"So far the picture has been largely negative, a picture that already in antiquity met with resistance: parricide, infanticide — even cannibalism — rebellion in a ruthless struggle for power, a complete absence of moral standards, and lawlessness: all these elements were spotted and — sometimes — condemned. Kronos’ stock epithet ankulometes — possibly meaning ‘with the curved sickle’ originally — was generally interpreted as ‘with crooked tricks’ or ‘devious’, a negative description; his actions were part of the unbridled excesses of a distant past, his punishment seemed just, his time was over. …

Yet all this is only one side of the matter. There is another, which is the diametrical opposite of this negative picture. Kronos is king, or to express it more strongly ‘Kronos is the king’. The title basileus (king) is stereotypical from Hesiod until late antiquity. Strikingly, Julian, Conviv. 317 D, still makes a distinction between Kronos and Zeus: ‘O, King Kronos and Father Zeus’. Kronos is even presented as the one who introduced the principle of kingship. Hesiod (Th. 486) calls him ‘the first king’ and as late as Byzantine times an author says: ‘Kronos introduced kingship.’ That nothing negative is implied by the term basileus is apparent from another epithet: megas (great), with which he is qualified in the Iliad, as well as by Hesiod. On the contrary, Kronos’ kingdom, which usually is visualised as existing on earth, was a realm of peace, justice and prosperity. Pindar so strongly associated such benefits with human kingship that he calls the abode whither the pious travel after death, a king’s ‘tower’ (O1.2.125vv). Such references bring us to the topic of the famous Saturnia regna or ‘life at the time of Kronos’, as the Athenians called the happy period under Pisistratos (Aristotle Athenaion Politeia 17.5), the Golden Age at the beginning of time, now irrevocably in the past.

This image, too, is familiar even to Hesiod. In his description of the races of men, which perhaps also was derived from oriental myth and seems to have been a tradition unknown to Homer, he says everything began with the Golden Race (Works and Days 109-26): people lived like gods, without worry, exertion or suffering. They were not bothered by old age: their limbs were eternally young and they revelled happily (115). Death came like sleep. The earth yielded fruit of its own accord, abundantly and plentifully, and people lived contentedly in the midst of peace and profusion. After their disappearance from the face of the earth they became good daimones, guardians of mortals and bestowers of wealth (126). This marks the beginning of a rich tradition of utopianism and ‘wishing-time’ with which Kronos is closely associated; this, too, since Hesiod, for according to him the people of the Golden Race lived when Kronos was king in Heaven (Worksand Days 111).

The tradition of making this utopian time Kronos’ era can be followed from the Alkmaeonis, via Empedocles and the Inachos of Sophocles (alone among tragedies); the theme widens in Old Comedy, as is shown especially in Athenaeus 6.267E ff. In Old Comedy the motif of abundance, of a ‘land of Cockaigne’ receives particular attention; there are descriptions of primeval eras, of Pluto’s underworld, and of the far-away land of the Persians, who generally were notorious for their excess and luxury. In connection with this motif and partly as a reaction to it as well, there arose in the fourth century a remarkable alternative, possibly under the influence of Antisthenes. According to Plato, Kronos’ realm is not one of superabundance. On the contrary, it is a realm of simplicity, indeed, of the simplicity of animals. Here bliss is defined ethically and justice is the code-word; this theme blossomed in Latin literature, particularly under the influence of Cynics and the like, as rejection and condemnation of the decadent luxury of real life. This rejection led to the development of a peculiar ambiguity in the appreciation of, and accordingly in the ‘setting’ of the ‘natural, wild existence’. When the natural, wild existence was portrayed as unbridled and inhuman, it was placed before the realm of Kronos/Saturnus, which brought moral standards, justice and civilisation. Alternatively the era of Kronos/Saturnus itself was the wild life, but then ‘wild’ had the sense of the simple, natural, but not bestial — a life without the complexities of civilisation. ...

This highly selective survey offers a remarkably ambiguous, even contradictory, picture. Kronos is, on one hand, the god of an inhumanly cruel era without ethical standards; on the other he is the king of a Golden Age of abundance, happiness and justice. He is the loser who has been exiled, chained and enslaved, but also the great king par excellence, who has been liberated and rules supreme. His realm is thought to have existed either before historical times, or after time, i.e. in death. It was sometimes situated on the earth, sometimes deep down in the earth, sometimes at the edge of the world."

- H. S. Versnel, Greek Myth and Ritual: The Case of Kronos, in Interpretations of Greek Mythology

Morpheus // Μορφευς

A revival polytheist’s introduction to working with Morpheus including mythological background, Hellenic (Greek revival/recon polytheism) basics, and a starting point of offerings, prayers, and spells for the Shaper of Dreams.

M Y T H O S

The Oneiroi are dark-winged daimones of the underworld and are the personification of dreams. They are able to take the form of animals at will and are said to leave Erobos each night like a flock of bats. The Oneiroi leave Erobos from one of two gates, either the gates of horn which emit prophetic, god-sent dreams, or the gates of ivory, which emit false dreams without meaning.

