The earliest known European Creation myth tells how the world was shaped by Dea. One of the names used for Her there is Eurynome (wide-rule). In many versions, Her first act after separating the waters from the sky was to create the seven great Planetary Powers. This appears to be a very early patriarchal, or transitional, text; though we must also bear in mind that it would not have been written down for several centuries, and that the patriarchal scribes and redactors would have brought it further into line with contemporary patriarchal thinking.
According to this account, the seven Great Planetary Powers were created in pairs, female and male. From our knowledge of the almost exclusively female nature of earlier iconography and of the normal progress of patriarchy, we can be certain that these Powers were at first all-female, then they gained male subordinates or “consorts”, the consorts eventually became their superiors, and finally the female forms were discarded altogether. In the Classical tradition, only two of the seven Powers (Venus and the Moon) remain female, while in the Sanskrit tradition, all are made male. Even Venus becomes the male Kama (best known in the West from the Kama Sutra). If the idea of a male Venus seems somewhat preposterous to Western minds, it should be remembered that, before the Patriarchal Revolution, the idea of a male Jupiter would have seemed equally preposterous.
The importance of these seven Powers in all Western thinking before the Modernist Revolution of the 17th century cannot be overemphasized. Even as late as the mid-17th century, Nicholas Culpeper’s famous Herbal discusses curative plants largely in terms of their planetary correspondences. A plant ruled by Mercurius, for example, will be good for the mind. This was a vital part of the “scientific” way of looking at all subjects before the advent of a dogmatically empirical and materialistic science. Those familiar with earlier literature will be aware that it abounds in direct and indirect references to the planetary principles — and this despite the fact that the planetary divinities had no place in the Christian theological world-picture.
The mechanistic-materialistic “science” reached its apogee in the 19th century, and since the early years of the 20th it has been progressively stripped of its axiomatic basis by discoveries such as those in the field of quantum and astrophysics and an increasing understanding that information, and not just matter, forms a vital part of manifestation. Consequently the philosophical underpinnings of the old empiricist materialism have long been discredited, although the modern world continues to live on its assumptions because it has nothing else. The traditional outlook provided an information-based view of the world, and the seven planetary Powers were a cardinal element of this view.
Calendars have changed vastly over the centuries. July and August — to take but one instance — were inserted and named after two early Roman Emperors, while the four following months are to this day named after a numerical place that they no longer hold. September is not the seventh month. The Sanskrit calendar is quite different from ours, as was the Celtic. The last major alteration to the British calendar took place as late as 1752 and the Russian Orthodox Church still adheres to a different one. Yet with all this change, alteration, and mergence, one thing has stayed constant, to our knowledge, for over five thousand years, and almost certainly for far, far longer. That constant is the days of the week, attributed to the seven Powers. The Day of the Moon (Monday) is still an exact multiple of seven days away from the Day of the Moon in 3,000 B.C.
The seven Planetary streams or Powers represent the Essential bases of manifestation. That is, what things inwardly are, rather than how they happen to be manifest in physical matter (which is all that modern science can consider). They represent the Essential (or if one prefers, informational) content by which all earthly forms are shaped. Everything that is, is fashioned by one or more of these great Essential streams.
Herthelani refer to the Head of each of these streams as a Janya (sometimes Genia) . The term has been translated both as “angel” and as “goddess”. Of the two we prefer angel, though each has its merits.
People brought up in the modern West may be inclined to ask “Why should the Heads of these Streams be personified?” Part of the reason for such a question lies in the attachment of the modern mind to the outdated Newtonian-materialist model of the universe, which, while long disproved, remains the only way the modern Western mind has of understanding things. A certain adjustment has to take place in order to understand traditional thinking.
In the first place, let us be clear that the Janyati are not “forces” or “energies” conceived after the model of Newtonian physics (and dearly beloved of New Age movements). They are Intelligences. They are not people like us, it is true. But they are something more than people, not less than people. The greatest force in the universe is less than a person. It cannot think. We are speaking here of Intelligences immeasurably greater than ourselves. They have everything we people have, magnified a thousand times, and they have many qualities we cannot even conceive of. To picture them as something akin to people may not do them justice, but to picture them as something impersonal, like a force of nature, would do them infinitely less justice. They are everything we are and much more.
