The Secret History of Lucifer: And the Meaning of the True Da Vinci Code

CHAPTER TWO The Devil and All Her Works

Sacrilegious and bizarre though it may seem to believers, arguably even the Bible does not claim that God, the Heavenly Father, created the world - or at least, that he did so alone and unaided. Although carefully obscured by both Jewish and Christian priests in the millennia since Genesis was compiled, the Hebrew that has been translated as the singular `God' in the creation passages is actually the plural elohim, just as cherubim means more than one cherub. And by implication elohim encompasses both male and female - gods and goddesses.

However, elohim is often shortened to El, or God (Ale or Allah in Arabic), giving the spurious impression of one male god as ruler and creator of everything, while apologists continue to protest that the plural is merely used to indicate a plenitude of might. Be that as it may, the fact remains that even the familiar Yahweh was not alone at the beginning of all human life, for even that alpha and omega of male supremacy once had a wife.

Not only that, but in some versions of the story, she gave birth to Lucifer, while in others she had taken him as her lover. Worse, she herself had tumbled terribly from grace in men's eyes, becoming a demon, and metaphorically carrying all women with her. Together with Eve's fondness for fruit and snakes, the apparently shameful exit of God's wife from her exalted place as his consort and helpmeet underpinned the collective unconscious of the Jews, followed by that of the Christians. The concept of women as unreliable, unpredictable pawns of the Evil One (and Eve at least had yet to experience premenstrual tension) informed their treatment of wives and daughters even up to the present day.

Wives were a problem for God from the beginning. According to Hebrew legends, Adam's first spouse was not the infamous Eve grown from his spare rib, but the even more troublesome Lilith, although she began life as the Canaanites' revered Baalat ('Divine Lady'). The story goes that as poor Adam was bored with having to take his pleasure with the beasts of the field he was compelled to marry Lilith (who must have been very flattered). It was not to be a marriage made in heaven, especially as she refused to obey the rules of Yahweh because she knew his secret, ineffable name.'

The new husband was appalled by Lilith's assertiveness in bed: she refused to lie beneath him in the `missionary position' (anything other than the man-on-top position has traditionally been denounced as `accursed' by both Muslims and Catholics). Unimpressed by Adam's declarations of male supremacy in which he cited God as his authority, she taunted his sexual technique before using her convenient wings to fly away. Then when God's angels arrived to take her back, she cursed them and threw herself enthusiastically into orgiastic sex with `demons', who apparently knew a thing or two about pleasing a lady, producing a hundred children a day - all, of course, devilish.

Eve was much easier to cope with, although being a woman she still managed to get expelled from Paradise for bad behaviour. (But, as Jeffrey Burton Russell notes, although `The story of Eden readily lent itself to an attack on women ... In fact no good reason existed for blaming Eve for original sin any more than Adam .1)2

Lilith is no longer found in the Bible, but she resurfaced in medieval times as nothing less than the Devil's mother, `In parody of the Blessed Mother and the angels, she joins the ranks of demons singing praises round the throne of her son. '3In another version of her later myth, she and her daughters, the ilim, continued to wreak havoc in men's lives as lustful she-devils whose nightly attacks caused nocturnal emissions, against which medieval Jews carried talismans. (Like their notorious mother, the ilim always squatted on top of their male victims, apparently adding to the horror.) Christian monks lived in terror - or so they claimed - of an attack from `the harlots of hell', or succubae, and slept with hands holding a crucifix uncomfortably crossed over their genitals to ward them off. `It was said that every time a pious Christian had a wet dream, Lilith laughed ...'4 We may be amused at such an unsophisticated interpretation of a natural physiological phenomenon, but it must be remembered that to good Christian men, this was a truly terrifying attack, for they believed their souls were being sucked out of them together with their semen. Lilith's daughters - also called Lamia, Hora, Daughters of Hecate among other titles - caused `men to dream of erotic encounters with women, so the succubae can receive their emission and make therefrom a new spirit .15

In fact, one common name for the succubae was Brizo, after the Greek goddess of dreams whose title, in turn, came from brizein, `to enchant'. `Like Babylon's dream-goddess Nanshe, Brizo brought prophetic dreams which were subsequently identified as "wet" dreams.'6

Lilith and her brood were also designated as `night hags', actually beautiful succubae whose lovemaking expertize was so exquisite that once mortal men experienced it they could never be satisfied ever again by coupling with ordinary human women. But she-devil though she may be, Lilith's continuing power over both Jewish and Christian imaginations was clearly intense. As A. T. Mann and Jane Lyle write in their classic Sacred Sexuality (1995): `In the Pyrenean cathedral of St-Bernard-de-Comminges, Lilith has found her way into a church: a carving there depicts a winged, birdfooted woman giving birth to a Dionysian figure, a Green Man." Dionysus was a middle-eastern rustic wine-god whose ceremonies included drunken orgies in which his priestesses, the Maenads, tore men to pieces.

The same area in the south of France where Lilith may be found in church has legends of Herodias - the wife of Herod who made Salome ask him for John the Baptist's head - having ended her days by drowning in a local stream. After which, she joined her sisters, the night hags, and still waits to swoop down on the unwary male traveller.

Of course there was a male version of the succubae, the incubae which lay with women as they slept. In medieval times it was often said that nuns awoke `to find themselves polluted as if they had slept with men's - in many, if not most, cases because they actually had. Some quick-thinking nuns claimed they had slept with Christ (possibly many believed that they had), but this was swiftly denounced as blasphemy resulting from demonic possession, despite the fact that they were known as `Brides of Christ'.

Predictably, women who were believed to consort with demons - as we will see - caused more fear and horror among the Godfearing than the imps of Hell themselves. An Anglo-Saxon book suggested the use of magic potions - or rather `holy salves' - not against the incubi themselves but against the women with whom Satan had allegedly fornicated. In Toulouse in the south of France in 1275 a woman of 56 was tortured until she confessed to nightly romps with an incubus and having given birth to `the demon's child, which was half wolf and half snake'' But as Barbara Walker notes grimly: `Perhaps the ultimate irony was the church's official opinion that all the activities of incubi were performed "with the permission of God ".10 But what God allowed, men punished."'