Parentage and siblings depend on which of the Greek or Roman epics, essays, or plays one refers to. In Hesiod’s Theogony, the Oneiroi are the children of Nyx by parthenogenesis while in Cicero’s De natura deorum, they are the children of Nyx and Erebos. In Hesiod’s Theogony, they are the siblings of Hypnos while in Ovid’s Metamorphoses, they are the children of Hypnos and Pasithea.

In the Metamorphoses Ovid gives the names of three of the Oneiroi including that of Phantasos, who takes the form of inanimate objects in prophetic dreams, Phobetor, the god of nightmares, who can take the form of beasts and monsters, and Morpheus, the god of dreams, who can take the form of men and is seen to be tasked as a messenger to the gods.

Ovid, Metamorphoses 11. 585 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) :  "[Hera commands the messenger Iris summon Dream :] ‘Iris (Rainbow), my voice’s trustiest messenger, hie quickly to the drowsy hall of Somnus (Sleep) [Hypnos], and bid him send a Dream of Ceyx drowned to break the tidings to [his wife] Alcyone.’  Then Iris, in her thousand hues enrobed traced through the sky her arching bow and reached the cloud-hid palace of the drowsy king [the God of Sleep] … Around him everywhere in various guise lie empty Somnia (Dreams) [Oneiroi], countless as ears of corn at harvest time or sands cast on the shore or leaves that fall upon the forest floor.  There Iris entered, brushing the Somnia (Dreams) aside, and the bright sudden radiance of her robe lit up the hallowed place; slowly the god his heavy eyelids raised, and sinking back time after time, his languid drooping head nodding upon his chest, at last he shook himself out of himself, and leaning up he recognized her and asked why she came, and she replied : ‘Somnus (Sleep) [Hypnos], quietest of the gods, Somnus, peace of all the world, balm of the soul, who drives care away, who gives ease to weary limbs after the hard day’s toil and strength renewed to meet the morrow’s tasks, bid now thy Dreams, whose perfect mimicry matches the truth, in Ceyx’s likeness formed appear in Trachis to Alcyone and feign the shipwreck and her dear love drowned. So Juno [Hera] orders.’  Then, her task performed, Iris departed, for she could no more endure the power of Somnus, as drowsiness stole seeping through her frame, and fled away back o'er the arching rainbow as she came. The father Somnus (Sleep)  chose from among his sons, his thronging thousand sons, one who in skill excelled to imitate the human form; Morpheus his name, than whom none can present more cunningly the features, gait and speech of men, their wonted clothes and turn of phrase. He mirrors only men; another forms the beasts and birds and the long sliding snakes. The gods have named him Icelos; here below the tribe of mortals call him Phobetor. A third, excelling in an art diverse, is Phantasos; he wears the cheating shapes of earth, rocks, water, trees–inanimate things. To kings and chieftains these at night display their phantom features; other dreams will roam among the people, haunting common folk.  All these dream-brothers the old god passed by and chose Morpheus alone to undertake Thaumantias’ [Iris’] commands; then in sweet drowsiness on his high couch he sank his head to sleep.  Soon through the dewy dark on noiseless wings flew Morpheus and with brief delay arrived at Trachis town and, laying his wings aside, took Ceyx’s [ghostly] form and face and, deathly pale and naked, stood beside the poor wife’s bed. His beard was wet and from his sodden hair the sea-drips flowed; then leaning over her, weeping, he said : ‘Poor, poor Alcyone! Do you know me, your Ceyx? Am I changed in death? Look! Now you see, you recognize–ah! Not your husband but your husband’s ghost. Your prayers availed me nothing. I am dead. Feed not your heart with hope, hope false and vain. A wild sou'wester in the Aegaeum sea, striking my ship, in its huge hurricane destroyed her. Over my lips, calling your name–calling in vain–the waters washed. These tidings no dubious courier brings, no vague report: myself, here, shipwrecked, my own fate reveal. Come, rise and weep! Put on your mourning! Weep! Nor unlamented suffer me to join the shadowy spirits of Tartara (the Underworld).’  So Morpheus spoke, spoke too in such a voice as she must think her husband’s (and his tears she took for true), and used her Ceyx’ gestures. Asleep, she moaned and wept and stretched her arms to hold him, but embraced the empty air. ‘Oh wait for me!’ she cried, ‘Why haste away? I will come too.’  Roused by her voice’s sound and by her husband’s ghost, now wide awake, she looked … but found him nowhere … She cried, ‘… He is dead, shipwrecked and drowned. I saw him, knew him, tried to hold him–as he vanished–in my arms. He was a ghost, but yet distinct and clear, truly my husband’s ghost, though to be sure his face was changed, his shining grace was gone. Naked and deathly pale, with dripping hair, I saw him–woe is me!’"  [N.B. Ovid uses the original Greek names for the three gods of dreams.] – Theoi.com

Sources (further reading): Oneiroi (Theoi.com), Morpheus (Theoi.com), Oneiroi (Wikipedia.com), Morpheus (Wikipedia.com), Phobetor (Wikipedia.com), Phantasos (Wikipedia.com)

U P G

UPG is an acronym for unverified personal gnosis and refers to interactions with entities that are not supported by the original mythos. Here I explain what I have found deities tend to expect and how I recommend starting a relationship with Morpheus.

