Death is Smiling

We were walking in Carrollton Cemetery yesterday. This is one of the very few cemeteries in New Orleans that has an in-ground portion of the cemetery. This was lying casually on top of a grave.

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There’s more than one reason that we use the raised tombs found here in our famous cities of the dead. Our water table is so high that remains often come back up. It’s hard to keep the dead down in this watery place.

Of course we left it alone, but it was a very visceral reminder of what time of year it is. Blessed Samhain and remember, when death smiles at you today and tomorrow, it’s probably not a good idea to smile back.

That skull had a tongue in it, and could sing once…

If you want to help the cemeteries here in New Orleans, you can donate or volunteer for Save Our Cemeteries, an organization “dedicated to the preservation, promotion, and protection of New Orleans’ historic cemeteries through restoration, education, and advocacy.”

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Don’t Look Back

Dead things…dead things everywhere! It is that time of the year when the veil is thin and it is so much easier to walk back and forth between the worlds. Lately, on our walks through New Orleans, we have been finding many dead things.

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Found dead, Acadian Flycatcher, photo by my S.O.

The weather is finally cooling off here in New Orleans and Fall is upon us. My mother sent me this beautiful picture from her garden in Ohio.

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Fate is weaving her web for the new year and it’s time to get ready for the winter.

This is of course the time of year when the Goddess is making her way to the Underworld and it’s hard not to think about Persephone and Inanna and all the other various Underworld Goddess tales we know. The Hades and Persephone myth is probably one of the most well known tales in any tradition or culture and at least here in the US, one that most of us find fairly early on. I grew up loving this story and it has been interesting for me over the years to see how my understanding of the tale changes over time and through aging.

I stumbled across this favorite tumblr meme recently and it always makes me laugh a little.

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The tale of Orpheus and Eurydice is of course an excellent example Hades allowing a soul to leave. Eurydice is bitten by a snake and dies and Orpheus, who loves his wife so much, goes to the Underworld to ask Hades to allow her to come back to life.

(You can find a beautiful reading of Virgil’s Orpheus and Eurydice in Latin here).

I’ve always disliked Orpheus. His inability to not follow Hades’ directions to not look back bothers me. How can you go through so much to give up at the last minute?

Orpheus is impatient and this is his downfall.

Looking at the dead or the divine or the sacred is a taboo in many cultures.

Semele looks at Zeus and is completely destroyed.

Those who look at the Gorgon are turned to stone.

Pysche looks upon Eros and is cast out of her home and away from her husband and she must venture to the Underworld to win her right to her divine husband back.

Lot’s wife looks back at Sodom and is turned into a pillar of salt.

Peeping Tom peeps at Lady Godiva as she rides by and is blinded for his lack of respect.

But why this rule in the case of Orpheus and Eurydice?

It is often believed that if Orpheus had looked back at Eurydice while she was still technically dead, he would have seen secrets that he, a mere mortal, literally couldn’t stand to see and would, like Semele, be obliterated by the sight of such immortal things.

In the mortal world, we find it important to look someone “in the eye.” Anyone who can’t do so, is generally considered to be deceitful or up to no good. So it’s interesting that not looking is such an important part of myth and fairy tale.

There are many recipes for salves to put on one’s eyes to allow you to see fairy. Of course, if the fey figure out that you can see them, there are also many stories of those who use the salves being blinded by the fey who know what they are doing.

It is never good to attract the attention of the divine or magical.

I stumbled across a short video series by Gia Coppola and Gucci for Vogue, the series is a retelling of the Myth of Orpheus and Eurydice using fashion and NY to express the familiar tale.

It’s beautifully done and I love this video series, because Coppola manages to make you understand why Orpheus looks back. In this scenario, I might have looked back too!

 

 

 

 

Aristaeus plays a big role here. In some versions of the tale, Aristaeus fell in love with Eurydice, chasing her so that she is caught unawares by the snake that bites her. Here it’s interesting that Aristaeus is a woman in red, which symbolizes things like love and lust and vanity. She cannot quit watching Eurydice, inadvertently killing the very thing she wants, which is later echoed by Orpheus himself: “Orpheus’s bomber is stitched with the words “L’Aveugle Par Amour”– blind for love. In the film’s last scenes, we hope Orpheus will heed the phrase and keep his eyes off Eurydice, even as we—and he—know that he won’t” (Studeman, 2016). Orpheus is so distraught over losing Eurydice a second time, that he disdains women for all time. Later, the Maenads tear him apart for this hubris.