In the second place, let us remember that we are dealing with an intelligent, not an accidental, universe. The things below mirror the things above. The microcosm reflects the macrocosm. While the Janyati are very different from us, they nonetheless have a common measure with us. Just as we are made in God’s image, so are they. Indeed they are far closer to the Dea-nature than we are, and in a sense, we may say that each Janya is Dea, in a certain aspect. That is why the translation “goddess” is in some sense as appropriate as “angel”.
Before proceeding to speak of each individual Janya, we supply a table of the seven, each with some of her major associations. The first color given in each case is according to the system of the spectrum or rainbow. The traditional virtues given are not all moral virtues according to the later Christian usage of the term. These things will be discussed at greater length shortly. We give the days in English and French, because the French names, being closer to the Latin, often make the association clearer. The days, planets, and metals are quite unequivocal and of fundamental importance. They should be learned before proceeding. The seven notes of the musical scale — and the corresponding Ancient and Mediaeval modes — are also associated with the Janyati. We also include the ancient Greek names of the feminine planetary Powers.
Learning about the Janyati
We shall now attempt to give a summary of the natures of the seven Great Janyati. The reader is asked to bear in mind, however, that this is only a summary. The Seven Janyati between them govern all that is, thus their ramifications into the world of manifestation are highly complex, as are the many and varied interactions between their respective principles.
The seven Great Janyati have often been described in the image of the pure white (or colorless) light of Dea striking the Water of Manifestation and refracting into the seven streams of color. Of these the first, and closest to the pure Light is that of Sai Raya.
Sai Raya is the Sun: the Great Luminary. As such, she is the Janya most immediately assimilable to Dea Herself (although all the Janyati may be seen as Her Aspects). Her Herthelan name means simply The Lady, as well as The Radiant. Raya is the Herthelan word for Lady (in the Lord sense — there is no such specific word in English). Dea is sometimes addressed as Raya (Lady) even when the specific Aspect of Sai Raya, the Sun, is not intended. Her ancient Greek name is Theia, which is simply the feminine form of God, equivalent to Dea.
Very much might be said about the Sun. She is the Primordial Light, and it goes without saying that the physical luminary that represents Her in the material solar system is but an outward body or symbol of Her, just as the Sacred Mountain may be incarnated in some particular mountain on earth. The modern mind, with its shallow rationalism, finds it hard to grasp how very real is the incarnation of the Sacred Mountain in, say Mount Sinai, Mount Meru or Mount Olympus, how for their respective Traditions they are the one Sacred Mountain. But the Sun is a little simpler to understand, for there is only and can only be one Sun for the whole of terrestrial humanity.
And so materialism can fall into the opposite error — that of confusing the Supernal Sun with Her outward body (and so ludicrously imagining that traditional peoples worship “what we now know to be a ball of gas”). Sai Raya was before there was an earth to light or a Sun to light her. The same may be said of the Moon, and of each of the planets. They are Eternal Principles: principles that existed before our cosmos came into being and that will exist when all the worlds are dust.
As a principle governing terrestrial life, Sai Raya’s influence (the word “influence” means, originally and literally, a “flowing-in” from the “stars”, or celestial beings) is the most expansive and positive of all. Among the attributes of this influence are generosity, wealth, health, radiance and pride (pride in the negative sense is also the earthly perversion of the Stream of Sai Raya).
Solar associations are central to traditional symbolism the world over — the lion or the eagle figure in most Western national and imperial emblems. In the East the direct representation of the Sun is found in national emblems, such as that of Japan. The emperor of Japan is the direct ancestor of the Sun Goddess, Amaterasu Omikami, just as the Empress of Sai Herthe is the direct ancestress of Sai Raya.
