Compared to Parthenos?
B. Κόρη , Dor. Κόρα (Cret. Κώρα GDI5047), Ion. Κούρη , Arc.(?) Κόρϝα IG5(2).554 (provenance unknown), ἡ:—the Daughter (of Demeter), Persephone, τῇ Μητρὶ καὶ τῇ Κόρῃ (v.l. Κούρῃ) Hdt.8.65; “ναὶ τὰν Κόραν” Ar.V.1438; Δημήτηρ καὶ K. Id.Th.298, X.HG6.3.6, IG2.1217, etc.; “τῆς Κόρης ἁρπασθείσης” Isoc.4.28: less freq. K. “Δήμητρος” E.Alc.358, cf. Ar.Ra.337; K. “τὴν Διὸς καὶΔήμητρος” Isoc.10.20.1. girl, “ἠΰτε κούρη νηπίη ἥ θ᾽ ἅμα μητρὶ θέουσ᾽ ἀνελέσθαιἀνώγει” Il.16.7; “μήτε παῖδα μήτε κόραν” Schwyzer 324.12(Delph., iv B. C.); “ἔτεκε κόραν” IG42 (1).121.22 (Epid.); with reference to virginity, maiden, “κόρην . . οὐκέτ᾽, ἀλλ᾽ἐζευγμένην” S.Tr.536; “παῖς κ.” Ar.Lys.595, D.21.79 codd.; “παρθενικὴ κ.” E.Epigr.2; “ἀδελφὴ κ.” Th.6.56; “ἀνεδέξαντοτὰς κόρας πέμψειν ἐν Ἴλιον” Schwyzer 366 A2 (Tolophon, iii B. C.); of Nymphs, Pi.P.3.78; ἐνάλιοι κ. sea-nymphs, Ar.Th.325 (lyr.): Com., πρέσβειρα πεντήκοντα Κωπᾴδωνκορᾶν, of eels, Id.Ach.883; τευθὶς καὶ Φαληρικὴ κ., i.e. ἀφύη, Eub.75.4; of maiden-goddesses, however old, as the Eumenides, A.Eu.68, S.OC127 (lyr.); the Phorcids, A.Pr.794; the Sphinx, S.OT508 (lyr.); the Fates, Pl.R.617d.II. puppet, doll, as a child's plaything, Hyp.Fr.199 (v. infr. v), D.Chr.31.153; small votive image, Pl.Phdr.230b.
2. of a bride, Od.18.279; young wife, Il.6.247, E.Or.1438(lyr.), Hdn.3.10.8; or concubine, as Briseis, Il.1.98, 337, 2.689; καταχύσματα . . κατάχει τοῦ νυμφίου καὶ τῆς κ. the bride, Theopomp.Com.14; of a ἑταίρα, AP5.4 (Stat.Flacc.), 219(Agath.).
3. with gen. of a pr. n. added, daughter, “νύμφαι κοῦραι Διός” Il.6.420, cf. Sapph.65, E.Hel.168 (lyr.), Andr.897, etc.; κ. Διός, of Athene, A.Eu.415; Λητῴα κόρη, of Artemis, Id.Fr.170, S.El.570; κ. Ἰναχεία, κ. Θεστιάς, A.Pr.589, E.Hel.133; Γῆςτε καὶ Σκότου κόραι, i.e. the Furies, S.OC40; in Thess. Prose, Αἰσχυλὶς Σατύροι (gen.) “κόρα” IG9(2).1035 (Gyrton): without gen., Berl.Sitzb. 1927.7 (Locr., V B.C.): in voc., κούρα my daughter, A.Th.148, S.OC 180 (both lyr.); “κόραι” Ar.Pax119.
4. metaph., of a colony, “Κύμης κ.” Hom.Epigr.1.2; of newly-launched ships, Lyc.24.
