Eilistraee

Eilistraee (pronounced eel-iss-TRAY-yee or eel-ISS-tray-ee ), also referred to as the Dark Maiden, was the chaotic good drow goddess of song, swordwork, hunting, moonlight, and beauty. She was the patroness and protectress of those rare dark elves who yearned for a return to life on the surface Realms, at peace with other races, and to abandon the endless conflicts and intrigues that dominated the lives of most drow.

Description and Manifestations
Eilistraee is a melancholy, moody drow female, a lover of beauty and peace. The evil of most drow banked a burning anger within her (but she was comforted that some worked their way free of the Spider Queen's web), and when her faithful were harmed, that anger was apt to spill out into wild action. It was not her way to act openly, but she often aided creatures she favored (whether they worship her or not) in immediately practical ways. Eilistraee was happiest when she looked on bards singing or composing, craftsmen at work, lovers, or acts of kindness and she demonstrated her favor and happiness through the discovery of particular minerals or gems (like mithral, moonstones and silver) or with a sudden inspiration to write a beautiful song or poem, or by gifting the ability to craft a good sword. However the Dark Dancer could also let her displeasure be known and did so by making a cold breeze rise, by making the disfavored ones feel a sensation of chill to their hands or feet, or through a sudden lack of inspiration in any form of art, or through the inability to catch anything while hunting.

Eilistraee appeared as an unclad, glossy-skinned female drow. She was 9 feet in height with ankle-length, sweeping hair of glowing silver. Her hair and wandering silvery radiances cloaked her body in a smoothly, continuously moving array of beauty. She was usually seen only from afar, but her song (of unearthly beauty, driving many to tears) was heard whenever she appeared. At times she could also appear during celebrations dedicated to her, leaping from the flames of the bonfires and joining her faithful in their dance, or manifest herself by night cowled, radiance dimmed, to travelers in the woodlands (usually to test their kindness)

She was worshiped by song and dance, if at all possible, in the surface world under the moonlit night among the woods and worship of her was usually accompanied by a feast.

Eilistraee took the role of a nurturing and protecting mother-goddess for the whole drow race. She chose to share their exile so that she could be with them when they would have needed her the most, to provide a light in the darkness and a beacon of hope to her children in the difficult times that -as she had foreseen- would have come upon them. Eilistraee helped the drow to strengthen, grow and flourish in a hostile surface world, aiding her faithful in hunting, swordcraft and practical matters (for example, the sound of her hunting horn could be heard when her faithful were in danger -or when people needing help were nearby-, heartening them and scaring away dangerous creatures; her silvery radiance guided drow lost in the darkness or lightened childbirths that occured in the dark; hers was the force who brought the stag within the reach of the hungry drow. Eilistraee also manifested, usually through her moonfire, in the moments when her children needed her visible blessing and support/comfort and when a new drow converted to her faith and joined her dance -about 68% of the times in the latter cases- ).

The Dark Maiden also taught and showed to the drow the kindness, love and joy of life that were taken away from them, and all dark elves - from the highest matron mother to the lowest male slave - received dreams or visions from Eilistraee, showing them a different, better life (especially when they were close to the surface). Lolth was powerless to stop these visions (as too much intereference from two goddesses could easily bring a mortal's mind to insanity), and the drow definitely came to know about and felt the Dark Dancer at one point in their life, but many of them either did not understand said dreams/emotions or chose to ignore, disbelieve, or reject them. Even then, while not many refused Lolth to cleave to Eilistraee, many secretely yearned for the goddess and all that she wished for them (in fact it was not unusual of them to choose to spare a stricken worshipper of Eilistraee if they thought no priestess of Lolth was watching, or to fail to pass on to other drow something they might have seen of the activities of faithful of Eilistraee, or to stop to watch a dance of Eilistraee worshippers rather than disrupting it)

History
Eilistraee was the daughter of Corellon Larethian and Araushnee, who later became Lolth, and the sister of Vhaeraun. She was banished along with the other drow deities for her role, albeit inadvertently, in the war against the Seldarine. Eilistraee insisted upon this punishment from her reluctant father, because she foresaw that the dark elves would need a beacon of good within their reach.

In Flamerule of 1379 DR, Eilistraee, while inhabiting the body of Qilué Veladorn, was killed by Halisstra Melarn using the Crescent Blade. Meanwhile, a High Magic ritual performed by Q'arlynd Melarn transformed those drow not tainted by Wendonai's blood and the followers of Eilistraee back into their original dark elven form, and Corellon Larethian thus permitted the souls of Eilistraee's faithful and the newly transformed dark elves to enter Arvandor.

Despite Halisstra's actions, it might be that Eilistraee wasn't truly killed. When the Lady Penitent used the Crescent Blade against Qilué Veladorn, the latter was being inhabited by the Dark Maiden, basically becoming an avatar (since deities cannot fully manifest themselves on the material pane ). That would mean that the blade didn't hit the goddess herself, but a part of her essence infused in her chosen's body (albeit probably one holding much of the goddess' power). Another point is that deities can only be truly killed while in their planar realm or by being starved of followers, therefore Eilistraee's survival cannot be excluded a priori. Furthermore the Crescent Blade could not destroy souls anymore after being reforged, as it is shown by Cavatina Xarann's soul surviving it.

