Crossroads (mythology)

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In folk magic and mythology, crossroads may represent a location "between the worlds" and, as such, a site where supernatural spirits can be contacted and paranormal events can take place. Symbolically, it can mean a locality where two realms touch and therefore represents liminality, a place literally "neither here nor there", "betwixt and between".

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Ancient religions

A herma was a statue associated with Hermes. It was used to mark boundaries and crossroads in ancient Greece, and thought to ward off evil. Museum of Ancient Messene, Greece. HermHerakles 2.jpg
A herma was a statue associated with Hermes. It was used to mark boundaries and crossroads in ancient Greece, and thought to ward off evil. Museum of Ancient Messene, Greece.

In Greek mythology, crossroads were associated with both Hermes and Hecate, with shrines and ceremonies for both taking place there. The herm pillar associated with Hermes frequently marked these places due to the god's association with travelers and role as a guide. Though less central to Greek mythology than Hermes, Hecate's connection to crossroads was more cemented in ritual. 'Suppers of Hecate' were left for her at crossroads at each new moon, and one of her most common titles was 'goddess of the crossroads.' In her later three-fold depictions, each of the three heads or bodies is often associated with one of three crossing roads. [1]

An 11th-century homily called De Falsis Deis tells us that Mercury or Odin were honored on crossroads.

53. Sum man eac wæs gehaten Mercurius on life, se wæs swyðe facenfull
54. And, ðeah full snotorwyrde, swicol on dædum and on leasbregdum. Ðone
55. macedon þa hæðenan be heora getæle eac heom to mæran gode and æt wega
56. gelætum him lac offrodon oft and gelome þurh deofles lare and to heagum
57. beorgum him brohton oft mistlice loflac. [2]

The modern English text gives: "There was also a man called Mercury, he was very crafty and deceitful in deed and trickeries, though his speech was fully plausible. The heathens made him a renowned god for themselves; at crossroads they offered sacrifices to him frequently and they often erringly brought praise-offerings to hilltops, all through the devil’s teaching. This false god was honored among the heathens in that day, and he is also called by the name Odin in the Danish manner."

Medieval Folklore

In the UK there was a tradition of burying criminals and suicides at the crossroads. This may have been due to the crossroads marking the boundaries of the settlement coupled with a desire to bury those outside of the law outside the settlement, or that the many roads would confuse the dead. [3] Crossroads were also commonly used as a place of criminal punishment and execution (e.g. by gibbet or dule tree), which may have also been a reason for it being a site of suicidal burial as suicide was considered a crime. This ritual of crossroads burial dates back to Anglo-Saxon times and continued until being abolished in 1823. [4]

While they became a place of burial for suicides and others unable to be given proper burial in the Middle Ages, the crossroads were once a burial place second only to the consecrated church for Christians. [5]

In Western folk mythology, a crossroads can be used to summon a demon or devil in order to make a deal. This legend can be seen in many stories. For example, the 1587 Historia von D. Johann Fausten , describes the character Faust inscribing magic circles at a crossroads in order to summon the devil.

In the 1885 historical essay Transylvanian Supersitions, Emily Gerard describes how crossroads were often avoided as a matter of course, and describes a Romanian belief that a demon could be summoned at a crossroad by drawing a magic circle, offering copper coin as payment, and reciting an incantation. [6]

Hoodoo

In conjure, rootwork, and hoodoo, a form of African American magical spirituality, in order to acquire facility at various manual and body skills, such as playing a musical instrument, throwing dice, or dancing, one may attend upon a crossroads a certain number of times, either at midnight or just before dawn, and one will meet a "black man," whom some call the Devil, who will bestow upon one the desired skills. In the Vodou tradition, Papa Legba is the lwa of crossroads and a messenger to the spirit world. [7]

Brazilian mythology

Crossroads are very important both in Brazilian mythology (related to the headless mule, the devil, the Besta Fera and the Brazilian version of the werewolf) and religions (as the favourite place for the manifestation of "left-hand" entities such as Exus and where to place offerings to the Orishas). Eshu and Legba derive from the same African deity, although they are viewed in markedly different manners among traditions. For example, Papa Legba is considered by Haitian Vodou practitioners to be closest to Saint Peter, although in Brazilian Quimbanda it is not uncommon to see Exu closely associated with demonic entities such as Lucifer, clad in Mephistophelean attire and bearing a trident. [8]

In modern fiction

In 1926's Faust , the titular character summons the demon Mephistopheles at a crossroad. In the U.S. television show Supernatural, crossroads demons are a recurring plot device.

