magick

Crystal Connections

September, 2017

 

 

Crystal Prescriptions: The A-Z to Over 1,200 Symptoms and Their Healing Crystals by Judy Hall

 

Published by O books, written by Judy Hall, this 171 page book is divided into two parts.

 

Part 1 touches on differing subjects that include Crystal Know How and Crystals for Health.

 

Crystal Know How is set up somewhat like a FAQ on how to use the books directory and Judy Hall even includes a section on the technique that she uses to choose the crystal or crystals that are right for her.

 

In Crystals for Health the author explains why crystals have an important role in disease and keeping you healthy by stating, “Crystal healing is a gentle and non-invasive process that creates balance on all levels, and one that can provide support to the body’s own internal healing systems.” I found that each chapter in Part 1 had pertinent information valuable to any crystal healer.

 

Part 2 is set up much like an encyclopedia with an array of ailments and disease’s and a list of corresponding crystals.

 

I was pleasantly surprised to find this book has a symptom based directory vs. the usual crystal based directory. With an easy to follow reference guide this book would make a helpful addition to any experienced crystal user.

 

Though the author claims that this book is for beginning and experienced healers alike, in my opinion I would suggest that a novice pair this book with Judith Hall’s Crystal Bible Volumes I, II and III. My reason behind this is because this book does not have correlating pictures of the crystals to help a beginner visually identify the minerals suggested, otherwise I do believe this book would make a nice addition to anyone’s crystal knowledge or crystal healing collection.

 

About Judy Hall

 

 

An internationally known author, astrologer, psychic, healer, broadcaster and workshop leader, Judy Hall has been a karmic counselor for over thirty years.

Her books have been translated into fifteen languages. Her specialties are past life readings and regression; reincarnation, astrology, psychology and natural forms of healing.

 

She has clients from all walks of life: the House of Lords, the European Parliament, pop singers, university professors, scientists and mystics, and people on social security.

 

She has conducted workshops around the world. A trained healer and counsellor, she has been psychic all her life and has a wide experience of many systems of divination and natural healing methods.

 

Judy has a B.Ed. in Religious Studies and an extensive knowledge of world religions and mythology. Her mentor was Christine Hartley (Dion Fortune’s metaphysical colleague and literary agent). She completed her Masters Degree in Cultural Astronomy and Astrology at Bath Spa University. 

 

 

 

***

 

About the Author:

 

 

 

Shiron (Shi) Eddy hails from the Pacific Northwest and shares a home with her husband, a Great Dane and a cat. Her love for crystals and minerals came from her dad who was an avid rock hound in his younger years. Shi happily shares her knowledge of crystals with anyone who is drawn to them, but especially loves to help people connect with minerals that involves their metaphysical properties. When she’s not networking with other crystal and mineral lovers, Shi can be found making jewelry, painting, crocheting Goddess dolls, selling her wares at shows or spending time with family and friends. You can find her jewelry in her shop ShiJewels or follow her on Instagram.

SpellCrafting: Spells & Rituals

September, 2017

 

Mabon Blessings

 

 

(Mabon Table)

 

Merry meet.

 

As the second harvest, Mabon is the pagan’s version of Thanksgiving. It’s also the autumn equinox when day and night are equal before we begin slipping into the dark half of the year.

 

What follows is a collection of blessings and inspiration you might use as you celebrate the sabbath and welcome the dark half of the year.

 

Prayer to the Dark Mother”

by Patti Wigington on thoughtco.com

Day turns to night,
and life turns to death,
and the Dark Mother teaches us to dance.
HecateDemeter, Kali,
Nemesis, Morrighan, Tiamet,
bringers of destruction, you who embody the Crone,
I honor you as the earth goes dark,
and as the world slowly dies.”

 

A Prayer for Mabon”

by Jenny on owlsandindigo.com

Gods of Mabon

Spirits of Fall

come to my side

& gather ’round.

Bless this Harvest

& this Home.

Help us to find

Balance & Harmony

this Harvest Season

& let us give thanks

for our spiritual growth.

 

 

Simple Mabon Candle Spell of Thanks”

by Kris Braley, “Mrs. B’s Guide to Household Witchery: Everyday Magic, Spells, and ”

I light this candle to honor the season and to give thanks for the abundance in my life. I strive to remember these blessings and give thanks for them throughout the entire year. I strive to remember to share these blessings with others not as fortunate as I am, even when I have little to share. I give thanks to the Lord and Lady for all my blessings the Mabon season, and give thanks for all those blessings that will come to me this glorious fall season. So mote it be!

 

 


(Mabon Altar)

 

The world is revolving into the year’s dark half.

Now, while it is still bright, we celebrate what summer’s warmth has brought us.

When our hearts teeter on a point between happiness and despair,

may we remember this moment,

and how it brought us harvest,

and how it comforted us,

and encouraged us to plant hope’s seed in the waiting earth,

Mother of All.” –“A Pagan Ritual Prayer Book” by Ceisiwr Serith

 

 

Now comes the time of reckoning, the season of limits.
There will never be more than there is now. Harvest is done, the cellars are full. Two seasons of growth have lead to this richness, this security, this abundance. Now is the time to celebrate the plenty that work and time have wrought. Now, the time to feast with friends, share the bounty, toast the work well done.” –from “Fall” by Patricia Monaghan

 

 

The trees are about to show us how lovely it is to let go of dead things.” –Unknown

 

 

I offer to the gods of the dark season this fruit of the light.”
–“A Pagan Ritual Prayer Book” by Ceisiwr Serith

 

 

Now is the time of Mabon, marking summer’s end. On this day of balance, day and night treat each other as equals, and we give thanks to the Earth’s bounty, laid before us. We give thanks to the harvest, brought to our table, and for the bond of family and friends. By the grain, by the fruit, by the corn, by the root, and by the hands of all the Gods and Goddesses, may this meal be blessed.” –Winifred Tannetta for About.com

 

 

May your Mabon be blessed.

 

Merry part. And merry meet again.

 

***

 

About the Author:


Lynn Woike was 50 – divorced and living on her own for the first time – before she consciously began practicing as a self taught solitary witch. She draws on an eclectic mix of old ways she has studied – from her Sicilian and Germanic heritage to Zen and astrology, the fae, Buddhism, Celtic, the Kabbalah, Norse and Native American – pulling from each as she is guided. She practices yoga, reads Tarot and uses Reiki. From the time she was little, she has loved stories, making her job as the editor of two monthly newspapers seem less than the work it is because of the stories she gets to tell. She lives with her large white cat, Pyewacket, in central Connecticut. You can follow her boards on Pinterest, and write to her at woikelynn at gmail dot com.

Worth the Witch

September, 2017

 

Review of WitchBox

 

 

(WitchBox Logo)

 

 

What is a WitchBox exactly? According to WitchBox it is:

 

A subscription service for pagan witches based on the Wheel of the Year. A box ships every 6 weeks, 10-12 days before the sabbat.”

 

What this means is that every 6 weeks you will pay a recurring fee of $85 + $10 shipping and you will receive a new Sabbat Box to help you celebrate the upcoming holiday.

 

There are two versions of these boxes. The $85 WitchBox is called the Major Arcana and is filled with all the Bells & Whistles. They do, however, have a lesser priced Sabbat Box subscription, called the Minor Arcana, and this subscription is only $40 + $7 shipping. This box contains, it seems, a little more than half of what the Major Arcana has.

 

PaganPagesOrg has received the Major Arcana Box to celebrate the Sabbat of Lughnasadh/Lammas and we will be reviewing this box for our readers.

 

 

(Sealed Package)

 

The package arrives in a nondescript, plain, brown box. The only writing visible on the box are the addresses. The box does not come addressed from WitchBox but from the owner of the company’s name Jessica White. Their is no logo or pagan symbolism on the outside of the packaging. This is perfect for those who are still in the broomcloset.

 

(Freshly Opened)

 

 

Upon opening the box my first thoughts were It looks tidy, neat, and organized. The first item you notice is a beautiful card. It definitely brings to mind the sabbat we are celebrating, Lughnasadh/Lammas. When you turn over the card there is a handwritten note. A very personal touch.

 

(Personal Note)

 

The second item you notice is a piece of paper. This is the Items List and explains what you will find contained within the box.

 

(WitchBox Logo Sticker and Packaging)

 

After you lift the Items List off the top of the box you see the true package begin. The W., WitchBox logo sticker holding together the deep blue tissue paper is an elegant touch to what I am about to find to be a beautifully layered package.

 

(Scrolls)

 

Layer one contains a majority of the items. It begins with the 2 Scrolls. There is information on both sides of each sheet. They have a nice antiqued feel to them. There is a pleasant aroma coming from the paper. The paper has been antiqued but it has not weakened the feeling of the paper it still feels substantial. They’d be a nice addition to any Book of Shadows. Their Topics include:

 

Page 1:

Information about the Holiday.

to the Holiday…Gods/Goddesses, Crystals, Herbs,etc..

 

Page2:

Late Summer Sigil & Poppet Spell

Lughnasadh/Lammas Blessed Bread Charm

 

(Wrapped Items in Layer One)

 

Removing the scrolls reveals the rest of layer one which is filled with individually wrapped items, like little gifts. Each beautifully wrapped in blue paper with the W. logo stickers.

 

(Contents of Layer 1)

 

The first item I unwrap is a Candle. It is calming & nicely scented. Very smooth to the touch. All items are handmade in WitchBox and the candle looks well handcrafted. The Chamomile is clearly visible in the candle. It is a nice full size not a tiny votive like some would expect.

 

Next I opened the necklace. It is very pretty but not very precious. However, the value lies inside. It opens up to reveal a good amount of Flying Ointment. It is their recipe. It has the consistency of Vaseline and a soothing scent.

 

(Contents of Layer 1 Opened)

 

The last two little packages to open is a Bottle of Incense based on Scott Cunningham’s recipe for Lughnasadh and a Self-Igniting Charcoal Disc. Jessica White clearly states on the Item’s List that it is Scott’s recipe and NOT her own.

 

The incense is placed in a nice corked, glass bottle that allows you to save and reuse the generous amount they send you. The bottle is even labeled on top with the holiday so you will always know what it is for. The self-igniting charcoal disc is a well thought out accompaniment.

 

I

(Three Panel Sigil Chain)

 

Layer two opens to reveal one item, the Three Panel Sigil Chain made with kiln-fired birch rounds seems a bit…well birch is birch, and being birch it is delicate. I thought maybe the panels should be thicker so the chains don’t split through the wood. Even though it seems a bit fragile, I believe if I am careful some paint and some free flowing ideas, a beautiful sigil it will make.

 

(Dried Corn Husk & Blueberry Sprig)

 

Layer three is the last layer and contains a Dried Corn Husk Bundle for Making Corn dolly with a Wild Blueberry Sprig. It came in such a neatly, tied bundle packaged in the bottom of the box. I like the idea of including a craft in the collection. Something you can, yourself make. It can be a great altar or house decoration. You could also use it to connect with your children and teach them about the sabbat by creating the Corn Dolly with your child. The only thing I might do different is include instructions on how to create a corn dolly, but those could easily be found on Pinterest, doing a Google Search, or other sites.

 

(Entirety of Box)

 

Our Overall Thoughts on WitchBox… It’s a great box, with a very professional, put together look. The layers were tidy and added excitement to opening the package.

 

It is definitely filled with items to help you celebrate the Sabbat of the month in the correct fashion. For us it was Lughnasadh/Lammas and I felt every item pertained to the celebration. From information about the sabbat, to spells and rituals you can perform. It gives you materials to correspond with the holiday to use in any of your own workings, a lovely item to make into an altar decoration, and a fun craft to do.

 

The box does not come with instructions on what to do with the items it contains, that is up to you, what you would like to use them for. For example, you may use the incense in a ritual for the sabbat. It does come with a full comprehensive list of what is in the box, though, and the ingredients are listed for items which is very helpful to know.

 

The quality of the items is very good, like the large, beautiful smelling candle or the handmade incense. The only thing I mentioned is the birch circles could have been thicker. But overall everything is of very high quality.

 

Though the box may seem a bit pricey, I do understand why this box would cost as it does. In this business you must spend on packaging and supplies to be able to make your goods. Then there is the crafting/labor side that you do not get paid fairly for. Plus as Jessica White mentions (in the short interview to come), she is out daily foraging for her supplies. That adds even more labor you barely see compensation for. There are a lot of natural pieces in this box, the herbs in the incense, the wild blueberries, the herbs in the candle, the herbs in the flying ointment. The box is almost 100% handcrafted, and as we know handcrafters are never paid fairly.