Post Sundering (circa 1489 DR), Eilistraee is alive again and she is one of the deities with whom the returned Mystra is currently sharing the Weave. She and her brother Vhaeraun are separate again and mortals are aware of her reappearence, but her power, conditions and what she is currently up to are not clear yet. There are also reports of mortal worshippers personally meeting manifestations of and avatars of Eilistraee

Relationships
Eilistraee's allies were the Seldarine, Mystra, Selûne, Lurue, Haela Brightaxe, Callarduran Smoothhands, and the good deities of the Underdark races. Her enemies were the evil deities of the Underdark, especially the rest of the drow pantheon.

While the Dark Maiden and the Seldarine remained allies, it was a strained relationship because of the division between the elves. Among the elven powers, Eilistraee was only close with Erevan Ilesere, and she had worked out an uneasy truce with Shevarash. Eilistraee was also close with the human goddess of magic, Mystra; Qilue Veladorn, seventh of the Seven Sisters, served both goddesses as Chosen of Mystra and as Chosen of Eilistraee. The Dark Maiden hated the corruption and evil that both Lolth and Ghaunadaur represented, and she mourned her brother's cruelty and selfishness.

Teachings
Protect and aid all folk in need, weak, strong, grateful, and churlish alike, promoting harmony, peace and acceptance among all races. Be always kind, save in battle with evil. Repay rudeness with kindness and help others in acts of kindness whenever there are ways to do so. Repay violence with swift violence, that the fewest may be hurt and danger fast removed from the land. In particular, whenever and wherever possible, faithful of Eilistraee should encourage drow to return to the surface world and work to promote harmony between drow and surface-dwelling races in order to establish the drow as rightful, nonevil inhabitants of Faerun. The faithful must aid drow who are in distress. If the distressed are fighting with other drow, the combat is to be stopped with as little bloodshed as possible. So long as the drow met with are not working evil on others, they are to be aided and given the message of Eilistraee:

The Message of Eilistraee:"A rightful place awaits you in the Realms Above, in the Land of the Great Light. Come in peace, and live beneath the sun again, where trees and flowers grow."

Strangers are your friends. Any hungry travelers met with, who offer no threats, are to be fed -- the faithful are to carry food at all times for this purpose, and to set it aside and give it as often as possible to strangers in need (particularly outcasts and those of other races). If food yet remains, it is to be given to the priests of the Dark Maiden, that they may do the same, and none shall go hungry. The homeless must be given shelter from storms, under your own roof if need be. In harsh winters, patrol the lands about to find and take in the lost, the hurt, and those caught in the teeth of cold. Try to convert at least one stranger per moon to the worship of Eilistraee.

Encourage happiness and gaiety everywhere; lift hearts with kind words and acts, jests, songs, and merriment. Nurture beauty, music, and dance. Learn and practice new songs and dances and how to play, make, and repair musical instruments, to gift joy to friends and strangers alike and to pass this learning on whenever possible. Assist hunters and hunting, learn new recipes and spices to cook and how best to hunt for game. Practice swordwork and learn new ways with the blade. Whenever possible, food should be eaten with the accompaniment of song and merriment; except for properly sad occasions. When faithful and allies fall in battle, any priestess present must, if possible, provide burial, a funeral song, and comfort to the bereaved.

Wealth is to be used to buy food, musical instruments, good swords and armor, and other tools to serve the will of the goddess. When on the road and while adventuring, feed, aid, and defend the needy along the way with a prayer to the goddess. Lend assistance to those who fight for good, asking as price no more than an object that can be used to the benefit of the goddess’ works.

When priests of the goddess must fight evil, they are to bum the bodies of the evil creatures they slay as an offering to the goddess-unless such creatures are edible and nonsentient, and there are hungry folk near.

General Description
The church of Eilistraee was little known and poorly understood by inhabitants of the surface world. Her worshippers were figures of myth in both the Underdark and the Realms above. They were the subject of superstitions and prejudice (such as the belief -held by surface dwellers- of them being the disguised vanguard of the Spider Goddess's plan to take over the surface, and that -held by those drow who follow the Way of Lolth (or other evil gods)- of them being surface elf invaders and spies masquerading as drow.

Rare was the individual -dark elf or not- who appreciated that Eilistraee was forging her own path, one that welcomed beings of all races who revel in life and the free form expression of all that entails.

Her worshipers mostly consisted of good or neutral-aligned drow hoping to escape the Underdark's evil, Lolth-worshiping matriarchal society, and regain a place in the surface world. Among her followers were Tel-quessir (and also the human half-breeds of Tel-quessir), humans, gnomes, half orcs and even shapeshifters. They shared the desire of seeing all races living in harmony, without pointless discrimination or wars, and worked towards that goal (and those among them who were drow also fought to build their own place in the surface world).

Some non-drow worshipers of Eilistraee rubbed black dye into their skin.