All that was in the bleak future, when men had discovered how to deal with the daughters of Eve and Lilith. Back at the beginning of all things, however, even Yahweh clearly had no idea how to cope with the latter bad girl - it seems never to have occurred to him to adopt the smiting mode that distinguished his later career - and his angels appear to have been similarly impotent in the face of her feisty response. Perhaps the Lord should have sought advice about how to deal with Lilith from his wife, who was already a force to be reckoned with in the ancient world. American Scholar William G. Denver wrote in 1984:

Recent archaeological discoveries provide both texts and pictorial representation that for the first time clearly identify `Asherah' as the consort of Yahweh, at least in some circles in ancient Israel ... We cannot avoid the conclusion that in Israel Yahweh could be closely identified with the cult of Asherah, and in some circles the goddess was actually personified as his consort.12

Excavations at Ras Sharma (ancient Ugarit) have unearthed 14thcentury BCE tablets on which it states that the `wife of El', the `Progenitress of the God', or Asherah, was one and the same as most Mother Goddesses, including the Sumerian goddess Astarte" and the Phoenician Tanit, whose temple in Carthage was called the Shrine of the Heavenly Virgin, while the Greeks and Romans referred to it as a `temple of the moon'.14 Elath, on the coast of the Gulf of Aqaba, may have been named after the great goddess, who was clearly celebrated as the personification of the Feminine Principle throughout the Near and Middle East. Walker writes:

In Egypt [Asherah] was also a Law-giving Mother, Ashesh, an archaic form of Isis; the name meant both `pouring out' and `supporting', the functions of her breasts. Her yonic shrine in Thebes was Asher, Ashrel, or Ashrelt. Some called her `Great Lady of Ashert, the lady of heaven, the queen of the gods."5

The Canaanites called her Qaniyatu elima or `She Who Gives Birth to the Gods', or Rabbatu athiratu yammi, Lady Who Traverses the Sea - in other words, the Moon.16 All three major manifestations of the Great Mother were associated with the three phases of the Moon: the Virgin goddess with the New Moon, the Mother with the full Moon, and the crone or older wise woman with the dark of the Moon. Significantly, too, as Barbara Walker notes, `Rabbatu was an early female form of rabbi'." Wife of God and a rabbi! To the grey-bearded patriarchs this situation could not be allowed to last, whatever God's own views on the subject. (There is archaeological evidence that it was common for blessings to be invoked `by Yahweh and his Asherah','" a turn of phrase that implies a touching, even tender, closeness.) Clearly Asherah's days of power were numbered.

Walker writes dryly: `For a while, Asherah accepted the Semitic El as her consort' - a nice reversal of the usual situation with females in the Near East, especially in ancient times. Walker continues: `She was the Heavenly Cow, he the Bull." After their sacred marriage, she bore the Heavenly Twins, Shaher and Shalem, the stars of morning and evening ...'20

As noted in Chapter One, the Morning Star was none other than Lucifer - and in this legend, literally the son of God. As the heir to the divine dynasty, his challenge to paternal authority can be seen in the context of the sacred kings of the Near and Middle East. The outgoing priest-king, possessed of magical powers and totemic representative of his tribe is ritually challenged - and often slain - by his successor. But Yahweh's priesthood was disinclined to permit its King-god to be challenged, and in any case rapidly buried the idea that God had a wife, let alone a child or children. Everything about Asherah soon became anathema - even the cooking of a kid in its mother's milk," which was believed to have been involved in her marriage ceremony to Yahweh.

Yet not only was Asherah Yahweh's consort, but also, magically and paradoxically, his creator, sometimes honoured by the title `Holiness', which later became her husband's (and, of course, the Pope's). She reigned jointly as supreme deity with Yahweh for 600 years, together with other lesser pagan gods, after the Israelite tribes arrived in Canaan .22

Had her star not waned, presumably Asherah might have been in a position to have had sharp words with Yahweh about his treatment of Eve - for originally she had the Law on her side. The Semitic `Asherah' probably derives from the Old Iranian asha, meaning `Universal Law', which some take to be synonymous with matriarchal law, `like the Roman ius naturale'23 (literally `natural law'). Yahweh would have had to defer to her judgement.

Once, Asherah's influence was great among the ordinary Israelites, although they were soon to be denounced for her worship. In the Old Testament her name is often translated as `grove', a reference to the sacred tree-lined places where the Great Mother was worshipped in the prior matriarchal period: `They also set up for themselves high places, sacred stones and Asherah poles [carved fetish objects] on every high hill and under every spreading tree.'24 However, the later Yahwists wasted no time in hacking the goddess' holy groves to pieces and even summarily burning her priests and followers on their altars - presumably not simply because they represented the goddess whose power they had come to hate and fear, but also because her devotees included the gedishimlgadishim.

These were cross-dressing young men, elaborately made-up and bejewelled who serviced the temple pilgrims, just like their female counterparts, as sacred prostitutes. Indeed, legends of Asherah tell of her special servant, `Qadesh wa-Amrur', which is traditionally, but inaccurately, interpreted coyly as `fisherman of Lady Asherah of the sea'. However, confusingly, 'qedesh' can also mean `holy' or `divine', presenting an intriguing dilemma in Biblical interpretation, especially where certain passages in the New Testament are concerned - as we will see ...

There was even a shrine to Asherah in the Jerusalem Temple, as Hebrew scholar Raphael Patai points out:

Of the 370 years during which the Solomonic Templae stood in Jerusalem, for no less than 236 years ... the statue of Asherah was present in the Temple, and her worship was part of the legitimate religion approved and led by the king, the court, and the priesthood and opposed by only a few prophetic voices crying out against it at relatively long intervals .21

One shrine was raised by King Manasseh, in the form of an Asherah pole,26 which the writer of the Old Testament book of 2 Kings utterly abhors as sacrilege both to the Lord God and to the memory of King Solomon, who had built the Temple. This was somewhat hypocritical, as Solomon himself was not averse to goddess-worship, as his biblical critics were fond of pointing out: `As Solomon grew old, his [foreign] wives turned his heart after other gods, and his heart was not fully devoted to the Lord his God, as the heart of David his father had been. He followed Astoreth the goddess of the Sidonians ... So Solomon did evil in the eyes of the Lord ...' 27

Solomon's fondness for the goddess was also singled out for condemnation by John Milton in his Paradise Lost:

... Astoreth, whom the Phoenicians call'd Asarte, Queen of Heav'n, with crescent Horns; To whose bright image nightly by the Moon Sidonian Virgins paid their Vows and Songs, In Sion [Jerusalem] also not unsung, where stood Her Temple .... built By that uxorious King, whose heart though large, Beguil's by fair Idolatresses, fell To idols foul 28

`That uxorious King' is the much-married Solomon, whose most politically ambitious union was with a daughter of a Pharoah who worshipped `the Goddess of the Sidonians' - and of course this divinity was none other than Asherah.