Despite Western familiarity with the patriarchal classical world which sees the sun as masculine and the moon as feminine, this is rather an unusual perspective worldwide. The Sanskrit tradition masculinizes both luminaries, while throughout the world the original Feminine Sun is to be found in a very large number of patriarchal cultures, sometimes with a masculine moon.
Japan has already been mentioned. Old Lithuanian songs have a feminine Sun-Deity, which is interesting because Lithuanian is the only still-living Indo-European language as ancient as Sanskrit, with which it shares many features. Its Solar Deity probably represents the pre-masculinized form of the Sun of the Sanskrit tradition. In the Celtic world the Sun Goddess is Grainne or Igraine; in Old Slavonic, Saule; among the ancient Semites, Athtar and various other names. In Germany, popular tradition still refers to Frau Sonne. Our very word “Sun” comes from the name of the Scandinavian Sun-Goddess Sunna or Sunnu. Sunday, of course, is Her day. Just as Friday is a contraction of Freya’s day, Sunday is a contraction of Sunna’s Day. The miraculous image of the Lady of Guadalupe (who never suggested that She was Mary of Nazareth) is replete with the traditional symbolism of Our Solar Mother.
The Sun, as symbolic centre of the macrocosm, is equivalent to the heart in the microcosm of the human body and the hearth-fire in the microcosm of the house. Thus it is that Intelligence is situated in the heart (governed by Sai Raya) and reason in the head (governed by Sai Candre). Needless to say, we are speaking of subtle centres, not of the mere bodily heart and head.
Sai Raya, the Sun, is the Great Luminary. Sai Candre, the Moon, is the Lesser Luminary. At her highest level, the moon is seen as the great Daughter Principle, just as the Sun is the great Mother Principle. The Lunar realm is the realm of imagination and also of mental activity. The word “mind” comes from the same root as “moon”. While the pure Intellect which sees Truth directly is by nature Solar, the reflected Intellectual light which is our earthly reason is lunar (mental or moon-like), as also is our imagination.
As the Sun is the embodiment of the Spirit, so the moon rules the world of the soul. The sphere of Sai Candre is that most immediately “above” (that is to say, more subtle than) our mundane plane of being. It is the psychic domain. What Theosophists and New Agers call the “astral plane” really refers to the Lunar Realm.
The psychic domain is governed by Sai Candre, as is the mana-maya kosa, that subtle body which is the repository of impulses, feelings and thoughts (mana is etymologically connected with both moon and mind) . The image-sphere is also in the domain of Sai Candre.
Since Sai Candre governs earthly reason, the Latin mens — the basis for both mind and month — also gives us words for measurement, such as mensuration. The word reason itself comes from ratio: to measure. Modern materialistic “rationalism” holds that our only sources of information are the impressions conveyed to us by the five senses plus the operations upon them of the reason. However, the very axioms of thought — beginning with the intuition that our thought-processes correspond to any objective reality outside themselves (which rationalist philosophy illogically takes for granted while denying the solar Intellect) and proceeding to such intuitions as those of mathematics and logic — for example the axiom that a thing cannot both be and not be — derive from the Solar Intellect. This is natural, for the light of the Moon is the reflected light of the Sun. Without Sunlight (pure Intellect) there is no Moonlight (earthly reason).
In Filianic thealogy, the Moon is seen as a type of the Daughter, who reflects the light of the Solar Mother (who is “too bright for us to look upon”) in a gentle form adapted to our fallen sight. She is the Mediatrix between the Solar Spirit and the fallen world. Thus Sai Candre is also seen as the archetypal Priestess.
Sai Candre is also the Janya of purity and of wild creatures.
Sai Vikhë is the Janya of courage and of battle. Her planet is known in Telluria as Mars. She is the Janya of warrior-maids and rules all the Vikhelic (Martial) arts, and also such things as surgery, where a cut must be made in order to heal. The Holy War (Vikhail), which in physical terms is war against those who would destroy or harm the Empire, is only the lesser holy war. The greater holy war is that fought by the spiritual maid against the false self and against the forces of darkness and materialism in one’s own soul.