Most Eilistraeen/Eilistraee-dominated (as generally Torilian people tend to worship more than one deity) communities formed around a temple or shrine of the goddess and for this reason tended to be led by priestesses (even if they were willing to list to the concerns and ideas of any memeber before making their decision). Outside of the Clergy, male and female worshippers tended to have the same duties and roles: guardians, warriors, experts, artisans/artists, gathering food and other general works. Males were primarily involved in the decision-making through their expertise in given fields, but they rarely were priests (and therefore leaders; see below). Differently from Lolthite societies, males were however generally treated with fairness and equality (even if at times, some priestesses or even whole communities could have a different stance, likely because centuries of dogma and tradition due to Lolth's doctrine were hard to overcome)

Followers of Eilistraeen were forbidden from taking slaves. Prisoners of war could be made to work in return for food and shelter, but they were not “property” and could not be ordered around by anyone, save for supervisors assigned by the decision-makers among the Dark Dancer’s worshippers (and even such cases were rare, and generally consisted of Lolth-worshipping drow or beings of other races who had “learned too much” and that were detained for a few months, to prevent the specialized knowledge they had gained from being brought to enemies of the Eilistraeens).

The clergy of Eilistraee were known under the general collective titles of Dark Ladies, although that could change from a community to another. Acolytes and aspirants to the clergy who wished to join a temple or who had not yet attained full priesthood were known as Maids. Many priestesses chose individual, specific titles which reflected their person during an Evensong (or Flamesong in the Promenade, see below), like Moon Dancer, Moon Singer, Dark Huntress, Argent Maid, Living Sword, Unsheathed Blade, Sword Smith, Bright Edge of Darkness, and Ghost of the Moonstruck Night.

Clerics of Eilistraee could be individuals of any race --including shapeshifters-- but they were almost always female, because, due to the goddess' nature of nurturing mother, One could not truly feel the Divine Dance of Eilistraee PROPERLY except as a female. However, during the 1300s, the faith of Eilistraee started to open up to male priests (this was Eilistraee's choice and by 1373 DR all her clerics were aware of it), despite the initial dislike of some female worshiper (even if those gender issues could easily be overemphasized, because -as said above- on the whole, all clergy of the Dark Maiden welcomed an increase in worshippers of the Goddess, and the fellowship of more and more followers of the Dark Dancer, no matter what gender ). However, in order to truly feel the Divine Dance of Eilistraee, males had to Dance the Changedance at least once, spending time as females (including everyday life, and not only rituals). With time, male priests felt the need to spend more and more time as female, because through that they could feel and cleave more fully to the nature of the Dark Maiden.

Priestesses of Eilistraee generally wore their hair long (as a tribute to the goddess), but they had no specific ceremonial garb; instead, they were supposed to wear as little as possible during their official ceremonies. When relaxing, they preferred silver, diaphanous gowns, but for their work or when they had to fight they still used the most appropriate garb for the situation (like armor, preferably magical, in battle; haprons for cooking and leather garb for hunting). The holy symbols of the faith varied, and included a silver sword pendant the size of a hand, a silver bastard sword outlined against a silver moon with silvery filaments, and a nude long-haired female drow dancing with a silver sword in front of a full moon. These were often worn as a pin or hung around the neck by means of a slender silver or mithril chain. In battle, their favored weapon was the sword, but they were allowed to use other instruments (save for whips).

The clergy of Eilistraee was different from most other religious organizations in that there wasn't any hierarchy or chain of command, as everyone stood on the same ground (even if most followers recognized Qilué Veladorn of The Seven Sisters as their guide and voice of Eilistraee).

Orders
Specialized clerics were known as Sword Dancers of Eilistraee. They were excellent dancers and had the ability to use the sword in a unique fashion. They could fight in an agile and acrobatic way, almost resembling a dance, but they could also form a bond with their blade, imbuing it with magic, and command it to fight on its own, often protecting the Sword Dancer, or let it sing like a singing sword and rally their hearts. They were also able to use the Spellsong, the ability to invoke a wide variety of magical effects through song and music (see Artifacts and Magic section) and could manifest Eilistraee's Moonfire at will.
 * Sword Dancers of Eilistraee

The Darksong Knights were an elite order of Eilistraeen crusaders, mostly active in the South, beneath the lands of ancient Ilythiir. Composed entirely of crusaders and warrior/priests, each members of this order chose to devote her life not only to the furthering of the Dark Maiden's ethos, but also to the destruction of the Abyss-spawned yochlol, also known as the handmaidens of Lolth.
 * Darksong Knights

Activities
The Church of Eilistraee worked by putting their goddess' teachings in practice. Their main duty was to encourage the drow to return to the surface world, reaching to them whether they were fugitives, raiders or inhabitants of the Underdark. They showed to the drow that a different kind of life, far from Lolth, was possible, and assisted them in making this choice by giving them aid, food, acceptance and safe places to live. Eilistraeeans performed missions underground, looking for those dark elves who were in need of their help and that could be brought on the surface (mostly slaves, commoners, fallen and hunted nobles or drow who were generally unsatisfied with the life that Lolth imposed them) and offering them a new life and bringing them the Message of Eilistraee. Many Eilistraeens carried tiny swords to give out to drow in the Underdark that served as keys for safe passage to temples.

As the Dark Maiden's teachings required, the clerics of Eilistraee actively worked to promote harmony between drow and other races, so that their people could be accepted and live in peace in their rightful place on the surface. This also involved the activities described in the Teachings section, like lending their own sword, helping hands, cures and food to assist people/settlements of any race in need, both to gain their acceptance (dispelling fears and prejudices about Eilistraee' s goal) and because the priestesses of the Dark Maiden believed that it was the right thing to do.

