Season: 3 & 5-6, Episodes: 10, Faction: The Others
Eloise Hawking, also known as Ellie, was a former leader of the Others and the mother of Daniel Faraday by Charles Widmore. While on the Island, she unwittingly shot a man who turned out to be her adult son, visiting from the future — an act that forever changed her life. Eloise then helped Daniel’s friends by trying to detonate a hydrogen bomb, in an effort to change the future. After leaving the Island, she resided for a time in Oxford, England, where she pressured her son to achievement as a researcher in theoretical physics. Her foreknowledge of future events based on her encounter with her time-travelling son gave her a somewhat omniscient air in her guidance of her son. In 1996, she was instrumental in ensuring that Desmond Hume traveled to the Island. Between 1978 and 1982 she relocated to Los Angeles, California, where she became the caretaker of the Lamp Post, a clandestine former DHARMA Initiative station capable of locating the Island. Using the facilities there, she assisted Benjamin Linus and members of the Oceanic Six in returning to the Island by identifying Ajira Flight 316 as the only flight that would take them there. In the flash-sideways timeline, Eloise lived a happy life with Daniel, a life that she was unable to share with him while they were living. When Desmond started to make people remember their lives and move on, Eloise was unnerved and desperately tried to stop him, fearing that she would lose Daniel again if he moved on. It is currently unknown if she or her son were able to finally find peace and move on from the Flash sideways world.
On the Island (1954)
5×02 – The Lie
A 17-year old Hostile in 1954, Eloise (under the name of “Ellie”) was likely involved in the flaming arrow attack against the survivors during one of the Island’s time shifts. (“The Lie”)
5×03 – Jughead
Subsequently, Eloise commanded a small squad which ambushed and captured Daniel Faraday, Miles Straume, and Charlotte Lewis (members of the science team). She first assumed that they were members of the U.S. Army, despite their claims that they were scientists.
She led the captives back to the Hostiles’ camp where she left them in the care of her leader, Richard Alpert. Alpert appeared to trust Eloise and later asked her to single-handedly escort Faraday to the Jughead so that he could disable it. Along the way, Faraday remarked that Eloise looked like someone he used to know. She however expressed great distrust for Faraday and wanted to know exactly what he was doing, at times threatening to shoot him. He eventually confessed that he was from the future, but before she could extract any more information from him, she was ambushed by Sawyer and Juliet. Sawyer held her at gunpoint and forced her to drop her weapon. However, before the confrontation progressed, a time shift occurred and Faraday, Juliet, and Sawyer vanished. (“Jughead”)
5×11 – Whatever Happened, Happened
After Sawyer and Kate brought the young Ben to Richard Alpert, one of the Hostiles told Richard he shouldn’t save Ben without asking Ellie first, and warned him about what would happen if Charles found out. This implied that Eloise and Widmore were in positions of leadership at the time. Richard replies that he doesn’t answer to them, implying that he is independent of their authority. (“Whatever Happened, Happened”)
5×14 – The Variable
Several days later, Eloise was present at the Hostiles’ camp when a man stormed in, waving a gun and asking to see her. Richard came to Eloise’s rescue, telling the man that Eloise was not present at the camp at the time. The man instead threatened to shoot Richard unless he was taken to Eloise. Before the man could act, Eloise, who was actually present in the camp, took aim and shot the man in the abdomen. As the man fell, he realized that he had been shot by Eloise, and whispered to her that she had “known it the whole time.” Confused, she asked him who he was, and he revealed that he was her son, leaving her standing over him, shocked. (“The Variable”)
5×15 – Follow the Leader
Eloise then skipped through the pages of Daniel’s journal and was confused by the dedication in it, which she appeared to recognize as her own handwriting.When Charles Widmore arrived with Jack and Kate as captives, she ordered that they be taken to her tent. She assured them she’d believe whatever they said becauseshe just killed her future son, the same man who told her to bury the bomb 23 years earlier before disappearing. Jack told Eloise that by using the bomb, they could alter the future and undo what Eloise had done to her future son. Eloise agreed to help them and with Richard and Erik, they went to the bomb.