 

If you are a witch with the financial means, a monthly subscription to WitchBox for $85 will not hurt your finances. It does come with items for the sabbat you would have to buy or could buy to celebrate the holiday, anyway. Their is a $40 version of WitchBox. It gives you a bit less, of what the $85 box contains. It contains some of the same items, so I am confident in saying they will be of great quality, as well. I would suggest going with the $85 box, however. You really do get more bang for your buck. You can check out both boxes here on WitchBox and decide for yourself.

 

WitchBox, I feel, is a reputable company PaganPagesOrg can stand behind.

 

So who is behind WitchBox and all the creative goodies inside?

 

Jessica White is the Founder & Sole Proprietor of WitchBox.co and an etsy store front, WhiteWitchhh, selling witchcraft supplies.

 

We recently had the opportunity to ask Jessica White a few questions about herself and her businesses.

 

PaganPagesOrg(PPO): Can you tell us a little about yourself. Where you are from? What path do you follow?

 

Jessica White(JW): I’m a Pagan witch and Massachusetts native. My family has been in Massachusetts since 1715, so I feel a strong connection to the early colonists of the new world who lived off the land, but there’s an old world element to my practice as well.

 

PPO: How do you choose what goes into each Sabbat Box?

 

JW: The contents of each WitchBox depend on what the earth provides in the weeks before each sabbat. The contents are also based on research I do in various compendia of Celtic and Anglo Saxon writings, Ronald Hutton’s research (and combing through his sources as well), and the needs of a modern witch.

In many ways, New England serves as a cultural bridge between the old world and new. In the Americas, many of us in the new world have lost touch with our agrarian roots through the generations, so we crave the folklore, traditions, and mysticism of our ancestors. The goal of WitchBox is to get subscribers closer to the land and the seasons, and to walk in our ancestors’ footsteps in the modern day. I serve as your mediator with the land: I forage in the wild on an almost daily basis, respectfully harvest what Mother Earth provides in that season, and I use the wild materials in every WitchBox. 

 

PPO: How did the idea for WitchBox come about?

 

JW: I had the idea for WitchBox when someone on tumblr posted about wanting a witch subscription service. It was totally a “Eureka!” moment. Having seasonal affective disorder, I’ve always been very connected to the seasons, so I took the idea a step further and based WitchBox on the Wheel of the Year.

 

If you would like to contact Jessica White with any questions about WitchBox you can email her at:  jessica@whitewit.ch

 

To learn more about WitchBox visit: http://www.witchbox.co/
To see her shop WhiteWitchhh visit: https://www.etsy.com/shop/WhiteWitchhh

 

***

 

About the Author:

 

 

Jennifer Sacasa-Wright is an Eclectic Witch who runs PaganPagesOrg eMagazine. She has many opinions, thoughts, & suggestions, and, at times, has problems holding her tongue. She loves hearing your opinions and thoughts on the magazine and welcomes comments.

 

 

Celebrating the Old Ways in New Times

September, 2017

Celebrating the Old Ways in New Times Mabon 2017

Bright Blessings!

 

The harvest is in full force now. It is hard to believe it was just Lammas, and already, it is nearly Mabon!

 

Some of you are hard at work, gathering the fruits of your labor from your gardens, others, reflecting upon the fruits of your labors in your lives.

 

At my garden, we’ve had a very small harvest so far this year, but it’s not over yet.

 

We got six zucchinis, and three cucumbers. One cucumber is left on the vine, and then I think I will be pulling them out of the ground, as they have turned mostly to brown crispy dried up leaves, with a few scattered bright gold blossoms. The sunflowers, however, are the stars of the garden. We planted giant ones that are about eight feet tall now.

 

Our tomatoes are just now starting to produce. We shall see how well we fare!

 

Since the last Sabbat, however, I have harvested much more, personally than my garden has. I have somehow been lucky enough to grow closer to some loved ones, and to get back in touch with some I’ve not visited with in quite some time.

 

A visit with a friend I met 22 years ago reminded me of how we die back, and rejuvenate ourselves after rest.

 

This friend is in her mid 70’s, and died back for a bit when her husband passed. She’s back in full force, the spitfire matron of her family, and she’s out there running circles around many of us decades younger!

 

Not everybody has been as lucky as my friend. She was able to rebound from this horrible tragedy, and is still going strong. I know other people whose tragedies slowed them down much more, and they are still recovering, trying to get their lives back on track.

 

I told one such friend who is nearly recovered, that we need to strive to be like my matron friend! We have a lot of years ahead of us, hopefully, and we want them to be productive, happy, and blessed with the abundance of love, and prosperity.

 

It gave me a lot think about in regards to thankfulness, reaping what we sow, and good fortune. It also makes me think of how much we have to be thankful for from our elders.

 

All the things they did before us are the things we now build upon. Then, what we do adds to the foundations our children build their futures upon. Our elders shaped us so we could further shape others. Where would any of us be today without them?

 

Mabon is about the dying back of the god, who will be reborn, as does the earth. It is when day and night are equal, and afterwards, nights lengthen, creating shorter days. We move toward Samhain, the beginning of Winter.

 

The turning wheel of seasons and Sabbats reminds me of how, as human beings, we move through our own personal cycles. Time not being linear, we often come back around to what we began.

 

One way we do this is that, as we age and grow, we become wise, and share our wisdom with those we are mentoring. They in turn, mentor others. We become, for one another, the eternal and never-ending cycling life, and time, creating, and changing traditions, and sacred ways together.

 

This month…

I made the mistake of waiting until only a couple days of due date to start thinking of what I wanted to write about for this Sabbat! Likely, I will be a day or two late turning this article in! As usual, I pulled up the past couple years of articles to ensure I don’t write about the exact same thing again.

 

It dawned on me I’d only read of Mabon ap Modron. I knew we called the Sabbat Mabon, and yet I’ve never met a devotee of his, nor have I attended ritual that specifically venerated him. I was reminded that one of the early Wiccans, Aidan Kelly named the Sabbat Mabon…and lucky for me, he is on my friends list on Facebook. I say that he is one of my elders being what I consider a founder, and I consider him an elder of everybody who calls themselves Wiccan today. We are more than blessed for all he is done, and very lucky he is still there for us.

 

He was kind enough to agree to let me ask questions and include what he answered in this article.

 

First, a bit about him.

 

Aidan Kelly

 

 

A picture when Aidan Kelly was younger- even younger than I am!

 

 

A more recent photo of him!

 

Born in 1940, Kelly is known by many as one of the co-founders of Covenant of the Goddess, and the writer and researcher for the New Reformed Orthodox Order of the Golden Dawn.

 

I, however, first heard about him from my Priest, Lord Shadow, who is a strong believer in dispelling all forms of bullshit. He spoke highly of Kelly’s publication Crafting the of Magic, which enjoyed a second edition in 2008 as Inventing Witchcraft.

 

This publication gave evidence that Wicca was created by Gardner, and showed where he got inspiration for certain things used in it. For example, there are some things that were garnered from sources like Crowley, which were in no way an unbroken set of practices from pre-Xtian British practice. Kelly listed plenty of reasons there is no evidence Gardner was actually initiated in 1939 by an established coven as he claimed.

 

Some people were highly pissed off by this.

 

Some said Kelly published secret information from Gardner’s Book of Shadows, supposed to be for Coven members only.

 

I always get a kick out of how somebody could be upset by the public having knowledge of Gardner’s work since he actively published so “secret” information, himself. There were actually early Wiccans who were quite upset Gardner spoke so publicly about Wicca, and they, personally were concerned about being outed from the broom closet. Much could be written on just this topic itself.

 

You can find Gardner’s Book of Shadows to read for free on Sacred-texts.com. Better yet, I will provide the link here. I am sure plenty of Gardnerians have personal of Shadows that are different from this one, however, as some create their own .

 

http://www.sacred-texts.com/pag/gbos/index.htm

 

Gardner also drew much inspiration from Margaret Alice Murray’s writings. She had been a prominent Egyptologist, and her claims the witch trials were persecuting actual practices were not well received by everybody. Gardner was, however, more than inspired by her claims.

 

While some hold fast the belief what we do in Wicca is what has always been done, others reject the idea that Wicca was the folk religion of ancient Britain that went underground during “burning times”. Many assert it is modern practice, created in modern times, and inspired by modern writings, interpretation of ancient lore, and the very creative minds of Gardner and others.

 

Just because it’s neo practice, and an attempt to revive veneration of these old gods does not make it any less valid to many of us. With the evidence out there that Gardner created Wicca, and others like Doreen Valiente helped polish it, I have never understood the need some have to believe Wicca is a carbon copy of pre-Xtian Pagan practice. Wicca today is changing, and means many different things to many different people. Fifty years from now, it will be even more different. Wicca is a living tradition, and that means it evolves, which suits the people who practice it. That’s a good thing.

 

Thankfully, Kelly, himself is still teaching and writing various topics, and he’s sharing the beautiful poetry he composes.

 

Here is the short interview I did with him about Mabon.

 

Mabon Interview of Aidan Kelly

 

Saoirse– “Why, specifically did you name the Sabbat Mabon is my big question?”

 

Kelly– “Archaeological and mythological evidence is that the fall equinox is an ancient ( at least 5k years) fest associated with death and rebirth of a young person (Kore, Issac) . Mabon is the only one I could find in the Northern myths.”

 

Saoirse– “ I was marveling that I have NEVER met a devotee to that god, however, I have attended plenty of Mabon rites. I am wondering if you think this is typical these days, and Neo-Pagans have broadened pantheons?”

 

Kelly– “Actually, he is a minor character in an obscure tale in the Mabinogin, so that’s not surprising. But lots of people want to argue that he should be honored on some other Sabbat, because they don’t get what question I was asking.”

Saoirse– “And what was the question you were asking?”

 

KellyWhat myth about a child rescued from death night have been associated with the equinox in Northern cultures?”

 

Saoirse– “And Mabon was, absolutely. That is interesting that although we don’t venerate Mabon specifically, we call it Mabon anyhow in the rites I have seen, the god who dies is not named- he is just called the god.”

Kelly– “We have the four Gaelic names for the Celtic Sabbats, but only three Saxon names for the other four, which are far older. I wanted a name poetically parallel to Yule, Eostre, and Litha. I would have preferred a Saxon name, but could not find one. And Mabon ap Modren means “son of the mother” just as Kore (girl) is “daughter of the mother.” 

 

Saoirse– “I am thinking Balder, except he was not resurrected- unfortunately

What initial reactions did people have to your naming it Mabon? Did those reactions change over time?”

 

Kelly– “I used the name in the “Pagan-Craft” calendar I was putting out in 1974 (first of its kind, AFAIK), sent a copy to Oberon. He liked it, started using it in Green Egg, and it went the 1970s equivalent of viral. I don’t remember when I started getting arguments, because they are not important enough to qualify for being remembered.”

 

Saoirse– “I agree! Did you specifically write Autumnal Equinox rites that included Mabon ap Modron? Or had you attended any? I have not, myself, and I am wondering what you feel would be appropriate in ritual?”

 

Kelly– “No, our Mabon Sabbat is a commemoration of the Eleusinian Mysteries and so is focused on Kore/Persphone, with Demeter, Hades, Hermes, and Hekate and a couple of other gpoddesses in supporting roles.”

 

Then, Kelly was good enough to scan, and send me a copy of the ritual, which I will share here. It is a full eighteen pages long!

 

So, before I share it, I will share my suggested working if you don’t want to use Kelly’s, that is!

Before you read the rituals, here is the link to last years article I did for Mabon, which has a little more historic information.
http://paganpages.org/content/2016/09/celebrating-the-old-ways-in-new-times-22/

******************

Saoirse’s 2017 Mabon Working

 

I suggest an honoring of an elder.

 

How you do this all depends on what your own particular elder appreciates.

 

For me, I’m baking my Priest a pie. He loves my pies.

 

Some like to be taken out for dinner. Some just like a visit.

 

If however, you prefer an actual ritual, I suggest a blessing of your elder.

 

Unless you have your own way of doing this, I suggest a simple way of doing so.

 

You may prefer to do this with just the two of you, or you may do so before a group.

 

I love to do blessing rites at night, and by candlelight, or around a fire outdoors, personally.

 

Use whatever oil you deem appropriate for anointing. Be aware some people have sensitive skin, and some essential oils will burn skin if applied full strength. You can use a drop or two of your chosen oil with light olive oil, or just use olive oil, itself, which you can easily say a prayer over to bless.

 

Select the incense you feel is appropriate. I prefer Nag Champa for everything, personally. It’s a sandalwood blend which I use to cleanse and bless.

 

Select the appropriate candle. I use plain old white tealights.

 

Then, you will need a small bowl of water. Some people buy filtered water for this. I just use tap water, myself.

 

For this working, I do not suggest blessing the materials used first, because YOU are the one doing the blessing, and the materials you use to represent the elements are just representations of your, personal blessing. I realize not everybody feels his way about magical materials. If you feel more comfortable blessing the items beforehand, I agree you should do so in your own way.