The Church of the Dark Dancer also acted through envoys, diplomats and emissaries in other races' settlements. An example was Karsel'lyn Lylyl-Lytherraias, former agent of Queen Amlaruil Moonflower and ambassador of the Eilistraeen Dark Elves on the elven island of Evermeet, who was trying to gain her people a place in the land that is supposed to be a safe haven for all elven people.

The faithful also had routine activities of food growing and gathering/hunting, preparation of cures and all that was needed to aid the drow to return to the surface, to aid and shelter travelers or any individual (who didn't represent a threat). They also gathered resources, weapons and armors (preferably magical) to use for their cause. Patrols in the areas near Eilistraeen communities were common (especially during cold winters) and had the purpose of finding any traveler (including fugitive drow or even wounded drow raiders) hurt, lost or hungry and to spot (and possibly neutralize) potential threats for the community and other settlements in the area.

Beside their work towards the main goal of their goddess, the priestesses of the Dark Maiden were known to nurture beauty, music and song; to assist hunters; to helpe people of any race through acts of kindness and to spread joy and merriment (often through song and dance) whenever they saw ways to do so (and it was appropriate). They had also to be skilled in the art of playing of at least one of the Dark Maiden's favored instruments (horn, flute, or harp); be adequate singers; be fit, graceful dancers and tended to be willing to pass along and teach their skill. They gathered songs and musical knowledge constantly and acquired training in the use of the sword when they could. Clerics were allowed to go adventuring, as long as they kept following Eilistraee's teachings, aiding, feeding and defending the needy on the way.

Rituals
The faith and worship of Eilistraee was not bound by hard rules, it was free form expression through dance and song and all that was needed to celebrate her was a moonlit glade (or some kind of light, if in places that can't be reached by moonlight). Faithfuls disrobed and started dancing, seeking their goddess' blessing. However there were rituals, even if -as described below- for most of those there wasn't a definite or rigid procedure:

Beside free form dancing and singing, the main form of ritual worship of Eilistraee was a hunt for food followed by a feast and a Circle of Song, in which the worshipers seated and danced by turns in a circle, each one in succession leading a song. If possible, the ritual had to be celebrated in a wooden area and on moon-lit nights. The Evensong was an intimate ritual that all followers of Eilistraee performed at the end of their day. It was a wordless message to their goddess (usually involving a personal dance and song) in which they let out all the emotions, experiences and reflections that they had gathered in the day, so that Eilistraee could listen to them. In the Promenade of Eilistraee this ritual took the particular form of the Flamesong, the most important personal prayer for the Dark Ladies and Maids (priestesses and novices, respectively), in which they danced around a flame or a candle. They would sing freely for their goddess and dance following the rythm of the music as it came, until the flame was existinguished. Priestesses usually tried to find an alcove or passage where they could be alone to make a Flame Song. While they did, the Promenade was filled with the eerily beautiful echoes of half a dozen or more of these solos at once, drifting down the passages. The Hunt consisted of tracking down and slaying/driving away a monster which represented a threat to the people living in the area. It was held whenever Eilistraee warned her followers of the presence of a peril/dangerous creature in the area (through the sound of her horn), in order to prevent it from hurting travelers or the inhabitants of nearby settlements. Hearing the Dark Maiden's hunting horn could also simply mean that someone nearby was in need of help.
 * Circle of Song
 * Evensong/Flamesong
 * The Hunt/High Hunt

Te High Hunt was a night time ritual led by clerics of Eilistraee, in which the faithful hunted a monster or animal as a offering to the goddess. The tradition alloeds the use of any kind of bladed weapon and armor, but the priestesses were required to wear as little as possible. It was usually held once per season and ended with a circle dance for the goddess if the quarry is slain (and a feast if the quarry was edible).

Those among the clerics of Eilistraee who did not die in battle were blessed by Eilistraee with the ritual of the Last Dance. In old age, Eilistraee's priests heard the goddess singing to them by night, calling them to her. When the song felt right, they wenr out unclad under the moonlit sky and danced, never to be seen again. Those who observed such dances said that the goddess came and singed overhead, and the aged priest began to dance more effortlessly, looking younger and younger. Her hair began to glow with the same radiance as the Dark Maiden's, and then she became slowly translucent, fading away as the dance goes on. In the end, only a silvery radiance was seen and two voices -the goddess and her priest- raised together in a melancholy, tender song.
 * The Last Dance

The Run was a ritual that followers of Eilistraee undertook at least once per year. All those who took part in the ritual used particular boiled leaves and berries to make their hair silvery (which usually led to sarcastic remarks from some drow of other faiths, who enjoyed saying that such a color was to indicate their foolishness, although drow who did not worship Eilistraee could also have silver hair) and those who were not drow used natural colors to paint their bodies black. After this preparation, they went on a travel, wandering on the surface world, trusting to their music, kind ways, and sword skills to keep them from being slain as drow. The goal of the travel was for the followers of the Dark Maiden to go where they were strangers, reaching to elven and other races' communities to bring them food, joy (through music and dance), kindness and help of various kinds, not to preach their faith, but simply out of good heart and to show (together with their day-to-day activities) that drow could be rightful non-evil inhabitants of Faerun. Of course, the faithful were encouraged to use this time to also learn (and/or pass on) new songs, music, recipes and sword techniques.
 * The Oath of the Sword
 * The Run