Almost certainly one of Solomon's foreign women who `turned his heart after other gods' was his lover, the legendary Queen of Sheba, whose fabulous kingdom of Sabia with its great city Marib formed part of the Yemen. Not much is known about her, apart from her fabulous wealth and her dazzling beauty - but she was apparently a black woman, `dark, and comely', according to the erotic poem, the Old Testament Song of Songs 29 But it is known that she carried the traditional title for Sabian queens of Makeda or Magda ('Great Lady'), and disappeared from history in Ethiopia, where it is believed she gave birth to Solomon's son. And she was a worshipper of the Sun (primal God) and Moon - a Mother Goddess, presumably a version of Asherah who, as we have seen, was called by the Canaanites Qaniyatu elima or `She Who Gives Birth to the Gods', or Rabbatu athiratu yammi, Lady Who Traverses the Sea - in other words, the Moon. Whatever the source of his inspiration, Asherah would certainly have figured in Solomon's pantheon, despite defensive Israelite claims that he converted Sheba to the monotheism he himself notoriously failed to follow.

As the grip of the fiercely patriarchal Yahwists tightened, officially God no longer had a wife - indeed, to claim the contrary, or to honour her in any way, was to invite dire penalties. Because of the hatred of Yahweh's priests, Asherah, like the other goddesses who bore her archetypal stamp, was literally demonized, although a second - and arguably more vicious - cycle of diabolization of the ancient deities would take place under the later auspices of the Christian Church. From being creator and bride/mother of God and mother of Lucifer, the great goddess Asherah/Astarte/Isis/Ishtar became inherently evil. It is no coincidence that the Old Testament emphasizes the fact that four hundred of her prophets ate at the table of the wife of King Ahab (873-852 BCE), the loathed Jezebel - clearly they considered this sort of association to be typical of Asherah's devotees.

The Great Mother also becomes a metaphor for Hell, although there is another, more intriguing, interpretation. When the Biblical writer tells Lucifer `Thou shalt be brought down to hell, to the sides of the pit', according to Barbara Walker,

`this "pit" was a metaphor for Helel, or Asherah, the god's own Mother-Bride; and his descent as a lightning-serpent into her Pit represented fertilization of the abyss by masculine fire from heaven. In short, the Light-bringer challenged the supreme solar god by seeking the favors of the Mother.'3o

The church fathers may translate Lucifer's sin - hubris - as `pride', but, as Walker points out, `its real meaning was "sexual passion"."' Although the Greek word does carry the meaning of `pride', this also involves `lechery', `both words [being] associated with penile erection ... Patriarchal gods especially punished hubris, the sin of any upstart who became - in both senses - "too big for his breeches"."'

Originally there was an Argive festival called Hubristika, or a `Festival of Lechery' in which ordinary men `broke a specific taboo' by dressing in women's clothes in order to assume their acknowledged magical powers. With the advent of Christianity, this festival was denounced as devil-worship, together with any other practice that implied a belief in the power of women 33 Tellingly, Goddess-worshippers in the area now called Switzerland were compelled with the dominance of Christianity to desecrate the Great Mother's statues while reciting `Once I was the Goddess and now I am nothing at all.'3a

With the radical demotion of the goddesses, all things feminine were fair game. A version of the apocryphal Old Testament Book of Raziel tells how `witchcraft and sorcery were imparted to woman by the fallen angels of Uzza and Azail, and also the use of cosmetics, which were ranked as wicked enchantments.'35 Goddesses such as Isis-Hathor and Astarte were believed to impart all feminine secrets to their devotees, from using camel dung as contraceptives to casting spells to secure lovers.

However, Yahweh and his prophets did not suffer alone: other testosterone-fuelled deities had trouble with the Feminine. We have seen how the Greek Prometheus, like Lucifer, brought fire - symbolizing both civilization and intellectual inquiry - to humankind, against the will of Zeus, the all-powerful Olympian god. Empathizing with the sad fate of mankind, Prometheus acted out of compassion, to be rewarded by the eternal torture of having his liver eaten by his own totemic eagle, only to have it restored every night so the horrendous cycle could begin again. In Aeschlus' Prometheus Bound Prometheus mutters: `Mankind I helped, but I could not help myself', and reflects bitterly on `The mind of Zeus [that] knows no turning, and ever harsh the hand that newly grasps the sway.' However, he foresees a karmic punishment for Zeus at the hands of `the Fates triform and the unforgetting Furies' - the children of lo, the Moon-cow goddess (like Isis-Hathor in Egypt), who had also suffered at the hands of Zeus.

However, while Zeus the all-powerful will be brought low by the feminine he has oppressed, unfortunately - or so it seems - the converse is true where the almighty Biblical Yahweh is concerned. Although there remain strong undercurrents of the Feminine in modem Judaism, it is not usually recognized, certainly among the Orthodox.

In this light, the Biblical description of Lucifer, the fallen one, as a `shielding cherub' is particularly interesting. From the Hebrew K'rubh, which in turn is thought to derive from the Akkadian karibu - the cherubim were intermediaries between God and humanity, and not the morbidly obese infants with implausibly tiny wings so favoured by sentimental Victorians. In fact, a `graven image' existed in the Jerusalem Temple that graphically depicted two Cherubim engaged in a sexual embrace, representing a sacred mystery. Interestingly, there is not a hint of condemnation of this image in Jewish literature, even though the people fornicated orgiastically after seeing these statues carried before them in religious processions. As Patai notes of this custom,

`Since one of the two Cherubim was a female figure, we find that, in addition to the Canaanite goddess whose worship was condemned by the Hebrew prophets and Jewish sages [Asherah], the Temple of Jerusalem contained a replica of the feminine principle which was considered legitimate at all times .116

When Asherah was banished, the female cherubim lived on, unmolested - although, eventually, only with their femininity obscured and forgotten.

Much as the Israelites were loath to admit it, they carried a great deal of Egyptian thinking away with them when Moses led their flight from slavery in the land of the pyramids. Not only did Yahweh himself evince characteristics of the Egyptian destroyergod Set, but the Israelites also seem to have absorbed some of the feminine imagery of the dynastic age. Archaeologists excavating the palace of King Ahab of Israel (873-852 BCE) in Samaria discovered an ivory stele depicting two crouching female entities wearing distinctly Egyptian-style collars and clothes, and apparently holding the ceremonial lotus.