They arrived at the creek where the entrance to the Tunnels was and after a run-in with Sayid, Richard, Jack, Eloise and Sayid swam down to the underground tunnels beneath the Barracks where the bomb was hidden. They came to a room and Eloise uncovered the bomb. (“Follow the Leader”)
5×16 – The Incident, Part 1
Intent on helping Jack and Sayid, she assists in disassembling the bomb to extract the nuclear core, the only part necessary. Richard objects to her messing with radiation because she is pregnant. She ignores his warning and helps. They then travel through the tunnels to a spot where Richard bangs on the wall of the tunnel with a sledge hammer. He breaks through the wall to reveal the basement of what we find out to be Horace’s house at the barracks. Eloise insists on leading the group through The Barracks but is knocked out from behind by Richard. He states that he must protect their leader, referring to Eloise. He also says they have received sufficient help and must now continue alone. (“The Incident, Part 1”)
At a later date, likely 1978 to give birth to Daniel (as he has a birth certificate), Eloise left the Island and moved to Essex, Massachusetts, where she raised her son Daniel Faraday, fully aware that he would die at her hands after traveling back to the 1970s.
Off the Island (Relationship with Daniel)
5×14 – The Variable
After leaving the Island, Eloise approached her son, Daniel, while he was playing piano. When Daniel asked her opinion of the music, she told him that it was wonderful. However, she chided him for wasting his time on frivolities such as music. She claimed that he has a scientific mind which he must dedicate entirely to science. She further claimed that it is her job to keep him on the path, and that there is no time for distractions. Daniel claimed that he could make time, but she disagreed, closing the piano. (“The Variable”)
5×14 – The Variable
Several years later, Eloise was present at Daniel’s graduation from a doctoral program at Oxford University. As Daniel and his girlfriend, Theresa Spencer, walked out of the college they were met by Eloise, who requested dinner alone with Daniel, without Theresa. Theresa complied despite Daniel’s protests, leaving Daniel and Eloise to go to the restaurant.
At an Indian restaurant Daniel expressed his discontent with Eloise’s behavior toward Theresa, his girlfriend. Eloise told him that he had no time for women, and that he must focus entirely on his work. Daniel mentioned that he received a grant from Charles Widmore. After hearing this, Eloise relented, apologizing to Daniel and telling him that she is not there to argue with him. Before leaving, she gave Daniel a wrapped gift. Daniel opened the gift, revealing a leather journal. (“The Variable”)
Associated LOST Themes & DHARMA Stations
Decoded Family Members
Decoded Season 1 Characters
Decoded Season 2 Characters
Decoded Season 3 Characters
Decoded Season 4 & 5 Characters
Key Episode(s) to Decoding the Character
Mut, whose name means ‘mother’, is usually depicted either anthropomorphically, wearing a vulture headdress and the double crown of Egypt united – the only Goddess to wear this crown regularly – or as a lioness-headed woman. Although the hieroglyphic sign of the vulture forms her name, she is not a vulture Goddess like Nekhbet; rather, the vulture headdress serves, as in the case of other Goddesses who wear it, to signify her maternal quality. In the Instruction of Papyrus Insinger, the author remarks that “the work of Mut and Hathor is what acts among women,” (Lichtheim, vol. 3, p. 192) expressing his attitude that the contrasting maternal and sexual drives dominate the female psyche. Mut’s consort is Amun, with whom she is the mother of Khonsu. From the time of Hatshepsut onward, Mut is also regarded as the mother of the pharaoh. She almost always bears the epithet weret, or ‘great’, which, interestingly, when combined with mut can be read as ‘grandmother’. Mut is said to be “the mother who became a daughter,” or “the daughter-mother who made her begetter,” expressing a power of self-creation similar to that expressed for Amun by the epithet kamutef, ‘bull of his mother’, meaning one who is his own father. Related to this aspect of Mut may be depictions of her with an erect penis, indicating her capacity to create herself anew as her own daughter. BD spell 164 is to be said over such an image, specifically an image of Mut “having three faces – one like the face of Pakhet,” that is, the face of a lioness, “wearing twin plumes, another like a human face wearing the White Crown and the Red Crown,” – Mut’s normal aspect – “another like a vulture’s face wearing twin plumes – and a phallus and wings, with a lion’s claws.” This image of Mut is to be flanked by a pair of dwarfs, each of whom has the faces of a human and a hawk, an erect penis and brandishes a flail in his upraised arm, these two elements echoing the iconography of Min and of Amun-Kamutef. Mut’s cyclical aspect is linked to the cyclicality of the lunar God Khonsu, who is each month “conceived the day of the new moon … brought into the world on the second day of the month, [and] becomes an old man after the fifteenth day,” (La Lune, p. 43). Hence Mut is said to be “the mother of her father … who brought forth the light anew,” i.e., at the new moon. But if Khonsu is impotent in the waning phase, as a hymn to Khonsu makes clear when it affirms that he is a bull in the waxing phase and an ox, i.e., castrated, in the waning phase (La Lune, ibid.), Mut must supplement the phallus herself. This would be analogous to the act of Isis magically supplying the missing phallus of Osiris in order to conceive Horus. In another phallic connection, PT utterance 205 affirms that the deceased king “has copulated with Mut,” written with a determiner indicating fluids which connects her with a word for semen.