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I think that one of the things these videos proves is that the old myths are never actually old. They are still relevant to us today and still have many things to teach us, even though things have changed so much between their origins and now.

Don’t look back at the things the gods give us. They bring us only heartache and ruin. The gifts of the divine, especially when we transverse the Underworld, should never be taken for granted.

Don’t eat the fruit of the gods or fairy, unless you’re willing to be entrapped and don’t look at the divine unless you want to lose everything.

During this time of year, when the veil is thin, this is an important lesson to remember.

 

References:

Bonaparte, M. (1954). The fault of orpheus in reverse. The International Journal of Psycho-Analysis, 35, 109. Retrieved from http://search.proquest.com/docview/1298189715?accountid=14437

Studeman, K.T. (2016). Gia Coppola’s New Film Takes Downtown Cool to Mythic Levels: A cast of Gucci-clad scenesters animate the director’s Orpheus series. W. Retrieved from http://www.wmagazine.com/culture/2016/06/gucci-orpheus-gia-coppola-lou-doillon/photos/

Mabon, the Sacred King and Sacrifice

Blessed Mabon! A little late.

This is a good time of year to talk about the idea of the Sacred King and the Barley Man.

This part of the year, from Litha through Samhain, is focused on the young God and the sacrifice that will guarantee the continuity of the crops. The young god must die with this year’s harvest, and then enter the Underworld, so that he can be reborn in the crops of the following year. It is only through the sacrifice of the king that the people can flourish. Mabon (pronounced MAB-un) is at the center of this cycle.

Six weeks ago, at Lughnasadh, we celebrated the sacred games (named for Lugh, the Irish God of all skills). The winner of these types of sacred games is often crowned the king of the year, and at Mabon, the old king is sacrificed in a variety of different ways for the fertility of the fields. In some places, this is done every year. In other places, it’s either a three, four, five or seven year cycle. The seven year king cycle is found across multiple mythologies.

Looking across the wheel to Ostara, the goddess returns from the Underworld. At Beltane, she and the young god enjoy themselves together. Litha is when the sacred marriage takes place, and at Lughnasadh he is crowned king. At Mabon, the young God must die; and at Samhain, the Goddess travels back to the Underworld to be with him and start the cycle all over again (think of Persephone and Hades as an example of this).

In Wicca, we constantly celebrate the cycle of the Old God, the Young God and the Goddess. This is a cyclical mythology found across European mythology.

James Frazer talks about this idea in The Golden Bough, a book that you can read and reread over and over and still learn new things every time.

“IN THE CASES hitherto described, the divine king or priest is suffered by his people to retain office until some outward defect, some visible symptom of failing health or advancing age, warns them that he is no longer equal to the discharge of his divine duties; but not until such symptoms have made their appearance is he put to death. Some peoples, however, appear to have thought it unsafe to wait for even the slightest symptom of decay and have preferred to kill the king while he was still in the full vigour of life. Accordingly, they have fixed a term beyond which he might not reign, and at the close of which he must die, the term fixed upon being short enough to exclude the probability of his degenerating physically in the interval.” ~ Chapter 24, The Killing of the Divine King, Section 3. Kings killed at the End of a Fixed Term.

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I actually came across this concept for the first time when in middle school I read Mary Renault’s The King Must Die . While this novel is historical fiction; it follows the life of the hero Theseus (famous for defeating the Minotaur in Crete) and looks at the transition from matriarchal society to a patriarchal one in ancient Greece. Reading this novel made me immediately think of Demeter and the rites at Eleusis.(I highly recommend this novel for anyone interested in this mythology. I read it when I was fairly young, but it is an adult novel with a lot of amazing mythological insights).

While Demeter searches for her daughter, She comes to the home of a human family.