 

You will light the candle first, then light the incense from the candle. Place the candle, incense, oil, and water on your chosen table, or altar.

 

Standing or sitting by your elder, tell them how much they mean to you. Tell them how thankful you are to them. (You might want to have a box of kleenex handy!)

 

Pick up the incense. Smudge your elder with this, and say “You are a lifegiver, breathing your wisdom and words of truth into me. I will never be lost in ignorance or confusion thanks to your words. Because of all you have taught me, I will be as a voice of truth, and teach others. “ Put the incense back in its place on your altar.

Then hold the candle up before your elder, and say, “You are a beacon in the darkness, lighting the way for me. I will never be lost in the dark thanks to your love and guidance. Because of all you have done for me, and taught me, I will be as a bright light to guide others.” Replace the candle on the altar.

 

Pick up the water, and you don’t want to splash a lot on your elder. Just dab a few dots of it on them here and there, or sprinkle it around them. Say, “ You fill me with the waters of life. Because of you, I will never be empty. I will never thirst. Because of all the life you have filled me with, I will go forth, and fill others.” Replace the water in its place on the table.

 

Pick up the oil. Put a little drop of it on your thumb, and trace your sacred symbol on their forehead. Mine is of course, the pentagram, yours might be something else. As you trace your symbol, say, “My beloved elder, I bless you in the name of our faith and our gods. May you be blessed with good health, great wealth, long life, and great love. Blessed Be.”

 

And then feed them something yummy!

****************

Aiden’s Kelly’s Elusinian Ritual for Mabon Sabbat 

 

This is a total of 18 pages, and was kindly provided for education including footnotes! Kelly wrote this, including the poetry, and its first full scale performance was in 1973. Blessed Mabon, and Blessed Be!

H. The Eleusinian ritual for the Mabon Sabbat

Celebrants:

Singing parts:

White Priestess, or Priestess of Jana;

Green Priestess, or Priestess of Sophia;

Black Priestess, or Priestess of Persephone;

The Black Man;

Dancing parts:

Kore;

Demeter;

Persephone;

Hades.

After all have been gathered into a circle, the Black Man makes needed announcements, such as about “Rain/Grow” and what to do with candles. The normal NROOGD Opening is then done, down through the Calling of the Quarters. At that point, with the Black Man still holding the sword in the center of the circle, the special ritual begins.

 

BLACK MAN/HERMES

[First Speech of the Sacred Herald]

It happened one day that the Lord of All Unseen was driving his char­iot around the boundaries of Sicily, checking the firmness of its foundations, to be sure that the giant who is pinned beneath the island could not tear it up, and so expose those who dwell below to the frightening rays of the Sun. As he drove, he was seen by the Lady of Mount Eryx, whom some call Aphrodite, and some call Perse­phone, as she sat upon her airy throne.

 

WHITE PRIESTESS [ #1, Venus’s Song]1

Here I sit upon my hill,

Maiden of every young man’s dream,

But I am living proof, my love,

That women are rarely what they seem.

For here I am the Queen of Death

And yet the Queen of Love:

My right hand holds the pomegranate

And my left, the dove.

I dance in many masks for men,

Sing many songs, play many parts,

And by my hands tell who I am,

Just before I break your heart.

I am the White Lady of your dreams

Whom you both long and fear to seize.

I lead you on through silver lands

Of singing stones and melting trees.

Wherever you look, you see me there:

Aphrodite on her shell,

Luna sailing through the leaves,

Persephone in Hell.

And now, my love, a tale we’ll tell

Of lovely wars and witty strife:

As poets always have foretold,

Death will be overcome by life.

This mountain is an organ pipe:

Beneath it Typhon groans and shakes

Where Zeus has trapped him for his crimes,

Breathing fire and belching quakes.

 

Hades, Lord of All Unseen,

Rides around the island’s coasts,

Fearing the quakes will let in light

To terrify his subject ghosts.

So, love, go pierce his gloomy heart

And let him chase me by the shore

Until I turn and capture him

And win the last third of my war.2

 

BLACK MAN/HERMES

And so, resolving to regain the rest of her former realm, she dis­patched her Eros to pierce his heart. Thus it happened that, heart­sore and lonely, Hades came to Zeus, to ask for the hand of Kore, the only daughter of Zeus and Demeter; and Zeus, for his own reasons, gave his permission.

Soon afterward Kore was out one day, gathering flowers beside the sea with her companions, the daughters of the ocean. Suddenly, wild a wild clamor, there appeared a great golden chariot. Its driver scooped Kore up in his arms, and disappeared with her into a chasm that opened in the earth.

Demeter, her mother, hearing Kore’s fading cry, ran to find her, but she was nowhere to be seen. Demeter searched over the entire world, until finally, weary and despairing, she came to Eleusis, in disguise, and accepted a position as nursemaid to the King’s infant son. In gratitude for the royal family’s hospitality, she began the make the child immortal, by laying him in the fire every night. But one night the Queen came upon them, and screamed in terror. In sud­den anger Demeter cast the child upon the ground, and told the Queen that her child would remain mortal. Then, revealing her true iden­tity, she ordered that a temple be built for her and that the myster­ies of Eleusis be founded.

 

BLACK MAN/HERMES raises sword and sings the following as recitatif.

[ #2, Agyrmos]

Keep solemn silence! Keep solemn silence! We sing, to Demeter and Kore, to Her who bears fair offspring, to the nourisher of youth, to the wealthy one, and to the threefold Graces. If your tongue is comprehensible, and no blood is on your soul, attend! Attend! For here we begin the mysteries of the Twofold Goddess, and of Her gift to mankind, that death is no longer our evil. To all who do this with us, abundant good shall come. Io! Evohe!

 

The BLACK MAN/HERMES steps back to the altar, and the three priestesses step forward.

[ #3, Kore’s Song]

 

GREEN PRIESTESS

Cora, my child, so gentle and wild,

Dance, while flowers sing praises for you.

Kore dances into center of circle and continues dancing.

Soon you must pass into woman’s knowledge;

Dance in your innocence, soon to be lost.

 

BLACK PRIESTESS

The Gods have their plans, despite those of man,

For all of nature depends on changing.

You have been chosen to turn the seasons:

Soon will the Lord of the Night share his throne.

 

WHITE PRIESTESS

Behold, He comes, the Lord of the Drum,

Hades dances into circle; he and Kore dance a duet of seduction.

With his brilliant white hair and laughter.

He who rules Death is the perfect lover:

He brings you flowers though snow’s on the ground.

 

ALL THREE PRIESTESSES

Persephone, what do you see

From your throne in the land of secrets?

The flowers of summer have long since faded;

Yet even in winter there’s fire in the ground.

Hades and Kore conclude their duet by dancing out of the circle and down to the sea. The priestesses return to the altar.

[ #4, Demeter’s Dance of Grief]

 

DEMETER

dances into circle and mimes a search for her daughter, then lights her two torches at the cauldron. She gestures all to come forward to light their candles, then leads all down to the sea.

BLACK MAN/HERMES

To the sea! To the sea! Haladay mustai!

At the sea, BLACK MAN/HERMES halts the procession.

DEMETER

plants her torches in the sand, strips, and plunges into the sea. Rising from the sea, she stands briefly between the torches, then her attendants wrap her in towels, then replace her robe. Picking up her torches, she now leads the procession on a devious path to the underworld.

At the entrance to the underworld, all are instructed to put out their candles as soon as they have found a place to stand inside. The next speech is said in the dark, as bullroarers sound.

BLACK MAN/HERMES

Here, in the lands below the earth,

We come to seek a recompense.

A girl is dead. That’s clear,

And all too close to home, for every time

We ask “What does it mean?” and, being human,

Cannot rest until we have an answer.

For behold! Demeter, the mother of all life,

In rage at the loss of her daughter,

Has sealed herself up in her temple,

And all life has slowed and stopped.

Here time itself stands still.

But now Zeus nods, the knot unties,

The balance is transcended.

For it is not Kore who’s restored, but us:

It is Persephone who comes, and she is every girl

Who faces a door she must go through,

Through which she can never return.

Hear the mystery of Eleusis!

The Queen of the Dead is the source of our life!

sings, to tune of #1

Our Lady is the Queen of Death,

And yet the Queen of Love:

Her right hand holds the pomegranate,

And her left, the dove.

[ #5, Proclamation of the Mystery]

Holy Brimo, the raging slayer, has born the holy child, Brimos, in fire!

The mighty Goddess has given birth to the mighty God!

Io! Evohe!

All sing back “Io! Evohe!” and orchestra immediately breaks into Persephone’s Dance.

[ #6, Hymn to Victorious Persephone]

 

ALL

Khaire, Persephone Nike!

At the crash of the gong, the underworld is flooded with light; Persephone leaps into view and dances wildly to the music of the hymn.

Who is great in the sheaves of the last of the wheat

When the mowers cut it all down!

She is the one with the power!

She will dance on the skulls of the last of the great

As they turn to honey and wine.

She holds the branch of renewal!

For the sword cuts the branch to the ground in the fall

But the branch will blossom in spring.

Hail to the dance of the Black One!

She has trampled on death and has shown us the path

That will bring us each to rebirth!

 

BLACK MAN/HERMES

Make way for the Queen of Hell!

Persephone marches out, followed by the BLACK MAN/HERMES. She takes one torch and begins to lead the procession back to the circle.

BLACK MAN/HERMES uses other torch to relight everyone’s candles, then joins end of procession, followed by the musicians. Back at the circle site, Persephone continues dancing as the circle reforms. When it is complete, BLACK MAN/HERMES signals the musicians to silence.

Persephone draws an ear of wheat or corn from her bosom and holds it aloft for all to see. Demeter screams in anguish as Hades crawls forward from under her skirt, then leaps to his feet and dances over to join Persephone in their Wedding Dance.

[ #8, Marriage Song of Moon and Sun]

 

WHITE PRIESTESS

I am the white and somber wench,

Knife of the hunter,

New of the moon.

I climb the hill of the changing halves

And burn in leaves of the verging trees.

Leap of the shadow,

Flash of the arrow,

Crimson and silver I reap and weave.

 

BLACK MAN/HERMES

I am the gold and amber man,

Sired by the sun,

Born of the moon.

I slay the Gorgon for my shield

And take the musing Moon to wife.

Sword of the father,

Wand of the mother,

Sunwise and whirling I ride the sea.

 

GREEN PRIESTESS

I am the green and secret wife,

Fire of the wedding,

Bells of the sea.

I wind the round of the breeding moon,

O furrow the earth beneath my knees!

Blue of the harpers,

Gold of the pipers,

Threefold and singing I plow the seed.

 

BLACK MAN/HERMES

I am the iron and scarlet man,

Blow of the hammer,

Cry of the steel.

I riddle the secrets of the trees

and lead the dance of the harvest moon.

Forge of the mother,

Spark of the maker,

Fourfold and lightning in every nerve.

 

BLACK PRIESTESS

I am the black and comely bitch,

Pipes of the crescent,

Beats of the Earth.

I stir the fire of the howling night

and bless the cup of the fertile seas

Gongs of the dancers,

Flames of the banners,

Sunwise in silence I clear and sow.

 

BLACK MAN/HERMES

I am the black and violet man,

Branch of renewal,

Words of the owl.

I guide the track of the spiral dance

Across the sky and under the waves.

Mask of the hero

Reversed in a mirror,

I am the reaper who stays to sow.

 

BLACK MAN/HERMES AND GREEN PRIESTESS

now charge the “eggs and tea”: chopped hard-boiled eggs in a tambourine or other drum, and the “kykeon” (mixture) tea in a cymbal.

[ #9, Blessing of the Offerings]

 

BLACK MAN/HERMES

When Her name is memory, Her voices are a choir.

They stir the cup of music, of poetry and fire.

 

GREEN PRIESTESS

And when Her name is Mystery, She brews the cup that sings,

“All who drink shall be reborn;

All shall have the gift of kings.”

 

BLACK MAN/HERMES AND GREEN PRIESTESS

She stands before, she stands beside:

The Maiden has become the Guide.

The spiral dance, the egg of life

Replace the apple and the knife.

The priestesses and any helpers now serve the eggs and tea around the circle.

Demeter brings a vessel of water to the center, and three times casts a handful of water into the air. Each time she does so, Black Man/Hermes cries out loudly

Rain!

 

ALL

Grow!3

[ #10, Blessing of the Initiates]

 

BLACK PRIESTESS

There is an immortality

Of the spirit and the body and the mind,

And all three immortalities

Are my gift to mankind.

There is always more; there is no end.

So rejoice! For death cannot win!

