Hekate Kleidoukhos

Image of a torch and key motif found on a column at the Temple of Hekate in Lagina. Photo from Anatolian Archaeology, photographer unknown

This post is part of a series regarding Hekate’s epithets, and the full list may be found here. This is a work in progress.


“Kleidoukhos” (sometimes spelled “Kleidouchos”) is one of Hekate’s more well-known epithets, and it translates to “Keeper of keys”. In ancient times, the role of “Kleidophoros” (Key-bearer) of the temple was an important one; the key that the priestess (or priest) carried signaled the authority that person had over the temple and sanctuaries, and the duties they were responsible for as guardian of this sacred space. Besides the obvious need to protect valuable artifacts (such as cult statues) and money within the sanctuary, keys have a metaphorical / symbolic meaning beyond the mundane demands of security.

The Orphic Hymn to Hekate, dated to about the 3rd century BCE to 2nd century CE, first mentions Hekate as Kleidophoros. I am sharing the more well known translation by Thomas Taylor below, as there are many translations out there:

“Hekate Einodia, Trioditis [Trivia], lovely dame, of earthly, watery, and celestial frame, sepulchral, in a saffron veil arrayed, pleased with dark ghosts that wander through the shade; Perseis (daughter of Perses), solitary goddess, hail! The world’s key-bearer, never doomed to fail; in stags rejoicing, huntress, nightly seen, and drawn by bulls, unconquerable queen; Leader, Nymphe, nurse, on mountains wandering, hear the suppliants who with holy rites thy power revere, and to the herdsman with a favouring mind draw near.”

The world’s key-bearer“. That statement is a mighty one, and conveys the enormous regard and responsibility bestowed upon Hekate in the ancient world. Hesiod’s Theogony is perhaps the oldest written record (dates to approximately 700 BCE) mentioning Hekate, and describes how Zeus honored Hekate above others by giving Her dominion over the three realms – the heavens, earth, and sea:

“Hecate whom Zeus the son of Cronos honoured above all. He gave her splendid gifts, to have a share of the earth and the unfruitful sea. She received honour also in starry heaven, and is honoured exceedingly by the deathless gods.” – Hesiod, Theogony

Keys are symbolic, and represent access. Access to knowledge, spaces, relationships, crossing boundaries, etc. As a liminal goddess of boundaries, Hekate – in Her role as Propylaia – holds these keys and grants access to those who are ready for Her mysteries. Hekate grants access from liminal, in-between spaces to more defined spaces with doorways and keys acting as metaphorical symbols of these liminal qualities. There are numerous ancient reliefs and sculptures that depict keys in relation to Hekate, such as the image at the top from a column found at Her temple in Lagina.

The Greek Magical Papyri (also known as simply “The PGM”) has several spells that mention Hekate and keys as magical/symbolic objects, and here is one excerpt from PGM IV. 2241-2358, “Document to the waning moon” that mentions keys (there are a few different mentions in this particular spell):

“Then, too, I’ll speak the sign to you:
Bronze sandal of her who rules Tartaros,
Her fillet, Key, wand, iron wheel, black dog,
Her thrice-locked door, her burning hearth, her shadow,
Depth, fire, the governess of Tartaros”

In addition to keys, other symbols of Hekate appear in this PGM passage: bronze sandal, iron wheel (iynx, perhaps), and black dog.

Kleidos Agoge
The Propylaea to Hekate’s temple at Lagina, photo from Wikimedia Commons

Stratonikeia was a very important city in what is now modern day Tรผrkiye, located in the western Anatolian region of Caria. Nearby, at Lagina, are remains of a great temple that was built to honor Hekate. This temple is currently the only known temple dedicated solely to Hekate that remains partially standing. It is also the only temple that functioned as a state-sponsored center of worship of Hekate.