And thus it came to pass that the splendid son of bright-minded Keleos, Dêmophôn,[25] who was born to well-girded Metaneira, was nourished in the palace, and he grew up like a daimôn, not eating grain, not sucking from the breast. But Demeter used to anoint him with ambrosia, as if he had been born of the goddess, and she would breathe down her sweet breath on him as she held him to her bosom. At nights she would conceal him within the menos of fire, as if he were a smoldering log, and his philoi parents were kept unaware. But they marveled at how full in bloom he came to be, and to look at him was like looking at the gods.[26] Now Demeter would have made him ageless and immortal if it had not been for the heedlessness of well-girded Metaneira, who went spying one night, leaving her own fragrant bedchamber, and caught sight of it [what Demeter was doing]. She let out a shriek and struck her two thighs,[27] afraid for her child. She had made a big mistake in her thûmos. Weeping, she spoke these winged words: “My child! Demophon! The stranger, this woman, is making you disappear in a mass of flames! This is making me weep in lamentation [goos]. This is giving me baneful anguish!” So she spoke, weeping. And the resplendent goddess heard her. Demeter, she of the beautiful garlands in the hair, became angry at her [Metaneira]. She [Demeter] took her [Metaneira’s] philos little boy, who had been born to her mother in the palace, beyond her expectations,—she took him in her immortal hands and put him down on the floor, away from her.[28] She had taken him out of the fire, very angry in her thûmos, and straightaway she spoke to well-girded Metaneira: “Ignorant humans! Heedless, unable to recognize in advance the difference between future good fortune [aisa] and future bad. In your heedlessness, you have made a big mistake, a mistake without remedy. I swear by the Styx,[29] the witness of oaths that gods make, as I say this: immortal and ageless for all all days would I have made your philos little boy, and I would have given him tîmê that is unwilting [a-phthi-tos].[30 But now there is no way for him to avoid death and doom.[31] Still, he will have a tîmê that is unwilting [a-phthi-tos], for all time, because he had once sat on my knees and slept in my arms. At the right hôrâ, every year, the sons of the Eleusinians will have a war, a terrible battle among each other. They will do so for all days to come.[32] I am Demeter, the holder of tîmai. I am the greatest boon and joy for immortals and mortals alike. But come! Let a great temple, with a great altar at its base be built by the entire dêmos. Make it at the foot of the acropolis and its steep walls. Make it loom over the well of Kallikhoron,[33] on a prominent hill. And I will myself instruct you in the sacred rites so that, in the future you may perform the rituals in the proper way and thus be pleasing to my noos.” ~ Homeric Hymn to Demeter, lins 233-274

She taught this little boy the mysteries of agriculture, how to sow and harvest the fields. While he didn’t end up being immortal, he was given a great gift, and is considered to be the founder of the Great Rites.

The greater rites were held in September and celebrated the Persephone myth. While whatever happened in detail at the rites is unknown, we do know that an initiation took place where those shown the mysteries came out with a greater understanding of death. Games and feasting were an important part of the celebration. Cicero wrote “Nothing is higher than these mysteries…they have not only shown us how to live joyfully but they have taught us how to die with a better hope”.  (If you want to read further, I found this article).

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In my coven, we celebrate the great harvest with a sacrifice of the barley man (called John Barleycorn in the British tradition). While the first fruits of the agricultural cycle are available around Lughnasadh, Mabon is when the fields are really ready for the first full harvest. At Samhain, we celebrate the final slaughter of the animals and the last harvest before winter comes. We send the Goddess off to the Underworld and turn inward for the cold months. But at Mabon, it’s time to celebrate the fruition of all our work throughout the year. It’s a time when we can fully reap everything that has been sown, both physically and spiritually. It’s a time for joy and celebration, but also time to sacrifice to ensure that the crops grow again next year.

While ancient cultures may have literally sacrificed the king, we are slightly removed. So we take the symbolic fruits of our labor and bake a Barley Man. I use gingerbread. Molasses, flour and brown sugar are all ingredients that are grown and produced here in Louisiana. Because we are ensuring the fertility of the cycle, he becomes a very obscene barley man, and at the height of ritual, we “chop” his genitals off and slit his throat. He is later left outside and offered to the Gods to do with whatever they will.

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Feasting and celebration is a huge part of our ritual. This is our Thanksgiving. It is time to say thank you for the year that has past and start preparing for the year that is to come.