Raphael Patai suggests that they were really `female genii', similar to the equally female Shekhina, who survived incognito as the Christian `Holy Spirit', or the more blatantly feminine `Sophia', the Gnostics' embodiment of wisdom. Patai writes:

The Talmudic term `Shekhina' denotes a tangible - visible and audible - manifestation of God on earth - yet originally `the Shekhina concept stood for an independent, feminine divine entity prompted by her compassionate nature to argue with God in defense of man. She is thus, if not by character, then by function and position, a direct heir to such ancient Hebrew goddesses ... as Asherah ...;'

Although the Shekhina as such do not appear in the Bible, they are represented there metaphorically as Hokma or `Wisdom'. Intriguingly, Hokma may originate in one of the ancient titles of the Egyptian Isis, Heq-Maa, `Mother of Magical Knowledge', which dates back to the days of the powerful heq or tribal wise woman. Its derivative, the later Greek Hecate, or Wise Crone, was associated with the dark phase of the Moon and women's mysteries, including the secrets of life and death. The Neoplatonist scholar Porphyry (c. 234-305 CE) wrote in praise of her: `The moon is Hecate, the symbol of her varying phases ... Her power appears in three forms, having as symbol of the new moon the figure in the white robe and golden sandals, and torches lighted; the basket which she bears when she has mounted high is the symbol of the cultivation of crops which she made to grow up according to the increase of her light.'38 With historical inevitability, the much-loved Hecate was to

become one of the Christians' names for the Queen of Hell, while her threefold power was absorbed into Christianity by the medieval clergy who metamorphosed it into `The threefold power of Christ, namely in Heaven, in earth, and Hell."' But, as we will see, Hecate was especially singled out for anathema by the Church because of her alleged conspiracy with midwives to subvert the natural order by helping women, either by easing their pains or aborting unwanted foetuses - in other words, helping women to empower themselves 40 In a garbled version of this, in one old tradition, Satan's wife Lilas was supposed to hover about the birth-bed and kill newborns4'

In the Old Testament Book of Proverbs Hokma/Wisdom, the predecessor of Hecate, has a major role to play:

Does not wisdom call out? Does not understanding raise her voice? .. she takes her stand ... and cries aloud: To you, 0 men, I call out; I raise my voice to all mankind. You who are simple, gain prudence; You who are foolish, gain understanding. Listen, for I have worthy things to say; I open my lips to speak what is right. My mouth speaks what is true, For my lips detest wickedness ... They are faultless to those who have knowledge. Choose my instruction instead of silver, Knowledge rather than choice gold, For wisdom is more precious than rubies, And nothing you desire can compare with her.'42

The section of Proverbs known as the Proverbs of Solomon reinforces Wisdom's gender: `Wisdom reposes in the heart of the discerning/and even among fools she lets herself be known' 43 Proverbs also states that Wisdom, with her Aphroditean symbol of the dove, was God's first creation, and ever since as the Shekhina, in Patai's words, `she has been God's playmate' 44 Seemingly a Tinkerbell-like creature45 of darting intelligent light, the Shekhina was believed to possess a mind of her own, which she never hesitated to use in performing her function of influencing, even opposing, God. Clearly a feisty being capable of being tough with Yahweh had no very rosy future. As Patai notes:

From about 400 BCE to 1100 CE the God of Judaism was a lone and lofty father-figure, and whatever female divinity was allowed to exist in his shadow was either relegated to a lower plane, or her femininity was masked and reduced to a grammatical gender, as in the case of the Shekhina 46

With the spread of Christianity, the old gods - both male and female - of the Mediterranean and Middle East were rapidly and hysterically demoted to the rank of demons, often because their legends were too similar to Jesus' story for comfort. The dying-andrising god Tammuz, whose consort was Ishtar-Mari, had reached Jerusalem via Babylon and before that, Sumer, as `Son of the Blood' or `only-begotten Son'. As a dying-and-rising god with a major cult centre in Jerusalem, Tammuz is believed by some to be one of the prototypes of Christ: his cradle was made from a grain basket, similar to Jesus' manger, for example 47 He was the sacrificial Lamb of God, Heavenly Shepherd, Man of Sorrow, and sometimes bore the name `Usirir', a variation of `Osiris', the hugely influential dying-and-ri sing god of ancient Egypt, who was dismembered by the evil Set, who in turn was arguably the prototype for Yahweh. Osiris, together with his consort Isis and son Horns, formed the great Egyptian Trinity of Father, Mother and Child, revealing a much more psychologically balanced psyche that the Church's apparently all-male `Father, Son and Holy Spirit' - although the latter was in fact the feminine Shekhina, or Sophia. (This is yet another example of a fact that theologians have long known and seminaries taught generations of priests, yet the average church-goer remains in ignorance of what would no doubt prove a comfort in a largely male-dominated organization.) The Egyptians sought balance above all things: the beneficent Isis was balanced by her dark aspect, the goddess Nepthys, while opposite to the `Good Shepherd' Osiris was Set, Yahweh's apparent prototype.

Ruler over the afterlife and human and agricultural regeneration, Osiris possessed over 200 divine titles, including `King of Kings', `Lord of Lords', 'the Good Shepherd' (a title shared with his consort Isis), and `the Resurrection and the Life'. The great Egyptologist Sir E. A. Wallis Budge wrote: `From first to last, Osiris was to the Egyptians the god-man who suffered, and died, and rose again, and reigned eternally in heaven. They believed that they would inherit eternal life, just as he had done.'4' According to ancient Egyptian writings: `As truly as Osiris lives, so truly shall his followers live; as truly as Osiris is not dead he shall die no more; as truly as Osiris is not annihilated he shall not be annihilated.'49

Disconcertingly for Christians, the ancient god Osiris' advent was heralded by the sound of an angelic choir and by the Three Wise Men, although they took the form of the stars Mintaka, Anilam, and Alnitak in Orion's Belt, pointing to Christ's equivalent of the Star of Bethlehem. Originally the Israelites acknowledged this as `Ephraim', or the `Star of Jacob', whereas to the Persians it was nothing less than the Messiah - Messaeil. As Barbara Walker notes, Osiris'

flesh was eaten in the form of communion cakes of wheat, the `plant of truth'. Osiris was truth, and those who ate him became truth also, each of them another Osiris, a Son of God, a `Lightgod, a dweller in the Lightgod'. Egyptians came to believe that no god except Osiris could bestow life on mortals 50

Like the rites of Tammuz, the annual Osirian mystery plays required the priestess playing the widowed Isis to lament his murder on the Egyptian Good Friday, setting the scene for the miracle of his resurrection two days later. Bizarrely, Osiris as Un-nefer, `the Good One', was actually canonized as a Christian saint.

