Horned god

The Horned God is one of the two primary deities found in Wicca and some related forms of Neopaganism.
The term ''Horned God'' itself predates Wicca, and is an early 20th-century syncretic term for a horned or antlered anthropomorphic god partly based on historical horned deities.

The Horned God represents the male part of the religion's duotheistic theological system, the consort of the female Triple goddess of the Moon or other Mother goddess.
In common Wiccan belief, he is associated with nature, wilderness, sexuality, hunting, and the life cycle. Whilst depictions of the deity vary, he is always shown with either horns or antlers upon his head, often depicted as being theriocephalic (having a beast's head), in this way emphasizing "the union of the divine and the animal", the latter of which includes humanity.

In traditional Wicca ( British Traditional Wicca), he is generally regarded as a dualistic god of twofold aspects: bright and dark, night and day, summer and winter, the Oak King and the Holly King. In this dualistic view, his two horns symbolize, in part, his dual nature. (The use of horns to symbolize duality is also reflected in the phrase "on the horns of a dilemma.") The three aspects of the Goddess and the two aspects of the Horned god are sometimes mapped on to the five points of the Pentagram or Pentacle, although which points correspond to which deity aspects varies. In some other systems, he is represented as a triune god, split into three aspects that reflect those of the Triple goddess: the Youth (Warrior), the Father, and the Sage.

The Horned God has been explored within several psychological theories and has become a recurrent theme in fantasy literature.
Clute, John ''The Encyclopedia of Fantasy''

In Wicca

In traditional and mainstream Wicca, the Horned God is viewed as the divine male principality, being both equal and opposite to the Goddess. The Wiccan god himself can be represented in many forms, including as the Sun God, the Sacrificed God and the Vegetation God, although the Horned God is the most popular representation. The pioneers of the various Wiccan or Witchcraft traditions, such as Gerald Gardner, Doreen Valiente and Robert Cochrane, all claimed that their religion was a continuation of the pagan religion of the Witch-Cult following historians who had purported the Witch-Cult's existence, such as Jules Michelet and Margaret Murray.

For Wiccans, the Horned God is "the personification of the life force energy in animals and the wild" and is associated with the wilderness, virility and the hunt.

Doreen Valiente writes that the Horned God also carries the souls of the dead to the underworld.

Wiccans generally, as well as some other neopagans, tend to conceive of the universe as polarized into gender opposites of male and female energies. In traditional Wicca, the Horned God and the Goddess are seen as equal and opposite in gender polarity. However, in some of the newer traditions of Wicca, and especially those influenced by feminist ideology, there is more emphasis on the Goddess, and consequently the symbolism of the Horned God is less developed than that of the Goddess.
In Wicca the cycle of the seasons is celebrated during eight sabbats called The Wheel of the Year. The seasonal cycle is imagined to follow the relationship between the Horned God and the Goddess. The Horned God is born in winter, impregnates the Goddess and then dies during the autumn and winter months and is then reborn by the Goddess at Yule. The different relationships throughout the year are sometimes distinguished by splitting the god into aspects, the Oak King and the Holly King. The relationships between the Goddess and the Horned God are mirrored by Wiccans in seasonal rituals. There is some variation between Wiccan groups as to which sabbat corresponds to which part of the cycle. Some Wiccans regard the Horned God as dying at Lammas, August 1; also known as Lughnasadh, which is the first harvest sabbat. Others may see him dying at Mabon, the autumn equinox, or the second harvest festival. Still other Wiccans conceive of the Horned God dying on October 31, which Wiccans call Samhain, the ritual of which is focused on death. He is then reborn on Winter Solstice, December 21.

Other important dates for the Horned God include Imbolc when, according to Valiente, he leads a wild hunt.

In Gardnerian Wicca, the Dryghten prayer recited at the end of every ritual meeting contains the lines referring to the Horned God:

According to Sabina Magliocco,

Gerald Gardner says (in 1959's '' The Meaning of Witchcraft'') that The Horned God is an Under-god, a mediator between an unknowable supreme deity and the people. (In Wiccan liturgy in the Book of Shadows, this conception of an unknowable supreme deity is referred to as "Dryghtyn." It is not a personal god, but rather an impersonal divinity similar to the Tao of Taoism.)

