Moirai in the context of "Clotho"

The Secular or Saecular Games (Ludi Saeculares) was an ancient Roman religious celebration involving sacrifices, theatrical performances, and public games (ludi). It was held irregularly in Rome for three days and nights to mark the ends of various eras (saecula) and to celebrate the beginning of the next. In particular, the Romans reckoned a saeculum as the longest possible length of human life, either 100 or 110 years in length; as such, it was used to mark various centennials, particularly anniversaries from the computed founding of Rome.

According to Roman mythology, the Secular Games began as the Tarentine Games (Ludi Tarentini) when a Sabine man called Valesius prayed for a cure for his children's illness and was supernaturally instructed to sacrifice on the Campus Martius to Dis Pater and Proserpina, deities of the underworld. Some ancient authors traced official celebrations of the Games as far back as 509 BC, but the only clearly attested celebrations under the Roman Republic took place in 249 and in the 140s BC. They involved sacrifices to the underworld gods over three consecutive nights. The Games were revived in 17 BC by Rome's first emperor Augustus, with the nocturnal sacrifices on the Campus Martius now transferred to the Moerae (fates), the Ilythiae (goddesses of childbirth), and Terra Mater ("Mother Earth"). The Games of 17 BC also introduced day-time sacrifices to Roman deities on the Capitoline and Palatine hills. Certain sacrifices were unusually specified to be performed by married women. Each sacrifice was followed by theatrical performances. Later emperors held celebrations in AD 88 and 204, after intervals of roughly 110 years. However, they were also held by Claudius in AD 47 to celebrate the 800th anniversary of Rome's foundation, which led to a second cycle of Games in 148 and 248. The Games were abandoned under later Christian emperors.

Divinity (from Latin divinitas) refers to the quality, presence, or nature of that which is divine—a term that, before the rise of monotheism, evoked a broad and dynamic field of sacred power. In the ancient world, divinity was not limited to a single deity or abstract ideal but was recognized in multiple forms: as a radiant attribute possessed by gods, as a vital force cushioning nature, and even as a quality glimpsed in extraordinary humans, laws, or acts. The Latin divinitas and its Greek counterparts (theiotēs, theion) conveyed something both immanent and awe-inspiring: a presence that could be felt in thunder, justice, ecstasy, fate, or beauty.

Among the Greeks and Romans, divinity was not confined to a rigid theological system. Gods, heroes, and even emperors might be described as partaking in divinity, just as natural forces or virtue could be seen as expressions of divine essence. Philosophers such as Plato and the Stoics used the term to refer to the soul of the cosmos or the rational order of the universe, while ritual and myth depicted the divine in vivid ways. To call something divine was not always to worship it as a god, but to acknowledge its participation in a higher, sacred order.

Eileithyia or Ilithyia (/ɪlɪˈθaɪ.ə/; Ancient Greek: Εἰλείθυια; Ἐλεύθυια (Eleuthyia) in Crete, also Ἐλευθία (Eleuthia) or Ἐλυσία (Elysia) in Laconia and Messene, and Ἐλευθώ (Eleuthō) in literature) was the Greek goddess of childbirth and midwifery, and the daughter of Zeus and Hera. In the cave of Amnisos (Crete) she was related with the annual birth of the divine child, and her cult is connected with Enesidaon (the earth shaker), who was the chthonic aspect of the god Poseidon. It is possible that her cult is related with the cult of Eleusis. In his Seventh Nemean Ode, Pindar refers to her as the maid to or seated beside the Moirai (Fates) and responsible for the creation of offspring. Her son was Sosipolis, who was worshiped at Elis.

The Three Witches, also known as the Weird Sisters, Weyward Sisters or Wayward Sisters, are characters in William Shakespeare's play Macbeth (c. 1603–1607). The witches eventually lead Macbeth to his demise, and they hold a striking resemblance to the three Fates of classical mythology. Their origin lies in Holinshed's Chronicles (1587), a history of England, Scotland and Ireland. Other possible sources, apart from Shakespeare, include British folklore, contemporary treatises on witchcraft as King James VI of Scotland's Daemonologie, the Witch of Endor from the Bible, the Norns of Norse mythology, and ancient classical myths of the Fates: the Greek Moirai and the Roman Parcae.

Shakespeare's witches are prophets who hail Macbeth early in the play, and predict his ascent to kingship. Upon killing the king and gaining the throne of Scotland, Macbeth hears them ambiguously predict his eventual downfall. The witches, and their "filthy" trappings and supernatural activities, set an ominous tone for the play.

A triple deity is a deity with three apparent forms that function as a singular whole. Such deities may sometimes be referred to as threefold, tripled, triplicate, tripartite, triune, triadic, or as a trinity. The number three has a long history of mythical associations and triple deities are common throughout world mythology. Carl Jung considered the arrangement of deities into triplets an archetype in the history of religion.

In classical religious traditions, three separate beings may represent either a triad who typically appear as a group (the Greek Moirai, the Roman Parcae, the Norse Norns, the Baltic Dēkla, Kārta and Laima, or the Irish Badb, Macha and Morrígan), or a single deity notable for having three aspects (Greek Hecate and Islamic Hermes Trismegistus). Trinitarian Christianity instead recognizes three "divine persons" in God the Father, the Son, and the Holy Spirit, which are usually distinguished from the idea of independent gods or aspects.

The Fates are a common motif in European polytheism, most frequently represented as a trio of goddesses. The Fates shape the destiny of each human, often expressed in textile metaphors such as spinning fibers into yarn, or weaving threads on a loom. The trio are generally conceived of as sisters and are often given the names Clotho, Lachesis, and Atropos, which are the names of the Moirai, the version of the Fates who appear in Greek mythology. These divine figures are often artistically depicted as beautiful maidens with consideration to their serious responsibility: the life of mortals. Poets, on the other hand, typically express the Fates as ugly and unwavering, representing the gravity of their role within the mythological and human worlds.

Lachesis (/ˈlækɪsɪs/ LAK-iss-iss; Ancient Greek: Λάχεσις, romanized: Lákhesis, lit. 'disposer of lots'; from λαγχάνω lanchánō, 'to obtain by lot, by fate, or by the will of the gods'), in ancient Greek religion, was the middle of the Three Fates, or Moirai, alongside her sisters Clotho and Atropos. Normally seen clothed in white, Lachesis is the measurer of the thread spun on Clotho's spindle, and in some texts, determines Destiny. Her Roman equivalent was Decima. Lachesis apportioned the thread of life, determining the length of each lifespan. She measured the thread of life with her rod and is also said to choose a person's destiny during the measurement. Myths attest that she and her sisters appear within three days of a baby's birth to decide the child's fate.