An extraordinary work undertaken in honor of Mut is the so-called ‘Crossword Hymn to Mut’, designed to be read in three directions. In this long hymn, Mut absorbs the attributes of many other Goddesses. Her distinctive character of mother/daughter emerges, however, in passages like these: “His [Amun-Re’s] daughter lives in his sight, she having appeared as his mother, and he being protected because of her,” (19 vertical). The protective function exercised by Mut here is both essentially hers, in common with other deities envisioned as lionesses, wrathful deities who defend life and the cosmic order, and a result of her identification in this hymn with the uraeus, the protective cobra perched upon the brow of Re as his special protection. Characteristic of Mut are the explicit references to her rejuvenation of herself: “Her limbs are rejuvenated … Re of Heliopolis … recognizes her as his daughter,” (20 vertical); “… her name of ‘She who becomes rejuvenated’,” (54 vertical). Particular to Mut as well is the juxtaposition between the hiddenness of her consort (Amun, literally ‘the Hidden’) and her own manifestness: “The lord of eternity sits while she acts by means of her word,” (13 vertical). She is the manifest energy of the sun itself: “The Ennead sees by means of her rays every day,” (44 vertical); “Indeed, she is this light of day, the great one who endures through her name,” i.e. of Mut, ‘mother’ (46 vertical); “the noble sun-disk, who is in the heart, the sole one, whose face is the light,” (54 vertical).
One of Mut’s most important epithets is “Mistress of the Asheru [or Ishru].” The term asheru refers to a crescent-shaped sacred lake in which wrathful Goddesses were appeased. While the most famous asheru was Mut’s at Karnak, there were also asheru of Wadjet near Memphis, of Bast at Bubastis, and of Sekhmet at Memphis (H. te Velde, “Towards a Minimal Definition of the Goddess Mut,” Jaarbericht Ex Oriente Lux 26 (1979-80), p. 7).
Patron of: the sky, mothers.
Appearance: A vulture-headed woman or a woman wearing a vulture for a crown.
Description: The very word Mut means “mother” and Mut was the great mother goddess of Egypt, even outranking Isis. Often Mut was believed to be a sort of grandmother figure, as Isis was the mother figure for the world. She was said to be the consort of Amun, and their son was the moon-god Khonsu.
The three formed a sort of heavenly family for their people. Each year a festival would be held celebrating the marriage of Amun and Mut. The high priest of Amun would lead a procession from Karnak to the temple at Luxor.
Worshipped: Amun, Mut and Khonsu were worshipped as a trinity in Luxor.
Mut, which meant mother in the ancient Egyptian language, was an ancient Egyptian mother goddess with multiple aspects that changed over the thousands of years of the culture. Alternative spellings are Maut and Mout. She was depicted as a white vulture most often. She was considered a primal deity, associated with the waters from which everything was born through parthenogenesis. She also was depicted as a woman with the crowns of Egypt upon her head. The rulers of Egypt each supported her worship in their own way to emphasize their own authority and right to rule through an association with Mut.
Some of Mut’s many titles included World-Mother, Eye of Ra, Queen of the Goddesses, Lady of Heaven, Mother of the Gods, and She Who Gives Birth, But Was Herself Not Born of Any.
Most of these titles reveal the worship of her as the primary mother goddess deity of ancient times.
Changes of mythological position
Mut was a title of the primordial waters of the cosmos, Naunet, in the Ogdoad cosmogony during what is called the Old Kingdom, the third through sixth dynasties, dated between 2,686 to 2,134 B.C. However, the distinction between motherhood and cosmic water later diversified and lead to the separation of these identities, and Mut gained aspects of a creator goddess, since she was the mother from which the cosmos emerged.
The hieroglyph for Mut’s name, and for mother itself, was that of a white vulture, which the Egyptians believed were very maternal creatures. Indeed, since Egyptian white vultures have no significant differing markings between female and male of the species, being without sexual dimorphism, the Egyptians believed they were all females, who conceived their offspring by the wind herself, another parthenogenic concept.
Much later new myths held that since Mut had no parents, but was created from nothing; consequently, she could not have children and so adopted one instead.
Making up a complete triad of deities for the later pantheon of Thebes, it was said that Mut had adopted Menthu, god of war. This choice of completion for the triad should have proved popular, but because the isheru, the sacred lake outside Mut’s ancient temple in Karnak at Thebes, was the shape of a crescent moon, Khonsu, the moon god eventually replaced Menthu as Mut’s adopted son.