There is a general consensus by revivalist or reconstruction polytheists that deities prefer to be honored in a modernized equivalent of how they were honored in their ancient culture – though this certainly isn’t the rule. Some deities are more specific and demanding than others while some really do not care. Morpheus has been found to be rather easy-going though he really prefers at least an attempt and, the more effort given to that attempt, the happier he is. The term used for the reconstruction/revival of the ancient Greek religion is called Hellenismos and more information can be found below.

Building a relationship with a deity is where one often starts to part with traditional lore and become influenced by others’ and one’s own UPG. So while you use the framework of Hellenismos for your worship, you use the UPG of others, and later your own, to form connections to build upon with the deity. Starting a relationship with a deity is a complicated business and often varies from person to person, but when I am asked how to start, people are often asking me about ways to approach Morpheus. I recommend starting with a small offering to Him. This post includes a list of associations for Morpheus, suggested offerings, and spells that can be used to offer and/or honor Him. I also recommend musing over what Morpheus means to you in your spiritual and personal development (Is he a messenger? Is he a teacher for astral travel, lucid dreaming, etc? Is he a symbol of hope for you to encourage you to reach for the stars and dream big? Is he a symbol of escapism? Is he just a god of dreams?).

Quick while still on the topic of UPG. When I first started working with Morpheus there was very little available to me. I ended up considering that as the god of dreams it would follow that daydreams would also fall to him. Daydreams are our fantasies and dreams. Those fantasies and dreams can spark some amazing art and writing or drive us to achieve the futures we dream up, so I often associate Morpheus with the arts and see Him as one of our biggest supporters in finding the strength and courage to achieve our dreams.

H E L L E N I S M O S

Hellenism 101 Pt 1 & Pt 2

Miasma, Katharmos and Preparing for the Gods

On pollution and purification

Purification in Hellenismos

Basic Hellenic Offering Ritual

On Khthonic Worship

Greek Phrases for Worship

A S S O C I A T I O N S

Epithets: Μορφευς, Morpheus, Shaper of Dreams, Sandman, Mildest of the Gods, Balm of the Soul (Ovid p. 165), Oneiros, Kai’Ckul, Lord L’Zoril, Shaper of Forms, Lord Shaper, Prince of Stories (The Sandman, Neil Gaiman), Dream Giver, Sleep’s Guest, Lord Shaper,  Father of Dreams, Lord of the Night, He Who Tells Mortals Stories, Formshaper, Shadowmaker Animal: Cats, Fireflies, Moths, Butterfly*, Racoons*, Wolves*, Crows Colors: Black, Blue, Gold, Purple, Silver, Red Crystal: Amethyst, Herkimer Diamond, Scolecite*, Hematite*, Lapis Lazuli* Celestial Body: Moon Day: Night Direction: West Element: Water Incense: Opium, Lavender Moon: New Number: 6*,7* Plant: Chamomile, Dandelion (in seed), Lavender, Poppy Season: Winter Sun In: Pisces Rules: dreams, daydreams, lucid dreaming, meditation, astral travel **, imagination, creativity, inspiration, wishes, encouragement, communication, divination Other: feathers, wings, skeleton keys, stars, night, horn, ivory, tea, baths, sweet coffee

NOTE: A lot of this could actually work as associations for Hypnos, the Onoirei, Ikelos/Phobetor, Phantasos, and some could work for Nyx. Additionally this was originally posted to my old blog now an archive.

* Notes items not listed in lore or shared with other followers of/workers with; feel free to reblog to add personal commentary ** Depending upon one’s understanding on the astral; some may have an understanding that wouldn’t work with associating the astral with dreaming.

D E V O T I O N S / O F F E R I N G S

track your dreams on a calendar

keep a dream journal

get enough sleep

turn off your electronics one hour before bed (gets you in a deeper sleep faster)

perform an evening ritual

learn/practice lucid dreaming and/or meditation

write a letter to Morpheus before you go to sleep

herbs/teas associated with calmness, sleep, or dreaming

crystals/gemstones/minerals associated with dreams

stardust / dream sand

sleep-inducing herbs/flowers/etc

prophetic herbs/flowers/etc

horn and/or ivory (as in the horn/ivory gates thing)

wing/feather related things

sleep-related things (pillows, etc)

prayers

spells

playlists

M I S C

Personal Experiences

Morpheus and Dream Catchers

F O L L O W E R / D E V O T E E S

bibliophilicwitch

dreamingthedoe

Hermaiondiaktoros

kaesdeliveryservice

keysandtorches

nebulouswitch

nihilistic-void

nowitssovivid

occolteyes

oneiropoloi

orriculum

samuel-brien

stormsandsage

E - S H R I N E S

dreamingofmorpheus

midnightandpoppies

the-dream-king