So feast and make merry and remember the sacrifice that goes into our lives. We may not be sacrificing the traditional way, but blood, sweat and tears still go into everything we have and do, and this is the time of year to celebrate that, embrace that and accept that sacrifice is necessary.

 

Blodeuwedd and Personal Agency

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Blodeuwedd by my SO

I work quite a lot with the goddess Blodeuwedd. If you’re not familiar with this Welsh goddess, she appears to us in the Fourth Branch of the Mabinogion, a collection of Welsh mythology. I’ve written about her here in other contexts, but a student recently asked me: “Why Blodeuwedd?”.  Blodeuwedd’s tale is not exactly happy or inspiring on the surface. My student asked, what was it about Blodeuwedd that drew me in?

The story goes that Blodeuwedd was created by the Gods Math and Gwydion from the flowers of the forest. The god Lleu has been rejected by his mother Arianrhod, who has refused to give him a name, weapons or to allow him to marry a human woman. Gwydion gets around these issues by tricking Arianrhod into naming Lleu and giving Lleu weapons, but to make sure Lleu can marry, Gwydion, with the help of Math, has to go a step further.

So they create a beautiful woman out of flowers (and as I have posited before), possibly from the spirit of a white Underworld goddess (death). Math and Gwydion arrogantly assume that this non-human woman that they’ve created will do as she’s told. And in the beginning, she does. She marries Lleu and for a while they are happy.

But, Lleu eventually goes off on a hunt and Blodeuwedd meets the hunter Gronw. The two conspire to kill Lleu, who can only be killed in very specific, very weird, way.

Blodeuwedd gets Lleu to tell her, and then show her, how he can be killed. To, you know, make sure it never happens, because she’s sooooo worried. As Lleu demonstrates how he might be killed, Gronw kills him, using goat, water, a house, and most pointedly, a spear. Blodeuwedd and Gronw walk happily off into the sunset.

Of course, the story doesn’t end there. Lleu being a god, isn’t actually dead, but transformed. Gwydion tromps off into the forest and eventually finds Lleu as an Eagle sitting up high in an oak tree. Through a lot of magical singing and poetry, Gwydion gets Lleu down from the tree and transforms him back into a man (or at least an anthromorph).

Lleu returns home, challenges and defeats Gronw, and Blodeuwedd ends up changed into

an owl, flying off into the forest. Some stories say that Lleu turns Blodeuwedd into an owl for her treachery, others say that it’s Gwydion that changes her. Still others say that Blodeuwedd changes herself into the Owl. Either way, Blodeuwedd goes from a flower, fertility goddess of the Spring/Summer, to a goddess of death and omens of the Autumn/Winter. In Welsh, the name Blodeuwedd literally means flower face, which is the word for owl. She is not one or the other, she is both and was always meant to be both. (Again, when you “create” someone out of flowers, using the spirit of death, what do you expect?)

So yes…not exactly a pleasant tale. Blodeuwedd has been represented by some as the ultimate victim. In her novelization of the Mabinogion, Evangeline Walton goes as far as to blame Her for the existence of rape! So, my student saw only what she perceived as treachery and subjugation.

What is so easy to forget, especially when reading this story through the translations of Christian monks, is that Blodeuwedd is not just some woman, she is a Goddess.

Blodeuwedd makes her own choices, with a full understanding of what she is setting in motion. She is the Goddess who moves the wheel of the year and it is through her actions and choices that this cycle continues.

When looked at objectively, this is an allegory for the agricultural cycle. Blodeuwedd spends time journeying back and fourth between the Upperworld and the Underworld. Lleu is the young sun god that blesses the fields. Gronw is the old stag of winter. The young god and the old god must fight it out every year, the young god dying at Litha, the old god winning at Yule. We see this throughout most European mythology.

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The Forming of Blodeuwedd by my SO

It is so easy to try to make Blodeuwedd into nothing more than a victim and to refuse to allow her agency over her own story. She is trapped between all of these men and her choice of Gronw is nothing but a selfish betrayal of her “husband.”

But Blodeuwedd is not a victim. She makes choices for herself. She does not simply stay married to Lleu because she is told to. She meets Gronw and knows that she belongs with him.