Whilst the Horned God is the most common depiction of masculine divinity in Wicca, he is not the only representation. Other examples include the Green Man and the Sun God. In traditional Wicca, however, these other representations of the Wiccan god are subsumed or amalgamated into the Horned God, as aspects or expressions of him. Sometimes this is shown by adding horns or antlers to the iconography. The Green Man, for example, may be shown with branches resembling antlers; and the Sun God may be depicted with a crown or halo of solar rays, that may resemble horns. These other conceptions of the Wiccan god should not be regarded as displacing the Horned God, but rather as elaborating on various facets of his nature. Doreen Valiente has called the Horned God "the eldest of gods" in both The Witches Creed and also in her Invocation To The Horned God.

Wiccans believe that The Horned God, as Lord of Death, is their "comforter and consoler" after death and before reincarnation; and that he rules the Underworld or Summerland where the souls of the dead reside as they await rebirth. Some, such as Joanne Pearson, believe that this is based on the Mesopotamian myth of Inanna's descent into the underworld, though this has not been confirmed.

Names

Doreen Valiente, a former High Priestess of the Gardnerian tradition, claimed that Gerald Gardner's Bricket Wood coven referred to the god as Cernunnos, or Kernunno, which is a Latin word, discovered on a stone carving found in France, meaning "the Horned One". Valiente claimed that the coven also referred to the god as Janicot, which she theorised was of Basque origin, and Gardner also used this name in his novel ''High Magic's Aid''.

Stewart Farrar, a High Priest of the Alexandrian tradition referred to the Horned God as Karnayna, which he believed was a corruption of the word Cernunnos. The historian Ronald Hutton has suggested that it instead came from the Arabic term Dhul-Qarnayn which meant "Horned One". Margaret Murray had mentioned this information in her 1933 book ''The God of the Witches'', and Hutton theorised that Alex Sanders had taken it from there, enjoying the fact that he shared his name with the ancient Macedonian emperor, Alexander the Great, to whom this epithet was originally applied. Prudence Jones has suggested that the name may instead derive from Karneios, a Spartan deity conflated with Apollo as a subordinate consort to Diana.Jones, P. 2005. A Goddess Arrives: Nineteenth Century Sources of the New Age Triple Moon Goddess. ''Culture and Cosmos'', 19(1): 45–70.

In the writings of Charles Cardell and Raymond Howard, the god was referred to as Atho. Howard had a wooden statue of Atho's head which he claimed was 2200 years old, but the statue was stolen in April 1967. Howard's son later admitted that his father had carved the statue himself.

In Cochrane's Craft, which was founded by Robert Cochrane, the Horned God was often referred to by a Biblical name; Tubal-cain, who, according to the Bible was the first blacksmith. Chapter One. In this neopagan concept, the god is also referred to as Brân, a Welsh mythological figure, Wayland, the smith in Germanic mythology, and Herne, a horned figure from English folklore.

In the neopagan tradition of Stregheria, founded by Raven Grimassi and loosely inspired by the works of Charles Godfrey Leland, the Horned God goes by several names, including Dianus, Faunus, Cern, and Actaeon.

In the Hinduism, the Horned God is referred to Pashupati, See Pashupati seal.

In psychology

Jungian analysis

Sherry Salman considers the image of the Horned God in Jungian terms, as an archetypal protector and mediator of the outside world to the objective psyche. In her theory the male psyche's 'Horned God' frequently compensates for inadequate fathering.

When first encountered, the figure is a dangerous, 'hairy chthonic wildman' possessed of kindness and intelligence. If repressed, later in life The Horned God appears as the lord of the Otherworld, or Hades. If split off entirely, he leads to violence, substance abuse and sexual perversion. When integrated he gives the male an ego 'in possession of its own destructiveness' and for the female psyche gives an effective animus relating to both the physical body and the psyche.

In considering the Horned God as a symbol recurring in women's literature, Richard Sugg suggests the Horned God represents the 'natural Eros', a masculine lover subjugating the social-conformist nature of the female shadow, thus encompassing a combination of the shadow and animus. One such example is Heathcliff from Emily Brontë's '' Wuthering Heights''. Sugg goes on to note that female characters who are paired with this character usually end up socially ostracised, or worse – in an inverted ending to the male hero-story.