Sai Vikhë is, of course, profoundly necessary to the “economy” of manifestation. Conflict is a condition of manifestation. It is from the agitation and conflict-play of the three gunas and the four elements that a manifest universe can exist. But while conflict is necessary, so also is harmony, represented in one aspect by Sai Thamë, and in another by Sai Sushuri (said to be the sister of Sai Thamë). As manifestation progresses on its outward and fundamentally degenerative course, the element of conflict increases and that of harmony decreases (this is observed in the axiom of modern physics: “entropy tends to increase”).
Thus the metal of Sai Vikhë, iron, is also the metal symbolising the last of the four ages of a world-cycle, the Age of Iron, or Kali Yuga, traditionally known as “the age of quarrels”. The sign for Mars (and Iron), is also the sign for masculinity, thus it is natural that in the Age of Iron, the masculine principle should come to the fore in human society, both in its social order and in its spiritual conceptions. We know relatively little about civilization before the dawn of the Kali Yuga, but from hundreds of thousands of artefacts discovered at a large number of neolithic sites, three things are clear beyond any dispute 1) these were civilizations, despite the misleading appellation “stone-age” — they were well-ordered cities with multistory buildings. 2) The great preponderance of human depictions, especially those of a religious nature, are clearly female. We leave aside the question of “matriarchy” — that is, of whether women actually ruled in a temporal sense, a hypothesis that has caused much consternation among both male historians and victim-complex feminists*. What is unarguable is that these societies were clearly massively culturally oriented toward the feminine. 3) There are no signs of war. Both fortifications and weapons of war (as opposed to hunting) appear at a later stage, along with depictions of warlike activity and masculine god-figures. This is quite clearly not because the neolithic civilizations were incapable of building fortifications. They had elaborate palaces, harbor installations and advanced transportation. They simply had no need for them until the “patriarchal revolution” of the Age of Iron.
In Telluria femininity and masculinity are governed by Sai Sushuri (Venus) and Sai Vikhë respectively, indicating a pivot between concord and discord. In Sai Herthe, blondeness and brunetteness are governed by Sai Sushuri and Sai Thamë respectively; the pivot being more between mercy and rigor, love and duty, indulgence and strictness.
Nonetheless Sai Vikhë is an universal principle necessary to the fullness of any manifestation — from the primal discord necessary to manifestation itself, to the various forms of “surgery” necessary in the pursuit of earthly life, to the need for defence against foes both physical and spiritual, Sai Vikhë is always with us.
In the Indian tradition the image of the warlike Sri Durga on her lion or tiger is the primary image of Sai Vikhë, and it is this form that many of us turn to her as the Great Protectress. Like all Janyati, she is at once a separate stream of Godhead and, at Her source, Dea Herself.
See also: The Vikhelic Principle.
Sai Mati is the Janya of Intelligence at every level — from communication and verbal ability to the transcendent Intelligence or wisdom known to the Greeks as Sophia.
The name of her day, Wednesday, derives in English from Woden, the Nordic Mercury. The name (with B for W/V) is equivalent to Sanskrit Buddha, meaning the planet Mercury and its deity, while buddhi (feminine) is the word for intellect. The term Buddha (meaning the Enlightened One) also comes from this, as does the Bodhi-tree (or Tree of Wisdom) under which the Buddha’s enlightenment took place. Woden, who gave up one of his eyes to the great Goddess in return for wisdom, henceforth was possessed of the Single Eye which sees not the dualities of the manifest world, but the unitive Truth that lies behind them. This myth depicts the ascetic sacrifice of the worldly senses necessary to attain the vision of pure gnosis or jnana.
Thus Sai Mati, at her highest level, represents pure Intellect: that knowledge which forms the basis of all our understanding, which cuts through the veil of ignorance (avidya), which maintains the illusion of the material world, and shows us the realities that lie behind that world. Such a Sophianic vision may operate at various levels. At one level we see beyond the outward forms of earthly things to the pure Forms or Archetypes that in-form them. At a higher level one sees even beyond the Archetypes to the non-dual Reality that underlies them. Yet even at the lowest level of earthly reason (which is governed by Sai Candre) the axioms on which our reasoning are based are derived wholly from Sophianic Intelligence.
