Symbols: vultures, rotting corpses.
Colours: Black and White (from Dukante’s hierarchy), and also Blue
Offerings: whatever people offer to the Dead. This could be bread and water, or a meat offering. Candles and alcohol are also often given to the Dead.
Also noted by Jehannum are Poppy, Juniper, Vetivert, Clove, Horse Chestnut, Cinquefoil, White Sage, Mandrake, Hibiscus, Patchouli, Cumin, Yew, Wolf’s Bane, Pumpkin, Cypress, Nutmeg, Apple, Corpse-Flower, Ivy, Mullein, Kratom, Ginkgo, Tobacco, Semen, Marijuana, Crystal Meth, Adderall, Vyvance, Riddelin
Direction: northwest
Planets: Jehannum says Mars, Saturn and Neptune, however Connolly notes an association with Aries and therefore she states, “It is ruled by Mars, exalted by the Sun, and falls by Saturn.”
ENN: Ayar Secore on ca Eurynomous
In Modern Daemonolatry, Eurynomous is one of the nine Daemonic Divinities. He is the Daemon of Death and because of this I tend to place him in the position of Samhain on the Compass, that being the northwest in the northern hemisphere and southwest in the southern hemisphere.
In Keys of Ocat, Connolly states that Eurynomous is, “…invoked for new beginnings, rebirth, the celebration of death, or to honor the dead. When invoked he brings with him the shades that can cause some disorientation for the magician. Do not approach Eurynomous forthright. Sit back and become accustomed to his energy at first before directly approaching him. He is very helpful and has much wosdom to offer and much comfort to give a grieving magician. Expect to feel, at som point, a sense of loving calm in his presence.”
In Queen of Hell, Mark Allan Smith writes, “Work with Eurynomous can at first leave you feeling tired as His vast energy pushes the physical form from within, coursing through the flesh as though it was expanding from the inside. This roaring fury is the current of immense power that flows from this Dark God and though He is far from a passive being, Eurynomous is a close ally and powerful teacher to those on the path of the Dark Goddess.”
Connolly also notes that one of the spellings of his name is Eurynome, which I find very curious.
In Greek mythology, Eurynome is a Goddess who was often represented by a statue of a mermaid, and has been identified with the Oceanid or “daughter of Ocean”. Robert Graves saw her as a lunar Goddess who was descended from the pre-Hellenic mother goddess.
In one version of the creation myth, Eurynome is considered a primal goddess and the daughter of Oceanus and Tethys. She is often credited with being one of the first beings in existence. According to the Theogony by Hesiod, Eurynome emerged from Chaos and danced on the waves of the sea. As she danced, she created the wind and, by dancing even more, created the North Wind (Boreas) and the South Wind (Notus).
Another Eurynome is mentioned in the context of being the third wife of Zeus, the king of the gods. According to some sources, Zeus transformed himself into a serpent and coiled around Eurynome, resulting in the birth of the three Graces: Aglaea (Splendor), Euphrosyne (Mirth), and Thalia (Good Cheer). These goddesses were associated with beauty, charm, and grace.
However, I believe the closest association would be to the Greek Daimon, Eurynomos (spelled mos instead of mous). A figure associated with death and the underworld.
Eurynomos is not a household name in Greek mythology, unlike Zeus or Athena. References to this obscure figure are scattered across various ancient texts, leaving us to piece together a fragmented portrait. One of the earliest mentions is found in the Orphic Hymns, poetic compositions attributed to the mythical singer Orpheus.
The name “Eurynomos” is derived from the Greek words “eurus,” meaning wide, and “nomos,” meaning law or pasture. The etymology itself hints at a connection with death, but the precise nature of this association is shrouded in ambiguity.
While the details about Eurynomos are sparse, what emerges from the available sources is a connection with the realm of the dead. Some descriptions depict Eurynomos as a ghastly figure dwelling in the depths of the Underworld, a realm ruled by Hades.
The mysterious nature of Eurynomos becomes more intriguing when considering his purported role in consuming the flesh of the deceased. This macabre aspect suggests a connection with decay and the process of death itself. In the rich tapestry of Greek mythology, where each deity and daemon has a specific domain, Eurynomos stands as a peculiar figure, straddling the boundary between life and death.
The Orphic tradition, with its mystical and esoteric elements, provides a fertile ground for the exploration of Eurynomos. Orpheus, the legendary musician and poet, is often credited with these mysterious hymns that delve into the secrets of the cosmos.
In the Orphic tradition, Eurynomos may be invoked in rituals associated with death and the afterlife. Some scholars propose that the consumption of the dead by Eurynomos could be symbolic, representing the transformative journey of the soul in the afterlife.
One of the challenges in unraveling the mysteries of Eurynomos is the fragmentary nature of the ancient texts. Much of what we know about this figure is gleaned from fragments of hymns, obscure references, and interpretations by later scholars. The scarcity of direct narratives leaves ample room for speculation and diverse interpretations.
As we delve into the fragments, it becomes apparent that Eurynomos is not a deity accorded the same reverence as the major Olympian gods. Instead, he occupies a niche role, seemingly relegated to the shadows of the mythological pantheon.
To comprehend the significance of Eurynomos, it is crucial to consider the cultural and religious context of ancient Greece. Funerary practices and beliefs about the afterlife played a central role in the lives of the ancient Greeks.
Eurynomos might be viewed as a personification of the processes associated with death and decay. In a society that revered the proper burial of the dead, the notion of a figure consuming the flesh of the deceased could symbolize the inevitable return of the physical body to the earth.
The enigmatic nature of Eurynomos may have been intentionally shrouded in mystery, mirroring the uncertainty and fear surrounding death. In this context, invoking Eurynomos in funerary rites could be seen as a way to acknowledge the inescapable cycle of life and death.
While Eurynomos may not have enjoyed the same popularity as other mythological figures, glimpses of his presence can be found in various works of art and literature. Paintings, sculptures, and literary references offer interpretations and representations that add layers to the elusive persona of Eurynomos.
In some artistic depictions, Eurynomos is portrayed as a grotesque figure, embodying the decay and decomposition associated with death. These representations often emphasize the macabre aspects of his role, reinforcing the connection with the inevitable fate that awaits all living beings.
Literary works, ranging from classical texts to modern reinterpretations, have also explored the themes associated with Eurynomos. Writers and poets have drawn inspiration from the mysterious aura surrounding this figure, using it to explore existential questions and the human experience of mortality.
To gain a deeper understanding of Eurynomos, it is illuminating to explore parallels in other mythological traditions. The concept of a figure associated with death and the underworld is not unique to Greek mythology; similar themes appear in various cultures around the world.
In Egyptian mythology, for example, Anubis is a deity closely associated with mummification and the afterlife. The ancient Egyptians believed in a meticulous process of preparing the deceased for the journey to the afterlife, mirroring the Greek emphasis on proper burial rites.
Comparative analysis reveals that while the specifics may vary, the themes of death, decay, and the afterlife are universal concerns that find expression in diverse mythologies. Eurynomos, with his obscure and shadowy existence, serves as a point of entry into these broader conversations about the human experience of mortality.