In Ezekiel's day, women sat by the northern gate of the Temple weeping for the annual death of Tammuz, the `Christos' (simply `Anointed One'), the sacred king ritually sacrificed each year at Jerusalem. The women first dedicated him to his mother/bride Ishtar-Mari, Queen of Heaven,51 another manifestation of Asherah.

As his female devotees gathered annually at the temple gates they raised ritual howls that the Greeks called houloi, crying `AllGreat Tammuz is dead!' and lamenting:

`For him that has been taken away there is wailing; ah me, my child has been taken away ... my Christ that has been taken away, from the sacred cedar where the Mother bore him. The wailing is for the plants, they grow not ... for the flocks, they produce not; for the ... wedded couples, for ... children, the people of Sumer, they produce not .. '5z

(The concept of the death of the god causing the land to be infertile resurfaces in the quasi-Christian legend of the Fisher King.)

Like all the other `Good Shepherds', `Saviours' and `Fishers of Men', Tammuz was diabolized by the Church, even becoming Hell's ambassador to Spain, where he was still worshipped by certain Moorish sects in medieval times.53 (His name, which means `twin', transmutes into Jesus' disciple Thomas, suggesting a cultic link with the ancient dying-and-rising god - and possibly, an intriguing clue to a secret about Christ's family.)

Tammuz and Osiris were not the only much-honoured ancient deities to be assigned to Hell with the coming of Christianity. John Milton in his epic poem Paradise Lost exults over their demise, declaring:

Old gods confused with incubi/evil spirits Of Baalim and Ashtaroth [sic], those male, Those Feminine. For spirits when they please Can either Sex assume, or both; so soft And uncompounded is their Essence pure 54

Milton lists the names of the fallen gods with some relish, including: `Astoreth, whom the Phoenicians call'd/Astarte, Queen of Heav'n, with crescent horns', together with Adonis and 'Thammuz yearly wounded', and not forgetting `Osiris, Isis, [H]Orus and their Train/With monstrous shapes and sorceries abus'd/Fanatic Egypt and her Priests' S5 Together with the golden calf of Moses' apostate followers and a huge tribe of gods and idols, they are all swept away into the infernal regions with the coming of Jesus Christ.

Astarte's horns, representing the new moon - as they did in the iconography of many other lunar goddesses, including Isis and Diana - were important evidence of devilish influence to the later Christians. However, it was a male deity of the ancient world who was to provide the physical model for the medieval Satan - horns, tail, cloven hooves and all the trappings of Hell. This was the once `all-great Pan', the king of Greek satyrs, the ultimate woodland god - perhaps Arcadian - whose limitless libido, once so admired and envied among his devotees, became a source of terror for Christian women. The Goat-God, sometime mate of various forms of goddess such as Selene, Athene and Penelope - and, apparently, all the ferocious Maenads - his furry thighs, curly hair growing luxuriantly around budding horns and lascivious, almond-shaped eyes, was seen as the epitome of lust. Many of his idols were even impressively, and shamelessly, ithyphallic. No fig leaves obscured Pan's proud masculinity, probably because no fig leaves could possibly cover it.

In his essay on the Tarot card `The Devil', Aleister Crowley notes tellingly `... the card represents Pan Pangenetor, the AllBegetter . . . the masculine energy at its most masculine .156 He describes the function of Pan, even in his less-than-acceptable mode: `All things equally exalt him. He represents the finding of ecstasy in every phenomenon, however naturally repugnant; he transcends all limitations; he is Pan; he is All.'57 Undoubtedly the worship of Pan required a strong stomach and a feverish libido, but as challenger to the staid and small-minded he exemplified a true Luciferan spirit, while never being, as so widely believed, the embodiment of Satan. Horns and hooves alone do not the Devil make.

The Greeks believed the Egyptian solar god Amen-Ra to be another version of Pan - the Masculine Principle being almost universally associated with the Sun, just as its opposite and equal Feminine Principle was usually (but not exclusively) personified by the lunar goddesses - calling his sacred city `Panopolis', city of Pan. Its sacred processions became our modern English panoply, meaning `Any imposing array that covers or protects,'"' such as complete armour worn ceremonially. `Panoply' comes from `Pan' and hoplon, meaning weapon. Pan's own name in turn possibly derived from paein, pasture, and also carried the meaning of `bread' (as in the modern French pain) and `all' (as in `Pan American Airlines'). Other `all-fathers' such as Osiris and Tammuz were symbolized by sacred bread, eaten in order to ingest wisdom. In their sacramental meals, the bread also represented the flesh of the god, and wine symbolized their blood. In an ancient legend concerning the dying-and-ri sing poetic divinity Orpheus, finding only water to drink, he turned it magically into wine.

Like those of his brother gods, Pan's holy drama of death and resurrection was celebrated annually, providing the original Greek tragoidos, or `Goat Song', as he fertilized the land. Pan-inspired sexual revels lasted well into the Christian era, together with elements of worship from the cult of the Maiden, as the May Day festivities where maidens danced around the phallic maypole before coupling - perhaps indiscriminately - with the local lads, much to the Church's impotent disgust.

Cromwell's Puritan Protectorate banned maypoles, along with virtually everything else that made life worth living. To the Puritans, the sexual licence involved in the festivals was bad enough, but in some areas the `Mai', or Maiden who gave her name to the month, was even associated somewhat confusedly with the Popish Virgin Mary! The crude symbolism of the maypole was understood, if not accepted, by Cromwell's co-religionists, such as the writer Philip Stubbes, whose detailed description of the festivities seems a little fevered:

Young men and maids, old men and wives, run gadding overnight to the woods, groves, hills, and mountains, where they spend all night in pleasant pastimes; and in the morning they return, bringing with them birch and branches of trees to deck their assemblies withal. And no marvel, for there is a great Lord present amongst them, Satan, prince of hell. But the chiefest jewel they bring from thence is their Maypole, which they bring home with great veneration . . . two or three hundred men, women and children following it with great devotion. And this being reared up . . . they strew the ground about, bind green boughs about it, set up summer halls, bowers and arbours hard by. And then they fall to dance about it, like as the heathen people did at the dedication of Idols, whereof this is a perfect pattern, or rather the thing itself 59

May Day was so indelibly associated with ancient pagan rites across Europe that in France church bells were rung all that month `to protect the city from flying witches'.60 And although May itself is still regarded by the superstitious as unlucky, it is especially inauspicious to marry on a Friday in May, Fridays traditionally being sacred to goddesses such as the Nordic Freya, who gave her name to the weekday.