The Sword Dance was a ritual held when a new sword was forged or acquired by a worshipper of Eilistraee, in order to ask her blessing on the blade. It was performed by planting the weapon in the ground (the point turned down) and dancing, drawing a drop of blood from each of the priestess' limbs, moving momentarily against the blade. If the ritual was successful, the sword would gleam with silvery light, and for three months it wouldn't rust and would be able to hit creatures that could only be wounded by magic.
 * The Sword Dance

This ritual was the Eilistraeen version of a marriage, which happened when two lovers asked a priestess of Eilistraee to celebrate their union (the one below is the version of the ritual in the case when both lovers were worshippers of the Dark Maiden above other deities. In all other cases, the ritual would change and vary).
 * The Love-Binding

Such a request could not be refused for reasons of personal inclination (i.e. the clergy not wanting to), only for reasons of “unworthiness” (see below). By way of preparation, the priestess who would perform the wedding met separately with the individuals to be wed (“supplicants”). Supplicants didn't need both be drow, or of the same race, or of differing genders, but they had to reveal their true natures to the priestess (i.e. the union became invalid, and the priestess would be made aware of this by the power if the goddess, if one or both of the partners was using illusions or shapeshifting to appear to the world around as something other than what they were, or were not wholly who they claimed to be (like a doppleganger impersonating someone). When the priestess was alone with the supplicant, she would cast a spell on them to know when truth was told, then would question them as to their love for their partner, their motives in seeking to be united, their willingness to serve Eilistraee faithfully and “in truth.”

If satisfied with what she had learned, the priestess would then pray with the individual to “call down Eilistraee’s regard” upon them both. She would know if this attention was gained, and the supplicant would usually see her eyes turn bright and her pupilles glow of silver (she goes “moon-eyed”). When this happened, both priestess and supplicant would disrobe, embrace (wrapped arms around each other and pressed their bodies together, almost always face to face; this was NOT a sexual uniting), and dance together, with the priestess “leading” the movements and silently praying to Eilistraee for a sign of blessing (for the binding), or a sign of warning or denial. The Dark Dancer would unerringly spot any treachery the priestess might have missed, but in all other cases she would eagerly and happily bless the union (which, after both supplicants were “danced and found worthy,” could take place immediately, or at any future time).

After this preparation, the Love-Binding would always take place at night, under the moon (i.e. a non-overcast, moonlit night). The most favourable spots were forest glades, where Eilistraee was often worshipped with dance; failing that, a bare hilltop or rocky height would serve; lacking that, any level ground that was not covered by manmade construction (or other creature-built things, altars to Eilistraee being the sole exception) and that was bathed in full moonlight would suffice. Favoured above all others were places where Eilistraee herself had been seen or had manifested.

The ritual could begin whenever the moonlight first touched the chosen spot, and the supplicants were present. If there were well-wishers/an audience/a congregation present (and at least two witnesses were supposed to be there, one a dedicated, active worshipper of Eilistraee and one not), they would stand at the edges of the place of the ritual; if they were sufficient in number, the presiding priestess would ask them to form a ring around the supplicants, as far back as the boundaries of the spot (e.g. standing trees) permitted.

The supplicants would disrobe before entering the spot of the ceremony (if the conditions allowed for that -i.e. safety of the participants, even in cold winter weather-) and would then be dressed in ankle-length overrobes by the priestess, who would be similarly clad (barefoot, robes only). At the beginning of the ceremony, the priestess would also disrobe, work a minor spell that caused moonglow to manifest around her (and the altar, if there is one), then call on Eilistraee to “watch this binding, and make it firm” and then upon the witnesses (and the other watching audience members, if any) to “witness this union of love.”

The priestess would then produce a large “loving cup” full of wine (a black, sweet, smoky-tasting vintage consecrated to the goddess and prepared by clergy of Eilistraee) and direct the two supplicants to face each other and drink from it simultaneously. She would then take it from them, bid them kiss, and while they were doing so, remove their robes, touching each of them in the small of the back while doing so and causing moonglow to manifest around them (a glowing white aura).

She would then part them, clasp their hands together, and bid them ask Eilistraee for Her blessing “with all their hearts.” After they had both done so (usually female first, but it’s up to the supplicants; if they couldn’t swiftly decide, the priestess would direct one of them to speak first), the priestess would declare them “bound before the Goddess,” clap her hands, and let the festivities begin.

These festivities varied with the circumstances (for example, a need to be stealthy due to wartime or personal danger, fierce cold or winter weather, etc.). If there were other clergy of Eilistraee (or other deities) present, they would at this time move to form a circle at the edges of the place where the ceremony was held, in a ring facing outwards, weapons drawn, to defend the “Bound” (the wedded couple) and the celebrants during the dancing (this could be a very real service, or merely a ceremonial duty, depending on the where and when of the wedding).

The presiding priestess would then begin a rhythmic chant to the goddess (which would be echoed by any other Eilistraeean clergy present, and often by other worshippers who had already attended such a ceremony before; it was simple, repetitive, and rather haunting) and cast a minor spell that would carry this music on without anyone having to sing (though typically she and other priestesses would keen a harmony “above it” from time to time, as the dancing continued).

Then, the dancing would finally begin, led by the presiding priestess. The Bound had to dance with each other and then with the witnesses, though the form this dancing took could be whatever was comfortable or physically possible for those involved (wild leaps for the young and fit, down to elders with canes merely swaying and murmuring, or an agile dancer gyrating around a not-very-mobile one).