At this point it will be noted that Sai Mati, at her highest level, embodies that Intellect which we have termed Solar. This is why her color is yellow, that of sunlight (also why Buddhist nuns wear saffron robes). It is said that while Sai Vikhë embodies the heat of Sai Raya, Sai Mati embodies her light.
Sri Saraswati, who governs learning, study and intelligence is often taken as a figure of Sai Mati, though because of her musical nature she also embodies elements proper to Sai Thamë.
Sai Thamë is the universal principle of order. Order is fundamental to the traditional understanding of the cosmos. Indeed the very word cosmos (Greek Kosmos) means order, as opposed to chaos, which is its opposite principle. In Greek thought, the creation of the universe consists in bringing cosmos (order) out of chaos (disorder); in other words, order is equivalent to being itself. The modern scientist’s definition of entropy, as derived from the second law of thermodynamics, carries precisely the same implication.
Cosmos, or order, also means beauty. Hence our word cosmetic, which means to make orderly, and hence to make beautiful. To understand this fully, we need to understand what beauty really is. The modernist believes that beauty is literally “in the eye of the beholder”: that there is no such thing as objective beauty. Beauty is merely an accidental preference of the brain for certain sense-objects over others. The objects which the brain finds beautiful have no objective quality that makes them beautiful; it is just a question of subjective preference.
You will see how this view follows naturally from the idea that we have no sources of information beyond sense-impressions and the action of earthly reason (or earthly sentiment) upon them. Because the modern mind denies the solar Intelligence accepted and understood by all traditional peoples, it can conceive of no faculty which could perceive an objective universal quality such as beauty; nor can it conceive of the existence of such an objective universal quality.
For the traditional mind, all worldly beauty is the reflection of Divine beauty. Earthly things may participate to a greater or lesser extent in the absolute beauty of the Divine, and to that precise extent do we rightly call them beautiful or not beautiful.
Beauty and order are not precisely the same thing, but they are very closely entwined. The beauty-half of the equation rightly belongs to Sai Sushuri and the order-half to Sai Thamë. This is one reason why they are often said to be sisters.
The name of Sai Thamë, without a capital letter, is often used as a noun or an adjective. To say that something is thamë or athamë is to say that it is orderly or disorderly; but we must understand by this that we are speaking of its consonance or lack of consonance with the Universal Harmony, that which, in the words of a Herthelan Scripture, “holds the stars within their courses and a drop of dew pendant upon a blade of grass”.
Herthelan law is akin to the laws of mathematics or of music — an expression of the underlying harmony of being; all order fundamentally the order of a dance, which is ultimately the great dance of the cosmos, presided over by Thamë, the Angel of Harmony. To the Herthelani, grace in the sense of ‘gracefulness’ is not a different concept from grace in the thealogical sense. They are intimately bound up one with another — and all of life is intimately bound up with them.
Sai Thamë is thus the Janya of royalty and authority. The Empress or the Queen in Sai Herthe rules not by her own authority, but as the administrator of the Golden Order (Greek Chrysothemis: chrys meaning gold and Themis being the Greek name for Thamë, the original feminine form of Jupiter).
The royal function is to reflect the eternal and changeless Order of Being, as is seen in the movement of the stars, into our earthly polity. Since we are in the lower world of flux and change, adaptations and adjustments need to be made from time to time, to allow for changing conditions.
If this were not the case, new laws would never need to be made and the first order could stay unchanged throughout history. However, law-making should be as minimal as possible. The task of the law-maker is not to re-shape the world according to her own ideas or those of her friends, but is more akin to the steering of a ship. Her job is to keep a straight course — the same course as that of her wiser mothers — despite the buffetings of wind and wave. If there were no wind or wave, no steersmaid would be needed, but in the lower world of flux and change, adjustments must sometimes be made in order to keep our course. That, to the traditional mind, is the whole art of politics. The idea of parties and of opposing political opinions, upon which the world bases its polity is due to the principle of Vikhë, or conflict, entering into a sphere that should belong purely to Thamë. This, of course, is precisely what one would expect to happen in the patriarchal Age of Iron.