One major aspect of rites honoring Hekate at Lagina was the “Kleidos Agoge” – the “Procession of the Key” (some references may call it the “Festival of the Key”). This festival took place every year and spanned a few days; games were played, music and hymns were offered to Hekate, and the Kleidos Agoge was the highlight of this multi-day annual celebration. A Kleidophoros, usually the young daughter of the temple priest, carried the temple key in a procession on the sacred road from the temple in Lagina to Stratonikeia. The key was brought to an altar dedicated to Hekate within an official council building in Stratonikeia, and visitors would then bring offerings and make sacrifices at this altar while the key was on display. The key was then returned to Lagina in another procession on the sacred road, and celebrations would then continue.


ยฉ Melissa M. / The Torch and Key


Sources:

Betz, Hans Dieter, editor.ย The Greek Magical Papyri in Translation, Including the Demotic Spells. Vol. 1, 2nd ed., University of Chicago Press, 1997.ย 

HERRING, AMANDA. โ€œReconstructing the Sacred Experience at the Sanctuary of Hekate at Lagina.โ€ Journal of the Society of Architectural Historians, vol. 79, no. 3, 2020, pp. 247โ€“63. JSTOR, https://www.jstor.org/stable/48740836. Accessed 16 May 2026.

The Covenant of Hekate, https://www.facebook.com/CovenantOfHekate/posts/epithetshekate-kleidouchos-the-bearer-of-the-keysthe-term-kleidouchos-means-the-/4581834658503710/

The Covenant of Hekate, https://www.hekatecovenant.com/post/the-cult-of-hecate

Hekate Phosphoros

One of Hekate’s roles is that of Phosphoros – “Lightbringer” or “Lightbearer”. Hekate’s torches illuminate that which is dark. She leads the way, torch in hand, for those who have heeded Her call to immerse themselves in Her mysteries. Hekate’s torches also illuminate Truth by banishing ignorance and fear that breeds in the dark. That illumination can sometimes be a difficult and life changing process. There is a saying among many Hekateans: “En Erebos Phos” – “In darkness, there is light”. Darkness cannot exist without light, and light cannot exist without darkness. For me,  Hekate Phosphoros embodies that concept.

On this Equinox and another turn of the wheel, we in the Northern Hemisphere are celebrating Spring and the ever-growing light as we progress to brighter and longer days. In the Southern Hemisphere, Autumn has descended and the days are growing shorter and darker. Wherever you are in the world, we are all experiencing that balance of light and dark in this moment. Hekate as Anima Mundi stands at the crossroads of the universe – a place of balance.

Photo ยฉ Melissa McNair / The Torch and Key

Today, I celebrated the return of Spring in a simple yet meaningful ritual. I made a beeswax candle using an ethically crafted beeswax sheet and rolled it up with dried organic lavender buds and a eco-friendly cotton wick. I decided to burn this candle completely in my mini cast iron cauldron, and I’m glad I did because once it neared the bottom, the sacred fire came alive, becoming enlarged and beautiful (see above photo). I sang praise to Hekate, honoring Her role as Phosphoros and Anima Mundi.

By the Light of the Moon

ยฉ Photo by Melissa M. / The Torch and Key

Once in a while, I revisit a favorite book and read it again for a renewed perspective. Recently, I decided to delve into “Drawing Down the Moon” by the late (and great) Margot Adler. I first read this book 14 years ago and it had a huge impact on me. Back then, I was beginning my “pagan awakening” and this book validated a lot of feelings I was having at the time and it helped me feel as if there were possibilities, and hope for my new journey into the unknown. It also was (and still is) an invaluable resource for learning about the rise of paganism in the United States. I decided to revisit this beloved book because I have been feeling a disconnect with myself and my path. I am not sure why, but I suspect “COVID fatigue” may be a factor. This has certainly been a challenging year for my family, as well as for countless others. It has impacted all of our lives in different, yet similar ways. I have this strong desire to get back to my  “pagan roots” – whatever that may be; and I figured this book is kind of where it began so it was a logical choice for a re-read.

One passage in the beginning of the book really struck me with a force of recognition and comfort, and it moved me enough to want to write about it. It was about the simple, fulfilling ritual of honoring the full moon. Here is the quote:

“Do it, perhaps, on a full moon, in a park or in the clearing of a wood. You don’t need any of the tools you will read about in books on the Craft. You need no special clothes, or lack of them. Perhaps you might make up a chant, a string of names of gods and goddesses who were loved and familiar to you from childhood myths, a simple string of names for earth and moon and stars, easily repeatable like a mantra.