Usually the priestess led the Bound into an initial dance while the celebrants watched, then would stop dancing (letting the couple dance amorously together) while murmuring prayer to Eilistraee for her boon upon the couple. After that, the other partecipants would also begin to dance, with the priestess drawing celebrants to join the Bound.

At times all or some of the celebrants disrobed for the dancing, sometimes the Bound consumed the marriage there and then amid the dancers, and sometimes the ceremony turned into a general orgy, with many or all of the dancers plunging into lovemaking. Food and drink could be served or not, as the participants desired.

The moonglow around the body of the priestess would also be “given” (conferred, more faintly and lasting a shorter time) to all she touched and most priestesses would embrace all celebrants and dance with them.

It was customary for the celebration to go on until the moonglow faded from the body of the priestess or dawn came (whichever happened first); the spell used by most priestesses caused their glow to last for a little over an hour and any conferred glows to die with hers or a little earlier. She would usually end the musical spell at this time, and lead the Bound, the celebrants, and any guardian clergy away to where they would spend the rest of the night (an inn, temple accommodations, private homes, or a single large dwelling). Sometimes, however, the musical magic was left alone, to sound in the spot of the ceremony until it faded entirely, half a day later. On rare occasions, in warm summer weather, slumber could occur on the spot, within the guardian clergy, until morning.

Notable followers of Eilistraee

 * Liriel Baenre. Although she ultimately became a cleric of Mystra (Midnight), for a while she also danced for Eilistraee. After the events in Windwalker, she felt that she had no place among the followers of Eilistraee, because of all the deaths that she had indirectly caused, even if she could still feel the Dark Maiden's song and magic calling to her, meaning that the goddess would have still welcomed her.
 * Cavatina Xarann, Darksong Knight.
 * Qilue Veladorn, Chosen of Eilistraee (and of Mystra).
 * Ysolde Veladorn, daughter of Qilue ; killed in 1361 DR.
 * Elkantar Iluim, Right Hand of the Lady, Commander of the Protectors of Song, male drow fighter, consort to Qilue Veladorn, killed by Gorlist in 1361 DR.
 * Iljrene Ahruyn, Hand of the Protectors, Sub-Commander of the Protectors of Song, female drow fighter/priestess.
 * Arrikett Uruth, Hand of the Protectors, Sub-Commander of the Protectors of Song, male halfling fighter.
 * Thorn, lythari champion of Eilistraee.
 * Seyll Auzkovyn, converted priestess (formerly of Lolth) in Cormanthor ; killed in 1372 DR by Halisstra Melarn.
 * Halisstra Melarn, briefly a priestess of Eilistraee and wielder of the Crescent Blade before returning to the worship of Lolth before her death.
 * Mathira Melarn, Sword Dancer from Ched Nasad.
 * Nuriel Limbya, half-drow Crinti priestess leading Eilistraeens in Cathyr.
 * Rebekkah Darklyte, drow priestess and founder of The Dark Dancer shrine in Ravens Bluff.
 * Aeril Faenrya, Dark Maiden of Eilistraee

Artifacts
The Crescent Blade was a magical curved blade with a leather hilt. There was silver inlaid in the blade. On it were the Drow words, "Be your heart filled with light and your cause be true; I shall not fail you." It was said that Eilistraee plucked a pebble from the heavens and tossed it to earth. It grew as large as a boulder and very hot. It was made of moonmetal; if one looked at the moon, they can see the hole in the shape of a crescent. The boulder was forged into a crescent-shaped blade with enchantments, including moonlight—it could cut through armor and stone—protection against evil, and being able to strike quickly. If the wielder was a true priestess, she could use it to sever the neck of any creature, including gods.
 * The Crescent Blade

The Singing Swords were twenty magical singing silver bastard swords provided by Eilistraee and wielded by Qilue Veladorn and the Chosen of Eilistraee who patrolled the Pit of Ghaunadaur near Skullport. The swords sang constantly (and loudly) when unsheathed, and lost their abilities and bonuses when silenced. The blade's song made its wielder confident and immune to charm, command, confusion, fear, friends, repulsion, scare and suggestion. An emotion cast on the wielder only caused rage, focused on the one who cast the emotion spell. The sword's song also cancelled the effects of a harpy's song, silenced shriekers, and could entrance weak, earthly, living creatures, although this ability could be negated by a bard's counter-song.
 * The Singing Swords

Magic
The most notable form of Eilistraeen magic was the Spellsong, the ability to invoke various magical effects through song. Those included replicating other spells, protecting from magic or healing. If more priestesses took part to a Spellsong, its power could grow and become able to regenerate lost limbs or cure a wide variety of illnesses, poisons or other negative effects. A particular form of Spellsong was the Grand Chorus, celebrated by the priestesses of the Promenade. This was the greatest ritual of worship to Eilistraee, an ever-changing song of celebration led by a senior priestess who guided the song with an overriding theme or melody. By Eilistraees will, the Chorus could bring into being shafts of sparkling moonlight, flowing farther and glowing more brightly as the fervor and emotion of the singers rose. If such radiances met with real moonlight, Eilistraee's power made it so that all beings and items that the priestesses were touching or carrying while singing could, at will, be transported along a web of moonlight for as far as it reached in an unbroken path. For example, they could move from the location of the Chorus to any place on the surface that moonlight was falling upon.
 * The Spellsong