The goat-footed one also gave his name to our `panic', 'originally the terrible cry of Pan, who dispersed his enemies with a magic yell that filled them with fear and took away all their strength.'61 True panic is believed to be only experienced in wild woods or the wilderness, a theme that was portrayed in the haunting Australian movie Picnic at Hanging Rock (1975),62 in which schoolgirls and a teacher disappeared mysteriously on a trip to Hanging Rock (a thinly-disguised Ayers Rock) amid a heady atmosphere of repressed sexuality, simmering neurosis and something darkly paranormal lurking subliminally under the plot - something elemental and lusty ...

Pan is also intimately associated with satyrs, originally so timid that their animal totem was the hare, but later widely seen as a rapacious goat-like being, with hooves, hairy legs, bare human chests and horns. That they have assumed archetypal qualities of challenging sexual repression can be seen from the description of the `deep, secret wound' in the mind of Dorothy Hare, the eponymous heroine of George Orwell's A Clergyman's Daughter (1935), who found `that sort of thing' exceptionally distasteful after witnessing `certain dreadful scenes between her father and mother' as a child:

... And then a little later she had been frightened by some old steel engravings of nymphs pursued by satyrs. To her childish mind there was something inexplicably, horribly sinister in those horned, semi-human creatures that lurked in thickets ... ready to come bounding forth in sudden swift pursuit ...The satyr remained with her as a symbol ... [of] that special feeling of dread, of hope less flight from something more than rationally dreadful - the stamp of hooves in the lonely wood, the lean, furry thighs of the satyr. It was not a thing to be altered, not to be argued away.

Orwell adds with a touch of irony - and perhaps vivid memories of personal frustration: `It is, moreover, a thing too common nowadays, among educated women, to occasion any kind of surprise.'

Artemidorus (whose name suggests a link with the cult of the goddess Artemis), the late-second-century dream interpreter, implies strongly that Pan makes regular appearances in the dreams of humankind, and is most often glimpsed at night. The classical poet Horace wrote with pride and gratitude that Pan protected his farm, and occasionally even visited him, although he never saw him properly 63 Occult lore has it that Pan is perceived at `crossover' places and times - the edge of the wood at noon or midnight, for example - and should never be conjured immediately after lunchtime, because he will be enjoying his afternoon nap and, ominously, will be rather cross.

In his Pan: Great God of Nature (1993), the occult scholar `Leo Vinci' notes that `In the Authorized Version of Isaiah the word "satyr" is used to render the Hebrew se'rim ('hairy ones') a demon or supernatural being ... that lives in uninhabited places.'64 He cites Isaiah: `But wild beasts of the desert shall lie there; and their houses shall be full of doleful creatures; and owls shall lie there, and satyrs shall dance there.'65 Again, Isaiah repeats the satyr/desolation leitmotif. `The wild beasts of the desert shall also meet with the wild beasts of the island, and the satyr shall cry to his fellow.'66 Vinci points out that the allusion to `devils' in the following passage from Leviticus refers to satyrs: `And they shall no more offer their sacrifice unto devils, after whom they have gone a whoring .161

As in the annual mysteries of Tammuz, Pan's mourners would lament `Great Pan is dead!', but soon that ritual phrase was taken to mark not simply the end of another year, but the final chapter in a whole religious era, the death of the supremacy of Pan - and, by extension, all the great pagan deities - with the advent of Christianity. As Stephen McKenna has his mysterious `Mr Stranger' say in his little-known book, The Oldest God (1926):

The world ... is too timid ... for paganism; and so mankind remains suspended in mid-air, higher than the beasts and lower than the angels, miserable in the void between animal satisfaction and celestial bliss ... The rule of Pan came to an end on the day when a fanatic preached that the kindly, joyous, savage Pan was in truth the embodiment of original sin!'

When the stranger leaves, `the baffling animal-scent had departed' 68

The profound and unsettling concept of a great being who was simultaneously `kindly' and `savage' usually proves too strong for modem folk, often even New Agers who follow their own form of neo-paganism. (Pan becomes a sort of bar-room decadent, while the old uncompromising destroyers such as Sekhmet transmogrify into solicitous friendly figures, almost furry pets. While few would want their home town to be laid waste by a ferocious lioness-headed Egyptian goddess breathing fire, the cuddly modem version is so inauthentic it would be unrecognizable to her ancient devotees.)

Yet with the collapse of the Roman Empire - which in any case was increasingly sceptical and atheistic - few of the old gods remained popular. However, metamorphosed into the horned Devil in his dark form as the Goat of Mendes, and all his attendant satyrs transformed into demons from the pit, ironically Pan remained foremost in Christian minds. As Geoffrey Ashe notes in his classic, The Virgin (1976): `During Rome's long decline, almost the last thinking believers in the old gods were their Christian enemies. A pagan might laugh at Apollo as a fable. A Christian would shudder at him as a malignant spirit."'

Far from his Arcadian woodlands, Pan became the Devil, and - as we shall see - his European adherents of the Middle Ages were accused of worshipping him in the depths of the countryside. And in Europe, the homed god of the West, Cernunnos, lord of fertility and the underworld - similar in appearance and characteristics to Pan - was also assimilated to the Devil, while the Norse Thor, dressed all in devilish red, drives a cart pulled by goats - very suggestive to the Christians. Saint Paul had no doubt that all pagan deities were actually demonic, writing to the Corinthians:

Do I mean ... that a sacrifice offered to an idol is anything or that an idol is anything? No, but the sacrifices of pagans are offered to demons, not to God, and I do not want you to be participants with demons.

You cannot drink the cup of the Lord and the cup of demons, too; you cannot have a part in both the Lord's table and the table of demons 70

Tellingly, Paul adds, a little nervously: `Are we trying to arouse the Lord's jealousy? Are we stronger than he?'7' Perhaps Paul knew to be particularly wary of Pan, for he ruled over the countryside, the paganus, which gave its name to the hated pagans. And his association with lusty, assertive goddesses could only blacken Pan further in Paul's eyes, if that were possible.

Apart from the Maenads, one of Pan's more distinguished female associates was Artemis, `uninjured, healing, vigorous', who `grants health and strength to others' .72 She was also known to her worshippers at Ephesus, in Turkey, under her Latin name of Diana - `Goddess-Anna' - where her monumental golden statue was covered in breasts, to symbolize her succour for all. Yet she also had a dark and terrible aspect, being known in Sparta as Artamis, `the Butcher', a Kali-like destroyer whose wrath was akin to Yahweh's. One of her many animal incarnations was as a she-bear, called by the Celtic people `Art', the mate of the great Arthur, whose totem animal was the bear. The medieval King of the Witches was known as `Robin, Son of Art'. With their usual mixture of fear, superstition and reluctant reverence, the Christians both denounced Artemis as a demon and canonized her as Saint Ursula, from her Saxon name, Ursel.73

(As Liz Greene remarks in her haunting and important novel about the alleged secrets of the Merovingians in France, The Dreamer of the Vine [ 1980] `... how different these gods were ... What the one demands, the other abhors. Yet though our poor minds cannot comprehend it, I often suspect these gods are the same.' Then she adds sagely: `I think too much of any god can drive one mad.' )74

The shaggy outline of the Goat-God hung over the years of the witch trials: now the Devil incarnate, he had free rein to ensnare the unwary - mainly women - and seize their souls.

