye Ages. Cornell University Press. p.37.
33. ^ ^{a b} Clifton, Chas; Harvey, Graham (2004). The Paganism reader. Routledge. ISBN0-415-30353-two.
34. ^ Valiente, Doreen, quoted in Clifton, p. 61.
35. ^ ^{a b c d} Luck, Georg (1985). Arcana Mundi: Magic and the Occult in the Greek and Roman Worlds: A Collection of Ancient Texts . Baltimore, Md: Johns Hopkins University Press. pp. half-dozen–7.
36. ^ ^{a b} Juliette Wood, "The Celtic Tarot and the Secret Traditions: A Study in Modern Legend Making": Folklore, Vol. 109, 1998
37. ^ Herodotus, Histories 2. 42, 46 and 166.
38. ^ Herodotus, Histories 2. 46. Plutarch specifically associates Osiris with the "goat at Mendes." De Iside et Osiride, lxxiii.
39. ^ Budge, Sir Ernest Alfred Wallis (28 July 2018). "The Gods of the Egyptians: Or, Studies in Egyptian Mythology". Methuen & Company – via Google Books.
40. ^ Hutton, Ronald (1991). The Infidel Religions of the Ancient British Isles. Blackwell. pp. 260–261. ISBN0-631-17288-2.
41. ^ Pearson, Joanne; Roberts, Richard H; Samuel, Geoffrey (December 1998). Nature Religion Today: Paganism in the Modern World. Edinburgh: Edinburgh University Press. p. 172. ISBN0-7486-1057-X. OCLC 39533917.
42. ^ Berger, Helen; Ezzy, Douglas (2007). Teenage Witches: Magical Youth and the Search for the Self. Rutgers University Press. ISBN0-8135-4021-half-dozen.
43. ^ "Ecclesia Ordinis Caelestis Templum Olympicus - Thelemic Origins of Wicca". Eocto.org. Retrieved 2014-02-25 .
44. ^ White, Eric (1996) Once they were men: At present they're Landcrabs: Monsterous Becomings in Evolutionist Movie theatre, in Halberstam, J (1996). Posthuman Bodies. John Wiley & Sons. ISBN0-253-20970-6.
45. ^ Hunt, Leon (2001) Necromancy in the United kingdom of great britain and northern ireland: Witchcraft and the occult in British horror, in Chibnall, Steve; Petley, Julian (2001). British Horror Cinema. Routledge. ISBN0-415-23004-7.
46. ^ van Dyke, Annette (1992). The Search for a Woman-centered Spirituality. New York University Printing. ISBN0-8147-8770-iii.

External links [edit]

• Media related to Horned God at Wikimedia Commons

sullivanberful1981.blogspot.com

Source: https://en.wikipedia.org/wiki/Horned_God

Share this post