 

BLACK MAN/HERMES

Whenever the serpent begets the bull,

The bull will father the serpent.4

 

ALL

Blessed be they who have seen beneath the surface of the world.

They have seen the end of life, and its Goddess-sent beginning.

Thrice blessÇd5 are they who have seen these mysteries,

For when they go to the house of the Unseen Lord,

They alone shall live in happiness.

But those who have never shared in such holy rites

Will suffer every sorrow in that house,

Until they fade away into the darkness.6

 

BLACK MAN/HERMES

Sing each phrase back to me after I sing it to you.

[ #11, Marturo hos Pepoika]

I have fasted.

I have drunk the kykeon.

I have eaten from the drum.

I have drunk from the cymbal.

I have entered the wedding chamber.

A kid, I have fallen into milk.

I have seen beneath the surface of the world.

I have seen the end of life

And its Goddess-sent beginning

And they are the same.

I am an initiate of mysteries.

I shall not fade away.

Evohe!

 

ALL

Evohe!

The ritual now ends with the normal NROOGD “Grounding and Opening of the Circle.”

 

 

Important Links:

Aiden Kelly’s Facebook Page

Covenant of the Goddess’s Facebook Page

Covenant of the Goddess’s Web Page

 

 

 

Appendix to the Sabbats: Eleusinian Mysteries

 

The most important Athenian festival was that of the Eleusinian Mysteries, which have intrigued scholars for centuries: because the contents of the Mysteries were an Athenian state secret, we cannot be sure we have any clear idea of what happened during them. The Mysteries fell into two periods: the earlier, in Anthesterion, was called the Lesser Mysteries, and probably involved a ritual or drama about the life, death, and resurrection of Dionysos; the later, in Boedromion, was called the Greater Mysteries, and was definitely centered on the myth of the Rape of Persephone, as told in the Greek poem called the Homeric Hymn To Demeter. It has often been thought that initiation into the Lesser Mysteries was required before initiation into the Greater Mysteries, but this does not seem feasible, since in Roman times many people came from around the Empire in Boedromion to be initiated at the Greater Mysteries. (Of course, it could be that the earlier requirements were liberalized during the Imperial period.)

 

The Mysteries, according to both Greek legend and archaeological data, originated around 1500 B.C.E., give or take many decades, and were at least in part imported from Crete. Preserved by the local families, the Mysteries underwent a theological reform, as evidenced by the Homeric Hymn To Demeter, around 700 B.C.E., that is, at about the same time that the Athenians annexed Eleusis to their state and made the Mysteries the official religion of the Athenian empire. The Mysteries remained the central rite of Greco-Roman paganism — every civilized person tried to make the pilgrimage to Eleusis at least once in a lifetime, just as Muslims now make their Hajj to Mecca — until the fifth century C.E., when an army of Christian monks was sent in by the Byzantine emperor to tear the buildings at Eleusis down to the ground brick by brick, in order to prevent the people from going there, as they had continued to do.7

 

Despite the famous “secrecy” of the Mysteries, it was no more effective than the current “secrecy” of the Craft movement. We have more data about Eleusis than about any other pagan religion of antiq­uity, and we almost certainly do know what was done there. There is a famous story that Aeschylus, who was a native of Eleusis, as soon as his first tragedy had been produced, was called before a council of priests and accused of giving away the secret of the mysteries. Aes­chylus, however, responded, “I didn’t know it was a secret”8 — which became a catchphrase in the classical world — and proceeded to dem­onstrate that, since he had never been initiated, it was the council of priests who were giving him information they were oathbound not to reveal (a position I have found myself in relative to the more ortho­dox Gardnerians). He was acquited, of course, and the Eleusinian families then proceeded to adopt the new costumes that Aeschylus had designed for his actors as the official ceremonial robes for the Mys­teries9: even in the classical world, life imitated art. Since this very first tragedy would have enacted scenes perfectly familiar to us from the Greek myths, we do know what happened at Eleusis — but since we don’t know even the title of that first tragedy, we don’t know exactly which myth holds the secret. Still, it is possible to make some educated guesses, and I believe that Professor Walter Burkert of Zürich has broken the code.

 

Month 3. Boedromion, “month of helpers,” 30 days; began in August or September.

 

5 — Genesia = Nekusia = Nemesia, the clans’ feast of the dead.10 On the Proerosia see Clinton p. 22. In “the ritual of the sacred plowing observed at Eleusis, . . . members of the old priestly family known as the Bouzygai or Ox-yokers uttered many curses as they guided the plough down the furrows of the Rarian plain.”11 That “fair-tressed Demeter, yielding to her passion, lay in love with Iasion in the thrice-plowed field” (Odyssey 5.125-7) is the mythic analog to the folk ritual worked at this festival. As Plutarch (Moralia 144) comments about the three sacred plowings, “most sacred of all such sowings is the marital sowing and plowing for the procreation of children.” Obviously this Greek ritual, at the beginning of their growing season, is quite parallel to those in northern Europe associated with Beltane.

11 — The epheboi sacrifice a bull to Dionysos, under direction of the archon.12

13 — Preparations for the Eleusinian Mysteries begin: a troop of epheboi, perhaps having been purified at the Nekusia, in their “customary dress,” march from Athens to Eleusis.

14 — The epheboi escort the priestesses, and probably the other officials, from Eleusis to Athens. The priestesses carry the sacral items kept at Eleusis to the Eleusinion at the foot of the Acropolis.13 They halt for a rest at the “Sacred Figtree” in the suburbs of Athens.14

15 — This day was the Agyrmos, “assembly,” which was, according to Hesychius, the first day of the Mysteries. The Archon Basileus summoned the people to the Painted Porch to hear the Hierokeryx, the sacred herald of Eleusis, in the presence of the Hierophant and the Dadouches, call, “Keep solemn silence. Keep solemn silence. We pray to Demeter and Kore, and to Ploutos and to all the other gods, for here we begin the Mysteries of the Twofold Goddess . . . “15 The Hierophant then declared, “I speak to those who lawfully may hear: depart, all who are profane, and close the gates. . . . If your hands are impure or your tongue unintelligible, I charge you once, I charge you twice, I charge you thrice to stay away from the sacred dance of the chorus of initiates. Let all others who believe in the Two Goddesses perform the Mysteries, under the blessing of Heaven. Lady Demeter, nourisher of our souls, make us all worthy to celebrate your Mysteries.”16 He also apparently declared that initiates (at least for the duration of the festival) had to abstain from the flesh of barnyard fowl, eggs, fish, beans, pomegranates, and apples (these seem to be the rules of the nine-day “fast” that probably began on this day), and that touching these things made a person as taboo as touching a woman in childbirth or a corpse.17 He then probably announced, “At our sacred Mysteries, all Hellenes shall offer first fruits of their crops, according to ancestral usage. . . . To those who do these things shall come much good, both good and abundant crops, to whomever does not injure the Athenians, or the city of Athens, or the Two Goddesses,” that is, Demeter and Kore.18

16 — Synoekia: sacrifice of 2 oxen to Zeus Phratrios and Athena Phratria, “of the clans.”19 On this day the cry was Halade mustai20, “Initiates, to the sea!” All who were going to be initiated had to walk the six miles to Piraeus, driving a piglet before them, be purified in the sea with the pig21, then drive it back to Athens. We can be sure the day’s events were not overly dignified. It was to this day that Athenaeus (13, 590) referred when he wrote, “Phryne [a famous courtesan] was even more beautiful in her unseen parts. . . . At the great assmbly of the Eleusinia and at the festival of Poseidon, in full sight of the whole Greek world, she removed her cloak and let down her long hair before she stepped into the water. It was she whom Apelles took as the model for his `Aphrodite Rising from the Sea.'” (This passage is especially valuable in proving Aphrodite’s connection with the Eleusinian Mysteries.) Clement of Alexandria, in revealing what he says are the secrets of the Mysteries, begins with Aphrodite, saying, “a cake of salt and a phallus are given to the initiates, . . . who bring the tribute of a coin to the Goddess, as lovers do to a mistress.”22

17 — A sow is officially sacrificed to the Two Goddesses in their temple in Athens. Each initiate sacrifices a sheep, whose fleece is needed for the initiation, as well as the purified piglet.23

18 — The initiates remain indoors, preparing the Kykeon, “mixture,” a tea of barley and mint, and baking pastries, probably in the shapes associeted with fertility. Outdoors, the uninitiated engage in a procession honoring Asklepios, and pour libations to Dionysos.24

19 — Early in the day the initiates, the Eleusinian officials, and all others gather in the main square of Athens, all wearing myrtle wreaths and white robes or other special garb; the priests and priestesses wore red or purple cloaks, and the Hierophant and Dadouches wore a strophion (a twisted piece of cloth, worn like a sash) and had long hair.25 The statue of Iakkhos (in late class­ical times thought to be Dionysos as an infant) is brought from the Iakkhaion, to be carried on its annual visit to Eleusis. The same band of epheboi (obviously an “honor guard”) serve as an escort for the Eleusinian priestesses, carrying the sacra, in baskets on their heads, back to Eleusis to begin the celebration of the Mysteries. The procession is headed by the pais ap’ hestia, the “child initiated from the hearth,” whose initiation was paid for by the state26, and who represented the entire Athenian people; he or she wore a garment that left the right shoulder bare, and a short chiton (to just above the knee), carried a myrtle staff, and was followed by all the other such children from preceding years who had not yet reached adulthood.27 Everyone in the procession wore a myrtle wreath on his or her head. The 14-mile procession to Eleusis begins, passing out of Athens via the portico at the Keramicos. There are many stops for resting and performing rituals at places along the way thought to figure in Demeter’s search for the lost Kore. One is a sanctuary devoted to Zephyrus, Demeter, Kore, Athena, and Poseidon, at the place where Phytalus invited Demeter into his home to rest, in reward for which she give him the fig tree.28

At the Kephisos bridge, the crowd is entertained by a woman who plays the part of Baubo or Iambe, telling “obscene” jokes and performing “obscene” dances (which certainly included exposing her genitals to the crowd).29 There was apparently another purification in the salt lakes, the Rheitoi,30 and after crossing the narrow Rheitos bridge, the Initiates apparently were challenged by priests and had to give passwords, then had a thread tied between the right hand and left foot.31 We can also suppose that Aristophanes’ rather mild parody in The Frogs, lines 324-459, gives us a very good idea of what was actually sung during the procession to Eleusis.

20 — At sunset, when the next day began, torches were lit, and because the Greeks would have used a 7/8 rhythm (or something similar) for a procession, it turned into a torchlit dance. It may well be that they now went not directly into Eleusis, but instead down to the beach, where there may have been a ritual concerning Aphrodite, and where the initiates were probably sworn to secrecy by having the Hierophant’s key placed upon their lips.32 The torchlit procession then proceeded up from the beach and into Eleusis proper.33

The first event within the sacred grounds of Eleusis was probably a women’s dance around the Kallichoron, the “well of fair dances,” where Demeter was believed to have sat and mourned. The next would have been the Kernophoria, the offering of first fruits carried in the traditional kernos (a vase with multiple chambers), in the small temples of Demeter, Persephone, and Ploutos in the Eleusinian precinct — and offerings to chthonian deities were normally carried out at or after sunset.34

21 — On the day of the 20th and on through the 21st, the initiates were probably taken blindfolded through a series of purifications and consecrations one at a time. They probably each had a guide who had been initiated in a preceding year35, who could actually now see the procedures and so became known as an Epopt, “wit­ness.” We have descriptions and vase paintings of candidates seated on a low throne, with left foot on a fleece, veiled and holding a torch, with a priestess holding a winnowing basket overhead, then with priests and/or priestesses dancing in a circle and singing around them.36 Judging from the “password” quoted by Clement of Alexandria — “I have fasted; I have drunk the kykeon; having worked with what I took from the basket, I placed it in the chest, then back in the basket” — each initiate must have worked some ritual with some of the sacral objects in the baskets that the priestesses carried on their heads in the procession. Clement also lists what these objects were: sesame cakes, pyramidal and spherical cakes, cakes with many navels, balls of salt, a Dionysian snake (which is obviously a phallic symbol), pomegranates, fig branches, fennel stalks, ivy leaves, round cakes, poppies, marjoram, a lamp, a sword, and a “comb,” which Clement explains is a euphemism for something that represents the female genitals.37 Perhaps the ritual worked involved placing the phallic symbol in the vaginal symbol, as some scholars have guessed, but obviously innumerable different kinds of rituals were possible with such objects.