III. pupil of the eye, because a little image appears therein (v. Pl.Alc.1.133a), “κύκλοπα κούρην” Emp.84.8, cf. S.Fr.710, E.Hec.972, al., Ar.V.7, Hp.Prorrh.2.20, Gal.UP10.4, Ruf.Onom.23; “αἱ καλούμεναι κ.” IG42(1).122.67 (Epid., iv B. C.); K. κόσμου, title of Hermetic tract, Stob.1.49.44 tit.
IV. long sleeve reaching over the hand, X.HG2.1.8.
V. the Attic drachma, because it bore a head of Athena, misinterpr. of Hyp.l.c. ap. Poll.9.74.
VI. = ὑπέρεικον, Hp. ap. Gal.19.113.
VII. Archit., female figures as supports, Caryatids, “τοὺςλίθους . . τοὺς ἐπὶ τῶν κορῶν” IG12.372.86 (Erechtheum).
II. Δηοῦς κ., in Com., = flour, Antiph.52.9; so “μεμαγμένηΔήμητρος κ.” Eub.75.10.
the Kore herself was not the officiant, but rather the central divine figure around whom the mystery drama revolved.
However, in some cases, women embodied the Kore during ritual, and priestesses served in her name, possibly speaking with her voice in oracular or ecstatic moments.
While the goddess Kore was not the priestess herself, certain women served her cultic role, such as:
At times, the priestess may channel oracles, but oracular utterance was more central in cults like Delphic Apollo or Sabazios, not so much in Eleusis. However, ecstatic identification with the goddess could occur during the rite.
9 Εἰς Σελήνην, θυμίαμα ἀρώματα.
Κλύθι, θεὰ βασίλεια, φαεσφόρε, δία Σελήνη, ταυρόκερως Μήνη, νυκτιδρόμε, ἠεροφοῖτι, ἐννυχία, δαιδοῦχε, κόρη, εὐάστερ, † Μήνη, αὐξομένη καὶ λειπομένη, θηλύς τε καὶ ἄρσην, αὐγάστειρα, φίλιππε, χρόνου μῆτερ, φερέκαρπε, ἠλεκτρίς, βαρύθυμε, καταυγάστειρα, † νυχία, πανδερκής, φιλάγρυπνε, καλοῖς ἄστροισι βρύουσα, ἡσυχίηι χαίρουσα καὶ εὐφρόνηι ὀλβιομοίρων, λαμπετίη, χαριδῶτι, τελεσφόρε, νυκτὸς ἄγαλμα, ἀστράρχη, τανύπεπλ ̓, ἑλικοδρόμε, πάνσοφε κούρη, ἐλθέ, μάκαιρ', εὔφρων, εὐάστερε, φέγγει τρισσῶι λαμπομένη, σώζουσα νέους ἱκέτας σέο, κούρη.
Hear me, goddess queen, light-bearer, divine Selene, bull-horned Mene, night-wandering, sky-roaming, moving through the night, torch-bearing, Kore, rich in stars, Mene, waxing and waning, both female and male, begetter of radiance, horse-loving, mother of time, fruit-bearing, electrum-radiant, deep-minded, pouring forth light, night-one, all-seeing, lover of wakefulness, flourishing with beautiful stars, rejoicing in stillness and in the good cheer of blessed destinies, radiant one, giver of grace, bringer-to-completion, ornament of the night, ruler of the stars, long-veiled one, spiral-wandering, all-wise Kore, come, blessed one, gracious one, rich in stars, shining with threefold light, preserving your youthful suppliants, O Kore.
The hymn almost feels as though “Selene” and “Mene” are examples or manifestations of a larger celestial feminine sovereignty being invoked.
The hymn may be titled “To Selene,” but the actual invocation is focused on a much larger luminous celestial sovereignty, repeatedly addressed as Kore.
Torch Bearers is a nod to figures like Hecate, Medea, Ceres, who famously had torches symbolizing guidance out of the darkness...
What’s interesting is that torch imagery appears repeatedly among female divine figures associated with transition, guidance, night, initiation, searching, and revelation.
For example:
From a symbolic perspective, the torch often represents:
The hymn repeatedly portrays the goddess as one who carries, manifests, or governs light within darkness.