She is also not forced into marrying Lleu, though that certainly seems to be the intent of Math and Gwydion. Hey, let’s face it, Lleu is a hot young sun God: who wouldn’t want some of that? But to think that a Goddess couldn’t have refused to play along is sort of ridiculous. We all know that Math and Gwydion’s arrogance is what has gotten them into this mess to begin with, and they have both made decisions already that are, let’s face it, pretty stupid. They have already pissed off other powerful goddesses. Blodeuwedd chooses to marry Lleu, and then she chooses to get rid of him for someone else.

Blodeuwedd is not human. She has her own power and her own magic.

In the end, it all comes down to her actions and her choices to drive the tale and the events. Just like Persephone chose to eat those pomegranate seeds in Hades, Blodeuwedd chooses to take an Underworld lover.

When a Goddess ‘chooses’ you, you can feel it. Blodeuwedd definitely chose me. But while Blodeuwedd definitely chose me to be one of hers, I also heartily accepted Blodeuwedd as a patroness. Her choice, her decision, to do what is right for her, is so powerful. Her choices literally drive the seasons, the crops and the fertility of the world around us. She does not choose to make other people happy, she does not exist within social expectations. She is a goddess and she does what she needs to do for herself. It is her control over her choices that allows the world to flourish. She knows that her power, which is greater than that of either Gwydion, Math, Lleu or Gronw, is what truly matters in order for the world to cycle naturally. And how could I not be drawn by that power? She is the ultimate feminine choice. Her actions are not to make other people happy, but to what is right for herself. And I hope in this world, I can emulate her by living truthfully for myself in the same way. The choices I make are for me, not because someone tells me to make them. Blodeuwedd seeks happiness, and while that doesn’t always quite work out the way we might want it to, that is also life.

I am where I am today because of her. In looking back over the last few years, I know I was

chosen specifically to hold this place right here, right now because she saw as much in me as I see in her. The choices I have made definitely do not please other people. I have been vilified and many have tried to take my own personal agency away from me by making me into nothing more than a victim who obviously can’t choose for herself.

But just like Blodeuwedd, I am not a victim. I am a powerful, independent woman who stands by her own choices and by those she chooses to support. Are there consequences to that? Of course. But my truth is what drives me. You don’t have to agree with me, like me, or support me. You don’t matter in the sphere of the choices I make for myself and my family.

I too chose Gronw over Lleu, and I have never, not once in the midst of everything, regretted that.

And this is what Blodeuwedd teaches us. Our choices drive the world we exist in. Just because other people have influence on our lives or occasionally force us into doing things that we don’t want to do, doesn’t mean that we are beholden to acting the way others try to make us or expect us to act.

Blodeuwedd represents the ultimate female agency and choice.

So is this a story of victim-hood and subjugation? I don’t see it that way. I see Blodeuwedd doing what every person should do. She ignores the mantle of civilized expectations and makes choices that will fulfill her role and life. I proudly serve Her and hope that my own actions mirror hers.

I do not accept the role that others give me, and that is why I will walk away at the end of the day. If you can accept your power to make your own choices, you’ve already won and no one can take that from you.

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Goddess Secrets, by me!

What is a Witch

In the course of my job, I came across the book “What is a Witch” by Pam Grossman and Tin Can Forest. I highly recommend spending the $20 for this book. I wanted to share a few of the beautiful pages here because I think that all of the collaborators for this work really got it.

Sometimes you come across a piece of artwork or a book or some creative work that really touches the very heart of you. This book did that for me and I think it definitely deserves a place on the bookshelf of the modern witch.

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Beltane Traditions

Beltane, Beltain, May Day, Whitsun, White Sunday, Whitsuntide, Walpurgis, Floralia: whichever you want to call it, May Day has a long history of folkloric and Pagan traditions.

Traditionally celebrated when the first white flowering trees are blooming (in England this is the Hawthorne, in Ireland the Rowan and here in the US, either the Dogwood or the Magnolia), it is the springtime celebration of fertility, love, passion, fire and creativity. This is the sabbat that really embodies all of the sexuality that Paganism is known for.A day of joy and celebration, May Day celebrates the fertility of the fields and the union of the goddess and the god.

