“The Yggdrasil-Tree is a beautiful symbolical representation of Freemasonry,” says Daniel Sickels in his General Ahiman Rezon. The book, which was intended to be read by Freemasons who wanted insight into their fraternity and its rituals, was published in 1868. Yggdrasil, says Sickels, “illustrates the character of Masonic secrecy.” Yet this was, of course, the world tree of pre-Christian, Norse mythology, and Sickels, who also speaks of the norns (the female figures who predetermine the fates of men), is certainly well aware of its character.
Sickels’ work appeared more than 85 years prior to the publication of Gerald Gardner’s Witchcraft Today — which initiated the birth (or, as some would maintain, revival) of the Pagan religion of Wicca — and just over a century prior to the “revival” of Asatru, the Germanic-inspired, and rune-based Pagan religion which emerged during the 1970s. Yet, some other Freemasons of the 19th century were inspired by northern European, pre-Christian mythology, and absorbed some elements into Masonic, or “fringe Masonic,” ritualism. Continue reading
The Wheel of the Year has turned again and now Ostara, known secularly as the vernal equinox, is on the horizon. This is a time of celebration for many, because it marks the date when the day starts to become longer than the night.
Ostara, named after the Germanic fertility goddess, has been celebrated in many forms for hundreds of years. Spring is seen as the time of rebirth and fertility; it is a time of great celebration as the warmth returns to the Earth and the plants and animals flourish. Continue reading
The moon is full and glowing. The air is warm and sweet, as it should be at Midsummer. There is certain calmness in the circle, as if all the beasts and fae have paused in their nightly rhythm to watch you. Continue reading
As popular Wiccan opinion goes, the number one coven killer in existence is a dreadful little thing called divorce. We’ve all heard the stories; the High Priest’s and High Priestess’ relationship devolves, the marriage unravels, the trust is shattered and people inevitably pick sides. Much can be said about divorce and its effects on a coven and on an entire line by Gardnerians in the USA. But this article isn’t about the number one coven killer in America. This article is about another way that covens end; this article is about life. Continue reading
I was Wiccan for several years. It was my first exposure to Paganism, as it is for many people. I enjoyed feeling connected with nature, I was happy to find a faith that didn’t shame me for having a vagina, and of course, like most geeky 11-year-old girls would, I relished the feeling of empowerment that knowledge of magick brought.
It wasn’t long before something in me I couldn’t quite identify began to butt heads with what I was reading and practicing. There are many aspects of the Horned God I felt (and still feel) a connection to, such as his associations with wild nature, magick, and the death and rebirth cycle, but I felt discouraged from exploring these ideas because they were deemed “masculine.” Instead, I tried to explore the mysteries of the Goddess as I felt I was “supposed” to. Despite being young, I felt unable to relate to the Maiden, and I felt stifled by the seeming inevitability of becoming a Mother, then a Crone — neither of which particularly appealed to me. It was also around this time that I began to realize I was gay, which only served to intensify my feelings of alienation. How could a spiritually necessary “union of opposites” occur when I didn’t even find my so-called “opposite” attractive? Continue reading
For many people, their first introduction to the Song of Amergin came through Robert Graves’ The White Goddess. Graves states that, “English poetic education should, really, begin not with Canterbury Tales, not with the Odyssey, not even with Genesis, but with the Song of Amergin.”
However, despite this apparently reverential beginning; Graves does not actually put forward the Song of Amergin as we have it; rather he begins by utterly changing this ancient poem to better fit his own pet theory, connecting the lines from this poem to the Ogham alphabet and the “months” of the year. This creates a vague pattern, unprecedented in either nature or the Gaelic source culture he purports to respect.
Graves provides neither the original Irish poem, nor anyone else’s English translation. Instead he just sets off on his own imaginative journey. Continue reading