Cardea or Carda was the ancient Roman goddess of the hinge (Latin cardo, cardinis), Roman doors being hung on pivot hinges. The Augustan poet Ovid conflates her with another archaic goddess named Carna, whose festival was celebrated on the first day of June and for whom he gives the alternative name Cranê or Cranea, a nymph. Ovid's conflation of the goddesses is likely to have been his poetic invention, [1] [2] but it has also been conjectured that Carna was a contracted form of Cardina, [3] and at minimum Ovid was observing that their traditions were congruent. [4]
In the Christian polemic of the Church Fathers, Cardea is associated with two otherwise unknown deities who preside over doorways: Forculus, from fores, "door", plural in form because double doors were common on public buildings and elite homes ( domūs ); and Limentinus, from limen, liminis, "threshold" (compare English "liminal"). [6] St. Augustine mocks the apparent triviality of these "little gods" in one of his "attacks against the multitude of gods", [7] noting that while one doorkeeper is adequate for a human household, the Roman gods require three: "evidently Forculus can't watch the hinge and the threshold at the same time." Modern scholarship has pointed out that this particular set of divinities belongs to rituals of marking out sacred space and fixing boundaries, religious developments hypothesized to have occurred during the transition from pastoralism to an agrarian society. Among Roman deities of this type, Terminus was the most significant. [8]
Stefan Weinstock conjectured that these three doorway deities had a place in cosmology as the Ianitores terrestres, "doorkeepers of the earth", guarding the passage to the earthly sphere. In the schema presented by Martianus Capella, the Ianitores terrestres are placed in region 16 among deities of the lowest ranks, while Janus, the divine doorkeeper par excellence, [9] is placed in region 1. This arrangement may represent the ianuae coeli , the two doors of the heavens identified with the solstices. [10] Isidore of Seville says that there are two ianuae coeli, one rising (that is, in the East) and one setting (the West): "The sun advances from the one gate, by the other he recedes." [11]
Isidore's definition is followed immediately by an explanation of the cardines (plural of cardo), the north-south pivots of the axis on which the sphere of the world rotates. These are analogous to the top-and-bottom pivot hinges of a Roman door. [12]
In addition to the meaning of "door hinge", the cardo was also a fundamental concept in Roman surveying and city planning. The cardo was the main north-south street of a town, the surveying of which was attended by augural procedures that aligned terrestrial and celestial space. The cardo was also a principle in the layout of the Roman army's marching camp, the gates of which were aligned with the cardinal ( a word derived from Latin cardo/cardinis) points to the extent that the terrain permitted. [13]
Macrobius [14] (5th century) says that the name Carna was derived from caro, carnis, "flesh, meat, food" (compare English "carnal" and "carnivore"), and that she was the guardian of the heart and the vital parts of the human body. The power to avert vampiric striges , which Ovid attributes to the conflated Cardea-Carna, probably belonged to Carna, while the charms fixed on doorposts are rightly Cardea's. [15]
Carna's feast day was marked as nefastus on the calendar; that is, it was a public holiday when no assembly or court could convene. Mashed beans and lard – a dish perhaps to be compared to refried beans or hoppinjohn [16] – were offered to her as res divinae , and thus the day was known as the Kalendae fabariae, the Bean-Kalends, since at this time the bean harvest matured. Beans had many magico-religious properties in ancient Greece and Rome in addition to their importance as a food crop. [17]
William Warde Fowler took Carna to be an archaic goddess whose cult had not been revivified by religious innovation or reform and thus had lapsed into obscurity by the end of the Republic. [18] Auguste Bouché-Leclercq considered Carna a goddess of health. [19] Her elusive nature is indicated by the wildly divergent scholarly conjectures she has prompted: "she was considered a chthonic divinity by Wissowa, a lunar goddess by Pettazzoni, a bean-goddess by Latte, and a patroness of digestion by Dumézil". [20]
In the Fasti of Ovid, the nymph Cranaë is raped by Janus, a god otherwise portrayed by the poet as avuncular and wise. [21] As a poetic work of art, the Fasti is a unique fabrication blending authentic folklore, antiquarian knowledge, and fictional elaboration. It has been interpreted as Ovid's challenge to the prevailing orthodoxy of Augustus's religious reforms, which were often innovations of Imperial propaganda under the cloak of archaic revivalism. [22]
Ovid begins by noting that the first day of the month is dedicated to Carna. He then identifies her as the goddess of the hinge, who is elsewhere known as Cardea, a name Ovid does not use: "By means of her divine presence ( numen ) she opens things that have been closed, and closes things that have been opened." The source of her powers (vires) have become obscured by time (aevum), but he promises that his poem ( carmen ) will clarify the matter (6.101–104).