Have you ever heard the phrase “Marry in May, rue the day”? It comes from this holiday. Young lovers traditionally danced the bonfire and then went off to the fields to celebrate in the most traditional way possible. If you wound up pregnant from your May Day celebrations, you would get married in June since you could see that your union would be fruitful. If you married in May, before you knew whether or not you were pregnant, it was considered to be bad luck. There were women would end up pregnant after Beltane, but would choose to not get married, and the children that came from these unions would be given last names like Robinson, Hobson or Robson. These babies were thought to be sired by the gods and you will find many people in the UK with these types of last names today.

Robin Goodfellow, Puck, Hob, the Greenman, whatever you want to call him, was considered to be out and about on Beltane Eve, causing mischief for everybody.  Of course, the Bard of Avon has one of my favorite lines about Puck and his mischief on May Day.

FAIRY:
Either I mistake your shape and making quite,
Or else you are that shrewd and knavish sprite
Call’d Robin Goodfellow: are not you he
That frights the maidens of the villagery;
Skim milk, and sometimes labour in the quern
And bootless make the breathless housewife churn;
And sometime make the drink to bear no barm;
Mislead night-wanderers, laughing at their harm?
Those that Hobgoblin call you and sweet Puck,
You do their work, and they shall have good luck:
Are not you he?
PUCK:
Thou speak’st aright;
I am that merry wanderer of the night.
I jest to Oberon and make him smile
When I a fat and bean-fed horse beguile,
Neighing in likeness of a filly foal:
And sometime lurk I in a gossip’s bowl,
In very likeness of a roasted crab,
And when she drinks, against her lips I bob
And on her wither’d dewlap pour the ale.
The wisest aunt, telling the saddest tale,
Sometime for three-foot stool mistaketh me;
Then slip I from her bum, down topples she,
And ‘tailor’ cries, and falls into a cough;
And then the whole quire hold their hips and laugh,
And waxen in their mirth and neeze and swear
A merrier hour was never wasted there.
But, room, fairy! here comes Oberon.

Of course, A Midsummer Night’s Dream is supposed to take place on Midsummer or Litha, but it certainly follows the rules of May Day.

The confused lovers lost in the woods, the fairy King and Queen fighting. Titania and Bottom’s transformation and love. Puck’s mischief…

In it, one of Shakespeare’s most beloved plays, England’s most famous woodland characters are brought to life.

The Maypole is probably one of the most famous traditions, though many don’t know the full cycle of the pole itself. At Yule, you choose a tree to bring inside and decorate (and of course this is where the Christmas tree comes from). When Yule is over, you cut off the branches to use for your Imbolc fires. Then the trunk is what is used for the Maypole at Beltane. Set in the ground, long ribbons are tied to the top. These ribbons were traditionally made from the skirts or slips of girls who had begun menstruating for the first time that year, as a symbol of new, feminine fertility. Dyed (and cleaned), these ribbons are then danced around the Maypole by the young men of the village to represent the weaving of male and female energies and to encourage fertility for the fields and for the people. At the next Yule, when a new tree is brought in, the trunk of the old is burned as the Yule log to finish out the full cycle of the year.

Maypoles are beautiful, intricate creations.

On May Day morning, young women are supposed to wash their faces in the morning dew. This is said to keep you young and beautiful

Morris dancing is done on May Day. Morris dancing is one of the oldest folkloric practice done in the British Isles that continues to this day. Men dance with bells on their feet while striking sticks together to awaken the crops. Women dance with garlands and ribbons to welcome in the May.

After World War I, so many men died that the Morris Dance traditions were almost lost. Thanks to the women though, they were not. Since the men were not home to do it, women started dancing the Morris to make sure the tradition continued. Austin John Marshall wrote a tribute to these women dancers and said:

Many of the old ladies who swell the membership lists of Country Dance Societies are 1914/18 war widows, or ladies who have lost fiancés and lovers. Country dancing kept the memory of their young men alive. When Shirley Collins started singing the piece to the tune of The False Bride, the impact was disturbing, for many people in audiences identified with it. Tears were frequent. Now a sharp relevance in contemporary song is one thing but such a pessimistic effect was not what was intended. So when Shirley recorded the song we showed the way the spirit of the generation sacrificed in the mud of France had been caught and brought to life by the new generation born since World War II by concluding with the chorus of the Staines Morris:

Come you young men come along
With your music, dance and song
Bring your lasses in your hands
For ’tis that which love commands
Then to the Maypole haste away
For ’tis now a holiday.