22 — The central event in the Mysteries was a night-long ritual in the Telesterion, the Hall of Initiation, and this was the logical night for it to have happened. The initiates stood on raised steps around the edges of the Telesterion, and saw and heard something like a ritual drama.38 As Plutarch describes, “Just as persons who are being initiated into the Mysteries throng together at the outset amid tumult and shouting, and jostle against one another, but when the holy rites are being performed and disclosed, the people are immediately attentive in awe and silence . . . he who has succeeded in getting inside and has seen a great light, as though a shrine were opened, adopts another bearing, of silence and amazement, and, humble and orderly, attends upon” the gods.39 Similarly, Dio Chrysotom says, “This is like placing a man in a mystic shrine of extraordinary beauty and size to be initiated. There he would see many mystic sights and hear many mystic voices, light and darkness would appear to him alternately, and a thousand other things would occur.”40 Galen mentions that an initiate would have given himself up “wholly to the things done and said by the Hierophants.”41 Lucius of Apulia says of his own initiation, “I approached near to hell, even to the gates of Persephone, and after I was ravished throughout all the elements, I returned to my proper place. About midnight I saw the sun brightly shine. Likewise I saw the Gods celestial and infernal, before whom I presented myself and worshipped them.”42 Perhaps this is metaphor, but it could easily be a description of a Craft initiation.

Proklos relates that, “In the most holy Mysteries, the initiates at first meet many sorts of spirits . . ., but on entering the interior of the temple, . . . they genuinely receive divine illumination, and divested of their garments [my italics] they participate in the divine nature.”43 (Proklos, as a devout dualist, obviously disapproves, but I think it must look familiar to any modern Witch.)

It is very difficult to assign a sequence to the events that may have taken place in the Telesterion, but I think Harrison’s logic holds water: the Sacred Marriage would probably have been celebrated before the birth of the Sacred Child.

Asterius44 wrote, “Isn’t there the descent into darkness, the sacred intercourse of Hierophant with Priestess, he and her alone? Aren’t the torches extinguished? Doesn’t the vast assembly believe that what is done by the two in darkness is their salvation?” He was probably misinformed about Eleusis; yet his words describe precisely the attitude of Witches toward the Great Rite.

Apparently what happened next is that the doors of the central chamber, the Anaktoron, were thrown open in a flood of light from a great fire that could be seen for miles from the open roof of the Telesterion45, and the Hierophant appeared, displaying an ear of wheat to the silent crowd and shouting, “Holy Brimo has brought forth a mighty son, Brimos!”46 We know that the Hierophant displayed the “secret sacred objects” (and that is what his title means) kept in the Anaktoron, into which only he was allowed, as only the High Priest of Jerusalem was allowed into the innermost sanctuary in that temple; and that he had an extensive speaking or singing part in the proceedings, partly from within the Anaktoron.47 He may have carried the sacred objects around the Telesterion in a procession, followed by all the other priests and priestesses48; this would be parallel with the Torah procession in the synagogue. There was also much dancing; Lucian commented that there are no Mysteries without dancing, and that those who violate the secrecy of the Mysteries are said to “dance them out.”49 With a rolling beat upon a gong that produces a roar louder than a jet plane,50 Persephone herself appeared — or so her priestess would have appeared, to the eyes of faith.51 Apparently her wedding to Hades was celebrated, for Michael Psellos asserts that the words, “I have eaten from the drum, I have drunk from the cymbal, I have carried the kernos, I have entered the bridal chamber,” were sung as an accompaniment to the Anakalypteria of Kore; this term might mean only “unveiling” or “reappearance,” but it is the common Greek term for a wedding.52

Walter Burkert also argues that another key event would have focused on the pais ap’hestia, the “child initiated from the hearth,” who represented the Athenian people, and who was the ritual analog of the infant Demophon, “voice of the people,” in the Eleusinian myth. Burkert argues that the child, doped with opium from Demeter’s own poppies, was placed in a swing, and swung through the fire — but when the swing returned, in it was a ram, which was then sacrificed, and its fleece used for the next year’s initiates. Obviously this ritual is related to the story of Abraham and Isaac, and it seems fitting that the same story should turn out to underlie both Greek and Hebrew religion, whose roots all go back to the eastern Mediterranean culture of ca. 1500 B.C.E. Burkert also feels that the key to the Greeks’ strong feelings about the ritual at Eleusis is that during it they were formally adopted as children of Demeter — perhaps in a ritual that involved marching under her throne53 — so that when they went before Persephone’s throne to be judged, they would be judged according to the rules for kin, not those for strangers — and that made all the difference in the world for Greeks.

23 — The final events at Eleusis included the rite of the Plemochoai, top-shaped vases, which were tipped over, one toward the east, the other toward the west, just about at sunset, to pour a libation down into the earth, perhaps into a chasm.54 It was probably also on this last day, and perhaps as part of the same ritual, that “looking up to the sky they cried `Rain!’ and looking down at the earth they cried `Grow!'”55

 

 

1

2 I shouls asmit that this song was asses in the version that was part of my “doctoral dissertation in the form of a three-act myisical comedy” and was not in the original script.

3 We know from Hippolytus 5:2 (Ante-Nicene Fathers, V, 51) and from Pro­clus on Plato’s Timaeus 293 (cited by Harrison, Prolegomena, p. 161) that this “Rain/grow” bit of fertility magic was among the closing ceremonies at Eleusis, perhaps out on the Rharian plain, where it could not have been kept secret.

4 This is obviously a fragment from some sort of ritual; it is given by Fir­micus Maternus 26; Arnobius 5:21; and Clement of Alexandria, Exhortation, 2:14.

5 This “thrice-blessed” term was standard in wedding songs; e.g., see Odysseus’s remarks to Nausicaa in the Odyssey.

6 This stanza is a rather free amalgam of the “beatitudes” in the Homeric Hymn to Demeter 480-482; Sophocles fragment 753 Nauck (from Plutarch, Moralia, 21F); and the Pindar fragment (137 Sandys) from Clement of Alexandria, Miscellanies, 3:3,17.

7 Eunapius, Lives of the Philosophers, 475-6.

8 Aristotle, Nicomachean Ethics, 3.1.17, and Clement of Alexandria, Miscellanies, 2.14 (p. 361, ANF).

9 Athenaeus 1.21d.

10 Farnell, III, 23.

11 Frazer’s ed. of Apollodorus, Library, p. 227.

12 Placement is best guess; Willetts, Cretan Cults, p. 49.

13 Harrison, Prolegomena, p. 151.

14 Philostratus, Lives of the Sophists, 602;20.

15 See Xenophon, Hellenica, 2.4, 20.

16 Eusebius, Preparation for the Gospel, 3.13.118b; Tatian, In Graec. 8; Theon of Smyrna, On the Utility of Mathematics, p. 22; Aristophanes, Frogs, 369-70, 886-7; Lucian, Alexander the False Prophet, 38.

17 Porphyry, On Abstinence, IV.

18 Harrison, Prolegomena, pp. 150, 155.

19 Nilsson, 1951, p. 166.

20 According to Clinton, p. 13, the term muesis originally referred to the preliminary instruction, or catechesis, which could be given at any time during the year by any member of the Eumolpidai or Kerykes families; this was not an initiation, but quite parallel to the guidelines that any Witch would now give to a newcomer before bringing him or her to a circle. The final ritual of the Mysteries was the telete, which took place in the sanctuary of the Telesterion, per­formed by the Eleusinian priests and priestesses, only once a year. Thus mustes would be better translated as “catechist” than as “initiate,” and telete does have the sense of completion.

21 Plutarch, Phocion, 27,3.

22 On the events of this day, see Harrison, Prolegomena, pp. 152-4. Clement of Alexandria, Protreptikos, 2.13.

23 On all this see Aelian, Animals, 10,16; and Aristophanes, Peace, 373-5.

24 Aristotle, Athenian Constitution, 56.4; Philostratus, Life of Apollonius, 4.18.

25 Clinton, p. 33.

26 Initiation was expensive; it added up to at least 12 obols, ac­cording to Clinton, p. 13, and that was about a month’s pay for the average Athenian. Hence paying for someone’s initiation was a fre­quent gift, especially for slaves and courtesans (as we know from Demosthenes’ Against Naeara, 21), since it could not be taken away from them.

27 Clinton, p. 108, 111.

28 Harrison, Prolegomena, p. 151.

29 See Hesychius and the Suda under Gephuris.

30 See Hesychius on Rheitoi and Pausanias, Attica, 38.1-3.

31 See Photius, Krokoun.

32 See Sophocles, OEdipus at Colonus, 1045-53; Pausanius, Elis, 1.20.3.

33 The use of torches for nocturnal processions was no secret; and I think the “torchlit search for Kore” (as in, e.g., Lactantius, Divine Institutes, 1.21) was merely an allegorical interpretation of this procession in light of the story of Demeter and Kore.

34 Here Psellos’s second icon fits: torches because it was night; drums and cymbals as both musical instruments for the procession and vessels to pour the offering, in the form of a pelanos.

35 Referred to by Plutarch, Moralia, 765A.

36 See Dio Chrysostom, Discourse 12, 33; Plato, Euthydemus 277d; Eph. Arch. 1885, p. 150. Gilbert Murray, Five Stages, p. 23, says the Dadouchos is the initiator during this stage. If Aristophanes, Clouds, 259ff, is not just foolery, the catechist was also sprinkled with flour or chalk at some point.

37 Clement of Alexandria, Protreptikos, 2.18-9.

38 See, e.g., ibid., 2.12. That the rituals lasted all night is stated by Clinton, p. 38, citing I.G. II2, 3639; see also Greek Anthology, XI, Epigram 42.

39 Plutarch, Moralia, 81d-e.

40 Dio Chrysostom, Discourse 12, 33.

41 Galen, de Usu. Part., 7.14.469, cited by Harrison, Prolegomena, p. 157.

42 Lucius of Apulia, The Golden Ass, 11.23. For a similar description, see Plutarch, Moralia, frag.178.

43 Proklos, Platonic Theology, p. 7.

44 As cited by Harrison, Prolegomena, p. 563.

45 It is referred to by Plutarch, Themistocles, 15.1.

46 See Burkert, Homo Necans, for a convincing argument why this passage from Hippolytus, 5.4, is trustworthy. Brimo is a title of Hecate, who seems to complete a triad with Kore and Demeter; see Apollonios of Rhodes, Argonautica, 861-2, 1211, and Lycophron, Alexandra, 1175ff; Propertius 2.2.11 presents this Hecate Brimo as a lover of the Hermes who is a major deity of the Samothracian Mysteries. This line also seems to be reflected in Euripides, Suppliants, 54, which takes place at Eleusis.

47 See Clinton, pp. 39 & 46, citing I.G. II2, 3411, and Aelian, Varia Historia, frag. 10.

48 Clinton, p. 47.

49 Lucian, The Dance, 15.

50 Ovid, of Love, 610; Harrison, Prolegomena, p. 140, citing Apollodorus of Athens as quoted by the scholiast on Theocritus, Idylls, 2.10. Olivier Messiaen, scholar and classicist that he is, uses this sound in his Et Expecto Resurrectionem Mortuis, “I Expect the Resurrection of the Dead.”

51 See Clinton, p. 47, and the sources he cites.

52 These words are cited by Clement, op. cit., 2.14, and discussed by Psellos in his comments on the third icon. See also the scholiast on Plato, Gorgias, 497C, cited by Harrison, Prolegomena, p. 158.

53 E.g., see the ritual described at the end of the final myth in Plato’s Republic.

54 See Athenaios 11.496.

55 Given by Proklos on Plato’s Timaeus, p. 293; also mentioned by Hippolytus 5.2. Aeschylus, fragment 25, in which Aphrodite declares that she is the cause of the amorous rain that impregnates the earth to bring forth Demeter’s gifts, also shows that here again Aphrodite is tied to the Eleusinian rites. Hesychius gives “Konx hompax” as the final words of the initiation; despite much scholarly ingenuity at restoration, these appear to be indecipherable nonsense.

 

 

***

 

 

About the Author:

Saoirse is a recovered Catholic.  I was called to the Old Ways at age 11, but I thought I was just fascinated with folklore. At age 19, I was called again, but I thought I was just a history buff, and could not explain the soul yearnings I got when I saw images of the Standing Stones in the Motherland. At age 29, I crossed over into New Age studies, and finally Wicca a couple years later. My name is Saoirse, pronounced like (Sare) and (Shah) Gaelic for freedom. The gods I serve are Odin and Nerthus. I speak with Freyja , Norder, and Thunor as well. The Bawon has been with me since I was a small child, and Rangda has been with me since the days I was still Catholic. I received my 0 and 1 Degree in an Eclectic Wiccan tradition, and my Elder is Lord Shadow. We practice in Columbus, Ohio. I am currently focusing more on my personal growth, and working towards a Second and Third Degree with Shadow. I received a writing degree from Otterbein University back in 2000. I have written arts columns for the s Council in Westerville. I give private tarot readings and can be reached through my Facebook page Tarot with Saoirse. You can, also, join me on my Youtube Channel.  