Lower and upper Egypt both already had patron deities–Wadjet and Nekhbet–respectively, indeed they also had lioness protector deities–Bast and Sekhmet–respectively. When Thebes rose to greater prominence, Mut absorbed these warrior goddesses as some of her aspects. First, Mut became Mut-Wadjet-Bast, then Mut-Sekhmet-Bast (Wadjet having merged into Bast), then Mut also assimilated Menhit, who was also a lioness goddess, and her adopted son’s wife, becoming Mut-Sekhmet-Bast-Menhit, and finally becoming Mut-Nekhbet.
Later in ancient Egyptian mythology deities of the pantheon were identified as equal pairs, female and male counterparts, having the same functions. In the later Middle Kingdom, when Thebes grew in importance, its patron, Amun also became more significant, and so Amaunet, who had been his female counterpart, was replaced with a more substantial mother-goddess, namely Mut, who became his wife. In that phase, Mut and Amun had a son, Khonsu, another moon deity.
The authority of Thebes waned later and Amun was assimilated into Ra. Mut, the doting mother, was assimilated into Hathor, the cow-goddess and mother of Horus who had become identified as Ra’s wife. Subsequently, when Ra assimilated Atum, the Ennead was absorbed as well, and so Mut-Hathor became identified as Isis (either as Isis-Hathor or Mut-Isis-Nekhbet), the most important of the females in the Ennead (the nine), and the patron of the queen. The Ennead proved to be a much more successful identity and the compound triad of Mut, Hathor, and Isis, became known as Isis alone—a cult that endured into the 7th century A.D. and spread to Greece, Rome, and Britain.
In art, Mut was pictured as a woman with the wings of a white vulture, holding an ankh, wearing the united crown of Upper and Lower Egypt and a dress of bright red or blue, with the feather of the goddess Ma’at at her feet.
Alternatively, as a result of her assimilations, Mut is sometimes depicted as a cobra, a cat, a cow, or as a lioness as well as the white vulture.
There are temples dedicated to Mut still standing in modern-day Egypt and Sudan, reflecting the widespread worship of her, but the center of her cult became the temple in Karnak. That temple had the statue that was regarded as an embodiment of her real ka. Her devotions included daily rituals by the pharaoh and her priestesses. Interior reliefs depict scenes of the priestesses, currently the only known remaining example of worship in ancient Egypt that was exclusively administered by women.
Usually the queen, who always carried the royal lineage among the rulers of Egypt, served as the chief priestess in the temple rituals. The pharaoh participated also and would become a deity after death. In the case when the pharaoh was female, records of one example indicate that she had her daughter serve as the high priestess in her place. Often priests served in the administration of temples and oracles where priestesses performed the traditional religious rites. These rituals included music and drinking.
The pharaoh Hatshepsut had the ancient temple to Mut at Karnak rebuilt during her rule in the Eighteenth Dynasty. Previous excavators had thought that Amenhotep III had the temple built because of the hundreds of statues found there of Sekhmet that bore his name. However, Hatshepsut, who completed an enormous number of temples and public buildings, had completed the work seventy-five years earlier. She began the custom of depicting Mut with the crown of both Upper and Lower Egypt. It is thought that Amenhotep III removed most signs of Hatshepsut, while taking credit for the projects she had built.
Hatshepsut was a pharaoh who brought Mut to the fore again in the Egyptian pantheon, identifying strongly with the goddess. She stated that she was a descendant of Mut. She also associated herself with the image of Sekhmet, as the more aggressive aspect of the goddess, having served as a very successful warrior during the early portion of her reign as pharaoh.
Later in the same dynasty, Akhenaten suppressed the worship of Mut as well as the other deities when he promoted the monotheistic worship of his sun god, Aten. Tutankhamun later re-established her worship and his successors continued to associate themselves with Mut afterward.
Ramesses II added more work on the Mut temple during the nineteenth dynasy, as well as rebuilding an earlier temple in the same area, rededicating it to Amun and himself. He placed it so that people would have to pass his temple on their way to that of Mut.
Kushite pharaohs expanded the Mut temple and modified the Ramesses temple for use as the shrine of the celebrated birth of Amun and Khonsu, trying to integrate themselves into divine succession. They also installed their own priestesses among the ranks of the priestesses who officiated at the temple of Mut.
The Greek Ptolemaic dynasty added its own decorations and priestesses at the temple as well and used the authority of Mut to emphasize their own interests.
Later, the Roman emperor Tiberius rebuilt the site after a severe flood and his successors supported the temple until it fell into disuse, sometime around the third century A.D. Some of the later Roman officials used the stones from the temple for their own building projects, often without altering the images carved upon them.