Even the gentle `sylvans and fauns' of lost Arcadia were believed - by the Inquisition and even their much later co-religionists, not the least the Catholic zealot the Reverend Montague Summers (who died in 1948), of whom much more later - to be `commonly called incubi', or sexual demons.75 In this as in much else, Summers is toeing the long-established party line: in fact, satyrs, fauns and the Gaulish nature spirits called dusii (from deus, `god') were listed in the Inquisition's official handbook as incubi:

who had intercourse with witches in front of witnesses . . . Women seem unaccountably willing to copulate with their demons under the eyes of `bystanders'; the latter reported that, while the demon remained invisible, `it has been apparent from the disposition of those limbs and members which pertain to the venereal act and orgasm, [that] ... they have been copulating with Incubus devils.'76

Summers demonstrates his quirky contrariness when discussing the Devil as represented on the medieval stage: `He is, in fact, the Satyr of the old Dionysiac processions, a nature-spirit, the essence of joyous freedom and unrestrained delight, shameless if you will, for the old Greek knew not shame.' Strangely, Summers appears grudgingly to admire the `joyous freedom' of the Satyr, and even goes on: `... in a word he was Paganism incarnate, and Paganism was the Christian's deadliest foe; so they took him, the Bacchic reveller, they smutted him from horn to hoof, and he remained the Christian's deadliest foe, the Devil.' The Rev. Summers seems to be oblivious of the fact that a good proportion of his book is devoted to describing the horned and cloven-hooved Devil as a reality. In any case, he notes that in Euripedes' classic play Medea dating back to the fifth century BCE, there is the passage: `She seemed, I wot, to be one frenzied, inspired with madness by Pan or some other of the gods',77 adding `Madness was sometimes thought to be sent by Pan for any neglect of his worship'.78

Although to certain groups of country folk, Pan never really died, it was with the rise of the Romantic Movement in the early nineteenth century that saw him enjoy a comeback, although again, perhaps a little diluted in character. The grounds of countless country resi dences became littered with follies in the form of temples or even classical tombs, and statuary evocative of Pan - satyrs, nymphs and the god himself. Ideas about a long-lost Arcadia, a gently wooded Golden Age, permeated society as a whole.

Perhaps the poet Shelley had the Romantics' more sentimental and vivid images in mind when he wrote to his friend Thomas J. Hogg: `I am glad to hear that you do not neglect the rites of the true religion. Your letter awoke my sleeping devotion, and the same evening I ascended alone the high mountain behind my house, and suspended a garland, and raised a small turf-altar to the mountainwalking Pan'.79 Shelley's reverence for the supremely pagan Pan seems to have filled the gap left by his rejection of Christianity. In a recently discovered letter from the poet to Ralph Wedgwood - dating from around 1811 when Shelley was expelled from Oxford University for publishing a tract entitled `The Necessity of Atheism' - he wrote: `Christ never existed ... the fall of man, the whole fabric indeed of superstition which it supports can no longer obtain the credit of Philosophers.' 80 It is interesting that Shelley felt more comfortable with the ultimate archetype of the pagan god than with the Christian deity. The high priest of decadence, Lord Byron - who had an intimate relationship with his own sister among countless other dalliances - wrote regretfully:

Oscar Wilde, perhaps genuinely, or simply ever mindful of his reputation for excess and perversity - after all, he did insist on playing Salome in his play of the same name on its first, and only, night - lamented: `O goat-foot god of Arcady! This modern world hath need of thee! 181

Less predictably, Pan appears anonymously in the great children's classic, Kenneth Grahame's The Wind in the Willows (1908) when Rat whispers, awed, `as if in a trance': `This is the place of my song-dream, the place the music played to me ... Here, in this holy place, here if anywhere, surely we will find Him!'

We have seen how Plato called Lucifer `Aster', simply meaning `star', after his identification with the bright Morning Star. But Plato and countless others in the ancient world knew that the Morning Star had another incarnation - moving round in the heavens as the Evening Star, or Venus. In his classic The Golden Bough (1922), J.G. Frazer wrote:

Sirius was the star of Isis, just as the Babylonians deemed the planet Venus the star of Astarte. To both peoples apparently the brilliant luminary in the morning sky seemed the goddess of life and love come to mourn her departed lover or spouse and wake him from the dead.82

Like the lesser-known Astraea or `Starry One',83 the Libyan Goddess of Law who dispensed the fates of man, the beauty and truth of the deity Venus was believed to be visible in the Evening Star, the opposite and equal to the Morning Star, Lucifer. However, this distinction was too subtle for the pagans' new Christian enemies, and a great blurring between the Feminine Principle and the Evil One rapidly took place, eased in its passage by the tendency of the Romans to refer to Venus as `Lucifera', the enlightener. Venus, the archetypal goddess of the arts of love and women's secrets, an unashamedly sexual deity, gave her name not only to `venereal disease' and `venery', but perhaps, some claim, also more courteously to Venice, the city of her element as `Stella Maris' (`Star of the Sea', a title she shared with Isis, and much later, the Virgin Mary). Originally, like Diana, Venus was a huntress, a `Lady of Animals', whose horned consort was Adonis - `both the hunter and sacrificial stag - became venison, which meant "Venus's son".'" Once again the line becomes blurred between homed gods and their consorts. And once again the goddess is associated with animality, sexual secrets, lust - and Lucifer. Barbara Walker describes a predictable reaction:

Early Christian fathers denounced the temples `dedicated to the foul devil who goes by the name of Venus - a school of wickedness for all the votaries of unchasteness'.R5 What this meant was that they were schools of instruction in sexual techniques, under the tutelage of the venerii or harlot-priestesses.86 They taught an approach to spiritual grace, called venia, through sexual exercises like those of Tantrism [the eastern cult of sacred sex] 87

This aspect of Venus-worship was not uncommon among goddess cults: as we have seen, God's wife Asherath had both female and male `temple prostitutes' - although this is a derogatory term first employed by disapproving and uncomprehending Victorian scholars. To the culture itself, these workers in sacred sex rituals were known as `temple servants', a role that was acknowledged with reverence. Both the females and cross-dressing males were there to give men ecstatic pleasure that would transcend mere sex: the moment of orgasm was believed to propel them briefly into the presence of the gods, to present them with a transcendent experience of enlightenment. Only men went with the temple servants because it was believed that women were naturally enlightened and therefore had no need of such rituals - a diametrically opposed attitude to the repressive misogyny of patriarchal Judaism and Christianity.