Excerpt from Celtic Witchcraft by Mabh Savage: The Color Red

August, 2017

 

The colour red appears throughout Celtic mythology and is normally associated with magic in some way. This may be the prophecy of war and bloodshed. Rowan, the tree with the startling red berries, is strongly associated with powerful magic. The Morrígan herself is normally portrayed as having red hair, especially in her guise as a sorceress or poet. Red is the magic of spells, curses, geas and prediction. Red is proactive magic; visible magic; magic that wants to be seen, admired or feared.

 

Think about red in our daily lives. Red means stop; warning; danger; love; passion; blood; fire; forbidden; command; hang up; hot; hazard and generally ‘pay attention right now’. It is the colour of compulsion. We are almost programmed to pay attention when we see red. The term itself, ‘seeing red’, denotes a state of rage that implies we are no longer fully in control of ourselves. In nature, flowers are red to attract pollinators, and insects are often red (or red and black) to warn of venom, or to con predators into thinking the potential prey is dangerous. Birds may flash red feathers to attract a mate and among our own ‘plumage’, red is considered a sexy colour; racy, dangerous and daring.

 

Fire

 

 

Red is used as the colour of the direction of south, and the element of fire. Often a red candle is placed at the southern part of an altar, or the southernmost part of a room where magical work is practiced. It may, however, not be practical for you to use fire or indeed to have candles in places where small hands or paws can reach them. So instead, you may want to use a red ribbon, symbolising the way passion binds us. A red pen can symbolise the fire of creativity. A simple blob of red paint on a stone or shell may bring a Spartan and natural beauty to your sacred space. You can use red flowers from the season; poppies in spring, roses in summer and perhaps chrysanthemums or rudbeckia in autumn and perhaps amaryllis or similar in winter.

 

Other natural additions to a sacred space can be hawthorn berries, rowan berries or holly berries depending again on the season. The juice from elder berries can be used to stain things red, and can even be used as a sort of ink.

 

Passion

 

Our passions are not just the obvious trio of love, desire and lust. We all have passions that stretch into other aspects of our lives; our ambitions, our motivation and our goals. Using red in magic helps us reach out from a place of wanting to a place of having or being. Red is also the connection between the human, physical state and the ethereal, magical state. When you are performing magic, you can imagine red blood flowing through an umbilical cord that attaches you to the universe, combining your own energy with that that resides within everything.

 

If you feel like you have taken on too many tasks, and can’t find a way to prioritise, this exercise is useful. Find a quiet and calming space. Make it feel comfortable; light incense, play music or open a window. Whatever makes you feel more you is very important here. Draw a red spiral on a white piece of paper. Start at the edge of the paper and working inwards from the top left corner, draw the curve clockwise and spiral gently in to the centre. There is no rush. Let the thoughts of the tasks you have piled upon yourself wash through your mind, without focusing on one in particular. While these thoughts flow, keep your eyes following the spiralling line you are drawing. When your spiral reaches a central point, focus on the whole image, then close your eyes and breathe deeply. You should find that you are able to prioritise much more easily, and also that the feelings of stress and pressure have alleviated. You are refilled with a passion to achieve your goals, instead of the fear that you won’t.

 

Blood

 

 

The colour red sneaks into magical and healing practice all over the world. Red is the colour of blood and therefore is intrinsically linked to life, and of course all that goes with that: passions, emotions, health, sickness and even death.

 

This is a technique I learned through my study of the ancient Mexican practice of Curanderismo. When you are feeling particularly stressed out, carry a piece of red ribbon or cord in your pocket. Whenever a problem crops up, tie a knot in the ribbon, concentrating on the issue that gripes at you. At the end of the day, take the ribbon out of your pocket. Look at all the knots. These are your problems. There may be few; there may be many. Go out into the garden, or if you don’t have a garden, use a pot on your windowsill. Bury the ribbon and imagine letting go of all your problems. You are returning the physical representation of your troubles to the earth. Letting go physically helps you to let go mentally.

 

If you enjoyed this, Mabh’s book is available at Amazon and all good book stores.

 

 

 

 

 

***

 

Mabh Savage is a Pagan author, poet and musician, as well as a freelance journalist.

She is the author of:

 

 A Modern Celt: Seeking the Ancestors

 

 

and

 

Pagan Portals: Celtic Witchcraft.

 

 

Follow Mabh on Twitter, Facebook and her blog.

The Magic of Chocolate

August, 2017

That chocolate is a magical drug is something that every woman knows. It can nurse you through any kind of heartbreak, it can make you fall in love (provided someone buys you enough of it) and it helps you cope with the everyday stress of a million things. No wonder then that chocolate gifts are something that work for any occasion. But is it just a delicious treat that makes you feel good or is there some serious magic at work here?

 

 

The ancient Mayans who are credited with first discovering and cultivating cacao beans, the source of chocolate certainly thought so. Archaeological evidence shows that chocolate in liquid form was used in a number of different ceremonies. It was important for baptisms and marriage ceremonies. It was served as an offering to the Gods and also to the deceased. At certain times in history its use was restricted only to those who ranked high in their societies – priests, officials and royalty. The Aztec’s regarded chocolate as an aphrodisiac and their Emperor, Montezuma reputedly drank it fifty times a day.

 

What is interesting is that research in medicine is now backing up the theory that chocolate actually makes you feel good. When you bite into a bar of your favourite chocolate there is a cocktail of compounds that affects your brain. Here are a few of them and their effects:

 

  • Tryptophan and serotonin: They create feelings of relaxation and well-being.
  • Caffeine: This psychoactive substance creates temporary alertness.
  • Xanthines: This mild stimulant occurs naturally in the brain and, like caffeine, increases wakefulness.
  • Theobromine: This stimulant and vasodilator increases blood flow.
  • Phenylethylamine: This compound stimulates the brain to release dopamine, a neurotransmitter associated with feelings of pleasure and motivation.
  • Anandamide: This neurotransmitter activates pleasure receptors in the brain.
  • Flavonols: These compounds boost blood flow to key areas of the brain for two to three hours after being metabolized, creating effects similar to those of a mild analgesic (painkiller) like aspirin.

 

But despite all the research there is something spiritual in the way we connect with chocolate which simply cannot be explained by a chemical reaction. Which is something that would explain the increasing popularity of the Cacao Ritual or The Cacao ceremony.

 

The Cacao ceremony which uses raw, unsweetened, unadulterated, form of the cacao beans is an intense chocolate experience which has the potential to open your heart and assist in deep emotional release. Participants in a ceremony partake of a specially concocted cacao elixir which uses spices and other ingredients. At a typical ceremony they are then guided into a meditative state and the facilitators may use various drum/rattle techniques to deepen the journey. Healing spirit songs and mantras are also used to guide the energy of the ceremony.

 

If you are interested in exploring this further you can search online for the next cacao ceremony happening near you. For those who want to experience the chocolate high right now you can go out and grab some delicious chocolate. Or better still share the magic and the love by gifting someone some chocolate!
***

 

About the Author

Saurabh Mittal, Founder ChocoCraft, is an entrepreneur by trade and an adventurer by heart. He is fascinated by all things chocolate and loves sharing interesting ideas and information on the subject. When not making chocolate gifts he loves to hike in the mountains.

ChocoCraft is a firm that specialized in made to order chocolate gifts for all occasions – Weddings, Corporate Gifts, Birth Announcements, Birthdays and Anniversaries. They create beautiful printed chocolates with photos, text or any design printed on them with edible ink.

BROOMSTICKS!

August, 2017

(Apprentice of the Wind.  Original Piece by Imelda Almqvist)

Here is last night’s conversation in the Almqvist family (I wrote it down verbatim as it unfolded)

Youngest Son: “Mum, I know you fly around on your broomstick but I can’t see it anywhere!”

 

Me: “I have made my broomstick invisible – so no one borrows it without asking first. For instance Middle Son when he runs with elks in the Forest at midnight…

 

My husband: “I want a GPS on my broomstick so don’t end up having a full frontal collision with somebody else flying around in complete darkness…”

 

Middle Son: “I just want a normal broom for cleaning with no magical purposes…”

 

Eldest Son: “I want one that works!”

 

Youngest son: “And I want one with a special seat for a jaguar, my familiar!”

 

 

Middle Son: “And I want a secret locker on my broomstick for a special supply of crisps and treats!”

 

Maybe I should explain that Middle Son (15) really does go running in the Forest (here in remote rural Sweden) at midnight, often accompanied (or closely observed) by an elk or a herd of deer. After “women we run with wolves” it seems the next big thing is “teenagers who run with elks” – and never in the daytime. (His power animal is a wolf. I hope that those deer are safe!)

 

 

 

To me this is what it means to raise a family who keeps the innate gift for magic alive. Practising magic requires imagination and a good sense of humour!

 

Imelda Almqvist, Sweden, July 2017

 

***

 

About the author

Imelda Almqvist’s book Natural Born Shamans: A Spiritual Toolkit For Life (Using shamanism creatively with young people of all ages) was published by Moon in August 2016.  

 

 

She is based in London,UK and teaches shamanism and sacred art internationally.  She is a presenter on the Shamanism Global Summit 2017 as well as on Year of Ceremony with Sounds True.

www.shaman-healer-painter.co.uk

https://imeldaalmqvist.wordpress.com/

http://shamanismsummit.com/

 

 

Exploring the Penumbra: First Steps in Sorcery, Part 3

August, 2017

Filling the Boat with Water

The traveler in the penumbra must manage to integrate these strange practices into a reasonably normal life, or he may give the appearance of schizophrenia and wind up in an asylum, like the protagonist of the French film ‘La Vie a l’Envers [Life Upside Down]’. 1 It is probably not possible to avoid a certain appearance of eccentricity, but with circumspection one can avert raising a general alarm.

While sitting in an airport and maintaining peripheral vision I found it was enough to wear dark glasses and hold a magazine in front of my face, turning the pages occasionally, to avoid appearing odd. I called these tricks of protective coloration ‘alibis’.

I saw that every situation affords some opportunity for extending the attention beyond the lumina. In a restaurant it may be revolving shadows cast by a ceiling fan, a convenient thing to gaze at while waiting for one’s order to arrive, while of course maintaining an air of day-dreaming. This ever-present opportunity I called a ‘bindu,’ a Sanskrit word meaning a point from which new creation can emerge. So in every new situation I looked for the bindu and had an alibi ready for camouflage purposes.

This helped me to integrate sorcery into any given moment, but the question of integrating it into my life as a whole remained. I still built up my energy for two or three days and then wasted it through anger, worry, or mild obsession. I enjoyed the fluid lightness of continuous sensation, but could only save up just so much energy, since my thinking mind found so many ways to squander most of it. Accessing the energy, then, wasn’t enough; I had to find a way to save it and store it up if I wanted to make progress.

An eastern teaching says we are like leaky vessels; we should find the leaks and plug them before filling the vessel with water. This means correcting bad habits and purifying oneself ethically before opening the door to psychic development.

Exploring the penumbra, however, is like filling an old boat with water to find the leaks. The explorer saturates mind and body with the energy of the penumbra and then quietly observes what his personality does with the increased energy. The eastern

teaching is prudent, and the explorer should bear in mind that filling the boat with water can be risky at first until you know where your big leaks are. Although adventures can be therapeutic they also contain dangers. To protect themselves, seasoned travelers travel lightly, simplifying their lives by eliminating useless possessions, opinions, commitments, relationships, clutter of all sorts. Greater openness to sensations makes the explorer seek silence and solitude, and cutting down on distractions makes it easier to spot energy leaks and plug them.

After the leaks are plugged and the hull is caulked, the old boat can be launched into the sea of the unknown.

Bindus

Upon awakening, not putting on the light right away, but lying quietly, slipping gradually from sleep to waking. Watching the lights on the inside of the eyelids. Slowly beginning the camera, fluttering the eyelids open every third breath or so. After this getting up and moving around, keeping the attention in the penumbra for a few more moments.

Driving to work around dawn, watching the long shadows of trees fall across the face like weightless waves, shadow-surf. The eyes seem to feel things.

Noon, cars gliding by on their shadows like carpets fixed to the wheels, yet the wheels roll over them just the same, a visible contradiction.

Swimming slowly across the pool, watching unrepeatable detail, lights wriggling like phosphorescent worms along the bottom, how light this body, how long the breath can be held!

Restaurants are excellent for peripheral listening, even better in the evening, by a window or in a glassed-in patio, mixing reflections with listening. Ocean of conversations all together, surging and falling to a great tide.

Lights at night, exquisite when the mind is quiet. Reflections of the interior mingled with views of the night outside. This mind wants to see either the reflections or the night, so watch them both. Headlights of cars beyond the inlet moving across the forehead of that woman eating at the next table wearing a streetlamp behind her left ear.