The most iconic Eilistraeen spell was the Dark Maiden's Moonfire. It was a beacon of light, which intensity and color could be controlled by the creator at will (ranging from a faint glow to a clear, bright -but not blinding- light). Moonfire could not equal the brightness of full sunlight, it was equal to moonlight, and it served well as a light source for reading, finding ones way in the darkness, and signaling to (or attracting the attention of) other creatures. Manifestations of moonfire lasted as long as its summoner desires and concentration was not required to maintain it (the creator of moonfire could engage in other spellcasting or even go to sleep without ending it). This spell and the darkness spell negated each other. Manifested moonfire could move about as the creator wished and, although it always projected from some part of the creators body, experienced Priestesses could make it drift away from their bodies altogether, floating about in a manner akin to dancing lights. The radiance could move around the creators body as fast as the creator desired, but when out of body contact, it drifted at a rate of up to 6.6 feet per second. The manifester could guide it in any direction, through the tiniest openings, and cause the glow to appear in any size. Eilistraee could also gift a creature the power to temporarily manifest her moonfire.
 * The Moonfire

Shrines and Temples
Temples of the Dark Maiden were typically established in the mouths of caverns or in woodlands, places that allowed her followers to reach and act on the surface world. It was rare for clergy of Eilistraee to found a temple below the surface, even shrines close to the surface, like the Promenade (see below), were unusual. Eilistraee's places of worship were chosen and developed in a manner similar to those of the surface elves dedicated to the Seldarine. The Dark Maiden's clergy looked for natural sites that needed little modification. Temple complexes typically included a glade in which to dance and from which the view of the moon was unobstructed, a dark place removed from the light of day, a thick tree canopy, a lively fresh water stream, a forge for the crafting of swords, an access tunnel to the Underdark, and a vein of iron or some other metal suitable for the craft. However, the simplest shrine of the Dark Maiden only required a moonlit glade and a song (audible or imagined) capable of leading one into a dance.

Below is a list including most known temples and shrine of Eilistraee.


 * The Chondalwood Shrine

Soft glowing blue moss, short grasses, and ferns cloaked this smooth bowl valley and the raised ring of earth that surrounded it. In the center of the dell stood the Ladystone, a finger of rock touched by Eilistraee and sacred to her. The Ladystone's powers guarded the dell and could strike at intruders as commanded by the goddess or her priestesses. The origin of the Ladystone was unknown, but it had been here since before the arrival of elves in the Ardeep. Eilistraee herself manifested here on more than one occasion to dance with her priestesses. Drow who venerated Eilistraee often danced here on moonlit nights, sometimes led by Qilué Veladorn.
 * The Dancing Dell, Ardeep Forest


 * The The Dancing Stone, Elventree

A converted warehouse in the docks district of was dedicated as a shrine to Eilistraee in 1370 DR. Shortly after being rebuilt by the priestess Rebekkah Darklyte and other worshippers of the Dark Maiden, the shrine was attacked by a group of citizens holding strong prejudices against non-humans. The building took little damage, but most food and clothing that was gathered for distribution to the Ravenian poors was destroyed and members of the city guard were injured. The Eilistraeens cured the wounded guards and didn't let the event discourage them in achieving peace between drow and other races, but many citizens remained hostile to the dark elves, including the Clerical Circle, which members vetoed the worship of Eilistraee and even started planning to order the shrine demolished. Some citizens managed to remain open minded and had no problem with the Eilistraeens, others even appreciated or had agreements with the worshippers of Eilistraee (In particular the Yarvandar family. Beneath their mansion there were tunnels leading to regions of the Underdark controlled by followers of the Dark Dancer. The family provided them with wagons to use to carry people and materials to Raven's Bluff, and their mansion gave them the possibility to observe human society --through nightly rooftop, cellar, and sewer skulkings--. The family residence -Vandarmere- even gave the drow room to dance to the goddess under the stars in relaxed safety. In return, the drow gave the Yarvandars cartloads of succulent mushrooms, glowing fungi of the Underdark prized by alchemists, and quantities of salt-sweet black drow wine to sell, splitting the profits).
 * The Dark Dancer, Ravens Bluff

In the northern High Forest, southeast of Everlund was a small clearing with a large flat-top gray rock about six feet tall and five feet in diamater. Pre-Time of Troubles the stone was known as Hastrin's Grayrock, named after an elven ranger who used the stone as a waypoint. After 1358 DR the top of the stone bore a single left footprint the size of a drow female's foot, and the stone and clearing became sacred places to Eilistraee and her followers.
 * Darkmaiden's Leap, The High Forest:

HISTORY: During the Time of Troubles, the absence of divine magic led the drow houses to most Lolth-dominated cities to battle each other, trying to seize the oppurtunity and gain ranks, leading to wars that forced many drow to flee their homes. A group of such drow, decimated by the perils of their travel away from home and exhausted, were driven to a particular tunnel by hostile creatures and lacking anywhere to escape, they followed it, untilthey eventually met a wall of vines, barring the entrance to a larger area. Cutting through the vines the drow found themselves amidst a forest, the view of the moonlight barred by the dense foliage, but music echoing. They decided to follow the sound, untile they found a single, old drow woman, dancing atop of Hastrin's Grayrock, the melody apparently coming out of the air itself. Beneath their eyes, as the woman danced, she began to grow younger, gaining the strength, agility and beauty of youth, and slowly a vision of another drow woman, beautiful and ever young, appeared above the rock, leaping, singing and shining with a great -but not blinding- light. The first woman continued her dance, and when she became as young as one who had just reached adulthood, she started to fade away, still dancing with joy. The shining woman then turned her attention to the drow, and they felt something that they had never before, something ancient, running deep inside their souls, back to a time where all dark elves were free from Lolth. They understood that they beheld a goddess, but one beautiful, strong and loving as Lolth could never be. Instinctively, they yearned for her and what she made them feel, and danced with her, coming to know about a different life. The Underdark drow told the goddess that they wanted to serve her, and Eilistraee transported them to a safe place near the Promenade. Those drow joined the worship of the Dark Dancer, and started working with Qilué Veladorn at the temple, returning to the stone, once per year, as a form of pilgrimage (and it was on their first return that they found a footprint on the rock). On one of those pilgrimages, they found a small group of wood elves surrounded by orc assailants. The drow aided the wood elves, saving many lives, and then managed to come to a truce (speaking in common). The wood elves didn't necessarily like the drow, but don't see them as a threat to eradicate; out of gratitude (and living nearby) the wood elves offered to guard the sacred place for the drow, with the latter using a given set of signal to identify themselves as followers of Eilistraee.

MAGICAL PROPERTIES: Darkmaiden's Leap was infused with the magic of Eilistraee. Lolth worshippers found it difficult to cast spells when in the area, while travelers that chose to attune with its power (by dancing in the moonlight for at least one hour) could be granted the capacity of low-light visions, to perform graceful and beautiful movements when dancing and to invoke a blade of moonlight. The stone also acted as a two-way portal to a small cavern near the Promenade, if activated through a moon beam spells, or as a portal to Eilistraee's realm in Arvandor, if activated through a moon path spell.

The shrine is a natural pillar of black rock about ten feet tall,carved with crescent moon-shapped holes that create the sound of several flutes playing when the wind blows. The hilt of a sword protrudes from the top of the rock. Hidden behind a nearby waterfall, is a cave that houses the shrine's followers.
 * Forest of Lethyr Shrine

In a section of the forest littered with broken chunks of stone is an ancient structure that consists of a dozen sharp sword-shaped columns of black obsidian set point-first into a circular platform of white stone; the column-sword's hilts flattened to support a weathered circular roof of white stone with a round moon-shaped hole at its center.
 * Forest of Shadows Shrine
 * Forest of Tethir Shrine
 * The Grey Forest Shrine
 * Lake Sember Shrine
 * The Misty Forest Shrine

Within the Moonwood north of Quaervarr, is treeless hill where followers of the Dark Maiden gather on moonlit nights. In a cave beneath the hill, is a small shrine to Eilistraee.
 * The Mouth of Song, The Moonwood: 

Located near Skullport, this was the main headquarters for the faithful of Eilistraee with many portals to other parts of the world but also access to tunnels into the Underdark for redemption missions. The Promenade was led by High Priestess Qilué Veladorn, youngest of the Seven Sisters and Chosen of Mystra. She led the priestesses while also giving out missions when something needed her attention. Second to her was the Promenade's Battlemistress, Rylla. She led both the fierce warrior/priestesses of the Darksong Knights (who had training in demon-hunting), and Protectors of the Song, the group of elite warriors, often armed with one of the twenty magical singing swords, whose first duty was to guard the Promenade.
 * The Promenade of the Dark Maiden

All priestesses at the Promenade were free to do as they liked unless given a mission by either Qilué or Rylla. Although the Darksong Knights had more independence they too were subject being given missions.

The shrine was located in a series of caves lining both sides of a steep-sided overgrown gully dominated by a grove of towering shadowtop trees. A group of at least fifty Eilistraeens, drow and other elves, dwelt in the Velarswood near Harrowdale, where they had a temple in the northern part of the wood. They often gathered in evensong in gratitude. They were creating a surface home there and generally had good relations with local humans, whom they aided when ill. Eilistraeen priestesses and moon-worshiping lycanthropes from the nearby Howling Hill join together in sacred hunts to Eilistraee and Selune when the moon is full.
 * The Shadowtop Glade, Velarswood 

After the evil drow of the The Twisted Tower were defeated by elves of Cormanthyr and Rystal Wood in -331 DR, the tower was left in the hands of their Eilistraeen dark elf allies. Within a century, the tower became one of Eilistraee's greatest temples in the Realms (also referred to as The Temple of the Dark Moon). The temple fell and was reclaimed by the drow beneath Cormanthyr in either 190 DR or 194 DR. . Any follower of the Dark Maiden who mentioned her name within the tower was enveloped in a swirl of moonfire, proving that her magic still imbued the place.
 * The Tower of the Dark Moon' , The Twisted Tower', Shadowdale 


 * The Yuirwood Shrine

A score of followers of Eilistraee in the High Forest, their camp is near the Dessarin, north of the Lost Peaks and less than a night's travel to Everlund. Formerly led by Ysolde Veldaron, then led by the drow Dolor after Ysolde's death in 1361 DR.
 * Wildwinds Coven, The High Forest: 

Connections
Eilistraee