The setting is the sacred grove ( lucus ) of the otherwise unknown god Alernus (who was considered Cardea's father), for whom, Ovid claims, the state priests still carry out sacra , sacred rites. The nymph named at that time Cranaë was born there. She was a huntress, often mistaken for the "sister of Phoebus", that is, Diana, except that she used hunting javelins and nets rather than a bow and arrow. When her many would-be lovers attempted to seduce her, she demurred claiming lack of privacy, and played the same trick on each one: "lead the way to a secluded cave, and I'll follow." As the gullible youth went ahead, Cranaë held back until she was camouflaged among the bushes (6.105–118).
Janus too was seized by desire for the nymph. She responded to his sweet-talk (verbis mollibus) by attempting the same ruse; however, as Ovid points out in a characteristic moment of comedy and cruelty colliding, the two faces of Janus allow him to see what goes on behind, and Cranaë was unable to elude him. She was powerless (nil agis, "you can do nothing", the poet repeats twice); the god "occupies her with his embrace", and after overpowering her to achieve his goal, treats the encounter as contractual: "In exchange for our intercourse (pro concubitu), the right ( ius ) of the hinge will be yours; take that as payment for the virginity you deposited" (6.119–128).
As a pledge, he gives her the whitethorn, or hawthorn, which has the power to repel injurious influences from the entrances to houses (6.129–130). This is the "hinge" or turning point of the unnamed Cardea's transformation from a maiden nymph of the wild to a goddess who polices the threshold or boundaries ( limina ) of domesticity. [23] The tale of Cranaë's rape, though stocked by Roman rather than Greek figures, would be not out of place in Ovid's Metamorphoses : the heroine doesn't change into a tree, but her transformation resides in the token of the whitethorn tree. [24]
The aition of the whitethorn explains why, Ovid says, a branch or twig of it is used to repel tristes ... noxas, "baleful harms", from doorways (fores). This is necessary, he says, because there are greedy winged creatures ready to fly in and suck the blood from sleeping infants so young they still take only breast milk. [25] Ovid describes these creatures (6.131–142) as having a large head, prominent eyes, and beaks suited for snatching and carrying off; their wings are white, and their talons are like hooks. They are given the name striges , singular strix, the word for an owl as a bird of evil omen and supposedly derived from the verb strideo, stridere, "shriek". At the same time, Ovid says that they are the winged creatures who tormented the marooned Phineus by stealing the food off his table – that is, the Harpies. They are a "disconcerting composite" that recalls images on certain curse tablets, one of which shows a "heart-feasting Hecate" that matches Ovid's description. [26] [27] The poet himself emphasizes that it's hard to tell what they really are, whether they were born as birds, or whether they had been transformed by an incantation ( carmen , the word Ovid has just used to describe his own account). He then glosses carmen as "a crone's Marsian chant" (neniaque ... Marsa ...anūs).
Anna Perenna was an old Roman deity of the circle or "ring" of the year, as indicated by the name.
In Roman mythology, Dea Tacita also known as Dea Muta or Muta Tacita, was a goddess of the dead. Ovid's Fasti includes a passage describing a rite propitiating Dea Tacita in order to "seal up hostile mouths / and unfriendly tongue" at Feralia on 21 February. Dea Tacita is the same as the naiad Larunda. According to Ovid this occurred because Dea Tacita had her tongue ripped off by Jupiter. Jupiter was angry with her because she told the nymph Juturna to flee from him because he planned to rape her. In this guise, Dea Tacita was worshipped at a festival called Larentalia on 23 December. Goddesses Mutae Tacitae were invoked to destroy a hated person: in an inscription from Cambodunum in Raetia, someone asks "ut mutus sit Quartus" and "erret fugiens ut mus". Plutarch, who describes Tacita as a Muse, states that Numa Pompilius credited Tacita for his oracular insight and taught the Romans to worship her.
In the myth and religion of ancient Rome, Juturna, or Diuturna, was a goddess of fountains, wells and springs, and the mother of Fontus by Janus.
In ancient Roman religion and myth, Janus is the god of beginnings, gates, transitions, time, duality, doorways, passages, frames, and endings. He is usually depicted as having two faces. The month of January is named for Janus (Ianuarius). According to ancient Roman farmers' almanacs, Juno was mistaken as the tutelary deity of the month of January, but Juno is the tutelary deity of the month of June.
Festivals in ancient Rome were a very important part in Roman religious life during both the Republican and Imperial eras, and one of the primary feat of "holy days"; singular also feriae or dies ferialis) were either public (publicae) or private (privatae). State holidays were celebrated by the Roman people and received public funding. Games (ludi), such as the Ludi Apollinares, were not technically feriae, but the days on which they were celebrated were dies festi, holidays in the modern sense of days off work. Although feriae were paid for by the state, ludi were often funded by wealthy individuals. Feriae privatae were holidays celebrated in honor of private individuals or by families. This article deals only with public holidays, including rites celebrated by the state priests of Rome at temples, as well as celebrations by neighborhoods, families, and friends held simultaneously throughout Rome.