To these male-dominated religions, sex was evil because women enticed men to lust after them - often, it was claimed, against their better judgement: the unwilling gentlemen were literally `enchanted' by their `glamour' (literally their ability to cause hallucinations or actually shape-shift). Women were inherently evil because of Eve, who let Satan into the world and got mankind expelled from Paradise.

Worse, goddesses were often explicitly associated with serpents - indeed, the Egyptian uraeus snake, worn in pharaonic headdresses, was a hieroglyph for `goddess' 88 Cleopatra took the title `Serpent of the Nile' after all Egyptian queens who represented the Goddess, who took the king into their life-giving embrace. The Egyptian serpent goddess Mehen the Enveloper enfolded the ramheaded Auf-Ra - Phallus of the solar god Ra - every night, as he travelled in the underworld, symbol of their sexual union. Isis and her dark-aspect Nepthys were associated with the Serpent mother of material life and the afterlife, their knowledge specifically aiding the post-mortem traveller in the region of ferocious snakes. In ancient Crete before the Bronze Age the objects of veneration were women and snakes. Even with the later dominance of the bull cult, the priest was inferior to the snake-wielding priestess. The literal interpretation of the ancient Akkadian word for `priest' is `snake charmer' .89

Perhaps that is too cerebral a connection, for to the clergy pagan goddesses were inherently evil, basically because they were pagan and goddesses. They notoriously encouraged both men and women to worship the Feminine Principle that they so gorgeously and flagrantly embodied and taught their female devotees the mysteries of life and death, of sex, contraception and abortion. And, like Adam's first wife Lilith, goddesses notoriously took their pleasure with their consorts in the superior position, believed by the JudaeoChristian priesthood to be profoundly wicked as a deliberate overturning of God's law. (To them, the only godly way of intercourse was the `Venus observa', or `missionary position' - so called because Christian missionaries insisted that their native converts use it exclusively in their marriage beds. The natives thought it was hilarious.)

Despite the fact that the clitoris is the only human organ whose function is exclusively to give pleasure, sexual delight was frowned upon, especially for women, whose sole sexual purpose was to breed. Isis, Diana-Lucifer, Artemis, Asherah, Venus and all other manifestations of the Great Goddess would have difficulty in comprehending this: to them, every aspect of womanhood was there to be experienced and celebrated, from virginity through motherhood to a dignified and wise old age, with everything in between from warrior queen and sacred whore. Schooled in such an attitude, pagan women were often unsurprisingly assertive and independent - especially in Egypt, where in the first century they were permitted to own property and initiate divorce. Learned women were also celebrated: an inscription as early as the Fourth Dynasty (c. 2600-2500 BCE), approximately contemporary with the building of the Giza pyramids, refers to a woman in the Temple of Thoth as `Mistress of the House of Books' 90 Hypatia, the first great woman mathematician and philosopher, a native of Alexandria, was torn to pieces by an angry mob in 415 CE, some say, inspired by the Christian bishop Cyril, through envy.

Eve had acted on her own initiative, Lilith taunted both God and his angels, and Asherah had taken Lucifer as a lover. Women were clearly Satanic, the spawn of the Devil, and must at all costs be prevented from thinking or acting unless under male orders. Barbara Walker notes another historical link between goddesses and western notions of evil:

A triple six, 666, was the magic number of Aphrodite (or Ishtar) in the guise of the Fates. The Book of Revelation called it `the number of the Beast' (Revelation 13:18), apparently the Beast with Two Backs, the androgyne of carnal love. Solomon the wizard-king made a sacred marriage with the Goddess and acquired a mystic 666 talents of gold (1 Kings 10:14). Christians usually called it Satan's number, yet the recurrences of this number in esoteric traditions are often surprising. For example, the maze at Chartres Cathedral was planned so as to be exactly 666 feet long.9'

Today's Christian hell-and-damnation fundamentalists and vast numbers of conspiracy theorists see the devilish `666' in everything, as evidence of satanic influence in the government, the Freemasons or whoever they have decided to demonize. The saddest and most disturbing consideration is that even if they knew about the true background of Christianity's most notorious number, like their predecessors, they would still regard it as evil. To them, as a pagan goddess Aphrodite was clearly demonic, yet in fact she was truly Luciferan - in the sense of being an enlightener to her followers, just as were her sister goddesses. Some of Aphrodite's works were too strong even for the traditionalist ancient Greeks, to whom women should be confined to a narrow domestic life. When the lesbian poet Sappho petitioned the goddess for help in winning the favours of a particular girl, she replied: 'Who/O Sappho, does you justice?/For if she flees, soon will she pursue/and though she receives not your gifts, she will give them/and if she loves not now, soon she will love/even against her will.'92 Somehow one detects Sappho's own hand in this convenient response from the deity.

As we have seen, some of the pagan goddesses, such as the huntress Diana, even took the title 'Lucifer/Lucifera', the bringer of Light into the darkness of human woe.

Another reason that the old goddesses became synonymous with the Devil is that many of them were depicted wearing lunar horns. Isis-Hathor wears a pair of magnificent cow's horns, as befits that animal's patron, and must have seemed truly diabolic to the early Christians as her cult persisted in Europe as a rival until the fourth century CE - into the fifth century in parts of Italy. God's wife, Ashereth, gave her name to Ashteroth-Karnaim in Gilead, or `Ashteroth/Ashereth of the horns'. American researcher David Lance Goines believes that the goddesses' horns are not lunar at all, but reflect their association with Venus, a planet that also produces a visual crescent shape in the night sky 93 If so, this merely reinforces the sense that the early Christians associated the Feminine Principle with horns and venery - the Devil incarnate.

No doubt it will be assumed that Christianity, like Jesus himself, sprang from a divine state of chastity with no breath of the loathed contamination of sex. But like Yahweh with his Asherah, Venus and her Adonis and Osiris with his Isis, Christ also had his sacred consort, a woman who even received the title `Lucifer' from her devotees - and who, apparently, taught the mysteries of sacred sex not only to the chosen one, but also his followers ...