In the wake of Akhenaten’s revolution, and the subsequent restoration of traditional beliefs and practices, the emphasis in personal piety moved towards greater reliance on divine, rather than human, protection for the individual. During the reign of Rameses II a follower of the goddess Mut donated all his property to her temple and recorded in his tomb:
And he [Kiki] found Mut at the head of the gods, Fate and fortune in her hand, Lifetime and breath of life are hers to command…I have not chosen a protector among men. I have not sought myself a protector among the great…My heart is filled with my mistress. I have no fear of anyone. I spend the night in quiet sleep, because I have a protector.
Mythological Family Members & Associated Deities
In ancient Greek mythology, Amphitrite was a sea-goddess and wife of Poseidon. Under the influence of the Olympian pantheon, she became merely the consort of Poseidon, and was further diminished by poets to a symbolic representation of the sea. In Roman mythology, the consort of Neptune, a comparatively minor figure, was Salacia, the goddess of saltwater.
Amphitrite was a daughter of Nereus and Doris (and thus a Nereid), according to Hesiod’s Theogony, but of Oceanus and Tethys (and thus an Oceanid), according to Apollodorus, who actually lists her among both of the Nereids and the Oceanids. Others called her the personification of the sea itself. Amphitrite’s offspring included seals and dolphins. Poseidon and Amphitrite had a son, Triton who was a merman, and a daughter, Rhode (if this Rhode was not actually fathered by Poseidon on Halia or was not the daughter of Asopus as others claim). Apollodorus (3.15.4) also mentions a daughter of Poseidon and Amphitrite named Benthesikyme.
Amphitrite is not fully personified in the Homeric epics: “out on the open sea, in Amphitrite’s breakers” (Odyssey iii.101), “moaning Amphitrite” nourishes fishes “in numbers past all counting” (Odyssey xii.119). She shares her Homeric epithet Halosydne (“sea-nourished”) with Thetis in some sense the sea-nymphs are doublets.
Representation and Cult
Though Amphitrite does not figure in Greek cultus, at an archaic stage she was of outstanding importance, for in the Homeric Hymn to Delian Apollo, she appears at the birthing of Apollo among “all the chiefest of the goddesses, Dione and Rhea and Ichnaea and Themis and loud-moaning Amphitrite.” Theseus in the submarine halls of his father Poseidon saw the daughters of Nereus dancing with liquid feet, and “august, ox-eyed Amphitrite”, who wreathed him with her wedding wreath, according to a fragment of Bacchylides. Jane Ellen Harrison recognized in the poetic treatment an authentic echo of Amphitrite’s early importance: “It would have been much simpler for Poseidon to recognize his own son… the myth belongs to that early stratum of mythology when Poseidon was not yet god of the sea, or, at least, no-wise supreme there—Amphitrite and the Nereids ruled there, with their servants the Tritons. Even so late as the Iliad Amphitrite is not yet ‘Neptuni uxor'” [Neptune’s wife]”.
Amphitrite, “the third one who encircles [the sea]”, was so entirely confined in her authority to the sea and the creatures in it that she was almost never associated with her husband, either for purposes of worship or in works of art, except when he was to be distinctly regarded as the god who controlled the sea. An exception may be the cult image of Amphitrite that Pausanias saw in the temple of Poseidon at the Isthmus of Corinth (ii.1.7).
The widely respected Pindar, in his sixth Olympian Ode, recognized Poseidon’s role as “great god of the sea, husband of Amphitrite, goddess of the golden spindle.” For later poets, Amphitrite became simply a metaphor for the sea: Euripides, in Cyclops (702) and Ovid, Metamorphoses, (i.14).
Eustathius said that Poseidon first saw her dancing at Naxos among the other Nereids, and carried her off. But in another version of the myth, she fled from his advances to Atlas, at the farthest ends of the sea; there the dolphin of Poseidon sought her through the islands of the sea, and finding her, spoke persuasively on behalf of Poseidon, if we may believe Hyginus and was rewarded by being placed among the stars as the constellation Delphinus.
In the arts of vase-painting and mosaic, Amphitrite was distinguishable from the other Nereids only by her queenly attributes. In works of art, both ancient ones and post-Renaissance paintings, Amphitrite is represented either enthroned beside Poseidon or driving with him in a chariot drawn by sea-horses (hippocamps) or other fabulous creatures of the deep, and attended by Tritons and Nereids. She is dressed in queenly robes and has nets in her hair. The pincers of a crab are sometimes shown attached to her temples.