The Floralia was a festival of ancient Roman religion in honor of the goddess Flora, held on 27 April during the Republican era, or 28 April in the Julian calendar. The festival included Ludi Florae, the "Games of Flora", which lasted for six days under the empire.
The Veneralia was an ancient Roman festival celebrated April 1 in honor of Venus Verticordia and Fortuna Virilis.
Juno was an ancient Roman goddess, the protector and special counsellor of the state. She was equated to Hera, queen of the gods in Greek mythology and a goddess of love and marriage. A daughter of Saturn and Ops, she was the sister and wife of Jupiter and the mother of Mars, Vulcan, Bellona, Lucina and Juventas. Like Hera, her sacred animal was the peacock. Her Etruscan counterpart was Uni, and she was said to also watch over the women of Rome. As the patron goddess of Rome and the Roman Empire, Juno was called Regina ("Queen") and was a member of the Capitoline Triad, centered on the Capitoline Hill in Rome, and also including Jupiter, and Minerva, goddess of wisdom.
Maia, in ancient Greek religion and mythology, is one of the Pleiades and the mother of Hermes, one of the major Greek gods, by Zeus, the king of Olympus.
Larunda was a naiad nymph, daughter of the river Almo and mother of the Lares Compitalici, guardians of the crossroads and the city of Rome. In Ovid's Fasti she is named Lara.
Ferālia was an ancient Roman public festival celebrating the Manes which fell on 21 February as recorded by Ovid in Book II of his Fasti. This day marked the end of Parentalia, a nine-day festival honoring the dead ancestors.
The strix, in the mythology of classical antiquity, was a bird of ill omen, the product of metamorphosis, that fed on human flesh and blood. It also referred to witches and related malevolent folkloric beings.
The Fasti, sometimes translated as The Book of Days or On the Roman Calendar, is a six-book Latin poem written by the Roman poet Ovid and published in AD 8. Ovid is believed to have left the Fasti incomplete when he was exiled to Tomis by the emperor Augustus in 8 AD. Written in elegiac couplets and drawing on conventions of Greek and Latin didactic poetry, the Fasti is structured as a series of eye-witness reports and interviews by the first-person vates with Roman deities, who explain the origins of Roman holidays and associated customs—often with multiple aetiologies. The poem is a significant, and in some cases unique, source of fact in studies of religion in ancient Rome; and the influential anthropologist and ritualist J.G. Frazer translated and annotated the work for the Loeb Classical Library series. Each book covers one month, January through June, of the Roman calendar, and was written several years after Julius Caesar replaced the old system of Roman time-keeping with what would come to be known as the Julian calendar.
A liminal deity is a god or goddess in mythology who presides over thresholds, gates, or doorways; "a crosser of boundaries". These gods are believed to oversee a state of transition of some kind; such as, the old to the new, the unconscious to the conscious state, the familiar to the unknown.
In ancient Roman religion, the Fordicidia was a festival of fertility, held on the Ides of April, that pertained to farming and animal husbandry. It involved the sacrifice of a pregnant cow to Tellus, the ancient Roman goddess of the Earth, in proximity to the festival of Ceres (Cerealia) on April 19.
Roman mythology is the body of myths of ancient Rome as represented in the literature and visual arts of the Romans, and is a form of Roman folklore. "Roman mythology" may also refer to the modern study of these representations, and to the subject matter as represented in the literature and art of other cultures in any period. Roman mythology draws from the mythology of the Italic peoples and shares mythemes with Proto-Indo-European mythology.
Aprilis or mensis Aprilis (April) was the fourth month of the ancient Roman calendar in the classical period, following Martius (March) and preceding Maius (May). On the oldest Roman calendar that had begun with March, Aprilis had been the second of ten months in the year. April had 29 days on calendars of the Roman Republic, with a day added to the month during the reform in the mid-40s BC that produced the Julian calendar.
Mensis Iunius or Iunius, also Junius (June), was the sixth month of the Roman calendar of the classical period, following Maius (May). In the oldest calendar attributed by the Romans to Romulus, Iunius had been the fourth month in a ten-month year that began with March (Martius, "Mars' month"). The month following June was thus called Quinctilis or Quintilis, the "fifth" month. Iunius had 29 days until a day was added during the Julian reform of the calendar in the mid-40s BC. The month that followed Iunius was renamed Iulius (July) in honour of Julius Caesar.
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