Politics is not the only sphere in which this takes place. Since the Eclipse, the attack on order of every sort (and on its sister-principle of beauty) takes place in every conceivable sphere from dress and speech to art and entertainment. The attack on thamë in every area may be said to be the defining characteristic of the post-Eclipse world, and the restoration of thamë the heart-principle of Chelouranya.
If one word were to sum up the influence of Sai Thamë, that word would be harmony. In traditional philosophy, creation is often seen as an act of music. Thamë is literally the Music of the Spheres, the cosmic harmony that moves all things in their proper places and thus sustains them in being. For without that harmony, all would dissolve into chaos and nothingness.
Sai Thamë also governs rituals of all sorts, and thus the dance, which is not only the expression of harmony, but also, in its origins, of a ritual nature.
See also: Thamë.
In Telluria there has been an unfortunate tendency to associate the principle of Venus solely with sexual love. In fact, Sai Sushuri rules every kind of love, as well as beauty. We have spoken of the fundamental importance of beauty in the preceding piece on Sai Thamë. Love is equally fundamental.
At its root, all love is Divine Love, just as all beauty is Divine Beauty. It is the love of Dea for Her creation, the love of the soul for Dea and of Her creatures for one another. Just as beauty is the beauty of Dea, so love is the love of Dea. When we love Her, we do so with Her own love; hence the prayer to Dea to “Come into us as a perfect love for Thee”.
The Sushuric principle is often taken as the opposite of the Vikhelic. From another perspective, however, the true opposite of the Vikhelic principle is the Sushuri-Thamic. Love, beauty, order and harmony are closely woven together. Under normal circumstances, vikhë too is part of this harmony. Only in the Age of Iron, when the Vikhelic influence becomes disproportionate, is opposition between the principles noticeable (this is natural, since opposition itself is Vikhelic).
In Telluria, the polarity of femininity and masculinity is a polarity between the Sushuric and Vikhelic principles. In Sai Herthe, the polarity between blonde and brunette is between the Sushuric and Thamic principles, which may be seen as a polarity between love and duty or between mercy and severity. However, the true principle of severity is that of Sai Rhavë, and we may see (to borrow a Quabbalistic expression) Sai Sushuri as the Pillar of Mercy and Sai Rhavë as the Pillar of Severity, with Sai Thamë as the central pillar, holding the two in balance.
In terms of spiritual paths, Sai Sushuri rules the Path of Love (or bhakti marga), and thus has a special significance for the Age of Iron. It is not a coincidence that bhakti is recommended as the most natural path for the Age of Iron and that the Sushuric principle is the opposite of the Vikhelic.
Correspondingly, Sai Mati governs the Path of Wisdom (jnana marga) and Sai Thamë the Path of Works (karma marga), which should be understood as the path of ritual action, including the initiatic paths offered by the traditional crafts in Sattwic societies. Of the remaining non-luminary Janyati, Sai Vikhë governs the Way of the Warrior and Sai Rhavë the via negativa or the path of pure austerity. These however are not separate from the three fundamental paths, but are, as it were, subdivisions of the karma marga and the jnana marga respectively.
Many Herthelani associate Sai Sushuri with Sri Lakshmi, whose day is also Friday, and Her lotus the Eastern equivalent of the rose of Sai Sushuri, and who, for many, epitomizes Our Lady of the Path of Love, showering Her devotees with gifts and bringing the liberation offered by the austere paths together with worldly enjoyment.
The elephants that usually support Sri Lakshmi are Thamic and royal symbols, as are other of her features, thus Sri Lakshmi combines the Sushuric and the Thamic and is especially appropriate to Chelouranya with its special relationship to Sai Thamë and Sai Sushuri.