Humanistic psychology

Following the work of Robert Bly in the Mythopoetic men's movement, John Rowan proposes the Horned God as a "Wild Man" be used as a fantasy image or "sub-personality" helpful to men in humanistic psychology, and escaping from "narrow societal images of masculinity"

encompassing excessive deference to women and paraphillia.

Theories of historical origins

Many horned deities are known to have been worshipped in various cultures throughout history. Evidence for horned gods appear very early in the human record. The so-called Sorcerer dates from perhaps 13,000 BCE. Twenty-one red deer headdresses, made from the skulls of the red deer and likely fitted with leather laces, have been uncovered at the Mesolithic site of Star Carr. They are thought to date from roughly 9,000 BCE. Several theories have been created to establish historical roots for modern Neopagan worship of a Horned God.

Margaret Murray

Following the writings of suffragist Matilda Joslyn Gage and others, Margaret Murray, in her 1921 book '' The Witch-Cult in Western Europe'', proposed the theory that the witches of the early-modern period were remnants of a pagan cult and that the Christian Church had declared the god of the witches was in fact the Devil. Without recourse to any specific representation of this deity, Murray speculates that the head coverings common in inquisition-derived descriptions of the devil "may throw light on one of the possible origins of the cult."

In 1931 Murray published a sequel, ''The God of the Witches'', which tries to gather evidence in support of her witch-cult theory. In Chapter 1 "The Horned God". Murray claims that various depictions of humans with horns from European and Indian sources, ranging from the paleolithic French cave painting of "The Sorcerer" to the Indic Pashupati to the modern English Dorset Ooser, are evidence for an unbroken, Europe-wide tradition of worship of a singular Horned God. Murray derived this model of a horned god cult from James Frazer and Jules Michelet.

In dealing with "The Sorcerer", the earliest evidence claimed, Murray based her observations on a drawing by Henri Breuil, which some modern scholars such as Ronald Hutton claim is inaccurate. Hutton states that modern photographs show the original cave art lacks horns, a human torso or any other significant detail on its upper half. However, others, such as celebrated prehistorian Jean Clottes, assert that Breuil's sketch is indeed accurate. Clottes stated that "I have seen it myself perhaps 20 times over the years".

Breuil considered his drawing to represent a shaman or magician – an interpretation which gives the image its name. Murray having seen the drawing called Breuil's image "the first depiction of a deity", an idea which Breuil and others later adopted.

Murray also used an inaccurate drawing of a mesolithic rock-painting at Cogul in northeast Spain as evidence of group religious ceremony of the cult, although the central male figure is not horned. The illustration she used of the Cogul painting leaves out a number of figures, human and animal, and the original is more likely a sequence of superimposed but unrelated illustrations, rather than a depiction of a single scene.

Despite widespread criticism of Murray's scholarship some minor aspects of her work continued to have supporters.

Influences from literature

The popular image of the Greek god Pan was removed from its classical context in the writings of the Romantics of the 18th century and connected with their ideals of a pastoral England. This, along with the general public's increasing lack of familiarity of Greek mythology at the time led to the figure of Pan becoming generalised as a 'horned god', and applying connotations to the character, such as benevolence that were not evident in the original Greek myths which in turn gave rise to the popular acceptance of Murray's hypothetical horned god of the witches.

The reception of ''Aradia'' amongst Neopagans has not been entirely positive. Clifton suggests that modern claims of revealing an Italian pagan witchcraft tradition, for example those of Leo Martello and Raven Grimassi, must be "match dagainst", and compared with the claims in ''Aradia''. He further suggests that a lack of comfort with ''Aradia'' may be due to an "insecurity" within Neopaganism about the movement's claim to authenticity as a religious revival.

Valiente offers another explanation for the negative reaction of some neopagans; that the identification of Lucifer as the god of the witches in ''Aradia'' was "too strong meat" for Wiccans who were used to the gentler, romantic paganism of Gerald Gardner and were especially quick to reject any relationship between witchcraft and Satanism. Valiente, Doreen, quoted in Clifton, p. 61.

In 1985 Classical historian Georg Luck

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