In the evening listening to distant sounds, letting my ears travel to the limits of the night, echoing fugitive noises until the dark flows back into my mind and the night is inside and all around me.

Late at night, off with the reading lamp, shutting the eyes, falling-asleep thoughts mingling with phosphenes. Those vague lights and patterns will be woven into dream images. My day begins and ends with this book that only I can read.

Blendings

“I’ve always got some tune or other going through my head,” my father said.

Minor obsessions like tunes that stick in the head waste a lot of energy but can be dispelled by blending them with sounds heard in the moment. Begin by echoing sounds a moment after they occur. Let the pace quicken on its own, until you are echoing sounds immediately upon hearing them. Now listen to the tune and the echo together as though they were a duet, like one of John Cage’s chance compositions.

The mind will find a rhythm common to them and they will sound as though they were keeping together within it. Presently, the inner tune will be absorbed into the outer sound, and only the outer will remain.

Mental tunes and inner talking can also be absorbed into visual movement. Watch how things move, observe their rhythm and let the mind blend with it.

When I am sleepless or otherwise caught up with obsessive thoughts, I can blend them with the rhythm or sound of my breathing, the way sitar music blends with the droning tamboura in the background.

If I try to suppress thoughts, they will only grow stronger; so instead I blend them like tunes into external sounds, letting them reverberate and die away on their own. The solution to these small dilemmas can be found in this moment of sensation.

Sometimes, when I am upset about something I can’t do anything about for the present, I begin obsessively repeating what I am going to say when the time comes. Pointless rehearsing, as opposed to intelligent planning, is a major energy leak in the hull of my boat.

At other times, dissatisfied with my response or role in a situation recently past, I will begin rehashing the situation over again, seeking to look better in my own eyes; or else I will hug to myself some quick response I made that drew laughter or applause. Either way, I waste a lot of energy in my obsessive concern over how I appear to others.

Like all trains of thought, the rehash and the rehearsal can be blended into sounds just heard, or into visual sensations. The echo, in conjunction with other explorations, lets me build up enough energy to sidestep the rehearsal and rehash before they capture my attention.

The wake of the moment just past often contains a ready-made synopsis of my life’s ongoing story. Maintaining a running story-line for my life and worrying over the plot is a full-time job and engages most of my energy.

If I blend the synopsis with sounds of the present moment my story starts

to fade, and is eventually replaced with a series of timeless pictures, like the calm

colored illustrations by Clement Hurd to Margaret Wise Brown’s children’s book

Goodnight Moon. 2

These pictures convey the feeling of immediacy enjoyed by very small children. Here is a small rabbit saying good-night to all his familiar companions: chairs, a red balloon, the moon in the window. This ‘great green room’ must be his first room, where everything began for him; only this is near the beginning and his story hasn’t really started yet. Instead there is a series of timeless moments, each complete in itself. Everything fits together and makes sense the way pictures make sense, but the moments following each other do not add up to a story because there is no plot and no synopsis.

Mirages

When my second son was little, we used to take evening walks. On the way home one night suddenly we both looked at the moon. “It’s following us home,” I said, with that slight twinge of guilt parents feel when they’re lying about Santa Claus. Then it occurred to me that I hadn’t noticed this for years, probably since being told it was an illusion.

Here was an experience usually ignored, like the shadow carpets of moving cars or the fuzzy sensations that are all I can see of my head without a mirror. These sensations, rejected once we ‘knew better,’ are doors into the penumbra. I decided to call them ‘mirages,’ because like desert mirages they tend to melt away when we suddenly see through them.

The mind’s proclivity for placing unrelated sounds in some sort of rhythmic pattern, so that all the conversations in a restaurant, for instance, seem to swell and fall in a great tidal pulse, was mentioned earlier. In the preceding section its usefulness for stopping mild obsessions by ‘blending’ them into external sounds was described. These explorations make use of the energy locked up in mirages.

When out walking on a windy day, attend to the wind in rhythm with your breathing. Don’t try to control your breathing, but follow the sound and feeling of breathing while listening to the wind as though it were the breathing of some enormous animal. Breathe with the wind, then breathe in response to the wind.

When clouds are packed up in more than one layer, look at one cloud and reverse it with the cloud in back or in front of it, switching figure and ground. This one is from my brother, a field surveyor. [W.W.]

The ancient Norse seeking their farmstead idols collected stumps and rocks and such that seemed to have faces carved in them by nature. 3 These were regarded as beings trying to emerge from stock or stone, and were carved and decorated just enough to help them come out. Like the Surrealist painter Salvador Dali, they looked for hidden faces in things.

We look at faces differently from mere objects, because faces look back. The explorer finds faces in wood grain, clouds or foliage and looks, then gazes at them as if they were faces looking back, without believing or disbelieving that they are. This is a good follow-up to the camera or echo, and augments or fine-tunes their effect.

Watching phosphenes leads to a feeling of being asleep while knowing one is awake. The next two mirages also play with the border between sleeping and waking and result in strong surges of energy accompanied by strange feelings.

When it is difficult to dispel the feeling of a dream, or if you simply recall the flavor of some dream, whether recent or from long ago, project its feeling into the current waking situation; that is, look for qualities or features similar to the dream and blend them with your memory of its mood or atmosphere. Pretend the dream is happening right now and you are temporarily aware that you are dreaming.

When you have actually had a lucid dream and can remember how it felt, project that feeling into the present waking moment and look at everything as though you were back in that dream. As lucid dreamers know, anything in a dream is a potential distraction that can make the dreamer lose his lucidity, so you want to look at things warily, without being drawn into them. Once you are drawn in you will forget you are dreaming and it will become an ordinary dream again. If you do this while awake, you will receive a strong jolt of energy.

We have a major energy investment tied up in the isolation of dreams from waking reality, which makes it very difficult for most people to become lucid dreamers. I will conclude by considering this barrier to lucid dreaming, and how it might be overcome through a mirage.

Lucid Dreaming and Lucid Waking

Cultures that accord a measure of reality, and therefore of importance, to dreams offer the advantage of providing a contrast to waking moments. Consequently, the members of those cultures are more aware of the fact that they are awake in their waking moments, just as they tend more often to be aware that they are dreaming in their dreaming moments.

Cultures like ours that tacitly dismiss the reality, and therefore the importance,

of dreams offer no contrast to waking moments. Consequently, the members of cultures like ours tend to forget they are awake or dreaming when either is the case, getting caught up instead in the plot of a running story-line, whether of the dream or of their waking lives.

When dreams become lucid, the dreamer realizes “Now I am dreaming. This is a dream.” The dreamer can stand back from the dream-story and change the dream’s course. Our language has no term for the waking state corresponding to the word ‘dream’, and a ‘wake’ means an all-night vigil by a corpse; so I will use the word ‘waking’ to mean a sequence of experiences between waking up and falling asleep again. Now we can say that when wakings become lucid, the waker realizes “Now I am awake. This is a waking.” The waker can then stand back from the waking-story and change the waking’s course in ways that are impossible for the non-lucid waker. Instead of tinkering with the plot of our running story-line, we want to step out of it altogether, because ‘the more it changes, the more it remains the same’.

To step outside the plot of my waking-story, I must be truly aware that I am awake when I am awake; just as to step outside the plot of my dream-story, I must be truly aware that I am dreaming when I dream. Neither state is possible without the other. To wake lucidly, I must begin to see all this that is happening now as a waking, not simply take it tacitly as reality. And to do this, I must restore the dream to its own reality, its own importance in my life. Whether dreaming or waking, I must take nothing for granted and accept every experience as important and relevant to my life as a whole.

Bibliography

and films referenced in the text. I list the editions I use, including works I own by authors cited in the text or footnotes.

BROWN, Margaret Wise, Goodnight Moon, pictures by Clement Hurd. Harper and Row,

1947.

CASTANEDA, Carlos, The Teachings of Don Juan; a Yaqui Way of Knowledge. New York, Ballantine , fifteenth printing, 1973.

________________, A Separate Reality; Further Conversations with Don Juan. New York, Simon and Schuster, second printing, 1971.

________________, Journey to Ixtlan; the Lessons of Don Juan. New York, Simon and Schuster, first paperback edition, 1973.

COLLINGWOOD, R. G., The New Leviathan, on Man, Society, Civilization and Barbarism. Oxford, Clarendon Press, 1958.

DAVIDSON, H. R. Ellis, Pagan Scandinavia. New York: F.A. Praeger, 1967.

HARDING, D. E., On Having No Head; Zen and the Re-discovery of the Obvious. London and New York, Arkana, 1986.

JESSUA, Alain, “Life Upside Down [La Vie a l’Envers].” Film, French, Connoisseur Videos, 1965. Written and directed by Alain Jessua.

WITTGENSTEIN, Ludwig, Tractatus logico-philosophicus. London, New York: Routledge, 1990.

Glossary

Alibi: An activity or prop designed to camouflage exploring the penumbra in a public or social situation.

Bindu: An opportunity, or the best opportunity available, for placing the attention in the penumbra in the present moment; every moment contains at least one bindu.

Blending: Paying attention to two sensations at a time, noting especially similarities in rhythm between them, whether audible or visible rhythm. Where one of the sensations is mental and the other external, the purpose of blending is to let the latter absorb the former.

Camera: Shutting the eyes and, at intervals, opening and shutting them again fairly rapidly.

Echo: Mentally reproducing sounds just heard, or visual rhythms just seen.

Flickerings or Pre-thoughts: Impulses to thought that enter awareness at the visual periphery and are experienced there as perturbations of attention.

Gazing: Spreading the attention to the side, or above or below, of wherever the eyes are pointing.

Gazing from the side: Directing the eyes to the side, or above or below, an object while spreading the attention to the object itself.

Gazing to the side: Directing the eyes at an object while spreading the attention to the side, or above or below, that object.

Headless gazing: Keeping the attention on what little we can see of our heads without using a reflecting surface.

Looking: Directing the attention to wherever the eyes are pointing.

Lucid dream: A dream in which the dreamer realizes he or she is dreaming; often experienced in the course of waking up.

Lucid waking: A waking experience in which one has a heightened sense of being awake in the present moment, accompanied by a sense of separation from one’s personal story or ‘synopsis’ (q.v.).

Lumina: That mental space used for both thinking and looking.

Mirages: Sensory illusions that provide energy so long as we experience them without ‘seeing through’ them. i.e., while suspending disbelief.

Not-Doing: Performing an everyday act in an unusual way; doing what you don’t usually do, and/or not doing what you usually do. A full act of not-doing will involve both simultaneously. A term coined (or transmitted) by Carlos Castaneda in his books, beginning with Journey to Ixtlan.

Penumbra: That mental space used for gazing at things seen to the side, or above or below, of wherever the eyes are pointing; that mental space used for listening to background sounds or attending to other background sensations or memories.

Peripheral sensations: Any sensations, including memories, that are available to attention but generally ignored.

Periphery: The limits of the visual field, only indirectly perceivable; analogously, the limits of the other senses.

Phosphenes: The visual impressions we get when pressure from the eyelids (or some other source) is applied to the retina.

Pre-thoughts: See Flickerings or Pre-thoughts.

Rehash: A mental review of a previous conversation or situation.

Rehearsal: An anticipation of a future conversation or situation.

Spirit candle: Crossing the eyes while looking at two candles of the same size and shape but different colors, making a third apparent candle between them; the apparent candle itself.

Spirit door: Crossing the eyes while looking at a candle, making two apparent candles with a space between them; the space between the candles.

Spirit wind: A mental and physical experience similar to flying, resulting from prolonged practice of the echo with some other exploration, such as watching eyeglass frames.

Synopsis: A running story-line of one’s life, the thing we refer to when answering the question “How are you doing?”.

Thinking: Talking to oneself mentally.

Tracking: Letting the attention follow the eyes as they move deliberately from one object to another.

Umbra: That mental space which registers the existence of objects beyond the current limits of sensation, such as objects in back of the head; or of objects which turn with the head and so remain out of view yet somehow make their presence felt.

Waking: Waking experience, regarded as a mental event different from, but on a par with, dreaming.

Wall vision: Opening the eyes minimally, as Zen Buddhists do while meditating in front

of a wall.

Wordless knowledge: New awareness of something that previously has gone unnoticed, and for which we therefore lack a name.

Index of Explorations

In some cases these explorations are given a name in the text, in others I provide a short description. The numbers following the entry refer to page and paragraph.