And perhaps, as you say those familiar names and feel the earth and air, the moon appears a bit closer, and perhaps the wind rustling the leaves suddenly seems in rhythm with your own breathing. Or perhaps the chant seems louder and all the other sounds far away. Or perhaps the woods seem strangely noisy. Or unspeakably still. And perhaps the clear line that separates you from bird and tree and small lizards seems to melt. Whatever else, your relationship to the world of living nature changes. The Witch is the changer of definitions and relationships”

Reading this passage awakened something in me. When I first read this book all those years ago, I really didn’t know anything about magic or ritual or what tools were best used. I was a beginner and had just set foot on a path that was completely unknown to me. I was an avid reader at first (I still am!) and I devoured any book I could get my hands on that interested me. I began with the often recommended titles from Scott Cunningham, Raymond Buckland, Starhawk, etc. My practice eventually evolved into Hellenic polytheistic worship with Hekate as my goddess and guide. But one thing that always worked for me over the years and stirred my soul like no other was the simple practice mentioned in the excerpt above. Of course, I performed formal rituals when needed. But most of the time, my rituals were wild, unscripted, and under the night sky.

I love stepping outside when the sky is dark and the stars are twinkling. The moon may or may not be in the sky, depending on the phase. That first look at the night sky always takes my breath away. I love to gaze at the stars, imagining what they look like up close and if they communicate with each other. The wonder of it all is awe-inspiring to me. We on Earth are but a grain of sand in a vast, infinite universe where the possibilities are endless.

After being out there for a little while, I begin to focus. My breathing becomes steady and measured. My third eye awakens, and my body begins to tingle. Often, the words roll off my tongue and flows like a river. I lift my arms in praise of nature,  the moon and stars. I sing a song of love and wonder. I don’t often plan ahead any of the words I speak. They are raw and spontaneous and honest. Sometimes I don’t “feel” in control; the words are coming out of my mouth but I often feel like a vessel or an oracle.

As I speak, the tingle in my body that I felt earlier grows stronger until my whole body is humming with energy. I can feel the energy shift within myself and my surroundings. The sky grows darker, and the moon and stars grow brighter. The creatures of the night may increase their sounds or become still and silent, depending on the time of year. In the winter, there aren’t many animals out in the cold nights. I live in northern New York, and our winters are cold and snowy. I may hear the distant call of an owl during the winter, or a wolf howling. During the summer it’s different. There is a small pond just beyond my backyard, and it is often alive with creatures when it’s warm out. The chatter of the frogs can become very intense, as does the snapping turtles and Canadian geese. Sometimes a soft breeze will rustle the tree limbs of the massive oaks and maples that fill my backyard, whispering their secrets. Lightning bugs will be visible, sometimes dozens at once, when it’s really hot. When this happens, it feels like these wondrous creatures are joining in my chorus of praise. It is an amazing, unifying feeling, and I feel a kinship with the land and those that share it with me.

Whenever I am singing my song of praise and wonder, I acknowledge those creature sounds as the goddess making her presence known. Especially if it was silent before I began. I always get chills down my spine when I am speaking praise of Hekate in the still, silent night and a wolf begins howling in the distance. Sometimes, I will see a shooting star as I am chanting.

When these informal, raw moments occur it is just me and nature. I don’t light a candle, or use any tools or burn incense. I stand barefoot on the earth and ground myself, and I always touch the ground when I am finished and return that energy I raised to the earth. Often, my dreams that night may be very vivid and I keep a dream journal to record them.

Reading that excerpt from “Drawing Down the Moon” inspired me to share my experiences with bare-bones rituals that can be done literally anywhere and any time you are moved to do so. Connecting to nature this way is so raw and primal and empowering and at the same time intimate. I hope that you may be moved to try this as well whenever the opportunity presents itself.

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Source:

Adler, Margot. “Drawing Down the Moon: Revised and Expanded Edition”. Penguin Books. 2006.