It’s fifty-one springtimes since she was a bride,
But still you may see her at each Whitsuntide
In a dress of white linen and ribbons of green,
As green as her memories of loving.

The feet that were nimble tread carefully now,
As gentle a measure as age do allow,
Through groves of white blossom, by fields of young corn,
Where once she was pledged to her true love.

The fields they are empty, the hedges grow free,
No young men to tend them, or pastures go see.
They’ve gone where the forests of oak trees before
Had gone to be wasted in battle.

Down from their green farmlands and from their loved ones
Marched husbands and brothers and fathers and sons.
There’s a fine roll of honour where the Maypole once was,
And the ladies go dancing at Whitsun.

There’s a row of straight houses in these latter days
Are covering the Downs where the sheep used to graze.
There’s a field of red poppies, a wreath from the Queen.
But the ladies remember at Whitsun,
And the ladies go dancing at Whitsun.

And of course, the most traditional of all celebrations is the act of sex itself. One of my favorite songs, Wild Mountain Thyme, is about making love in the fields. Many modern adaptations of the song get it all wrong and change the words. But traditionally, this song  celebrates going out into the fields with a lover, and if your lover won’t go with you, you will find another with whom to sleep in a bower (shelter) made from newly blooming flowers of the field. I’ve also heard that Wild Mountain Thyme is used as both a type of birth control and an abortificant, depending on the amounts, so the song takes on even more meaning for women and their fertility than we might expect at first glance.

This was traditionally an orgiastic tradition; note the lyrics tell “if my true love will not go, I will surely find another.” While this lyric is often changed to reflect a more modern romanticism, the early celebrations of Beltane held that young people would wander the fields in the dark of night, entering each others’ bowers while enjoying the presence of the Gods of fertility and spring.

So tonight, drink some May Wine (my recipe found here), find a lover and celebrate in true traditional fashion.

Charon Ritual Response – Guest Blog

After posting my last blog, I sent it to my own students. We have been talking about ritual and the creation of magical works. We have been talking about the appropriate way to create magical workings while utilizing our ritual and the resources that can help you do so. I asked them to read my friend E’s ritual and discuss a few things:

Did you agree with what E did? Why or why not.

Would you change anything? If so, why?

What would you have done differently?

If you needed to create a ritual to end a cycle and get yourself out of a bad spot, how would you do it?

One of my brilliant initiates wrote me this response. I think it highlights the differences between eclecticism and formal Wicca, while giving a well thought out response to my questions. It also demonstrates the differences between someone who is new to this practice and one who is in dedicated service to this particular pantheon. E has never approached a working like this before, while C is a trained initiate.

I thought you would enjoy it as well. So without further ado, my lovely initiate C responds to my friend E! Posted with C’s permission…

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Perspehone by seaspell

Charon Ritual Response

First, I want to say thank you to you and E for sharing this. I think E’s thoughtfully crafted offering to Charon was a beautiful response to her current situation, and I suspect that many can relate to this predicament/ feeling of being trapped in hell. Props to her for taking real and significant steps (mentally, spiritually and legally) to achieve life again instead of trying to make a defeated existence in hell as comfortable as possible (the lazy choice made by most people).

My perspective on this ritual is based on my own experience, knowledge, and relationship with these gods. However, I recognize E’s intuition and intent, as a magical practitioner, as the correct guide for her own rituals and spell-work and believe that her sincere practice is right for her and will hopefully open the gates to a new life.

That being said, here are my thoughts on this ritual and the changes that I would make for myself:

pay_the_ferryman_by_walterodim

Pay the Ferryman by WalterODim

The most significant change I would make to this ritual would be including Persephone and Hades. I find it interesting that she focused on Charon. In this same situation of finding myself in the underworld, I would focus on Persephone and Hades, for it is their favor that is needed when trying to leave the underworld.