Blues songs

Some 20th-century blues songs, such as Sold It to the Devil by Black Spider Dumpling (John D. Twitty), may be about making a deal with the devil at the crossroads. Many modern listeners believe that the premier song about soul-selling at a crossroads is "Cross Road Blues" by Robert Johnson. According to a legend, Johnson himself sold his soul at a crossroads in order to learn to play the guitar. This is chronicled in the Netflix documentary ReMastered: Devil at the Crossroads . However, the song's lyrics merely describe a man trying to hitchhike; the sense of foreboding has been interpreted as the singer's apprehension of finding himself, a young black man in the 1920s deep south, alone after dark and at the mercy of passing motorists. [9]

The idea of selling one's soul for instrumental skills predates the American South as several virtuoso classical musicians such as Paganini [ citation needed ] had stories told about selling their soul for music prowess (and that story may reference back to medieval troubadour doing something similar). The motif of selling one's soul for guitar power has become a staple of both rock and metal guitarists. [10] In the 2000 Coen Brothers comedy, O Brother, Where Art Thou?, the character Tommy Johnson claims to have sold his soul to the devil at the crossroads in exchange for guitar skills, a direct reference to the legend of Robert Johnson.

See also

Related Research Articles

Hecate or Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She is variously associated with crossroads, entrance-ways, night, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery. Her earliest appearance in literature was in Hesiod's Theogony in the last third part of the 8th century BCE as a goddess of great honor with domains in sky, earth, and sea. Her place of origin is debated by scholars, but she had popular followings amongst the witches of Thessaly and an important sanctuary among the Carians of Asia Minor in Lagina.

Robert Johnson American blues singer and musician

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Papa Legba

Papa Legba is a loa in Haitian Vodou, who serves as the intermediary between the loa and humanity. He stands at a spiritual crossroads and gives permission to speak with the spirits of Guinee, and is believed to speak all human languages. In Haiti, he is the great elocutioner. Legba facilitates communication, speech, and understanding. He is commonly associated with dogs.

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<i>Crossroads</i> (1986 film) 1986 film by Walter Hill

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Crossroads, crossroad, cross road or similar may refer to:

Cross Road Blues Blues standard written by Robert Johnson

"Cross Road Blues" is a blues song written and recorded by American blues artist Robert Johnson in 1936. Johnson performed it as a solo piece with his vocal and acoustic slide guitar in the Delta blues-style. The song has become part of the Robert Johnson mythology as referring to the place where he supposedly sold his soul to the Devil in exchange for his musical talents, although the lyrics do not contain any specific references.

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Greek underworld Location in Greek mythology

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Haitian Vodou Syncretic religion practised chiefly in Haiti and among the Haitian diaspora

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Deals with the Devil in popular culture

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Liminal deity Gods of transitions or gates

A liminal deity is a god or goddess in mythology who presides over thresholds, gates, or doorways; "a crosser of boundaries". Special types include dying-and-rising deities, various agricultural deities, and those who descend into the underworld: crossing the threshold between life and death representing the most fundamental of all boundaries. Vegetation deities in particular mimic the annual dying and returning of plant life, making them seasonally cyclical liminal deities. In contrast, the one-time ordeal typical of the dying-and-rising myth, or legends of those who return from a descent to the underworld, represent a more narrow scope of liminal deities.

De falsis diis, or, in Classical Latin spelling, De falsis deis, is an Old English homily composed by Ælfric of Eynsham in the late tenth or early eleventh century. The sermon is noted for its attempt to explain beliefs in traditional Anglo-Saxon and Norse gods within a Christian framework through Euhemerisation. The homily was subsequently adapted and circulated by Wulfstan II, Archbishop of York, and also translated into Old Norse under the title ''Um þat hvaðan ótrú hófsk''.

References

  1. Hornblower, Spawforth, Eidinow. (2012) The Oxford Classical Dictionary fourth edition. Oxford University Press. p.688, 649-651]
  2. The Old English text is reproduced here from The Cambridge Old English Reader by Richard Marsden, pp. 205–208.
  3. Robert Halliday (2008). "British Archaeology, no 25, June 1997: Features". britarch.ac.uk. Retrieved 10 September 2011.
  4. https://www.historyextra.com/period/victorian/why-were-suicides-supposed-to-be-buried-at-crossroads/
  5. Jobes, Gertrude. (1961) Dictionary of Mythology Folklore and SymbolsPart 1. The Scarecrow Press, Inc. p.388
  6. http://www.gutenberg.org/cache/epub/52165/pg52165.txt
  7. https://www.learnreligions.com/papa-legba-4771384
  8. Canizares, Baba Raul (2000). Santeria and the Orisha of the Crossroads. New York: Original Publications. pp. 23–24.
  9. Litwack, Leon F (1998). Trouble in Mind: Black Southerners in the Age of Jim Crow. New York: Vintage Books. pp. 410–411.
  10. Jad Abumrad; et al. (2012). "Radiolab, April 16, 2012: Features". Radiolab.org. Retrieved 27 April 2012.