Sai Sushuri governs love at every level, from individual love and the love of family to a society bound together by concord and goodwill rather than by competition and the clash of parties and interests. Ultimately all these loves flow from and depend upon the love of the Mother. That love is the spiritual foundation of Herthelan society, which we call Amity.
Sai Rhavë is the “darkest” of the Janyati, often associated with severity and austerity. She is also associated with steadfastness and foundation. All that is solid and weighty belongs to her, as does all restriction and discipline.
Thus Sai Rhavë is in one sense closely allied with Sai Thamë, as the discipline which maintains order, yet, in another sense, as the bringer of restriction, she appears to the the opposite of Sai Thamë, the “Great Benefic” who showers the world with her opulence, and of Sai Sushuri, the mother of all fecundity. Sai Thamë, Sai Sushuri and Sai Rhavë together represent a group whose complex interactions revolve about the principles of order, discipline, harmony, fecundity restriction, mercy and severity.
In Filianic thealogy, the two Luminaries, the Sun and Moon, represent the Mother and the Daughter respectively, while Sai Rhavë at her deepest level represents the Dark Mother: the unknowable Deity beyond form, beyond being and unbeing. From this perspective, the two Luminaries and Sai Rhavë represent a group of three (three being the spiritual number) and the other four represent the material group of four, corresponding, at a certain level of interpretation, to the four elements. While the Mother is the Creatrix of the worlds and the Daughter the Preserver of the Worlds, the Dark Mother is called the Destroyer of the worlds – She who inbreathes the manifest cosmos at the end of time (even as She outbreathed it at time’s dawning). This is also reflected in Sai Rhavë’s association with death.
On more everyday levels of interpretation, Sai Rhavë governs the discipline and strictness which help to keep a life of thamë or harmony “on the straight path”. She also governs the qualities of steadfastness, reliability, and responsibility. She is called upon in the foundation of buildings and in all things that must stand and endure. She is also associated with time.
* One frequently hears comments to the effect that “the once-popular theory of ancient matriarchy has now been discredited by scholars”. The truth behind this statement is simply this. Scholars have declared, rightly, that there is no evidence that earlier civilizations were actually ruled by women. This is perfectly true, for there are no written records extant for these periods (which constitute a length of history many times greater than the whole era of patriarchy) and it is impossible to be certain what their social institutions were. What is quite clear is that in their iconography they were almost exclusively feminine-oriented.
The modern scholar takes it as axiomatic that female rule is inherently unlikely (this from people who otherwise argue that the differences between men and women are purely “socially conditioned”, and therefore ought logically to believe that a different set of “conditioning” would produce a different social order) and that the burden of proof rests with those who claim that female rule ever existed. “If it cannot be proved, we may assume it did not exist as it is, after all, most improbable” is the unspoken “scholarly” assumption behind this, which is quickly expanded to “the theory of matriarchy has been discredited by scholars” in less rigorous contexts.
Knowing what we do of the way traditional peoples always organize their social activities and institutions in imitation of (in the words of the great anthropologist Mircea Eliade) “Those things first done by the gods”, we should say that the very distinction between iconography, religion, and social organization is a purely modern one that only a rajasic-era mind could conceive of. Feminine-dominated iconography, for any traditional people, must imply a feminine-dominated society. In our view the burden of proof rests heavily upon the anti-matriarchy school. The existence of matriarchy is by far the most probable and reasonable hypothesis until and unless someone comes up with a shred of evidence against it.
Be that as it may, the existence of female-ruled civilizations is in no way necessary to the arguments of Deanic or Herthelan philosophy (Herthelani, in fact, have little real interest in Tellurian social order and certainly do not advocate matriarchy for Iron-Age Telluria). That society before “patriarchy” was feminine-oriented culturally and spiritually is beyond question. In the first part of the 20th Century, Ananda Coomaraswamy wrote:
[Our present civilization stems from] a common cultural inheritance throughout an area extending from Mesopotamia to Egypt and the Ganges to the Mediterranean, [founded upon] the worship of the Great Mother.
Many thousands of discoveries made since that time have all served to confirm and amplify Dr. Coomaraswamy’s statement.