Blending all conversations in a restaurant together, 21.5

breath with the wind, 24.4

distant night sounds together, 21.7

effects of an exploration with silence afterwards, 8.2

falling-asleep thoughts with phosphenes, 21.8

mental tunes with sounds, 22.2

mental tunes with visual sensations, 22.3

peripheral listening with gazing at reflections, 21.5

phosphenes with dream images, 21.8

phosphenes with sounds, 16.7

reflections in a window with things seen through the window, 21.6

thoughts with background sensations, 8.2, 8.5

thoughts with breathing, 22.4

thoughts with sounds or visual sensations, 22.3, 22.5, 22.8, 23.1

rehash with sounds or visual sensations, 22.8

rehearsal with sounds or visual sensations, 22.8

synopsis with sounds or visual sensations, 23.1

Blinking, long, 14.7

Camera, 14.1 – 14.6

before a changing scene, 14.2

swing, 14.6

varying number of breaths, 14.5

varying shutter speed, 14.5

while walking, 14.3

with crossing the eyes unfocused, 17.2

with looking at phosphenes, 16.4

Crossing the eyes, focused, 17.3 – 17.7

with one candle, 17.3 – 17.6. The spirit door.

with two candles, 17.7 The spirit candle.

with three or more candles and mirrors, 18.1

Crossing the eyes, unfocused, 17.1

preliminary relaxation, 17.1

with the camera, 17.2

Echo, 12.1 – 12.3, 12.7

as companion or feedback signal, 12.7

delayed, 12.2, 22.1

flying on the, 12.3 – 12.7, 13.1. The spirit wind.

immediate, 12.2, 22.1

in a group circle, 13.2

prevents compulsive thinking, 22.8

used in a blending, 22.1

with gazing at eyeglass frames, 12.3

Eyelids, widening and narrowing the, 15.1

Gazing at eyeglass frames, 9.4

at foliage, 6.5

at hidden faces, 25.3, 25.4

at reflections, 6.5

at revolving ceiling fan reflections, 19.3

at shadows, 6.5

at shadow carpets of cars, 6.5, 21.3, 24.2

at shadow surf, 21.2

at the periphery, 9.2, 9.3

at unrepeatable detail, 21.4

from the side, 6.4, 17.6

general, 6.5

headless, 10.1, 10.2

to the side, 6.2 – 6.4, 17.6

with peripheral listening, 6.5, 9.4

with the echo, 12.3

Looking at phosphenes. See Phosphenes, looking at.

Looking, peripheral, 5.3, 5.4

Mirages:

gazing at hidden faces, 24.6, 24.7

headlessness, 24.2

moon as companion, 24.1

projecting the feeling of a dream, 25.2

projecting the feeling of a lucid dream, 25.3

shadow carpets of cars, 24.2

switching figure and ground with cloud layers, 24.5

wakings, 26.3, 26.4

wind as breath, 24.4

Peripheral feeling, 5.3

gazing, 5.4

listening, 5.2, 5.4

listening and gazing, 6.5, 9.4

looking, 5.3, 5.4

memory, 5.5, 11.2 – 11.4

Phosphenes, following the changes in, 16.3

looking at, 16.2 – 16.7, 25.1

switching figure and ground, 16.3

tracking from side to side, 16.5

with the camera, 16.4

with the echo, 16.7

Savoring the moment just past, 8.2

See Blending: effects of an exploration with silence afterwards

thoughts with background sensations

Sensing everything at once, 5.2, 7.1, 9.2, 9.5, 14.6, 17.1

Spirit wind, the, 12.3 – 12.7, 13.1 See Echo, flying on the

Tracking, by tensing eye muscles, 14.5

phosphenes, 16.5

test for, 9.5

using a mirror, 9.5

Wall vision, 16.6

1 Jessua, Alain, writer and director. See bibliography.

2 Brown, Margaret Wise. See bibliography.

3 Davidson, H.R. Ellis, Pagan Scandinavia. See bibliography.

Notes from the Apothecary

August, 2017

Notes from the Apothecary: Self Heal

 

 

Prunella vulgaris; prunel, brunell, carpenter’s herb, hook heal, sickle-wort; a common herb in the British isles, and indeed most places in the Northern Hemisphere; currently creeping its way across my lawn, unapologetically purple. I was delighted to find this magical little plant as a ‘freebie’; we didn’t cultivate it, it’s completely made its own way in and it is most welcome. The plant has a long history of medical use, being commented upon by Gerard, Culpeper and many other renowned herbalists and botanists, for its wide-ranging uses, which we will examine further below.

 

Although useful as a magical plant, we don’t find it in Cunningham or similar books, yet there is much history surrounding this little miracle plant.

 

The Kitchen Garden

 

Eat the Weeds tells us that the young leaves can be eaten raw or cooked, however the raw leaves can be slightly bitter. This may be an option if you are really low on greens, but I would only cultivate this plant to be harvested as an herb, or simply to be enjoyed as an extremely beautiful addition to any garden.

 

Purple flowers in the garden help attract bees and butterflies, and bees in particular really love this plant (see the pic I took at the top of the article; I had bent down to shoot the flower when the bee buzzed in, a couple of inches from my nose!). If you grow your own herbs, fruits and vegetable, it’s essential that you encourage pollinators, so self heal is ideal for this.

 

The Apothecary

 

Where to start. The common name, self heal, tells you all you need to know and not very much at the same time. We get that sense that for centuries, this plant has been revered for its healing properties, but what exactly does it do?

 

Mrs Grieve tells us that the whole plant may be used medicinally, as an astringent (causes cells to contract), a styptic (stops bleeding) and a tonic (a general restorative). She recommends 1oz of the plant mixed with a pint of boiling water, to make an infusion which is considered a ‘strengthener’. She also recommends the same infusion mixed with honey (yum, back to the bees again) and used as a gargle for sore throats and mouth ulcers.

 

In 1657 William Coles wrote Adam in Eden or Nature’s Paradise: The History of Plants, Fruits, Herbs and Flowers. In this ambitious volume he mentions self heal several times, including making a remedy for quinsy (a serious complication arising from tonsillitis) made with a combination of self heal, jew’s ear fungus and elder honey. Seriously, if you are at risk of quinsy though, see a doctor! It’s worth noting that Coles was a staunch advocate of the Doctrine of Signatures, the idea that plants look like the part of the body they are useful for healing. He believed that God would have wanted mankind to know what each plant was useful for. Sadly, this strategy doesn’t always follow through, which is why it’s always important to research your herbs thoroughly and scientifically.

 

Coles also wrote that ‘There is not a better wound-herbe in the world’ and recommended it for leaning wounds to stop infection, and to soothe the nipples of breastfeeding women who had been bitten by their enthusiastic babies. He also concurred with Mrs Grieve in that it is a useful tonic for sore throats, particularly those accompanied by a fever, most likely tonsillitis again.

 

Culpeper tells us that there is a proverb:

That he needs neither physician nor surgeon that hath self-heal and sanicle to help himself.

 

So self heal, along with other herbs such as sanicle, mentioned here, can be seen as an essential part of a herbal first aid kit, or it certainly was as far back as the 17th century, if not much earlier.

 

The Lab

 

In modern medicine, there is hope that self heal may hold some anti-viral properties, and may even be useful in the treatment or prevention of cancer. The plant is capable of inhibiting a virus’s ability to replicate itself, so may be very useful in modern anti-viral drugs. So far tests have been done involving the herpes virus and HIV. More testing needs to be done though, to find conclusive evidence on this.

 

There is also some indication that self heal could be useful for diabetes sufferers, although again, this theory is in its very early stages.

 

The Witch’s Kitchen

 

 

There is anecdotal superstition that witches grew self heal in their gardens to hide their malicious activities. Self heal is so common that most people would not look twice at it, so perhaps it was used to mask other, more interesting herbs.

 

Culpeper wrote that self heal was ‘another herb of Venus’, lending the plant a feminine aspect and associations with both the planet and the goddess of the same name. Venus speaks to us of love, sex, sensuality and beauty; not just physical beauty but art, music and all types of creativity. Self heal can be seen as a catalyst for not only healing the body, but healing the soul, and reminding us not to be ‘all work and no play’. Self heal on the altar or in a sacred space can be a symbol for repairing or building a friendship, or perhaps a more intense relationship.

 

Venus is also associated with wealth, and by extension work, business, career and other opportunities. Self heal in a button-hole might be an easy amulet to wear for a job interview, or a business meeting. If this is too ostentatious, try some leaves or flowers in a tiny bag in your pocket, perhaps with a small rock to remind you to be grounded and true to your ideals.

 

Venus, as a goddess, is also associated with victory and triumphs, so self heal can be used as a tool to help you achieve your goals. Place leaves or flowers around you while you visualise your goals coming to fruition. Picture yourself where you want to be; getting that job, winning that race, overcoming stage fright or, for writers like myself, getting that next book contract! Crush a leaf and smear some of the juice on your forehead. This is activating your magical and energetic connection to the parts of the universe you cannot see with your eyes alone, and will help cement your will. Remember to make a commitment to do the work required in the physical world, and ensure you stick to it.

 

If the plants grow nearby, water them and thank them for their help. Always wash the juice off your skin afterwards, and if an irritation occurs, as with any substance, wash it off immediately and seek medical help if necessary.

 

Home and Hearth

 

If you don’t mind the odd ‘weed’ in your lawn, let self heal be when it pops up in your garden. The delightful purple flowers will encourage bees and other beauties, and purple reminds us of spirit, universal energy and balance. As such, you can pick some of the flowers for your late spring/early summer altar, depending on when your flowering season occurs. Mine are just starting to wilt, the glorious violet blooms dropping away to leave the empty flowers heads which have a similarity to ears of corn, making them a lovely decoration for a harvest celebration or Lammas altar.

 

I Never Knew…

 

In Ireland the herb is known as Ceannbhán beag, which translates as ‘little bog cotton’.

 

All images copyright 2017, Mabh Savage.

 

***

 

Mabh Savage is a Pagan author, poet and musician, as well as a freelance journalist.

She is the author of:

 

 A Modern Celt: Seeking the Ancestors

 

 

and

 

Pagan Portals: Celtic Witchcraft.

 

 

Follow Mabh on Twitter, Facebook and her blog.

GoodGod!

August, 2017

Meet the Gods: Barleycorn

Merry meet.

Lughnasadh is celebrated this month – traditionally on the 1st, astrologically on the 7th. It is the first harvest, a festival of grain. While traditionally in Europe, corn meant grain, many Americans have come to think of corn only as maize. Because I know of no fields of rye, oats or barley here in Connecticut, maize has been my go-to grain.

While it’s found its way into my rituals as corn muffins, corn dollies and fry bread – to go with the bounty from my garden – I had never sought to welcome the corn god to my circle. This year I will.

Most cultures have a god of grains, fields or agriculture.

 

(Frey)

In the Norse tradition, Frey was the Corn God, the Lord of the Fields. He rode a great white horse and his hair was the golden color of wheat. Every year, he rode into the field where only the last sheath of grain remained standing. He sacrificed himself as it was cut, dying for the good of all as his blood enriched the field to assure next year’s harvest was bountiful.

 

(Osiris)

In Egyptian mythology, it is Osiris who is associated with grain and its lifecycle. He is represents fertility as each year he is harvested and killed. The dead Osiris is put into the ground as seeds which grow to be grain, bringing him to life again.

 

(Yum Kaaz)

The Maya god of corn and wild vegetation is Yum Kaaz, Lord of the Forest.

He is portrayed as a young man with an ear of corn growing out of his head,” according to AllAboutHistory.org.

 

(Centeotl)

Centeotl is the Aztec God (or Goddess) of Maize. Farmers would offer him fruits and grains from their fields that he might protect their fields from wild animals.

Perhaps the best known corn king and harvest god is John Barleycorn. In the English tradition, August 1 marked the sacrificial death of the Horned God in his incarnations as the Corn King or John Barleycorn whose reign began on the Summer Solstice. He is the personification of the lifecycle of grain – from planting to harvest, then malting to make whiskey and beer, and then to planting again.

There is a ballad sung about him.

 

John Barleycorn is the spirit of the fields that at this time are full crops given life by the sun. And it is in the last sheaf or stalk harvested that his spirit is strongest, so he’s dressed in fine clothing, or formed into the shape of a man and this effigy would be cut and typically burned with much celebrating. His sacrifice for the land, for the people and for the goddess became beer and malt whiskey and bread.

The Druid’s sacrificial burning of a larger-than-life wicker man may have been the inspiration for Burning Man. Both rituals are associated with death and rebirth of the god of the grain.

Lughnasadh is a time of transformation, of rebirth and new beginnings. It’s a time of plenty, a time to reap the bounty of your efforts and celebrate abundance that will sustain us as the wheel turns.

After calling the quarters, plan to light a candle shaped like an ear of corn to welcome one or more of these gods. Meanwhile, I would like to know how you’ve worked with them in your practice.

Merry part; and merry meet again.

 

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