Phase 1: apology and belated payment for initial journey into the underworld

From my perspective, her lack of initial payment to Charon on her journey into hell makes her return possible. Coins were put in the mouth of the deceased as payment in order to secure their passage into the underworld and prevent their soul from returning. It was believed that without a proper burial and payment, the deceased would be denied entry by Charon. However, this did occasionally happen, like in the case of Sisyphus.

Sisyphus, who had been ordered to report to the underworld as punishment for tricking and imprisoning Hades, cleverly instructed his wife not to bury his body or provide a coin for payment before he died. When he arrived in the underworld he was able to plead with Persephone to let him return on these grounds, arguing that he should not have been granted entry into the underworld in the first place without proper payment. Persephone agreed and allowed him to return so that he could secure a proper passage into the underworld.

With this in mind, having mistakenly ended up in hell without proper passage and payment, I would address my appeal to Persephone with the promise that proper payment be made upon my death and ultimate descent. In this phase of E’s ritual she provided the coin as payment for her initial journey. I would not have done this in fear that I would be trapping myself in the underworld by doing so.

I agree that the new moon would be an appropriate time for this ritual for two reasons: 1) As the conclusion of a previous lunar cycle, this phase is symbolic of death and is a good time to communicate with underworld gods and to discard any negative/undesirable behaviors/thoughts/attitudes and to communicate with underworld gods. 2) It is also the beginning of a new cycle, and the imminent illumination of the waxing moon will serve as a symbolic representation and reminder of the ascent to renewed life.

In a ritual focused on death and new life, I would find it crucial to acknowledge Persephone and Hades. Persephone in particular, as a goddess of renewal and changing seasons (and the more likely to be sympathetic to heartache… and being trapped in the underworld via marriage…) should be honored.

Other than the coin, I think that E’s offering of olives, wine and cakes was appropriate and generous, and mine would be very similar if I were to do this ritual. In addition, I might include some fresh (springtime) flowers and honey for Persephone.

Phase 2: payment to get out of hell

I found E’s approach to this fascinating. I like the idea of looking for modern analogies in a ritual context. I would never think of doing something like this, but after reading this I will definitely experiment this concept in my own magical workings (so thank you E for inspiring me to think outside of my box).

While E used a money offering to motivate Charon to deliver her from hell (very insightfully I might add), I would probably use a different approach based on my own resources.

E acknowledged the sacrifice aspect of her payment when deciding how much to give. I think this is particularly relevant in this case. I believe that the ascension out of hell is a daunting task that will require active participation, discipline and sacrifice on the part of the traveler.

Drawing from other myths about this journey, I would do two things to motivate and fuel my journey.

First, with music being a big part of my own practice, I would either learn a hymn or write

lyre_of_orpheus_by_talonabraxas-d3ecxqg

Lyre of Orpheus by TALONABRAXAS

something to perform for Persephone and Charon. While my music obviously could never compare to the heavenly melodies played by Orpheus that enchanted Charon and tamed Cerberus, it is a thoughtful and active offering that is personal to me. The amount of emotion, power and breath that I give in my playing would serve as an expression of my sincerity and determination. This would also serve as a reminder to me that if I indulge myself by looking back (let past thoughts, attitudes, resentments etc. creep back in), I will be trapped in hell. A new life can not be possible as long as you remain stuck in the past.

I would also add a physical element in this phase of the ritual to offer Charon assistance with paddling. There are several instances of Charon asking/ordering travelers to do this. Ideally, I would do some type of aquatic exercise like rowing or swimming. However, because my environment does not lend itself to this type of activity, I would probably run instead.

At sunrise, the morning after my offerings on the new moon, I would commit myself to running 3 miles. I think 3 is an appropriate number to seal the work done the night before. Also, it should be noted that I am a horrible runner with horrible stamina and 3 miles would be a very difficult feat for me. This number she be adjusted depending on the physical ability of the individual to be adequately difficult. This struggle and sacrifice through physical exertion is 1) to make Charon’s job easier and 2) to demonstrate my active role in making it out of hell and acknowledging that though it will difficult and exhausting, it can be accomplished if I stay focused and keep looking forward.

My last thought on this ritual, as an initiate, would be to call upon (name of patroness) and (name of patron) who witnessed my initiation as they have already seen me through a journey of death and rebirth.